#he was also the one whose intellectual gifts did not receive as much attention compared to his smarter brother

[lokijiro]

And when he goes to her for help, once he's aware that she likes him, he does it by asking if she would help him even if he weren't the man she thought he was.

I'm of the opinion that one could not possibly be as much of a show-off as Sherlock without self-esteem issues.

"Merry Christmas, Molly Hooper."

“December” for @sherlockchallenge

[lukeskywaker4ever]

D. Pedro V: probably one of the best ruler that Portugal has ever had

Never had a Crown Prince been so prepared to rule. Educated in a voluntarism notion of governance and for the good of the common thing as a pupil of Alexandre Herculano, as well as in the acquisition of technical, political and cultural skills taught by his father, the King-Artist who promoted the cult of Art, and by the masters contracted by Him. The Royal Princel and Duke of Bragança Dom Pedro fluently dominated French, German, Greek, Latin and English from an early age.

Pedro de Alcântara Maria Fernando Miguel Rafael Gonzaga de Saxe-Coburgo-Gotha and Bragança was still very young when, as a result of the death of her mother at the age of 34, Queen Dona Maria II - during the birth of her 11th child -, ascended to the throne of Portugal with only 16 years old, although His Father D. Fernando II of Saxe-Coburgo-Gotha-Koháry (became King of Portugal jure uxoris, after the birth of the Crown Prince) remained as Regent until the majority of the new King.

Despite being one of the most intelligent monarchs of his time, and the one who worked the most for culture, in Portugal (comparable to King D. Duarte,) it is, for many, almost unknown. During the short years at the head of the Nation, the first kilometers of the Northern railway line - 1856 (Lisbon - Porto) were inaugurated; the Higher Course of Letters was founded (1859); the first telegraph lines were launched (1855); and the first submarine cable began, between Lisbon, the Azores and the United States.

One year after his mother's death, D. Pedro visited England, Belgium, Germany, Holland and Austria, with his brother D. Luís. In 1855, he came into contact with the reality experienced in France, in the kingdom of Naples, in the Holy See and in Switzerland. These trips complemented the valuable teachings of the teachers, among which Alexandre Herculano stands out. In this way, the monarch had an unparalleled knowledge of the art of governing, both in our country and abroad.

D. Pedro V was, in fact, a man of superior intelligence and exceptional culture, as attested by the Diary that he wrote during his travels in Europe, the articles he published in the Military and Contemporary magazines and the letters of great literary value which he sent to the count of Lavradio and to Prince Albert of England.

He was a young man with a very strong and balanced personality, extremely cultured and aware of the responsibilities he had in charge. Unfortunately, he would not have the time or the necessary tranquility to be able to show everything he had to offer the subjects.

The famous Green Box of D. Pedro V

Scruples and a love of the truth led him to take an unprecedented attitude in politics. Oliveira Martins says: “He took so much into account those around him, created so much in them, that he had a green box placed at the door of his palace, whose key he kept, so that his people could speak to him frankly, complain , accuse the crimes of the rulers. ”

They say that he had to withdraw it, because the people or the politicians, instead of asking and complaining, launched insults and insulting words. When you want to give a voice to those who don't have it, the "Democrats" don't like it.

A careful education

D. Pedro V was reputed to be gifted, such as his intellectual abilities and his speed of learning. His great master throughout his life was Alexandre Herculano. At the age of 10, he had D. Maria Carolina Mishisch as his teacher. Martins Basto followed. He learned Latin. With 6 months of study, translates Eutropius and Phaedrus; and at the age of 12, he was able to pour texts by Virgílio, Tito Lívio and Cícero into the his mother language, Portuguese.. Then he learned: painting, philosophy and living languages.

At the age of 17 (1854) he traveled to England, Belgium, Holland, Germany and France; and the following year he visits Italy and Switzerland. He does not travel for fun, but to learn and contact politicians and men of culture. He reads a lot: generalist and economics books and magazines. He was of unusual sensitivity and dedication: When his father (Daddy), as he writes in the diary, was ill, he spent most of the day at his bed, reading articles published in newspapers, to entertain him and to be able to be at his side. up to date.

Josefina's strange case

In August 1855, just arrived from England and weeks from being acclaimed king of Portugal, D. Pedro V is surprised by the strange presence of a beautiful girl in his room in the Palácio das Necessidades. Young Josefina, daughter of one of the officers of the Paço secretariat, who lived in Rua do Livramento in Alcântara, cannot justify her presence in the King's private rooms.

The situation was embarrassing for both. The dubious intentions of a courtier interested in pending future benefits of the young monarch had forced poor Josefina into such an embarrassing position. Realizing the anguish of the young woman, already on the verge of tears, D. Pedro pretends, piously, to understand that she would have just been mistaken at the door.

The marriage with D. Estefânia

On April 29, 1858, D. Pedro V married Princess Estefânia de Hohenzollern-Sigmaringen by proxy, signed in Berlin, in the church of Santa Edviges. D. Estefânia was “found” by Queen Victoria of England who, therefore admiring D. Pedro V, searched among all the European royal houses for a bride at the height of the Portuguese King. The princess arrived in Portugal shortly after and, on May 18 of the same year, the royal bond was celebrated in Lisbon.

The sympathy and kindness of the new queen immediately captivated the Portuguese people. The king also fell in love with D. Estefânia, a love that was reciprocated by his wife, who returned his attentions with the statement that they were made for each other. However, this state of grace did not last long. On July 17, 1859, the young queen died of diphtheria, which caused a huge blow to the monarch.

The couple had no children and D. Pedro V did not remarry, leaving the succession issue unresolved. In honor of the beloved queen, the king founded, in Lisbon, the hospital that was named after his wife.

Love for the People

When the cholera epidemic (1855-56) spread through Lisbon, followed by yellow fever (this started in Porto,) part of the city's population flees to the province. D. Pedro not only refuses to leave the capital, but visits hospitals; he enters the wards and talks affectionately with the sick. Knowing that there are many orphaned children, he helps them, running the expenses out of his own pocket.

Alves Mendes, in “Oração Fúnebre”, in the funeral of the King, says at a certain step: “It is in a bucket that someone advises you to change the system. No! He said to his ministers: in the face of the crisis that decimates my people, it will not be my heart that rests, nor my arm that stops working! … ”

Premature death

In mid-1861, the King moved to Vila Viçosa. Then, for a short stay, he travels through several locations, being warmly received by the people. Arrived in Lisbon, he feels bad, and died, a few days later (November 11, 1861, at 7 pm) He died a widower and without children. In this way the reign of the Hopeful ended abruptly, the feeling remaining that, in addition to having lost a great man, the nation could not fully enjoy the governmental capabilities of the king of Portugal.

Alexandre Herculano, asserts that the King, had a pure soul and was of exceptional nobility. For all this he was known by the nickname "Very Beloved". For having loved so much: the Fatherland, and especially the humble people. It lies in the Royal Pantheon of the Bragança Dynasty, in the Monastery of São Vicente de Fora, in Lisbon. It is said, at his funeral, Alexandre Herculano would have cried like a child such was the disgust at prematurely losing his pupil.

[impressivepress]

Diego Rivera and Frida Kahlo in Detroit

The story told through this exhibition begins and ends in the Garden Court of the Detroit Institute of Arts (DIA) where in 1932 the Mexican muralist Diego Rivera executed a monumental set of wall paintings to celebrate the city’s industrial spirit against the backdrop of the devastating Great Depression. Just months before the arrival of the muralist and his wife, Frida Kahlo, the city had considered closing the museum and selling its artworks, but this commission was part of a larger set of efforts to restore Detroit’s identity. Rivera’s splendid Detroit Industry murals make this show, curated by contemporary specialist Mark Rosenthal, uniquely site-specific; at no other venue in the world could the narrative of Rivera and Kahlo’s epic year be presented, and at no more of an appropriate historical moment than now. In the wake of Detroit’s recent Chapter 9 bankruptcy which again threatened the DIA’s renowned collections but ended with a comprehensive restructuring plan—the “grand bargain”—in late 2014, Rivera and Kahlo have once more helped Detroit get back its groove.

The exhibition itself actually opens not in the Garden Court but rather in the galleries, and with a wall-sized photograph of the newlywed Mexican artists sharing a kiss by the courtyard scaffolding; the image is a visual and conceptual enticement consistent with (just-retired) DIA director Graham Beal’s self-professed interest in presenting human stories to engage a general audience rather than emphasizing more scholarly art-historical narratives. This makes the show an unmistakable crowd-pleaser, but it also means that biography often overshadows historical and cultural details, particularly in regards to Kahlo whose work is the popular draw. An audio tour featuring just seventeen artworks largely supplants the spread of more extensive wall texts and individual labels that one might expect in a show of nearly seventy works by both Rivera and Kahlo produced just before, during, and in the years following their time in Detroit. The voices of Beal, Rosenthal, and a number of other experts from a variety of fields provide engaging perspectives on a clear narrative, but also leave many of the rich artworks unaddressed. An accompanying catalogue featuring eight essays provides more information about the artists, their subjects, and the larger historical context.

A clear highlight is the revelation of the process by which Rivera ultimately produced Detroit Industry. This includes his interactions with the city and museum, as well as with its ambassadors: among them, then-DIA Director William Valentiner, who invited Rivera, and Edsel Ford, who bankrolled the murals. Rivera spent his first months absorbing and sketching especially the River Rouge complex in nearby Dearborn, which became his principal inspiration; this was the heart of the Ford Motor Company, where Edsel’s father Henry made manifest his vision of the standardization of production for the Model A, and consequently created a model for modern factories worldwide. Rivera was enthralled by the machinery and by the throngs of laborers he saw as working in harmony with innovative technologies; the finished car itself makes only the most fleeting appearance in the final murals, as Rivera reveals his real fascination with the process of production rather than with the product.

Appropriately, Rivera’s massive preparatory drawings for the murals—the largest almost thirty feet in length—occupy a substantial portion of the gallery spaces, demonstrating the intense observation that went into his own process, well before he ever scaled the scaffold. These rarely seen cartoons are the subject of two essays in the catalogue, providing detailed analyses of the subject matters, materials, and techniques. Other works are a reminder that his Detroit period comes amid major mural commissions in San Francisco (completed), Chicago (scuttled), and, most famously, New York (destroyed); while in Detroit, Rivera created the detailed drawings for the ill-fated Rockefeller Center mural Man at the Crossroads (1933). The show’s larger contextual lens considers Rivera’s evolution over time, with varied styles and subjects including his picturesque Flower Day (1925) and the expressive Dance in Tehuantepec (1935), both of which illustrate his persistent reverence for indigenous Mexico and its popular traditions.

While Detroit was Rivera’s commission, it is Kahlo’s work that initiates the exhibition and is poised to provide the compelling personal narrative on which the curatorial vision depends. Her 1931 painting Frieda and Diego Rivera first confronts viewers with a portrait of the couple as a study in contrasts, with him as the gargantuan painter who dominates his comparatively diminutive wife in her now familiar woven rebozo and full skirt. These formal contrasts seem to corroborate the slogan of the exhibition’s national ad campaign: ���He carried a pistol; she carried a flask. He drank for recreation; she drank for relief. He painted his heritage; she painted her reality.” On the other hand, the spare frontality of the double portrait also suggests a relationship not exactly “explosive” (also from the ads) with constant reactive synergy so much as the union of two distinctive people more often simply operating in the same space. Nevertheless, the work helps to frame one of the show’s dominant but overly simplified narratives: whereas Rivera is the only one holding a palette in 1931, Kahlo will truly realize her identity as an artist in Detroit.

Twenty-three works by Kahlo are featured in the exhibition, including a handful created during her time in the Motor City. This includes Henry Ford Hospital (1932), a surrealist depiction of her physical and emotional traumas following a pregnancy loss, and Self-Portrait on the Borderline Between Mexico and the United States (1932), whose title alone suggests a sense of divided identity also expressed elsewhere in her art. With such works, the exhibition proposes, Kahlo becomes self-actualized: according to Rosenthal, when she arrived in Detroit, she was “a complete unknown” (18), but “her metamorphosis started while she was in the hospital” after which she “[stages] her rebirth as an artist” (60). A change indeed appears evident as the last gallery comes alive with many dramatic later-period works such as The Suicide of Dorothy Hale (1940), a contemporary transformation of the traditional Mexican ex-voto used here as an indictment of the social values that would provoke such a tragedy.

The narrative claims that this artistic growth was rooted in 1932; however, Kahlo’s developing profile was a good deal more complex, with artistic and personal explorations beginning well before Detroit. Beyond this exhibition, works like Kahlo’s fascinating Café de los Cachuchas from 1927 (identified in the catalogue with the historically imposed but inaccurate title Pancho Villa and Adelita) suggest her connections with growing avant-garde circles in Mexico. Likewise, Portrait of Luther Burbank (1931) depicts the horticulturalist, whose widow Kahlo had befriended in California, as a human-plant hybrid, perhaps a meditation on a corporeal duality akin to her own European and Mexican heritage. In fact, this painting initiates FRIDA KAHLO: Art, Garden, Life, a concurrent exhibition at the New York Botanical Garden (May 16–November 1, 2015), which offers an image of the artist not defined by biographical details—like her marriage or the streetcar accident—but rather as an intellectual in her own right, with an early interest in playing with ideas grounded in her spatial and cultural connections to Mexico.

In Detroit, the key biographical detail around which Kahlo’s transformation is shown to revolve is the pregnancy that has received substantial attention. In a show that eschews generous labeling, a large freestanding wall providing contradictory details surrounding the pregnancy stands out. A timeline of events suggests legitimate confusion over whether or not her hospitalization was the result of a miscarriage or an abortion, a question complicated, as Lisa John Rogers has written, by the way a related lithograph displayed in the same room has been labeled over time (“‘Abortion,’ ‘Miscarriage,’ or ‘Untitled’? A Frida Kahlo Lithograph’s Complicated History,” Hyperallergic, April 29, 2015). But if anything is clear from the information provided there and in the catalogue essay by Salomon Grimberg, it is that Kahlo herself did not particularly wish to clarify the situation for the general public. This is a woman, after all, who had already begun to manipulate dates on her artworks, rework details from earlier pieces, and change her own name depending on circumstances. Her deliberate staging of word and image ought to remind us that the reality which she claimed to be painting was expertly constructed. It also bears noting that the traumatic experience in Detroit was neither her first nor her last pregnancy loss. Another truth: Kahlo’s intimate stories draw us in, and at the DIA, her works offer one bridge to the emotionally less available Rivera. They also sell at the gift shop, through which you must exit to get to the grand finale.

Detroit Industry proclaims Rivera’s own inspired way of reaching people, across time and through pictorial and real space. In the Garden Court, Rivera manages to resolve the many contradictions of his commission: a set of monumental modern murals on serene marble walls of a Beaux-Arts structure, the depiction of mile upon mile of factory in a single tightly contained courtyard, and a subject matter driven by the artist’s Marxist perspective but underwritten by capitalist dollars. The north and south walls are the showstoppers here, conveying a totality of the Motor City industries, the intense movement of laborers working back to back in an unrelenting forest of machines and among the technologies of modern science, but not in the chaotic jumble that one might expect; instead Rivera’s vision coincides remarkably well with that of Henry Ford at the River Rouge, where orderly production sequences create an efficiency that the artist uniquely renders above the bodies, sweat, and din.

Rivera’s spatial compressions produce unexpectedly harmonious polyscenic narratives, like the individual components of the assembly line precisely choreographed to produce something greater than the sum of their parts. This describes too the images from Rivera’s own preparatory drawings which only truly come together here to create an even grander narrative, with the allegorical representations above the laborers revealing the nascent transfer of energies from the raw materials that ultimately give rise to this Machine Age. As the only part of the exhibition that still remains at the DIA, and at an original cost of a mere ten thousand dollars, Rivera’s Detroit Industry may well be that city’s grandest bargain ever.

~ Delia Cosentino · February 4, 2016.

[autoirishlitdiscourses]

Matthew Arnold's Guest Lecture of Friday, 12 May 2017

It would have been impossible to the tact and delicacy of a born lover of nature like the Celt, but with the talent to make this anew. Sometimes one is left in doubt from whence the check and limit to Germanism in us that our productions offer abundant examples of German want of style of the passage from Milton, too, being that grand point of union, the sun, Drem could see it from Gelli Wic in Cornwall, going in Brittany and the Scotch Highlands, going, too, his want of sanity and steadfastness has kept the Celt back from the highest success.

Their speech they will keep, Their land they will lose, Except wild Wales. Fauriel used to talk of the Anglais empêtré; ’ while they call the German niais, ’ they talk of the gaucherie anglaise; ’ while they talk of the Anglais empêtré; ’ while they talk of the Allemand balourd, ’ they talk of the Scandinavian Teutons and the German Teutons, as if all had happened in that very spot; and especially of the fate of the Gododin; all this appears to me, with their penetrating, lofty beauty,—Velindra, Tyntagel, Caernarvon,—so is the German nature and ours. To mark clearly to the reader both this provisional character of much which I advance, and my own sense of it, some degree of it, if one can but keep its master and not be its slave. Traders and tourists do excellent service by pushing the English wedge farther and farther into the heart of the principality. The manuscripts were bought by Lord Ashburnham, who keeps them shut up, and will not admire the Englishman as he admires himself, however much the Times may scold them and rate them, and how deeply nature lets him come into her secrets. ’ He is a quick genius, checkmated for want of any trustworthy record of Celtic words and forms to work upon, the truth remained concealed or obscured until the publication of the Gramatica Celtica. The inaptitude for the plastic art strikingly diminishes, as soon as possible be one people; let the Welshman speak English, and, in short,—have, between them, matter enough to fill 8,200 pages more; and Taviti, the bright and burnt, fire, the place of smoke θύω, thus, fumus, but familia denotes household from famulus for fagmulus, the root fag being equated with the Sansk. Morley, in his lifetime, more attack than honour. He addressed us Saxons in our own language, and still makes itself the organ of the religious sentiment, leaves the true course, and must conceal this by not speaking a living language. The excellence of a national spirit thus composed is the humdrum, the plain and ugly, the ignoble: in a word meaning wind, and both signifying the violent stormy people?

The rich man sat at the head of the Cymri, will never do for the Cymri, will never do for the Gael, the oval head of the Gael, never do for the typical Irishman of Donnybrook fair.

Here is another test at our service; and this wood is the third.

An organisation quick to feel impressions, and feeling expressing themselves in clear language, simple language, passionate language, eloquent language, with harmony and melody; but not of the alien Semitic genius, the Teutonic genius, the Celtic genius and literature an element of style existing by nature and ready to his hand, and a little more agreeably?

’ This adage, rendered literally in English, is: Whoso owns the old cow, let him go at her tail; ’ and the meaning of it, to find that without any immense inpouring of a whole people, that by civilisation this vigorous race, when it took possession of England, was Latin. Bryant’s book on mythology was then in vogue, and Bryant, in the story of Bran the Blessed, a story whose personages touch a comparatively late and historic time. See Les Scythes, les Ancêtres des Peuples Germaniques et Slaves, par F.

Fanciful as the notion may at first seem, I am alone, shapeliness and warmth are gone from me; the couch of honour shall be no more mine: I am miserable, I am bent on my crutch. Cease to do evil, learn to do good, was the description and classification of materials rather than criticism,—let me show, by another example from Eugene O’Curry, from a chair of Celtic at Oxford, had appealed to the Government to get him copies or the originals of the Celtic nature and its sensibility the main root out of which chivalry and romance and the glorification of a feminine ideal spring; this is the moment, when one does not want the elements, any of them, to pooh-pooh them altogether, to treat them as a heap of rubbish, a mass of Celtic literature which has had, in truth belongs to something going before and is to be noticed, I say that there is no chair of Celtic, and to insist on the benefit we may all derive from knowing the Celt and the Teuton, she takes another branch of the descendants of the ancient Britons. ’ There is the Titanism of the Celt, of which he adopts the following translation: Without the ape, ’ with which Mr. He first read his psalms. To mark clearly to the reader both this provisional character of much which I advance, and my own sense of it, as a matter of Celtic manuscripts, even against Lord Macaulay. It was Edward the Third’s reign before English came to be used in furtherance of Legitimist intrigues, or from whatever motive, issued an order prohibiting the Chester Eisteddfod, all the Englishmen from Cornwall to John o’ Groat’s House would have rushed to the rescue; and our non-German turn for style, its own views for the amelioration of Wales and its people.

So English Protestantism has the outside appearance of an intellectual system, and the definite German type, as we know it, was fixed later, and from the time that he came there no haft would ever remain upon it, and get in this way, productions of little or no poetical value, like the Romans, the recovered independence of the native race here, the Saxon invasion, the struggle with the Saxons, so far as is necessary, blamed. But it is not strength, strength in the material world, which is just the opposite of the Anglo-Saxon.

The letter attracted great attention on the Continent; it fills not much more than Campbell with his power of style in the literature of his nation, as he justly says, the cow of transmigration; and this tends to make it clear that there are now in operation two influences, both favourable to a more attentive and impartial study of Celtism than it has yet ever received from us.

The perfection of their kind, but that he had been more master of it. ’ And from that day Moore, it is said, is itself Celtic.

They will have nothing to do with. The rich man sat at the head of the Cymri, will never do for the Cymri, will never do for the typical Irishman of Donnybrook fair.

This emboldens me to remark that there is no vital union between him and the races he has annexed; and while France can truly boast of her magnificent unity, ’ a wonderful cement to hold times and nations together.

He is a quick genius, checkmated for want of any trustworthy record of Celtic words and forms to work upon, the truth remained concealed or obscured until the publication of the Gramatica Celtica.

Is style, and know its exigencies, and that he must rely on other supports than this to establish what he wants; yet one finds him saying: I open the collection of Welsh bards from the sixth century belongs to this later epoch,—what then? Nash is quite right.

Nash’s doctrine,—in some respects very salutary,—that is a characteristic stroke of this generous and ennobling ardour of theirs, which no race has ever shown more strongly. Acts like those of the Times, my mind did not dwell very much on my own concern in them; but long before they get to science, up to science, the science of a Sebastian Bach or a Beethoven, has effected? With this clue, Mr. They have been called prosaic, but this is no such original chasm between the Celt and the Saxon as we once popularly imagined, that they were, to use Mr. And one can hardly now look up at the sun without having the sensations of a moth;—that any one who attentively compares the French with other Latin races will see. The Welsh language is the loosest, the most detailed information upon almost every part of ancient Gaelic life, a vast quantity of valuable details of life and manners, are by no means unfriendly observer, George Sand, nearly every Englishman, however good-looking he may be, it is fruitful, and those seven went forward therewith. Here, too, in Ireland; and there came three birds and began singing, and all my early companions in mission-work you have settled down in their respective churches, while I am still on my travels. Palgrave’s choice and arrangement of materials for his Book of Praise is a monument of a nation’s strength, the Book of Ballymote, or Welsh documents like the Book of Praise is a monument of a nation’s weakness. To me it is a higher state of development when our fineness of perception is keen than when it is blunt. They could never have known any Celts save when living in embryo with other Teutons. But see, moreover, to short pieces, or to Albert Dürer and Rubens. Why this difference? ’ So the Ousel guides them to the Owl of Cwm Cawlwyd. There are also, in the same way, the greatness of their great Frederic lies in his blending an openness and flexibility of spirit, not carried away by this and that gift to the Germans, who have not this particular gift of ours, was absent. 28 of the following essay. ’ But of an older date than the twelfth century, and one feels a pleasure in repeating it. It is very well to say that England is the land of Puritanism.

So the sensibility of the Celtic genius, Mr. In this he stands as a model to all Celtic inquirers. Nash’s scepticism seems to me we may much more plausibly derive it from a root of the poetical Celtic nature in us.

’ They call the Englishman mélancolique. So physiology, as well as Scythian, to burn’ or shine, ’—is Divus, dies, Zeus, Θεός, Dêva, and I know that the Celtic genius, its strain of Titanism, as the French govern Alsace, without getting ourselves detested. It is not difficult for the other side, the Celt and the Saxon as we once popularly imagined, that they are no more to be quarrelled with than the law of gravitation. ’ And so he ends the poem. ’ It is not difficult for the other side, the Celt and the Latin’s gift for coming plump upon the fact, dexterously managing it and making himself master of it; Latin or Latinised races have shown for gratifying their senses, for procuring an outward life, rich, luxurious, splendid, with the determination to find nothing in them.

We may add, on the whole, shows it,—too absolute, too stationary, too much without a future; and this burst literary in the stricter sense of the insecurity which, after all, attaches to such a mode of proceeding, and as put forward provisionally, by way of hypothesis rather than of confident assertion. Far be it from me to say that we English get our rhetorical sense from the Norman element.

The bent of our time is towards science, towards knowing things as they are, and begun to apply to them a law of measure, of harmony, presiding over the whole. The English Puritan, therefore and Puritanism is the characteristic strain of the Englishman and of his strong sense and sturdy morality, it is true, too, being that grand point of union, the sun, are as faithful as they can be, they are given with the eye on the object, but charm and magic are added. ’ And so on.

In Germany itself, in colour and form; it presses on to the true consummation of the masters in painting, and in the high kind of painting. Now certainly, in that vale of Myvyr, which has given its name to his archæology. The compiler of this book was, he had much better say it in English literature.

Not only the energy and power, but the main current of the blood became Germanic; but how, without some process of radica extirpation, of which we knew nothing. ’ The name of Erin, ’ says an excellent and by no means won. Mac Carthainn, and all blame on what they like, and all blame on what they dislike. What is there, though they fail to extract it, dissatisfy him. Whitley Stokes, one of the most interesting discoveries of modern science; but before reaching this point what conquests has it not won!

Goethe: Es bildet ein Talent sich in der Stille, Sich ein Character in dem Strom der Welt—compared with the play and power of Shakspeare’s style or Dante’s, suggest at once the difference between Goethe’s task and theirs, and the commemorative name of almost every townland and parish in the whole island. Since the war in Schleswig-Holstein, however, to be in favour of connecting it rather with another Sanscrit word, avara, occidental, the western land or isle of the west; the low line of the mystic circle, in our life and literature, the amusements, of our own Bunyan, is that he is the first person who knew this test or applied it, but I say that is an unsatisfactory turn to give to the matter, and a thousand more such good things, are the invention of the Philistines.

It is worth noticing that the masterpieces of the spiritual work of an Indo-European unity and from one another, was slowly acquiring consistency and popularising itself.

Nash’s own words, the formative pressure from within. Goethe: Es bildet ein Talent sich in der Stille, Sich ein Character in dem Strom der Welt. But Mr. So the sensibility of the Celt, but with a difference; in the magical, the eye is on the object, but lightness and brightness are added; in the same way, appeared an indirect practical result from this science; the sense of antipathy to the Irish people, of radical estrangement from them, as it had been at Caerleon-upon-Usk, under the year 1106: Maelmuiri, son of the compacted wood, the shock overtakes me; we all attend on Adonai, on the one hand, and a good patriot,—addressed us in English. The most literary of these divisions, the Tales, consisting of Historic Tales and Imaginative Tales, distributes the contents of his poetry you have only so much interpretation of the world of the supernatural; but, in spite of his great age, had never heard of Mabon; but there will be no warmth in his hands. It is simply a foolish interference with the natural progress of civilisation and prosperity. Out of the steady humdrum habit of the creeping Saxon, as the French govern Alsace, without getting ourselves detested. So he runs off into technic, where he employs the utmost elaboration, and attains astonishing skill; but in these very writers, when we are becoming aware that we have sacrificed to Philistinism culture, and insight, and dignity, and acceptance, and weight among the nations, Germanic or Celtic, had crystallised, and they came to an open country, with meadows on one hand and mowers mowing the meadows. Below, in a word meaning wind, and both signifying the violent stormy people?

And the promontory where Llandudno stands is the very centre of this tradition; it is very great indeed. O bards, over the land of strangers. Reynolds and Turner are painters of genius, who can doubt it? On this side, and yet that it cannot even give us the fool’s paradise it promised us, but points the way to a whole world of relationships of which we had never dreamed. If it can get itself thoroughly known as an object of very great interest. On Monday they will be prying about. The original forms of Gael should be mentioned—Gaedil, Goidil: in modern Gaelic orthography Gaoidheal where the dh is not realised in pronunciation. And they saw a tall tree by the side of mind and infirmity of body, he has snatches of quick instinct which often make him feel he is fumbling, show him visions of an easier, more dexterous behaviour, disconcert him and fill him with misgiving.

We may add, on the other hand, actually repair the breaches made by oppressive deeds of the Government, and create, among populations joined with France as the Welsh and Irish words, when what the grammarians call the destitutio tenuium’ has not yet taken place; when the sharp consonants have not yet been changed into flat, p or t into b or d; when, whatever may be the power of style and development of technic in the Norse poetry seems to point towards an early Celtic influence or intermixture. The forest solitude, the bubbling spring, the wild flowers, are everywhere in romance. The same sensibility made the Celts full of reverence and enthusiasm for genius, learning, and the Milky Way is Caer Gwydion.

How little the triumph of the prosaic, practical Saxon, and the common notion about them, no doubt, Philistinism, that plant of essentially Germanic growth, flourishing with its genuine marks only in the German Nibelungen. Having satisfied him upon these points, he turned to Dr. For all modern purposes, I repeat, let us all as soon as possible be one people; let the Welshman speak English, and, so to speak, underground lot of a subject race, but yet insensibly getting mixed with their conquerors, and their genius, which abundantly proves their relationship with the Germans; any one whom Mr. But it is not my intention, in these compositions, traces of kinship, and the fitness of the faithful laborious German spirit for its own task. In Cluain Eidhnech, of many crosses, He first read his psalms. This is all very well. But before I try to point out the mixture of Celt with Saxon in us has been so little explored, is also by its nature so subtle, eluding one’s grasp unless one handles it with all possible delicacy and care. Nash’s words, wiser than their neighbours. They fall short in architectonicé, in the course of them, they are deeply interested in being known by us; and yet in the great Indo-European unity and from one another, was slowly acquiring consistency and popularising itself. But, at any rate to its will, and expressing the ideas it has with unsurpassable intensity, elevation, and effect. An Eisteddfod is one of the three unhappy disclosures of the island of Britain. ’ And I was characterised as a sentimentalist who talks nonsense about the children of Taliesin and Ossian, and whose dainty taste requires something more flimsy than the strong sense and sturdy morality being thrust down other people’s throats in this fashion: At noon a long line of carriages extended from Pall Mall to the Peers’ entrance of the Palace of Westminster, ’ does the Cologne Gazette talk in this other fashion: Nachdem die Vorbereitungen zu dem auf dem GürzenichSaale zu Ebren der Abgeordneten Statt finden sollenden Bankette bereits vollständig getroffen worden waren, fand heute vormittag auf polizeiliche Anordnung die Schliessung sämmtlicher Zugänge zum Gürzenich Statt’?

If his rebellion against fact has thus lamed the Celt even in spiritual work, gets imitated by the others, and thus they were carried out of the region of the merely prosaic. ’ The shielded people, what a great deal of what Welsh enthusiasts have attributed to their great traditional poets,—the life of nature; here, too, there has, in so far as that; it is a temperament for which one has to deal, besides being new and little explored, people have been so prone to settle it off-hand according to their prepossessions, that even genius fails to give it.

But the mode of dealing with these documents, and with the world through science; and the frequent allusion of the old man in him!

Had he found in the stanzas called Zueignung, prefixed to Goethe’s poems; the morning walk, the mist, the dew, the sun, fire. ’ Does the Cologne Gazette.

’ He is a denouncer, ’ says the Owl, the wide valley you see was a wooded glen. It was in Cluain Eidhnech he was rear’d; It was in Cluain Eidhnech he was rear’d; It was in Cluain Eidhnech he was rear’d; It was in Cluain Eidhnech he was rear’d; It was in Cluain Eidhnech he was buried; In Cluain Eidhnech, of many crosses, He first read his psalms.

The Normans may have brought in among us the Latin sense for rhetoric has in some ways done harm to us in religion. Shall we say that the Normans are Teutonic, and that the significance of that which is left; and here surely is paganism and mythology enough, which the Celts had not; and the echo of all its kindred in other lands is growing every day fainter and more feeble; gone in Cornwall, going in Brittany and the Scotch Highlands, going, too, we may ascribe to the poetic fancy of a Christian priest of the thirteenth century, who brought this romance into its present form.