Classical Taste Research Articles

George Herbert and the Liturgy of the Church of England

Reviews Rosemary Margaret van Wengen-Shute, George Herbertand the Liturgy of the Church ofEngland. Oegstgeest: Drukkeru de Kempenaer, 1981. 183 pp. paperback (no price given). by Amy M. Charles From their first publication Herbert's poems have been read appreciatively by men and women of all degrees of Christian persuasion, even by some of no Christian persuasion. At times, indeed, one might have said that those beyond the Church of England read Herbert with greaterenthusiasm than those within it; but then, enthusiasm is not necessarily a hallmark of Anglicanism. Herbert's poems fall well within the stated beliefs of the Anglican Church of his day and frequently emphasize Christian doctrines essential to both the Catholic and the Puritan trends of his time. But when one has said all this, it remains true that the capacity for deriving a meaning from one of his poems, no matter what one's own religious orientation, by no means assures that one has derived the full meaning the poet intended: Herbert's apparent (or assumed) simplicity has deceived many a casual reader in the 350 years since the first publication of The Temple. Several years back, in an address to the Friends of the Library at the University of North Carolina at Greensboro, O.B. Hardison emphasized how much greater an influence the Book of Common Prayer had had on the language of our forebears than had the Authorized Version of the Bible, simply because of the iteration of the forms used in the daily offices. (The same point would be less valid for the language of the Communion service at a time when the average parish was blessed indeed if it celebrated that sacrament as often as once a month.) For a boy like Herbert, brought up in a godly household that offered its prayers daily, and in Westminster School, which conducted its own services and enhanced worship through the music of the Abbey choristers and its own 37 Amy M. Charles students, the round of Anglican services would have established a rhythm of practice, a cycle of worship, well before he went on to Trinity College, Cambridge, where of course there were again daily services, further emphasis on the language of the Prayer Book, and still furtherenhancement of musical settings of parts of the daily offices and the round of the Church year, to say nothing of his study of the theological matters that lay behind them. The interpretations and attitudes that Hardison's comments helped to identify are best noted with the help of an experienced guide — and it is here that Coleridge describes the general pattern, and Rosemary van Wengen-Shute provides specific details. Heretofore the non-Anglican reader has been hard put to follow precisely what Coleridge had in mind in his remarks (from "Notes on the Temple and Synagogue," found in Pickering's editions of George Herbert's Works): G. Herbert is a true poet, but a poet sui generis, the merits of whose poems will never be felt without a sympathy with the mind and character of the man. To appreciate this volume, it is not enough that the reader possesses a cultivated judgment, classical taste, or even poetic sensibility , unless he be likewise a Christian, and both a zealous and an orthodox, both a devout and a devotional, Christian. But even this will not quite suffice. He must be an affectionate and dutiful child of the Church, and from habit, conviction, and a constitutional predisposition to ceremoniousness, in piety as in manners, find her forms and ordinances aids of religion, not scourges of formality; for religion is the element in which he lives, and the region in which he moves. For the reader in great need of an introduction to Anglican attitudes and characteristics in Herbert, Margaret Bottrall's concise, Anglican chapters "The Country Parson" and "The Christian Poet" have proved a valid and valuable introduction. Heather Asals' recent study Equivocal Predication: George 38 BOOK REVIEWS Herbert's Way to God also develops particular qualities of Herbert'sAnglicanism, and Joseph Summer's perceptive study George Herbert: His Religion and Art provides ample background and application. The understatement, the tendency not to make too much of things...

Morphine injections in the taste aversion paradigm: Extent of aversions and readiness to consume sweetened morphine solutions

In three experiments, groups of rats were subjected to the procedures of classical taste aversion testing using morphine injections as the unconditioned stimulus. Subsequently, rats’ consumption of sweetened morphine solutions was tabulated. In both tests of taste aversion and of readiness to consume sweetened morphine solutions, there were marked individual differences in rats’ reactivity. The extent to which rats drank the flavored solution that had previously been paired with morphine injections was related to initial tendencies to consume sweetened morphine solutions. Extent of taste aversions established with lithium chloride, in a dose known to be poisonous, was greater than extent of aversions established with morphine. Extent of aversions following lithium injections was not related to consumption of morphine solutions. Rats’ readiness to consume morphine solutions is probably related to initial negative consequences that may accompany assimilation of morphine.

Los herederos mexicanos de virgilio. de landívar y alegre a francisco cabrera

Los poetas de gusto clásico se complacen en imitar ciertas palabras o giros de sus más célebres predecesores. Es característica su repetición de palabras como umbra, silentia, dolorem, monumentum. Además, repiten superlativos esdrújulos, ablativos de la tercera declinación y el epígrafe —que. Desde Virgilio hasta Alegre, Abad y Landívar reaparecen formas como el conocido tempestatesque. Por su parte, el más reciente de nuestros clásicos, don Francisco José Cabrera, estudió humanidades con los jesuitas, cursó luego derecho en la UNAM y, una vez jubilado, produjo once memorables poemas neolatinos.

Grundtvigs sysler og interesser i første halvdel af 1831

Grundtvigs sysler og interesser i første halvdel af 1831

The Setting of Hellenistic Temples

IN THE HELLENISTIC age the creative power of Greek architects found expression not so much on the mainland of Greece, in the venerable sanctuaries of the past, as in Asia Minor and certain of the neighboring islands. For in the centuries following Alexander the Great, this was the most productive region of the Greek world, architecturally speaking. In such a newly founded city as Pergamon or a resettled town like Priene, the new architectural concepts of the day could more easily be put into practice without the crippling necessity of adjusting them to already existing civic and religious centres. To be sure, essential tastes and practices of previous centuries continued, especially in the last decades of the fourth century and the beginning of the third. The archaic and classical taste for heights, for placing a temple on an akropolis as at Athens or atop a steep promontory overlooking the sea as at Sounion, persisted, if anything intensified, in the Hellenistic period. At Herakleia-on-the-Latmos (Fig. 1), an early Hellenistic temple perched high up on an outcropping of rock overlooking the lake reflects this same tendency. So, too, does the Temple of Athena which crowns the akropolis at Lindos (Fig. 2, A). In the later fourth century, when it was built, it was still possible to enjoy the sight of a building standing in lonely isolation. But not for long. In due time it became necessary to add a vast and impressive approach to the temple composed of a H-shaped colonnade preceded and followed by a monumental flight of steps leading to a propylon from which one finally gained access to the temple at the highest point of the akropolis. Similarly, the early Hellenistic Temple of Athena at Pergamon which originally had occupied a commanding position on one of the uppermost heights of the akropolis, visible from afar, utterly devoid of setting, was provided in the second century with a great architectural framework in the form of a two-storied stoa (Fig. 3). And why? Not only because these colonnades and the rooms behind them were in themselves functional and desirable but because in the previous century a new architectural concept had become irresistible-the desire to provide each significant architectural unit, like the temple, with its own architectural environment, its own setting or surrounding. No longer could such a building be left in isolation or loosely juxtaposed against its neighbors as it had been in previous centuries. Now even older sanctuaries like the temples of Athena at Pergamon or Lindos had to be remodelled in accordance with the new principles. These new principles are visible in the sanctuary of Asklepios at Kos (Fig. 4). There the major temple, built in the mid-second century B.C., is the focal point of a grandiose composition. Placed on the highest of three terraces, it is framed by a horseshoe colonnade and approached by three monumental stairways leading from the outer propylon, across the lower terraces, to its facade. A few standard architectural ingredients-a propylon, stoas. monumental stairways, an altar, the temple itself-are grouped into a clearly defined, immediately graspable composition, a composition characterized by simplicity, boldness and plasticity, by a sharp, firm juxtaposition of the few standard elements. Contrasts of scale, an elevated and central position, an axial approach, emphasis on the facade, all make of the temple the focal point, the culmination of the composition. Kos is a sanctuary of particular complexity. But the essential ingredients of this architectural composition may be found in scores of Hellenistic sanctuaries, especially the all-important and new Hellenistic insistence upon providing the temple with an architectural environment or setting. The shape of this setting varies considerably. Sometimes it is an open horseshoe or Greek H, as at Kos; sometimes the H-shaped frame of stoas is elongated and closed, as in the sanctuary of Artemis at Magnesia (Fig. 5), or the temple is set in the centre of a quadrangle, as at Lagina (Fig. 6). Less frequently, the architectural frame forms a trapezoid, as at Teos or Assos (Fig. 7), and sometimes, whatever the shape of the enclosure, the temple is sucked back into a dominating position at the rear of the field, a scheme particularly convenient for temples presiding over markets, as at Assos, but by no means limited to them. As in the sanctuary of Zeus at Priene (Fig. 8), the temple may actually be engaged in the surrounding colonnades which, incidentally, are often of a different and contrasting order -a Doric framework for an Ionic temple, an Ionic setting

The Word "Scientist" or its Substitute

SCIENTISTS have hesitated to use the word “scientist,” not because it is a hybrid (they are well used to hybrids); nor because it ends in a sibilant “List” (they are most of them “Lists,” of one kind or another); nor because the word is appropriated by the unqualified (professors are inured to such treatment); nor yet because the word was originally used opprobriously (they are not really less courageous than Tories or Radicals); but because they were diffident. They feared to offend classical taste. No scientist ever puts his pen to paper without casting a fearful glance over his shoulder to see whether a classic should be looking on. You may reproach a classic with ignorance of science and he will plume himself with the compliment. But to suggest to a scientist that he is guilty of a classical lapse is more mortifying to him than to tell him he should have said “napkin” instead of “serviette.” It is thus sheer nervousness which has prevented him from using a generic term as obvious and inevitable as is the word “artist”. Now, thanks to you, the scientist is discovering, with some thing of the naivete of M. Jourdain, that the classic never dreamt of objecting to the word and only wonders why there should be so much shyness about the use of it.

XII. Muret and the History of “Attic” Prose

It is doubtful whether any other great literary reputation of the Renaissance has survived in so ambiguous and confused a state as that of Marc-Antoine Muret, recognized in his own time and ever since as the best writer of Latin prose in the second half of the sixteenth century. The most important event in the history of literary ideas during that period was the controversy concerning the imitation of Cicero; and in that controversy and the various conflicts connected with it Muret was more or less engaged at all periods of his career. Yet modern literary history tells us nothing intelligible of his part in it; or, to speak more exactly, it records two conflicting statements. On the one hand, he appears as the associate of Bembo, Sadoleto, Longueil in the stricter sect of the Ciceronians, a more accomplished, and not less devoted, imitator of the master. This is certainly the commoner view among those who have any acquaintance with his name; for generations he has been held up to the admiration even of school-children as the modern Cicero. How confusing it is then to find that he also holds a conspicuous place in the sketches—few and inadequate—of the movement of opposition that finally triumphed at the end of his century over the great rhetorical scheme of education. From his letters and orations one or two passages have been cited which outdo the sarcasm of Erasmus' Ciceronianas and display a latitude of classical taste which even a modern critic cannot regard without dubiety.

Domestic Everyday Life, Manners, and Customs in the Ancient World

In the survey of the domestic every-day life, and manners and customs of the ancients, already published (“Transactions,” vol. ii., pp. 393–438), we obtained a view of the earliest mode of living adopted by the inhabitants of this planet. We beheld the people at first rudely dressed in wild skins, or covered with garments made of leaves, but gradually obtaining a more refined character, as the progress of civilization which is marked by nothing more clearly than by that of costume, advanced among them; until, influenced and moulded by the classical taste of the people of Greece and Rome, it eventually assumed that form and appearance which are so striking and so beautiful, far exceeding anything which even the science and civilization of modern times have succeeded in producing. We also peeped into the dwellings of the people by whom the earth was originally inhabited, — our primeval ancestors. We first of all found them in rude caves, habitations formed and provided for them by Nature herself. Sometimes they lived in groves. Afterwards they built for themselves tents and huts, which in form imitated their original dwellings. As the tide of civilization rolled on they by degrees effected improvements in their mode and style of living, until at length, among certain nations where civilization had attained a high rank, more especially in Egypt, in Greece, and in Rome, stately cities and superb dwellings were raised, in which the humble and scanty fare provided by Nature was exchanged for luxurious feasts. i now propose to inquire into certain peculiar habits connected with the ordinary occupations and manner of daily life of the people of the ancient world, affording also some account of those amusements by which mainly they were diverted.