There are, perhaps, few tests of excellence so sure as the popular verdict on a work of art a hundred years after its accomplishment. So much time must be allowed for the swing and rebound of taste, for the despoiling of tawdry splendours and to permit the work of art itself to form a public capable of appreciating it. Such marvellous fragments reach us of Elizabethan praises; and we cannot help recalling the number of copies of 'Prometheus Unbound' sold in the lifetime of the poet. We know too well "what porridge had John Keats," and remember with misgiving the turtle to which we treated Hobbs and Nobbs at dinner, and how complacently we watched them put on their laurels afterwards. Let us, then, by all means distrust our own and the public estimation of all heroes dead within a hundred years. Let us, in laying claim to an infallible verdict, remember how oddly our decisions sound at the other side of Time's whispering gallery. Shall we therefore pronounce only on Chaucer and Shakespeare, on Gower and our learned Ben? Alas! we are too sure of their relative merits; we stake our reputations with no qualms, no battle-ardours. These we reserve to them for whom the future is not yet secure, for whom a timely word may still be spoken, for whom we yet may feel that lancing out of enthusiasm only possible when the cast of fate is still unknown, and, as we fight, we fancy that the glory of our hero is in our hands. But very gradually the victory is gained. A taste is unconsciously formed for the qualities necessary to the next development of art—qualities which Blake in his garret, Millet without the sou, set down in immortal work. At last, when the time is ripe, some connoisseur sees the picture, blows the dust from the book, and straightway blazons his discovery. Mr. Swinburne, so to speak, blew the dust from 'Wuthering Heights'; and now it keeps its proper rank in the shelf where Coleridge and Webster, Hofmann and Leopardi have their place. Until then, a few brave lines of welcome from Sydney Dobell, one fine verse of Mr. Arnold's, one notice from Mr. Reid, was all the praise that had been given to the book by those in authority. Here and there a mill-girl in the West Riding factories read and re-read the tattered copy from the lending library; here and there some eager, unsatisfied, passionate child came upon the book and loved it, in spite of chiding, finding in it an imagination that satisfied, and a storm that cleared the air; or some strong-fibred heart felt without a shudder the justice of that stern vision of inevitable, inherited ruin following the chance-found child of foreign sailor and seaport mother. But these readers were not many; even yet the book is not popular.
Agnes and Egerton Castle's 1914 work describes the garden and gardening of "Villi no Loki" in the southern moorlands of Surrey, with background information on the people and events of the area.
Aesthetics and Modernity brings together Agnes Heller's most recent essays around the topics of aesthetic genres such as painting, music, literature and comedy, aesthetic reception, and embodiment. The essays draw on Heller's deep appreciation of aesthetics in all its forms from the classical to the Renaissance and the contemporary periods. Heller's recent work on aesthetics explores the complex status of artworks within the context of the history of modernity, and she engages this task with a critical recognition of modernity's pitfalls. This collection highlights these pitfalls in the context of continuing possibilities for aesthetics and our relationship with works of art, and it throws light on Heller's theory of emotions and feelings and her theory of modernity. Aesthetics and Modernity collects the essential essays of Agnes Heller and is a must-read for anyone interested in Heller's major contributions to philosophy. John Rundell is associate professor of social theory at the University of Melbourne. "--Book jacket.
This catalogue reproduces nearly 500 works which include the most significant group of drawings outside France by such masters as David, Gericault, Ingres, Delacroix and Prud'hon. Many of the drawings are published here for the first time
Spice and the Devil's Cave, Ferdinand Magellan, Vasco da Gama, and other fifteenth-century adventurers spring to life in this thrilling tale of the competition between Portugal and the Venetian Republic to discover an all-sea trade route leading to the spices of India. In the Lisbon workshop of banker and navigation enthusiast Abel Zakuto, a group of intrepid explorers gather to discuss the possibility of finding a way around the stormy tip of Africa — the Devil's Cave. Author Agnes Danforth Hewes won the first of her three Newbery Honor awards with this book, which was praised by The New York Times as "one of those engrossing works of historical fiction whose appeal is nearly universal . . . a colorful history of a far-reaching commercial struggle and a vivid drama of individual hopes and aspirations." Enchanting woodcuts by Lynd Ward illustrate this gripping adventure, which is suitable for grades 7 and up and will delight readers of all ages.
The Dalrymples" by Agnes Giberne is a literary journey that possibly encompasses the one of a kind blend of science and storytelling characteristic of Giberne's works. Renowned for her contributions to science and kid's literature, Agnes Giberne may infuse "The Dalrymples" with a completely unique aggregate of clinical insight and narrative appeal. The book may additionally unveil a captivating story or exploration, doubtlessly tailored for a various target audience, thinking about Giberne's potential to make complex scientific topics handy to readers of all ages. Giberne's special style often functions a unbroken integration of tutorial factors with resourceful storytelling, making her works now not simplest pleasing however also informative. "The Dalrymples" can be a testament to Giberne's dedication to fostering curiosity and understanding, in particular within the nation-states of technology and natural phenomena. For the most correct and unique records about "The Dalrymples," it's miles advisable to refer to authoritative literary resources, book opinions, or the writer's respectable channels. Giberne's legacy as a versatile author may additionally shine thru in this paintings, inviting readers to embark on a literary journey that combines the wonders of technological know-how with the magic of storytelling.
Sugar. It sits there, dormant, nestled in a small bowl or serving-size packet, waiting to be spooned into a cup of coffee or tea; spread across some cereal; or dropped into a recipe for cake, pie, or other scrumptious treat in the making. It is so readily available, so easy to use, so irresistibly tasty. But few people stop to realize the enormous economic, social, political, even military, upheaval this simple-looking, widely popular food enhancer has caused in many parts of the world. In the seventeenth and eighteenth centuries, even into the nineteenth century and early decades of the twentieth, sugar cane was a preeminent crop upon which economies succeeded or failed, societies grew, and money flowed like . . . well, sugar! A region particularly impacted by sugar was the volcanic islands of the Caribbean—virgin soil enriched by crushed coral and limestone, and blessed by unlimited sunshine. The result was soil so rich for planting that the necklace of island colonies and small nation-states became a massive source of the world’s supply of sugar. Antigua’s 108 square miles, an island of undulating hills and indented coastline, fell into this category.
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