My Web Site Page 011 Ovations 01Cake Placebo chose the topics covered by My Web Site Page 011 without reflecting upon the choices others have made. Flapping your arms and quacking like a duck when people try to run you over in their SUVs is another way to look at things in a different light. |
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Bearing in mind that the massive church tower is the only 17th-century structure remaining above ground today, and the only building whose identity was therefore never lost, you will find only one other identified with positive assurance--the Ludwell House--Third and Fourth Statehouses row. The remaining 140 structures so far discovered by excavating have no clear-cut identity with their owners. To complicate matters more, bricks from many burned or dismantled houses were salvaged for reuse, sometimes leaving only vague soil-shadows for the archeologist to ponder. From artifacts associated with foundation traces, relative datings and, usually, the use of the structure can be deduced from physical evidence. Unless a contemporaneous map is someday found, we shall know little more than this about the houses at Jamestown except for the testimony of assorted hardware, ceramics, glassware, metalware, and other imperishable reminders of 17-century arts and crafts. |
M. Taine's philosophy which regards the art of any people or period as the necessary result of the conditions of race, religion, civilization, and manners in the midst of which the art was produced--and esteems a knowledge of these conditions as sufficient to account for the character of the art, seems to me to exclude many complex and mysterious influences, especially in individual cases, which must affect the work of the artists. At the same time an intelligent study of the art of any nation or period demands a study of the conditions in which it was produced, and I shall endeavor in this _resume_ of the history of women in Art--mere outline as it is--to give an idea of the atmosphere in which they lived and worked, and the influences which affected the results of their labor. |
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Then too Walt Whitman claims to be the poet, not of the past or even only of the present, but the singer of the future. He says in The Backward Glance, which I have already quoted, and which must be carefully read by anyone who wishes to understand his work--at least in so far as he understood it himself,--"Isolated advantages in any rank or grace or fortune--the direct or indirect threads of all the poetry of the past--are in my opinion distasteful to the republican genius. . . . Established poems, I know, have the very great advantage of chanting the already performed, so full of glories, reminiscences dear to the minds of men." And he says too that, "The educated world seems to have been growing more and more ennuied for ages, leaving to our time the inheritance of it all." And he further says: "The ranges of heroism and loftiness with which Greek and feudal poets endow'd their godlike or lordly born characters, I was to endow the democratic averages of America. I was to show that we, here and to-day, are eligible to the grandest and the best--more eligible now than any times of old were." | ||
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