Quotes4study

But supposing the invader of domestic bliss to betake himself away at the first rush of the harem's lord, then is it very diverting to watch that lord. Gently he insinuates his vast bulk among them again and revels there awhile, still in tantalizing vicinity to young Lothario, like pious Solomon devoutly worshipping among his thousand concubines. Granting other whales to be in sight, the fishermen will seldom give chase to one of these Grand Turks; for these Grand Turks are too lavish of their strength, and hence their unctuousness is small. As for the sons and the daughters they beget, why, those sons and daughters must take care of themselves; at least, with only the maternal help. For like certain other omnivorous roving lovers that might be named, my Lord Whale has no taste for the nursery, however much for the bower; and so, being a great traveller, he leaves his anonymous babies all over the world; every baby an exotic. In good time, nevertheless, as the ardour of youth declines; as years and dumps increase; as reflection lends her solemn pauses; in short, as a general lassitude overtakes the sated Turk; then a love of ease and virtue supplants the love for maidens; our Ottoman enters upon the impotent, repentant, admonitory stage of life, forswears, disbands the harem, and grown to an exemplary, sulky old soul, goes about all alone among the meridians and parallels saying his prayers, and warning each young Leviathan from his amorous errors.

Herman Melville     Moby Dick; or The Whale

There was a considerable difference between the ages of my parents, but this circumstance seemed to unite them only closer in bonds of devoted affection. There was a sense of justice in my father's upright mind which rendered it necessary that he should approve highly to love strongly. Perhaps during former years he had suffered from the late-discovered unworthiness of one beloved and so was disposed to set a greater value on tried worth. There was a show of gratitude and worship in his attachment to my mother, differing wholly from the doting fondness of age, for it was inspired by reverence for her virtues and a desire to be the means of, in some degree, recompensing her for the sorrows she had endured, but which gave inexpressible grace to his behaviour to her. Everything was made to yield to her wishes and her convenience. He strove to shelter her, as a fair exotic is sheltered by the gardener, from every rougher wind and to surround her with all that could tend to excite pleasurable emotion in her soft and benevolent mind. Her health, and even the tranquillity of her hitherto constant spirit, had been shaken by what she had gone through. During the two years that had elapsed previous to their marriage my father had gradually relinquished all his public functions; and immediately after their union they sought the pleasant climate of Italy, and the change of scene and interest attendant on a tour through that land of wonders, as a restorative for her weakened frame.

Mary Wollstonecraft (Godwin) Shelley     Frankenstein

He did not find the civil servant or his wife where he had left them. He walked among the crowd with rapid steps, scanning the various faces he met. Involuntarily he noticed a Georgian or Armenian family consisting of a very handsome old man of Oriental type, wearing a new, cloth- covered, sheepskin coat and new boots, an old woman of similar type, and a young woman. That very young woman seemed to Pierre the perfection of Oriental beauty, with her sharply outlined, arched, black eyebrows and the extraordinarily soft, bright color of her long, beautiful, expressionless face. Amid the scattered property and the crowd on the open space, she, in her rich satin cloak with a bright lilac shawl on her head, suggested a delicate exotic plant thrown out onto the snow. She was sitting on some bundles a little behind the old woman, and looked from under her long lashes with motionless, large, almond-shaped eyes at the ground before her. Evidently she was aware of her beauty and fearful because of it. Her face struck Pierre and, hurrying along by the fence, he turned several times to look at her. When he had reached the fence, still without finding those he sought, he stopped and looked about him.

Leo Tolstoy     War and Peace

FINCH (Ger. _Fink_, Lat. _Fringilla_), a name applied (but almost always in composition--as bullfinch, chaffinch, goldfinch, hawfinch, &c.) to a great many small birds of the order _Passeres_, and now pretty generally accepted as that of a group or family--the _Fringillidae_ of most ornithologists. Yet it is one the extent of which must be regarded as being uncertain. Many writers have included in it the buntings (_Emberizidae_), though these seem to be quite distinct, as well as the larks (_Alaudidae_), the tanagers (_Tanagridae_), and the weaver-birds (_Ploceidae_). Others have separated from it the crossbills, under the title of _Loxiidae_, but without due cause. The difficulty which at this time presents itself in regard to the limits of the _Fringillidae_ arises from our ignorance of the anatomical features, especially those of the head, possessed by many exotic forms. Entry: FINCH

Encyclopaedia Britannica, 11th Edition, Volume 10, Slice 3 "Fenton, Edward" to "Finistere"     1910-1911

The larch, though mentioned by Parkinson in 1629 as "nursed up" by a few "lovers of variety" as a rare exotic, does not seem to have been much grown in England till early in the 18th century. In Scotland the date of its introduction is a disputed point, but it seems to have been planted at Dunkeld by the 2nd duke of Athole in 1727, and about thirteen or fourteen years later considerable plantations were made at that place, the commencement of one of the largest planting experiments on record; it is estimated that 14 million larches were planted on the Athole estates between that date and 1826. The cultivation of the tree rapidly spread, and the larch has become a conspicuous feature of the scenery in many parts of Scotland. It grows as rapidly and attains as large a size in British habitats suited to it as in its home on the Alps, and often produces equally good timber. The larch of Europe is essentially a mountain tree, and requires not only free air above, but a certain moderate amount of moisture in the soil beneath, with, at the same time, perfect drainage, to bring the timber to perfection. Where there is complete freedom from stagnant water in the ground, and abundant room for the spread of its branches to light and air, the larch will flourish in a great variety of soils, stiff clays, wet or mossy peat, and moist alluvium being the chief exceptions; in its native localities it seems partial to the debris of primitive and metamorphic rocks, but is occasionally found growing luxuriantly on calcareous subsoils; in Switzerland it attains the largest size, and forms the best timber, on the northern declivities of the mountains; but in Scotland a southern aspect appears most favourable. Entry: LARCH

Encyclopaedia Britannica, 11th Edition, Volume 16, Slice 2 "Lamennais, Robert de" to "Latini, Brunetto"     1910-1911

HEPPLEWHITE, GEORGE (d. 1786), one of the most famous English cabinet-makers of the 18th century. There is practically no biographical material relating to Hepplewhite. The only facts that are known with certainty are that he was apprenticed to Gillow at Lancaster, that he carried on business in the parish of Saint Giles, Cripplegate, and that administration of his estate was granted to his widow Alice on the 27th of June 1786. The administrator's accounts, which were filed in the Prerogative Court of Canterbury a year later, indicate that his property was of considerable value. After his death the business was continued by his widow under the style of A. Hepplewhite & Co. Our only approximate means of identifying his work are _The Cabinet-Maker and Upholsterer's Guide_, which was first published in 1788, two years after his death, and ten designs in _The Cabinet-maker's London Book of Prices_ (1788), issued by the London Society of Cabinet-Makers. It is, however, exceedingly difficult to earmark any given piece of furniture as being the actual work or design of Hepplewhite, since it is generally recognized that to a very large extent the name represents rather a fashion than a man. Lightness, delicacy and grace are the distinguishing characteristics of Hepplewhite work. The massiveness of Chippendale had given place to conceptions that, especially in regard to chairs--which had become smaller as hoops went out of fashion--depended for their effect more upon inlay than upon carving. In one respect at least the Hepplewhite style was akin to that of Chippendale--in both cases the utmost ingenuity was lavished upon the chair, and if Hepplewhite was not the originator he appears to have been the most constant and successful user of the shield back. This elegant form was employed by the school in a great variety of designs, and nearly always in a way artistically satisfying. Where Chippendale, his contemporaries and his immediate successors had used the cabriole and the square leg with a good deal of carving, the Hepplewhite manner preferred a slighter leg, plain, fluted or reeded, tapering to a spade foot which often became the "spider leg" that characterized much of the late 18th-century furniture; this form of leg was indeed not confined to chairs but was used also for tables and sideboards. Of the dainty drawing-room grace of the style there can be no question. The great majority of modern chairs are of Hepplewhite inspiration, while he, or those who worked with him, appears to have a clear claim to have originated, or at all events popularized, the winged easy-chair, in which the sides are continued to the same height as the back. This is probably the most comfortable type of chair that has ever been made. The backs of Hepplewhite chairs were often adorned with galleries and festoons of wheat-ears or pointed fern leaves, and not infrequently with the prince of Wales's feathers in some more or less decorative form. The frequency with which this badge was used has led to the suggestion either that A. Hepplewhite & Co. were employed by George IV. when prince of Wales, or that the feathers were used as a political emblem. The former suggestion is obviously the more feasible, but there is little doubt that the feathers were used by other makers working in the same style. It has been objected as an artistic flaw in Hepplewhite's chairs that they have the appearance of fragility. They are, however, constructionally sound as a rule. The painted and japanned work has been criticized on safer grounds. This delicate type of furniture, often made of satinwood, and painted with wreaths and festoons, with amorini and musical instruments or floral motives, is the most elegant and pleasing that can be imagined. It has, however, no elements of decorative permanence. With comparatively little use the paintings wear off and have to be renewed. A piece of untouched painted satinwood is almost unknown, and one of the essential charms of old furniture as of all other antiques is that it should retain the patina of time. A large proportion of Hepplewhite furniture is inlaid with the exotic woods which had come into high favour by the third quarter of the 18th century. While the decorative use upon furniture of so evanescent a medium as paint is always open to criticism, any form of marquetry is obviously legitimate, and, if inlaid furniture be less ravishing to the eye, its beauty is but enhanced by time. It was not in chairs alone that the Hepplewhite manner excelled. It acquired, for instance, a speciality of seats for the tall, narrow Georgian sash windows, which in the Hepplewhite period had almost entirely superseded the more picturesque forms of an earlier time. These window-seats had ends rolling over outwards, and no backs, and despite their skimpiness their elegant simplicity is decidedly pleasing. Elegance, in fact, was the note of a style which on the whole was more distinctly English than that which preceded or immediately followed it. The smaller Hepplewhite pieces are much prized by collectors. Among these may be included urn-shaped knife-boxes in mahogany and satinwood, charming in form and decorative in the extreme; inlaid tea-caddies, varying greatly in shape and material, but always appropriate and _coquet_; delicate little fire-screens with shaped poles; painted work-tables, and inlaid stands. Hepplewhite's bedsteads with carved and fluted pillars were very handsome and attractive. The evolution of the dining-room sideboard made rapid progress towards the end of the 18th century, but neither Hepplewhite nor those who worked in his style did much to advance it. Indeed they somewhat retarded its development by causing it to revert to little more than that side-table which had been its original form. It was, however, a very delightful table with its undulating front, its many elegant spade-footed legs and its delicate carving. If we were dealing with a less elusive personality it would be just to say that Hepplewhite's work varies from the extreme of elegance and the most delicious simplicity to an unimaginative commonplace, and sometimes to actual ugliness. As it is, this summary may well be applied to the style as a whole--a style which was assuredly not the creation of any one man, but owed much alike of excellence and of defect to a school of cabinet-makers who were under the influence of conflicting tastes and changing ideals. At its best the taste was so fine and so full of distinction, so simple, modest and sufficient, that it amounted to genius. On its lower planes it was clearly influenced by commercialism and the desire to make what tasteless people preferred. Yet this is no more than to say that the Hepplewhite style succumbed sometimes, perhaps very often, to the eternal enemy of all art--the uninspired banality of the average man. (J. P.-B.) Entry: HEPPLEWHITE

Encyclopaedia Britannica, 11th Edition, Volume 13, Slice 3 "Helmont, Jean" to "Hernosand"     1910-1911

In the course of that exile the traces of Semitic or Mahommedan influence gradually faded away, and the last of the line of Saracenic thinkers was a truer exponent of the one philosophy which they all professed to teach than the first. The whole movement is little else than a chapter in the history of Aristotelianism. That system of thought, after passing through the minds of those who saw it in the hazy light of an orientalized Platonism, and finding many laborious but narrow-purposed cultivators in the monastic schools of heretical Syria, was then brought into contact with the ideas and mental habits of Islam. But those in whom the two currents converged did not belong to the pure Arab race. Of the so-called Arabian philosophers of the East, al-Farabi, Ibn-Sina and al-Ghazali were natives of Khorasan, Bokhara and the outlying provinces of north-eastern Persia; whilst al-Kindi, the earliest of them, sprang from Basra, on the Persian Gulf, on the debatable ground between the Semite and the Aryan. In Spain, again, where Ibn-Bajja, Ibn-Tufail and Ibn Rushd rivalled or exceeded the fame of the Eastern schools, the Arabians of pure blood were few, and the Moorish ruling class was deeply intersected by Jewish colonies, and even by the natives of Christian Spain. Thus, alike at Bagdad and at Cordova, Arabian philosophy represents the temporary victory of exotic ideas and of subject races over the theological one-sidedness of Islam, and the illiterate simplicity of the early Saracens. Entry: ARABIAN

Encyclopaedia Britannica, 11th Edition, Volume 2, Slice 3 "Apollodorus" to "Aral"     1910-1911

For more than a century after the death of Augustus Roman literature continues to flow in the old channels. Though drawing from the provinces, Rome remains the centre of the literary movement. The characteristics of the great writers are essentially national, not provincial nor cosmopolitan. In prose the old forms--oratory, history, the epistle, treatises or dialogues on ethical and literary questions--continue to be cultivated. Scientific and practical subjects, such as natural history, architecture, medicine, agriculture, are treated in more elaborate literary style. The old Roman _satura_ is developed into something like the modern prose novel. In the various provinces of poetry, while there is little novelty or inspiration, there is abundance of industry and ambitious effort. The national love of works of large compass shows itself in the production of long epic poems, both of the historic and of the imitative Alexandrian type. The imitative and rhetorical tastes of Rome showed themselves in the composition of exotic tragedies, as remote in spirit and character from Greek as from Roman life, of which the only extant specimens are those attributed to the younger Seneca. The composition of didactic, lyrical and elegiac poetry also was the accomplishment and pastime of an educated dilettante class, the only extant specimens of any interest being some of the _Silvae_ of Statius. The only voice with which the poet of this age can express himself with force and sincerity is that of satire and satiric epigram. We find now only imitative echoes of the old music created by Virgil and others, as in Statius, or powerful declamation, as in Lucan and Juvenal. There is a deterioration in the diction as well as in the music of poetry. The elaborate literary culture of the Augustan age has done something to impair the native force of the Latin idiom. The language of literature, in the most elaborate kind of prose as well as poetry, loses all ring of popular speech. The old oratorical tastes and aptitudes find their outlet in public recitations and the practice of declamation. Forced and distorted expression, exaggerated emphasis, point and antithesis, an affected prettiness, are studied with the view of gaining the applause of audiences who thronged the lecture and recitation rooms in search of temporary excitement. Education is more widely diffused, but is less thorough, less leisurely in its method, derived less than before from the purer sources of culture. The precocious immaturity of Lucan's career affords a marked contrast to the long preparation of Virgil and Horace for their high office. Although there are some works of this so-called Silver Age of considerable and one at least of supreme interest, from the insight they afford into the experience of a century of organized despotism and its effect on the spiritual life of the ancient world, it cannot be doubted that the steady literary decline which characterized the last centuries of paganism was beginning before the death of Ovid and Livy. Entry: A

Encyclopaedia Britannica, 11th Edition, Volume 16, Slice 3 "Latin Language" to "Lefebvre, François-Joseph"     1910-1911

Both on account of its interest as a true vernacular work, and as the composition of a Musalman who has taken the incidents of his morality from the legends of his country and not from an exotic source, the poem is memorable. It has often been lithographed, and is very popular; a translation has even been made into Sanskrit. A critical edition has been prepared by Dr G. A. Grierson and Pandit Sudhakar Dwivedi. Entry: 1

Encyclopaedia Britannica, 11th Edition, Volume 13, Slice 4 "Hero" to "Hindu Chronology"     1910-1911

DON JUAN, a legendary character, whose story has found currency in various European countries. He was introduced into formal literature in the Spanish _El Burlador de Sevilla y convidado de piedra_, a play which was first printed at Barcelona in 1630, and is usually attributed to Tirso de Molina; but the story of a profligate inviting a dead man to supper, and finding his invitation accepted, was current before 1630, and is not peculiar to Spain. A Don Juan Tenorio is said to have frequented the court of Peter the Cruel, and at a later period another Don Juan Tenorio, a dissolute gallant, is reported as living at Seville; but there is no satisfactory evidence of their existence, and it is unlikely that the Don Juan legend is based on historical facts. It exists in Picardy as _Le Souper de fantôme_, and variants of it have been found at points so far apart as Iceland and the Azores; the available evidence goes to show that Don Juan is a universal type, that he is the subject of local myths in many countries, that he received his name in Spain, and that the Spanish version of his legend has absorbed certain elements from the French story of Robert the Devil. Some points of resemblance are observable between _El Burlador de Sevilla_ and _Dineros son calidad_, a play of earlier date by Lope de Vega; but these resemblances are superficial, and the character of Don Juan, the incarnation of perverse sensuality and arrogant blasphemy, may be considered as the creation of Tirso de Molina, though the ascription to him of _El Burlador de Sevilla_ has been disputed. The Spanish drama was apparently more popular in Italy than in Spain, and was frequently given in pantomime by the Italian actors, who accounted for its permanent vogue by saying that Tirso de Molina had sold his soul to the devil for fame. A company of these Italian mimes took the story into France in 1657, and it was dramatized by Dorimond in 1659 and by De Villiers in 1661; their attempts suggested _Le Festin de pierre_ (1665) to Molière, who, apparently with the Spanish original before his eyes, substituted prose for verse, reduced the supernatural element, and interpolated comic effects completely out of keeping with the earlier conception. Later adaptations by Rosimond and Thomas Corneille were even less successful. The story was introduced into England by Sir Aston Cokain in his unreadable _Tragedy of Ovid_ (1669), and was the theme of _The Libertine_ (1676), a dull and obscene play by Shadwell. Goldoni's _D. Giovanni Tenorio osia Il Dissoluto_, based upon the adaptations of Molière and Thomas Corneille, is one of his least interesting productions. Tirso de Molina's play was recast, but not improved, by Antonio de Zamora early in the 18th century. A hundred years later the character of Don Juan was endowed with a new name in Espronceda's _Estudiante de Salamanca_; Don Félix de Montemar is plainly modelled on Don Juan Tenorio, and rivals the original in licentiousness, impiety and grim humour. But the most curious resuscitation of the type in Spain is the protagonist in Zorrilla's _Don Juan Tenorio_, which is usually played in all large cities during the first week in November, and has come to be regarded as an essentially national work. It is in fact little more than an adaptation of the elder Dumas' _Don Juan de Marana_, which, in its turn, derives chiefly from Mérimée's novel, _Les Âmes du purgatoire_. Less exotic are Zorrilla's two poems on the same subject--_El Desafío del diablo_ and _El Testigo de bronce_. Byron's _Don Juan_ presents a Regency lady-killer who resembles Ulloa's murderer in nothing but his name. Entry: DON

Encyclopaedia Britannica, 11th Edition, Volume 8, Slice 6 "Dodwell" to "Drama"     1910-1911