A supreme love, a motive that gives a sublime rhythm to a woman's life, and exalts habit into partnership with the soul's highest needs, is not to be had where and how she wills: to know that high initiation, she must often tread where it is hard to tread, and feel the chill air, and watch through darkness.--_George Eliot._
The poet says that his science consists of {78} invention and rhythm, and this is the simple body of poetry, invention as regards the subject matter and rhythm as regards the verse, which he afterwards clothes with all the sciences. To which the painter rejoins that he is governed by the same necessities in the science of painting, that is to say, invention and measure (fancy as regards the subject matter which he must invent, and measure as regards the matters painted), so that they may be in proportion, but that he does not make use of three sciences; on the contrary it is rather the other sciences that make use of painting, as, for instance, astrology, which effects nothing without the aid of perspective, the principal link of painting,--that is, mathematical astronomy and not fallacious astrology (let those who by reason of the existence of fools make a profession of it, forgive me). The poet says he describes an object, that he represents another full of beautiful allegory; the painter says he is capable of doing the same, and in this respect he is also a poet. And if the poet says he can incite men to love, which is the most important fact among every kind of animal, the painter can do the same, all the more so because he presents the lover with the image of his beloved; and the lover often does with it what he would not do with the writer's delineation of the same charms, i.e. talk with it and kiss it; so great is the painter's influence on the minds of men that he incites them to love and {79} become enamoured of a picture which does not represent any living woman.
And then you run into Nick Dunne on Seventh Avenue as you’re buying diced cantaloupe, and pow, you are known, you are recognized, the both of you. You both find the exact same things worth remembering. (Just one olive, though.) You have the same rhythm. Click. You just know each other. All of a sudden you see reading in bed and waffles on Sunday and laughing at nothing and his mouth on yours. And it’s so far beyond fine that you know you can never go back to fine. That fast. You think: Oh, here is the rest of my life. It’s finally arrived.
The musician says that his art can be compared with that of the painter because by the art of the painter a body of many members is composed, and the spectator apprehends its grace in as many harmonious rhythms ... as there are times in which it lives and dies; and by these rhythms ... its grace plays with the soul, which dwells in the body of the spectator. But the painter replies that the body composed of human limbs does not afford the delectable harmonious rhythms in which beauty must live and die, but renders it permanent for many years, and is of such great excellence that it preserves the life of this harmony of concordant limbs which nature with all her force could not preserve.
On a morning from a Bogart movie, in a country where they turned back time, You go strolling through the crowd like Peter Lorre contemplating a crime. She comes out of the sun in a silk dress running like a watercolor in the rain. Don't bother asking for explanations, she'll just tell you that she came In the Year of the Cat. She doesn't give you time for questions, as she locks up your arm in hers, And you follow 'till your sense of which direction completely disappears. By the blue-tiled walls near the market stall there's a hidden door she leads you to. These days, she say, I feel my life just like a river running through The Year of the Cat. Well, she looks at you so coolly, And her eyes shine like the moon in the sea. She comes in incense and patchouli, So you take her to find what's waiting inside The Year of the Cat. Well, morning comes and you're still with her, but the bus and the tourists are gone, And you've thrown away your choice and lost your ticket, so you have to stay on. But the drum-beat strains of the night remain in the rhythm of the new-born day. You know some time you're bound to leave her, but for now you're going to stay In the Year of the Cat. -- Al Stewart, "Year of the Cat"
LEIGHTON, FREDERICK LEIGHTON, BARON (1830-1896), English painter and sculptor, the son of a physician, was born at Scarborough on the 3rd of December 1830. His grandfather, Sir James Leighton, also a physician, was long resident at the court of St Petersburg. Frederick Leighton was taken abroad at a very early age. In 1840 he learnt drawing at Rome under Signor Meli. The family moved to Dresden and Berlin, where he attended classes at the Academy. In 1843 he was sent to school at Frankfort, and in the winter of 1844 accompanied his family to Florence, where his future career as an artist was decided. There he studied under Bezzuoli and Segnolini at the Accademia delle Belle Arti, and attended anatomy classes under Zanetti; but he soon returned to complete his general education at Frankfort, receiving no further direct instruction in art for five years. He went to Brussels in 1848, where he met Wiertz and Gallait, and painted some pictures, including "Cimabue finding Giotto," and a portrait of himself. In 1849 he studied for a few months in Paris, where he copied Titian and Correggio in the Louvre, and then returned to Frankfort, where he settled down to serious art work under Edward Steinle, whose pupil he declared he was "in the fullest sense of the term." Though his artistic training was mainly German, and his master belonged to the same school as Cornelius and Overbeck, he loved Italian art and Italy and the first picture by which he became known to the British public was "Cimabue's Madonna carried in Procession through the Streets of Florence," which appeared at the Royal Academy in 1855. At this time the works of the Pre-Raphaelites almost absorbed public interest in art--it was the year of Holman Hunt's "Light of the World," and the "Rescue," by Millais. Yet Leighton's picture, painted in quite a different style, created a sensation, and was purchased by Queen Victoria. Although, since his infancy, he had only visited England once (in 1851, when he came to see the Great Exhibition), he was not quite unknown in the cultured and artistic world of London, as he had made many friends during a residence in Rome of some two years or more after he left Frankfort in 1852. Amongst these were Giovanni Costa, Robert Browning, James Knowles, George Mason and Sir Edward Poynter, then a youth, whom he allowed to work in his studio. He also met Thackeray, who wrote from Rome to the young Millais: "Here is a versatile young dog, who will run you close for the presidentship one of these days." During these years he painted several Florentine subjects--"Tybalt and Romeo," "The Death of Brunelleschi," a cartoon of "The Pest in Florence according to Boccaccio," and "The Reconciliation of the Montagues and the Capulets." He now turned his attention to themes of classic legend, which at first he treated in a "Romantic spirit." His next picture, exhibited in 1856, was "The Triumph of Music: Orpheus by the Power of his Art redeems his Wife from Hades." It was not a success, and he did not again exhibit till 1858, when he sent a little picture of "The Fisherman and the Syren" to the Royal Academy, and "Samson and Delilah" to the Society of British Artists in Suffolk Street. In 1858 he visited London and made the acquaintance of the leading Pre-Raphaelites--Rossetti, Holman Hunt and Millais. In the spring of 1859 he was at Capri, always a favourite resort of his, and made many studies from nature, including a very famous drawing of a lemon tree. It was not till 1860 that he settled in London, when he took up his quarters at 2 Orme Square, Bayswater, where he stayed till, in 1860, he moved to his celebrated house in Holland Park Road, with its Arab hall decorated with Damascus tiles. There he lived till his death. He now began to fulfil the promise of his "Cimabue," and by such pictures as "Paolo e Francesca," "The Star of Bethlehem," "Jezebel and Ahab taking Possession of Naboth's Vineyard," "Michael Angelo musing over his Dying Servant," "A Girl feeding Peacocks," and "The Odalisque," all exhibited in 1861-1863, rose rapidly to the head of his profession. The two latter pictures were marked by the rhythm of line and luxury of colour which are among the most constant attributes of his art, and may be regarded as his first dreams of Oriental beauty, with which he afterwards showed so great a sympathy. In 1864 he exhibited "Dante in Exile" (the greatest of his Italian pictures), "Orpheus and Eurydice" and "Golden Hours." In the winter of the same year he was elected an Associate of the Royal Academy. After this the main effort of his life was to realize visions of beauty suggested by classic myth and history. If we add to pictures of this class a few Scriptural subjects, a few Oriental dreams, one or two of tender sentiment like "Wedded" (one of the most popular of his pictures, and well known by not only an engraving, but a statuette modelled by an Italian sculptor), a number of studies of very various types of female beauty, "Teresina," "Biondina," "Bianca," "Moretta," &c., and an occasional portrait, we shall nearly exhaust the two classes into which Lord Leighton's work (as a painter) can be divided. Entry: LEIGHTON
The literary works of Hrosvitha, all of which were as a matter of course in Latin, divide themselves into three groups. Of these the first and least important comprises eight narrative religious poems, in leonine hexameters or distichs. Their subjects are the Nativity of the Virgin (from the apocryphal gospel of St James, the brother of our Lord), the Ascension and a series of legends of saints (Gandolph, Pelagius, Theophilus, Basil, Denis, Agnes). Like these narrative poems, the dramas to which above all Hrosvitha owes her fame seem to have been designed for reading aloud or recitation by sisters of the convent. For though there are indications that the idea of their representation was at least present to the mind of the authoress, the fact of such a representation appears to be an unwarrantable assumption. The comedies of Hrosvitha are six in number, being doubtless in this respect also intended to recall their nominal model, the comedies of Terence. They were devised on the simple principle that the world, the flesh and the devil should not have all the good plays to themselves. The experiment upon which the young Christian dramatist ventured was accordingly, although not absolutely novel, audacious enough. In form the dramas of "the strong voice of Gandersheim," as Hrosvitha (possibly alluding to a supposed etymology of her name) calls herself, are by no means Terentian. They are written in prose, with an element of something like rhythm, and an occasional admixture of rhyme. In their themes, and in the treatment of these, they are what they were intended to be, the direct opposites of the lightsome adapter of Menander. They are founded upon legends of the saints, selected with a view to a glorification of religion in its supremest efforts and most transcendental aspects. The emperor Constantine's daughter, for example, Constantia, gives her hand in marriage to _Gallicanus_, just before he starts on a Scythian campaign, though she has already taken a vow of perpetual maidenhood. In the hour of battle he is himself converted, and, having on his return like his virgin bride chosen the more blessed unmarried state, dies as a Christian martyr in exile. The three holy maidens, Agape, Chionia and Irene, are preserved by a humorous miracle from the evil designs of _Dulcitius_, to offer up their pure lives as a sacrifice under Diocletian's persecutions. _Callimachus_, who has Romeo-like carried his earthly passion for the saintly Drusiana into her tomb, and among its horrors has met with his own death, is by the mediation of St John raised with her from the dead to a Christian life. All these themes are treated with both spirit and skill, often with instinctive knowledge of dramatic effect--often with genuine touches of pathos and undeniable felicities of expression. In _Dulcitius_ there is also an element of comedy, or rather of farce. How far Hrosvitha's comedies were an isolated phenomenon of their age in Germany must remain undecided; in the general history of the drama they form the visible bridge between the few earlier attempts at utilizing the forms of the classical drama for Christian purposes and the miracle plays. They are in any case the productions of genius; nor has Hrosvitha missed the usual tribute of the supposition that Shakespeare has borrowed from her writings. Entry: HROSVITHA
INSOMNIA, or deprivation of sleep (Lat. _somnus_), a common and troublesome feature of most illnesses, both acute and chronic. It may be due to pain, fever or cerebral excitement, as in _delirium tremens_, or to organic changes in the brain. The treatment, when failure to sleep occurs in connexion with a definite illness, is part of the treatment of that illness. But there is a form of sleeplessness not occurring during illness to which the term "insomnia" is commonly and conveniently applied. It must not be confounded with occasional wakefulness caused by some minor discomfort, such as indigestion, nor with the "bad nights" of the valetudinarian. Real insomnia consists in the prolonged inability to obtain sleep sufficient in quantity and quality for the maintenance of health. It is a condition of modern urban life, and may be regarded as a malady in itself. It is a potent factor in causing those nervous breakdowns ascribed to "overwork." It may occur as a sequel to some exhausting illness, notably influenza, which affects the nervous system long after convalescence. But it very often occurs without any such cause. Professional and business men are the most frequent sufferers. Insomnia is comparatively rare among the poor, who do little or no brain work. It may be brought on by some exceptional strain, by long-continued worry, or by sheer overwork. The broad pathology is simple enough. It has been demonstrated by exact observations that in sleep the blood leaves the brain automatically. The function is rhythmical, like all the vital functions, and the mechanism by which it is carried out is no doubt the vaso-motor system, which controls the contraction and dilation of the blood-vessels. In sleep the vessels in the brain automatically contract, but when the brain is working actively a plentiful supply of blood is required, and the vessels are dilated. If the activity is carried to great excess the vessels become engorged, the mechanism does not act and sleep is banished. In insomnia this condition has become fixed. Entry: INSOMNIA
Ergot has no external action. Given internally it stimulates the intestinal muscles and may cause diarrhoea. After absorption it slows the pulse by stimulation of the vagus nerves. It has indeed been asserted that the slow pulse characteristic of the puerperal period is really due to the common administration of ergot at that time. This is probably an exaggeration. The important actions of ergot are on the blood-vessels and the uterus. The drug greatly raises the blood-pressure by causing extreme contraction of the arteries. This is mainly due to a direct action on the muscular coats of the vessels, but is also partly of central origin, since the drug also stimulates the vaso-motor centre in the medulla oblongata. This action on the vessels is so marked as to constitute the drug a haemostatic, not only locally but also remotely. It may arrest bleeding from the nose, for instance, when injected hypodermically. Nearly all the constituents share in causing this action, but the sphacelinic acid is probably the most potent. Ergot is the most powerful known stimulant of the pregnant uterus. The action is a double one. At least four of its constituents act directly on the muscular fibre of the uterus, whilst the cornutine acts through the nerves. Of great practical importance is the fact that the cornutine causes rhythmic contractions such as naturally occur, whilst the sphacelinic acid produces a _tonic_ contraction of the uterus, which is unnatural and highly inimical to the life of the foetus. Ergot is used in therapeutics as a haemostatic, and is very valuable in haemoptysis and sometimes in haematemesis. But its great use is in obstetrics. The drug should regularly be given hypodermically, and it is important to note that if the injection be made immediately under the skin, an abscess, or considerable discomfort, may ensue. The injection should be intra-muscular, the needle being boldly plunged into a muscular mass, such as that of the deltoid or the gluteal region. The indications for the use of ergot in obstetrics are highly complex and demand detailed treatment. It can only be said here that the drug should only in the rarest possible cases be given whilst the child is still _in utero_. This rule is necessitated by the sphacelinic acid, which causes an unnatural state of the organ. When it is possible to obtain pure cornutine, which is unfortunately very expensive, the precautions necessary in other cases may be abrogated. Entry: ERGOT
BENEDIX, JULIUS RODERICH (1811-1873), German dramatist and librettist, was born at Leipzig on the 21st of January 1811, and was educated at the Thomasschule at Leipzig. He joined the stage in 1831, his first engagement being with the travelling company of H.E. Bethmann in Dessau, Cöthen, Bernburg and Meiningen. Subsequently he was tenor in several theatres in Westphalia and on the Rhine, and became manager of the theatre at Wesel, where he produced a comedy, _Das bemooste Haupt_ (1841), which met with great success. After an engagement in Cologne, he managed the new theatre at Elberfeld (1844-1845) and in 1849 was appointed teacher on the staff of the Rhenish school of music in Cologne. In 1855 he was appointed intendant of the municipal theatre in Frankfort-On-Main, but retired in 1861, and died in Leipzig on the 26th of September 1873. Benedix's comedies, the scenes of which are mostly laid in upper middle-class life, still enjoy some popularity; the best-known are: _Dr Wespe; Die Hochzeitsreise; Der Vetter; Das Gefängnis; Das Lügen; Ein Lustspiel; Der Störenfried; Die Dienstboten; Aschenbrödel; Die zärtlichen Verwandten_. The chief characteristics of his farces are a clear plot and bright, easy and natural dialogue. Among his more serious works are: _Bilder aus dem Schauspielerleben_ (Leipzig, 1847); _Der mündliche Vortrag_ (Leipzig, 1859-1860); _Das Wesen des deutschen Rhythmus_ (Leipzig, 1862) and, posthumously, _Die Shakespearomanie_ (1873), in which he attacks the extreme adoration of the British poet. Entry: BENEDIX
It would not be difficult to multiply instances of resemblance between the different folk-songs of Europe; but enough has, perhaps, been said to support the position that some of them are popular and primitive in the same sense as _Märchen_. They are composed by peoples of an early stage who find, in a natural improvisation, a natural utterance of modulated and rhythmic speech, the appropriate relief of their emotions, in moments of high-wrought feeling or on solemn occasions. "Poesie" (as Puttenham well says in his _Art of English Poesie_, 1589) "is more ancient than the artificiall of the Greeks and Latines, and used of the savage and uncivill, who were before all science and civilitie. This is proved by certificate of merchants and travellers, who by late navigations have surveyed the whole world, and discovered large countries, and wild people strange and savage, affirming that the American, the Perusine, and the very Canniball do sing and also say their highest and holiest matters in certain riming versicles." In the same way Aristotle, discoursing of the origin of poetry, says (_Poet_. c. iv.), [Greek: egennêsan tên poiêsin ek tôn autoschediasmatôn] M. de la Villemarqué in Brittany, M. Pitré in Italy, Herr Ulrich in Greece, have described the process of improvisation, how it grows out of the custom of dancing in large bands and accompanying the figure of the dance with song. "If the people," says M. Pitré, "find out who is the composer of a _canzone_, they will not sing it." Now in those lands where a blithe peasant life still exists with its dances, like the _kolos_ of Russia, we find ballads identical in many respects with those which have died out of oral tradition in these islands. It is natural to conclude that originally some of the British ballads too were first improvised, and circulated in rustic dances. We learn from M. Bujeaud and M. de Puymaigre in France, that all ballads there have their air or tune, and that every dance has its own words, for if a new dance comes in, perhaps a fashionable one from Paris, words are fitted to it. Is there any trace of such an operatic, lyrical, dancing peasantry in austere Scotland? We find it in Gawin Douglas's account of-- Entry: BALLADS
1. _Painting._--Painting is the pre-eminent art of China, which can boast of a succession of great painters for at least twelve centuries. Though the Chinese have an instinctive gift for harmonious colour, their painting is above all an art of _line_. It is intimately connected with writing, itself a fine art demanding the same skill and supple power in the wielding of the brush. The most typical expression of the Chinese genius in painting is the ink sketch, such as the masters of the Sung dynasty most preferred and the Japanese from the 15th century adopted for an abiding model. Utmost vigour of stroke was here combined with utmost delicacy of modulation. Rich colour and the use of gold are an integral part of the Buddhist pictures, though in the masterpieces of the religious painters a grand rhythm of linear design gives the fundamental character. Exquisite subdued colour is also found in the "flower and bird pieces" and still-life subjects of the Sung artists, and becomes more emphatic and variegated in the decorative artists of the Ming period. Entry: 1
Since the _Annals_ of Ennius no great and original poem had appeared. The powerful poetical force which for half a century continued to be the strongest force in literature, and which created masterpieces of art and genius, first revealed itself in the latter part of the Ciceronian age. The conditions which enabled the poetic genius of Italy to come to maturity in the person of T. Lucretius Carus (96-55) were entire seclusion from public life and absorption in the ideal pleasures of contemplation and artistic production. This isolation from the familiar ways of his contemporaries, while it was, according to tradition and the internal evidence of his poem, destructive to his spirit's health, resulted in a work of genius, unique in character, which still stands forth as the greatest philosophical poem in any language. In the form of his poem he followed a Greek original; and the stuff out of which the texture of his philosophical argument is framed was derived from Greek science; but all that is of deep human and poetical meaning in the poem is his own. While we recognize in the _De Rerum Natura_ some of the most powerful poetry in any language and feel that few poets have penetrated with such passionate sincerity and courage into the secret of nature and some of the deeper truths of human life, we must acknowledge that, as compared with the great didactic poem of Virgil, it is crude and unformed in artistic design, and often rough and unequal in artistic execution. Yet, apart altogether from its independent value, by his speculative power and enthusiasm, by his revelation of the life and spectacle of nature, by the fresh creativeness of his diction and the elevated movement of his rhythm, Lucretius exercised a more powerful influence than any other on the art of his more perfect successors. Entry: LATIN
3. The Greek and Roman period, from about 700 B.C. to the final triumph of Christianity, say A.D. 400. During the first two or three centuries of this period the Hellenic race, beginning again after the cataclysm which had swallowed up the earlier Mediterranean civilizations, carried to perfection its most characteristic art, that of sculpture, in the endeavour to embody worthily its ideas of the supernatural powers governing the world. Putting aside the monstrous gods of Egypt and the East, it found its ideals in varieties of the human form as presented by the most harmoniously developed specimens of the race under conditions of the greatest health, activity and grace. In the figures of Greek sculpture, both decorative and independent, and no doubt in Greek painting also (but of that we can only judge from such specimens of the minor handicrafts, chiefly vase-paintings, as have come down to us)--in these were set for the whole Western world the types and standards of human beauty, and in their grouping and arrangement the types and standards of rhythmical composition and design. Gradually human portraiture and themes of everyday life took their place beside representations of the gods and heroes. New schools struck out new tendencies within certain limits. But in the general standards of form and design there was in the imitative arts relatively little change, though towards the end there was much failure of skill, throughout the whole period. The one great change was in architecture. Greece had been content with the constructive system of columns and horizontal entablature, and under that system had invented and perfected her three successive modes or orders of architecture--the Doric, Ionic and Corinthian. The genius of Rome invented the round arch, and by help of that system erected throughout her subject world a thousand vast constructions--temple, palace, bath, amphitheatre, forum, aqueduct, triumphal gate and the rest--on a scale of monumental grandeur such as Greece had never known. Entry: 3