All posts by Larkrise

Development

The Anger of Achilles. Jacques-Louis David. 1819.
The Anger of Achilles. Jacques-Louis David. 1819.

 

Development

Robert Browning

 

My father was a scholar and knew Greek.

When I was five years old, I asked him once

“What do you read about?”

“The siege of Troy.”

“What is a siege, and what is Troy?”

Whereat

He piled up chairs and tables for a town,

Set me a-top for Priam, called our cat

—Helen, enticed away from home (he said)

By wicked Paris, who couched somewhere close

Under the footstool, being cowardly,

But whom—since she was worth the pains, poor puss—

Towzer and Tray,—our dogs, the Atreidai,—sought

By taking Troy to get possession of

—Always when great Achilles ceased to sulk,

(My pony in the stable)—forth would prance

And put to flight Hector—our page-boy’s self.

This taught me who was who and what was what:

So far I rightly understood the case

At five years old; a huge delight it proved

And still proves—thanks to that insructor sage

My Father, who knew better than turn straight

Learning’s full flare on weak-eyed ignorance,

Or, worse yet, leave weak eyes to grow sand-blind,

Content with darkness and vacuity.

 

It happened, two or three years afterward

That—I and playmates playing at Troy’ Siege—

My Father came upon our make-believe.

“How would you like to read yourself the tale

Properly told, of which I gave you first

Merely such notion as a boy could bear?

Pope, now, would give you the precise account

Of what, some day, by dint of scholarship

You’ll hear—who knows?—from Homer’ very mouth.

Learn Greek by all means, read the “Blind Old Man,

Sweetest of Singers’—tuphlos which means ‘blind,’

Hedistos which means ‘sweetest.’ Time enough!

Try, anyhow, to master him some day;

Until when, take what serves for substitute,

Read Pope, by all means!”

So I ran through Pope,

Enjoyed the tale—what history so true?

Also attacked my Primer, duly drudged,

Grew fitter thus for what was promised next—

The very thing itself, the actual words,

When I could turn—say, Buttmann to account.

 

Time passed, I ripened somewhat: one fine day,

“Quite ready for the Iliad, nothing less?

There’s Heine, where the big books block the shelf:

Don’t skip a word, thumb well the Lexicon!”

 

I thumbed well and skipped nowise till I learned

Who was who, what was what, from Homer’s tongue,

And there an end of learning. Had you asked

The all-accomplished scholar, twelve years old,

“Who was it wrote the Iliad?”—what a laugh

“Why, Homer, all the world knows: of his life

Doubtless some facts exist: it’s everywhere:

We have not settled, though, his place of birth:

He begged, for certain, and was blind beside:

Seven cities claimed him—Scio, with best right,

Thinks Byron. What he wrote? Those Hymns we have.

Then there’s the ‘Battle of the Frogs and Mice,’

That’s all—unless they dig ‘Margites’ up

(I’d like that) nothing more remains to know.”

 

Thus did youth spend a comfortable time;

Until—“What’s this the Germans say in fact

That Wolf found out first? It’s unpleasant work

Their chop and change, unsettling one’s belief:

All the same, where we live, we learn, that’s sure.”

So, I bent brow o’er Prolegomena.

And after Wolf, a dozen of his like

Proved there was never any Troy at all,

Neither Besiegers nor Besieged, nay, worse,—

No actual Homer, no authentic text,

No warrant for the fiction I, as fact,

Had treasured in my heart and soul so long—

Ay, mark you! and as fact held still, still hold,

Spite of new knowledge, in my heart of hearts

And soul of souls, fact’s essence freed and fixed

From accidental fancy’s guardian sheath.

Assuredly thenceforward—thank my stars!—

However it got there, deprive who could—

Wring from the shrine my precious tenantry,

Helen, Ulysses, Hector and his Spouse,

Achilles and his Friend?—though Wolf—ah, Wolf!

Why must he needs come doubting, spoil a dream?

 

But then, “No dream’s worth waking”—Browning says:

And here’s the reason why I tell thus much.

I, now mature man, you anticipate,

May blame my Father justifiably

For letting me dream out my nonage thus,

And only by such slow and sure degrees

Permitting me to sift the grain from chaff,

Get truth and falsehood known and named as such.

Why did he ever let me dream at all,

Not bid me taste the story in its strength?

Suppose my childhood was scarce qualified

To rightly understand mythology,

Silence at least was in his power to keep:

I might have—somehow—correspondingly—

Well, who knows by what method, gained my gains,

Been taught, by forthrights not meanderings,

My aim should be to loathe, like Peleus’ son,

A lie as Hell’s Gate, love my wedded wife,

Like Hector, and so on with all the rest.

Could not I have excogitated this

Without believing such man really were?

 

That is—he might have put into my hand

The “Ethics”? In translation, if you please,

Exact, no pretty lying that improves,

To suit the modern taste: no more, no less—

The “Ethics:” ’tis a treatise I find hard

To read aright now that my hair is gray,

And I can manage the original.

At five years old—how ill had fared its leaves!

Now, growing double o’er the Stagirite,

At least I soil no page with bread and milk,

Nor crumple, dogs-ear and deface—boys’ way.

How Sleep the Brave

Liberty Leading the People. Eugène Delacroix. 1830.
Liberty Leading the People. Eugène Delacroix. 1830.

 

How Sleep the Brave

William Collins

 

How sleep the brave, who sink to rest

By all their country’s wishes blest!

When Spring, with dewy fingers cold,

Returns to deck their hallow’d mould,

She there shall dress a sweeter sod

Than Fancy’s feet have ever trod.

 

By fairy hands their knells is rung;

By forms unseen their dirges sung;

There Honour comes, a pilgrim grey,

To bless the turf that wraps their clay;

And Freedom shall while repair

To dwell, a weeping hermit, there!

Buttercups and Daisies

Buttercups and Daisies. Hugh Cameron. 1881
Buttercups and Daisies. Hugh Cameron. 1881

 

Buttercups and Daisies

Mary Howitt

 

Buttercups and daisies—

Oh the pretty flowers,

Coming ere the springtime

To tell of sunny hours.

While the trees are leafless

While the fields are bare,

Buttercups and daisies

Spring up here and there.

 

Ere the snowdrop peepeth,

Ere the crocus bold,

Ere the early primrose

Opes its paly gold,

Somewhere on a sunny bank

Buttercups are bright;

Somewhere ‘mong the frozen grass

Peeps the daisy white.

 

Little hard-flowers

Like to children poor,

Playing in their sturdy health

By their mother’s door:

Purple with the north wind,

Yet alert and bold;

Fearing not and caring not,

Though they be a-cold.

 

What to them is weather!

What are stormy showers!

Buttercups and daisies

Are these human flowers!

He who gave them hardship

And a life of care,

Gave them likewise hardy strength,

And patient hearts, to bear.

 

Welcome yellow buttercups,

Welcome daisies white,

Ye are in my spirit

Visioned, a delight!

Coming ere the springtime

Of sunny hours to tell—

Speaking to our hearts of Him

Who doeth all things well.

 

Hunger for Beauty {Interview}

Christina's World. Andrew Wyeth. 1948.
Christina’s World. Andrew Wyeth. 1948.

“The great literary artist Dostoevsky once wrote that beauty would save the world. That may be truer than ever today, says philosophy professor Alice Ramos, because, while many people have given up on truth and goodness, they remain fascinated by beauty, even if it is only the cosmetic attractiveness of movie stars. This means, she told an audience in Rome, ‘that beauty may be a privileged route to both the true and the good, and thus that art could be of singular importance in helping the modern world.’ In this interview with MercatorNet, Professor Ramos explains how art lost its classical relationship with the true and the good, and how important it is for artists to make those connections again.”

Continue reading.

A Pearl, a Girl

Girl with a Pearl Earring. Johannes Vermeer. 1665.
Girl with a Pearl Earring. Johannes Vermeer. 1665.

 

A Pearl, a Girl

Robert Browning

 

A simple ring with a single stone,

To the vulgar eye no stone of price:

Whisper the right word, that alone—

Forth starts a sprite, like fire from ice,

And lo, you are lord (says an Eastern scroll)

Of heaven and earth, lord whole and sole

Through the power in a pearl.

 

A woman (’tis I this time that say)

With little worth the world counts worthy praise

Utter the true word—out and away

Escapes her soul: I am wrapt in blaze,

Creation’s lord, of heaven and earth

Lord whole and sole—by a minute’s birth—

Through the love in a girl!

from the Prologue of The Faerie Queen

St. George Fighting the Dragon. Bernardo Martorell. 1435.
St. George Fighting the Dragon. Bernardo Martorell. 1435.

 

from the Prologue of The Faerie Queen

Edmund Spenser

 

Lo I the man, whose muse whilome did mask,

(As time her taught), in lowly shepherd’s weeds,

Am now enforced a far unfitter task,

For trumpets stern, to change mine Oaten reeds,

And sing of Knights and Ladies gentle deeds;

Whose praises having slept in silence long,

Me, all too mean, the Muse areeds

To blazon broad amongst her learnéd throng:

Fierce wars and faithfull loves shall moralize my song.

Immanence

Woodcock Nesting on a Beach. Archibald Thorburn. 1910.

 

Immanence

Evelyn Underhill

 

I come in the little things,

Saith the Lord:

Not borne on morning wings

Of majesty, but I have set My Feet

Amidst the delicate and bladed wheat

That springs triumphant in the furrowed sod

There do I dwell, in weakness and in power:

Not broken or divided, saith our God!

In your straight garden plot I come to flower:

About your porch My Vine

Meek, fruitful, doth entwine;

Waits, at the threshold, Love’s appointed hour.

 

I come in little things,

Saith the Lord:

Yea! on the glancing wings

Of eager birds, the softly pattering feet

Of furred and gentle beasts. I come to meet

Your hard and wayward heart. In brown eyes

That peep from out the brake, I stand confest

On every nest

Where feathery Patience is content to brood

And leaves her pleasure for the high emprize

Of motherhood—

There doth My Godhead rest.

 

I come in little things,

Saith the Lord:

My starry wings

I do forsake,

Love’s highway of humility to take.

Meekly I fit My stature to your need.

In beggar’s part

About your gates I shall not cease to plead—

As man, to speak with man—

Till by such art

I shall achieve My Immemorial Plan.

Pass the low lintel of the human heart.

 

‘Immanence’ is defined as the state of being within a given domain. In philosophy and metaphysics, the word can refer  to the belief that the Divine Spirit is seen to be manifest in the natural world. It is sometimes contrasted with ‘transcendence’—the idea that  God exists outside  the natural world. Many believe, as I do, that the Bible makes clear a beautiful and mysterious relationship between the two.

Number 8 {The Story of Art}

Number 8. Jackson Pollock. 1949.

“[I]n the past, an artist’s handling of paint, the energy of his brushstrokes or the subtlety of his touch, had been prized, but generally in the larger context of the effect thus achieved… Here then was an aspect of painting that still appeared to be unexplored—the sheer handling of paint regardless of any ulterior motive or purpose… Most of all it was the American artist Jackson Pollock who aroused interest with his novel ways of applying paint… Becoming impatient of conventional methods, he put his canvas on the floor and dripped, poured or threw his paint to form surprising configurations… The resulting tangle of lines satisfies two opposing standards of twentieth-century art: the longing for childlike simplicity and spontaneity that evokes the memory of childish scrawls at the time of life before children even start to form images and, at the opposite end, the sophisticated interest in the problems of ‘pure painting.’”

Ernst H. Gombrich, “Chapter 28: The Triumph of Modernism,” The Story of Art, 15th edition

Violin and Grapes {The Story of Art}

Violin and Grapes. Pablo Picasso. 1912.

“In some respects [Cubism] represents a return to what we have called the Egyptian principles, in which an object was drawn from the angle from which its characteristic form came out most clearly. The scroll and one peg are seen from the side as we imagine them when we think of a violin. The sound-holes, on the other hand, are seen as from the front—they would not be visible from the side… Despite this apparent jumble of disconnected forms… the picture does not look really messy. The reason is that the artist has considered his picture out of more or less uniform parts so that the whole presents an appearance of consistency comparable to such works of primitive art as the American totem pole…

“Critics considered it an insult to their intelligence to believe that a violin ‘looks like that.’ But there never was any question of an insult. If anything, the artist paid them a compliment. He assumed they knew what a violin was like, and they they do not come to his picture to receive this elementary information. He invited them to share with him in this sophisticated game of building up the idea of a tangible solid object out of the few flat fragments on his canvas. We know that artists of all periods have tried to put forth their solution of the essential paradox of painting, which is that it represents depth on a surface. Cubism was an attempt not to gloss over this paradox but rather to exploit it for new effects.”

Ernst H. Gombrich, “Chapter 27: Experimental Art,” The Story of Art, 15th edition

Wheat Field with Cypresses {The Story of Art}

Wheat Field with Cypresses. Vincent van Gogh. 1889.

“It is clear that Van Gogh was not mainly concerned with correct representation. He used colors and forms to convey what he felt about the things he painted, and what he wished others to feel. He did not care much for what he called ‘stereoscopic reality,’ that is to say, the photographically exact picture of nature. He would exaggerate and even change the appearance of things if this suited his aim… [He] took the momentous step of deliberately abandoning the aim of painting as an ‘imitation of nature’… Van Gogh felt that by surrendering to visual impressions, and by exploring nothing but the optical qualities of light and color, art was in danger of losing that intensity and passion through which alone the artist can express his feeling to his fellow men.”

E.H. Gombrich, “Chapter 26: In Search of New Standards,” The Story of Art, 15th edition