- Edward Gibbon
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- Edward Gibbon
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I've been reading some essays by G.K. Chesterton, and he has a lot to say about art and poetry. Actually, he has a lot to say about everything, but what he had to say about art made me recall a short video about modern art which I watched not long ago. Now, I'm not an artist, or in any way a qualified critic, so maybe it's no surprise that I have a distinct lack of appreciation for a lot of modern art. Some years ago, I was killing a bit of time by wandering through a local art museum, and was bemused by many of the exhibits. I particularly remember one: a loaf of bread which had about two dozen nails driven into it, and was then varnished. Um. Maybe it was just too sophisticated for my unrefined tastes, but the only thing which this "work of art" said to me was that someone wasted a perfectly good loaf of bread. I feel sure that Chesterton- a man of hearty appetite- would agree. He certainly had no liking for the "moderns" of his own time, describing one work as, "a piece of paper on which Mr. Picasso has had the misfortune to upset the ink and tried to dry it with his boots...." Of course, one must make allowances for differing tastes, and certainly many people love Picasso's paintings- or say they do. And I'm willing to admit that some of these works require skill to create, even if I don't like them. But then there's "Voice of Fire". This is "Voice of Fire" by American artist Barnett Newman. In 1990, the National Gallery of Canada announced that they had bought it for 1.8 million dollars. This created a big controversy for a couple of reasons, one being that at the time, Canada was in the midst of a recession. Times were tough, and the news that 1.8 million in tax money had been squandered on that didn't go over well with the unwashed masses. Critics argued that it wasn't even art, pointing out that anyone with a couple cans of paint and a roller could produce it, for considerably less money. Sarcastic comment abounded, especially when, in 1992, it came to light that "Voice of Fire" had accidentally been hung upside down and no one noticed for two years. On the other side, the artsy types rushed to V. of F.'s defense, the Gallery's director at the time describing the effect it apparently had on some people: "You have to look at yourself... you have to look at your understanding of the metaphysical dimension of life." Hmm... the only effect it had on me was causing me to wonder how the dickens they figured out it was upside down. I guess I'm not in touch with my metaphysical side. Of course, the Gallery assures us that V. of F. was a great investment, which is currently assessed at over 40 million dollars. Let's say we accept that statement at face value: O.K., it's a good investment... but is it art? This is the question which Chesterton poses about modern art... is it actually art at all? "There have always been disputes about art; but they have been disputes among normal people about matters of degree. There were any number of people who disliked Benvenuto Cellini; there were any number of people who probably preferred the clumsy and pretentious statues of Bandinelli. But there was not a whole crowd of men standing gaping and goggling in front of a statue of Cellini, wondering what in the world it was meant for, and how anybody could have the impudence to suppose that such a thing was a sculpture at all." Are all forms of art equally valid- even those which require little or no skill? Are there no objective or measurable standards or requirements? When I was in London, I visited the British Museum, and was in awe of many of the objects I saw... there was a special exhibition at the time of artworks on loan from Egypt- ancient works of great beauty and artistry, which were simply amazing. I skipped the Tate, which is London's museum of modern art, but recently visited its website. It currently has an exhibition running of an artist whose works include these three paintings: Well, you can colour me unimpressed. All of this brings me- in a very roundabout way- to the video I mentioned earlier on judging the quality and artistic value of works of art, entitled "Why Is Modern Art So Bad?" The person speaking is a trained artist, so actually has an educated opinion on this matter-as opposed to my "I don't get it."- and I found myself agreeing with his arguments and conclusions. I'm sure there are plenty of art experts who could make make a case for the opposing view, but my brain turns off when anyone starts talking about things like "metaphysical dimensions", so I didn't bother looking any up. In any case, here's the video: So, what do you think- is art all in the eye of the beholder? If someone splatters a bit of paint on a canvas, creating something which looks like a rorschach test, does that have the same merit as Michelangelo's David? Or are we being conned into accepting the mediocre and substandard in place of the beautiful and elevating? Personally, I think Chesterton had it right- it's sheer impudence to call most of this stuff art.
Mr. Preston has not given up his pursuit of Cynthia: he goes to any event where she is likely to be. Despite this, Cynthia seems to have gotten over her depression. She is merry and laughing wherever she goes, making witty conversation and fascinating people with her sparkling personality. But, as both Molly and Mr. Gibson note a little uneasily, something is a little off. Before, Cynthia had been playful and joking, but also warm and able to sit quietly and thoughtfully. Now, it's like she can't bear to stop and think- she must constantly be in motion- and her conversation, though brilliant, is also brittle, like she could shatter at any time. In contrast, Molly is becoming graver and quieter. Part of this is worry over Cynthia, but she is also concerned about Roger. She has accepted that he is in love with Cynthia- as she looks at her sister's lively beauty, she wistfully concludes that it was inevitable. She's also bothered by the complete turn around in Hyacinth's attitude to Roger, as she can see no reason for it. Molly's step-mother now spends as much energy throwing Cynthia and Roger together as she did previously trying to keep them apart. It seems odd, to say the least. Meanwhile, Roger has his own worries. He is in love with Cynthia, but cannot marry at present, because that would mean giving up his fellowship at Cambridge, and he has no other job lined up. As well, he is concerned about Osborne: not just over his brother's situation, but over his health, because he seems most unwell. Then, too, the Squire is depressed and brooding- the alienation between himself and Osborne grieves him greatly, and he feels terrible about cancelling the drainage project and throwing so many men out of work. To relieve his mind, Roger tells his father to give him a couple months to get some money together and then he can reopen the project. He goes to London to make arrangements. Cynthia misses Roger while he's away... not because she loves him, but because it's pleasant to have a man about who hangs on her every word and is her willing slave. Molly knows that Cynthia doesn't really care about Roger, and fond as she is of her, it makes her almost angry that her sister doesn't value the love of such a good man. She also worries that Roger will be hurt- she tells herself it's because he is like a brother to her. Lady Harriet sends word that she is coming to visit, and Hyacinth, who is jealous of the friendship which has sprung up between Molly and a member of the local aristocratic family, insists that Molly be out of the house when she comes, sending her to visit the Browning sisters. She keeps Cynthia at home so she can oversee the lunch preparations. Over dinner, Lady Harriet tells Hyacinth and Cynthia that Lord Hollingford has become a trustee over a legacy which was left by Mr. Crichton, a rich man who wished to fund scientific research. When he died, he left a large sum of money to pay for a learned man to go on a journey to Africa to study the animal life, and to bring back samples and specimens in order to establish a museum of natural science named after the donor. Lady Harriet reveals that Lord Hollingford is planning to ask Roger Hamley to undertake this mission. That night, Hyacinth tells the news to Molly and Dr. Gibson. The doctor is pleased for Roger's sake, but then seems rather thoughtful. Molly, though proud of Roger, is saddened by the idea of him leaving for so long. Dr. Gibson is uneasy about Roger leaving right now, due to his suspicion that something is seriously- perhaps fatally- wrong with Osborne. He hesitates to say anything, because the other doctor he had examine Osborne disagreed with his diagnosis and doesn't think that anything is seriously wrong. The doctor rides over to Hamley Hall, and meets up with the Squire, who is in better spirits than he has been in a long time. Roger has accepted the job, and has been able to raise money on his expectations so that his father can reopen the drainage project. He is so happy that Dr. Gibson can't bring himself to speak of his fears, especially since he is so unsure of their veracity. Roger is very busy preparing for the journey and collecting all the scientific equipment and supplies he'll need for the expedition. He does manage to come home for a couple of days, and rides over to say goodbye to the Gibsons. On the way, he debates with himself over whether or not to declare his feelings to Cynthia, as he will be gone for two years. When Molly arrives home from a walk, she is hustled out of the way by Hyacinth, who says that she thinks Roger is about to propose to Cynthia. Molly goes up to her room and cries, until she is called down because Roger wants to say goodbye to her. She hides the traces of tears and goes down to see a triumphant Hyacinth and a joyful Roger who tells her that he confessed his love to Cynthia, and she has agreed to marry him, though he refuses to allow her to consider the engagement binding for her, as he will be in Africa for two years. Cynthia, who is unusually quiet, says that she would like to keep the engagement secret until he returns, and Roger agrees. He bids a brotherly farewell to Molly and leaves to catch the coach to London. Cynthia goes back to arranging flowers, but Molly runs upstairs to the attic and watches from the window until she can no longer see Roger. Later, Molly asks Cynthia frankly if she loves Roger, and Cynthia doesn't meet her eyes or give a straight answer. She says that she respects him, and admires him greatly. She also says that two years is a long time, and anything can happen, then changes the subject with a jest. When Dr Gibson arrives home, Hyacinth triumphantly breaks the news of the engagement to him. His reaction is less than enthusiastic. He points out that Roger is going to be in hazardous conditions, and may not come back. And when-if- he does, he still may not be in a position to support a wife. Hyacinth coyly says that a little bird told her that Osborne isn't long for this world, and that means that Roger will inherit the estate. Dr Gibson is shocked by his wife's callous words, and even more shocked that she knows anything about Osborne's medical condition. He demands to know how she found out, and she admits that on the day of Osborne's medical examination, she eavesdropped on him and his fellow physician discussing the case and heard him say that he thought Osborne had an aortal aneurism which would prove fatal. This was why she started encouraging Roger's infatuation with Cynthia. Dr Gibson is disgusted by Hyacinth's dishonourable behaviour, and tells her so, harshly. She is bewildered by his anger, and can't understand why he thinks she has done wrong by looking out for her daughter's interests. Caustically, Dr Gibson tells her that she should have eavesdropped a little longer... she would have heard that the other doctor disagreed with his diagnosis, and that Osborne is just as likely to live a long, healthy life as not. Furthermore, as the Squire expects both his sons to contract advantageous marriages, he will no doubt oppose the match. Dismayed, Hyacinth starts backtracking, and says that the engagement isn't a formal one, and that Cynthia doesn't feel things deeply, and is apt to change her mind. Despite his anger, the doctor thinks that Cynthia has engaged herself to the best possible man, as he has a great liking and respect for Roger. He tells Cynthia so that evening, and gravely says that he hopes she's worthy of him. A bit miffed that he doesn't wonder if Roger is worthy of her, Cynthia is further dismayed when Dr Gibson says that he must tell Squire Hamley about the engagement. Pettishly, Cynthia says that the engagement isn't binding, and is supposed to be a secret, but the doctor insists. When the doctor tells the Squire, he is less than pleased, but agrees that two years is a long time, and that no doubt Roger will be wiser when he comes back. Dr Gibson is not convinced of that, and tells Hamley that Cynthia isn't a bad choice- she's good tempered, pretty, and vivacious. Squire Hamley says that it's too bad that Molly wasn't suitable: she's just the sort of girl that he would like to see either of his sons marry. He ends up telling Dr Gibson to invite Hyacinth, Cynthia, and Molly to Hamley for lunch the following week so that he can meet Cynthia. After the visit, the doctor asks Molly how it went, and she tells him it was successful- Cynthia exerted herself to be charming, and walked about the estate with the Squire, listening closely to all of his talk of the gardens and grounds. Dr Gibson asks her if Osborne was there, but she says he was still away, blushing as she thinks that he is no doubt with his secret wife. Seeing the blush, Dr Gibson worries that maybe there is some romantic attachment between Molly and Osborne, but she assures him that they are friends and nothing more. Speaking of romantic attachments for Molly, at this juncture Mr. Coxe reenters the narrative. Now a wealthy young man, he has remained true to his thwarted love for Molly and has returned after almost two years to court her. With no more liking for Coxe than formerly but reluctantly impressed by his constancy, Dr Gibson agrees to let him try. Hyacinth, well aware that her husband is still angry with her, seeks to mend fences by securing a good match for Molly and so welcomes Mr Coxe warmly. The problem is, Molly is completely in the dark about what happened two years ago, and since she has never been interested in Coxe in the least, treats him politely but indifferently. Cynthia, on the other hand, turns on the charm... she doesn't mean anything by it, it's just her automatic response to any man in the immediate vicinity. Soon Mr Coxe is completely captivated by her, and after two weeks asks for an interview with Dr Gibson. The doctor, who has been away for most of this time, assumes that Coxe is going to request permission to ask Molly to marry him... Gibson is confident that Molly is too sensible to ever agree to such a match. He is shocked, therefore, when Mr Coxe says that he wants to propose to Cynthia . He tells the doctor that, while Molly made her indifference for him plain, Cynthia's warm, inviting manner leads him to believe that she cares for him and will welcome an offer of marriage. Dr Gibson tries to warn Coxe off by telling him that Cynthia's affections are otherwise engaged, but Mr Coxe insists that Cynthia was so welcoming of his company and conversation that she must care for him. Exasperated, Dr Gibson allows Coxe to pay his addresses to Cynthia, limiting himself to a few sarcastic comments about constancy of affection. Of course, Cynthia refuses poor Mr Coxe, who leaves the area, never to return. After this disastrous proposal, Dr Gibson takes Cynthia to task. Why did she, an engaged woman, encourage Mr. Coxe's attentions, when she had no serious intentions? She has caused pain to an honest- if not particularly sensible- man. Didn't she realize that he was falling in love with her? Cynthia admits that she suspected as much, but that she hates "throwing cold water on people", so didn't wish to discourage Mr Coxe. She didn't dream he would take it all so seriously. Unwisely, Cynthia adds that Roger wouldn't allow her to make a binding promise to him. Dr. Gibson gets up and leaves the room. Afterwards, Molly tries to comfort the upset Cynthia. Her sister says that she knew Mr Coxe liked her, and that she likes to be liked... she just doesn't understand why people take such things so seriously. Molly asks her if she's going to tell Roger about the incident, but Cynthia says no, it would only make him feel bad. Molly says yes, but that she should be able to tell Roger about all her troubles and difficulties. Cynthia says that she has a feeling that she and Roger will never marry, so it's not a good idea to tell him all her secrets. Shocked, Molly says that this would break Roger's heart, and that she doesn't think Cynthia values him as she should. Cynthia says she does value him, but that it's not in her nature to be in "love"... "But I'm glad he loves me, and I like to make him happy". Then Cynthia, in a weird change of subject, asks Molly what she'd think if she ended up marrying Mr. Preston instead. Confused, Molly asks her if Mr. Preston has proposed. Cynthia doesn't answer directly, merely saying that sometimes strong personalities hypnotize weak ones. Molly asks her why she just doesn't refuse to see or talk to Preston, but Cynthia says that it's complicated- she knew him previously and that he's not easily put off. Upset, she says that she wishes that Roger was home and rich, so that he could marry her at once and get her away from Preston. Molly finds this all very odd, but Cynthia refuses to explain further. All in all, Molly passes an unhappy winter. Things at home are rather tense: Dr Gibson, unhappy and disappointed in his marriage, buries himself in work, and when angry, is sarcastic and cold. Hyacinth, who doesn't get sarcasm, is nonetheless aware that her husband is out of temper for some reason, and obtusely thinks that having his favourite meals served will fix things- not realizing that she has lost his respect, probably for good. Also, Molly is very worried about the Roger/ Cynthia situation. Cynthia doesn't act the way she- Molly- would act if she was so fortunate as to be loved by Roger. Cynthia receives Roger's letters indifferently, while Molly waits for any scrap of news about him with bated breath. Cynthia doesn't read the parts of his letters which describe what he's doing- she finds those parts boring- and just reads what he writes about loving and missing her. As Molly anxiously questions her for news, Cynthia casually gives her Roger's letters, telling her to just skip over the sentimental parts- which Molly conscientiously does. She pours over his words, taking note of subjects and books he mentions so that she can study up on them. She worries over him when he mentions having a fever- Cynthia says that it's pointless to worry, since if anything happened to Roger, it would be over long before they found out about it. Unable to look at it so logically, Molly spends sleepless nights worrying and praying for him. With all these things preying on her mind- as well as the Osborne situation- Molly's health is suffering, and she becomes rather ailing and weak over the winter months. To Be Continued... Related Posts: |
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