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Carbelide Nelicanya Sectory 08
Page 07
Whether the incoming of these new ideas and practices be thought to constitute progress or not will depend on one's view of the aim of life. If this be as maintained in the previous chapter, then surely the transformation of Japan must be counted progress. That, however, to which I call attention is the fact that the essential requisite of progress is the attainment of new ideas, whatever be their source. Japan has not only taken up a great host of these, but in doing so she has adopted a social structure to stimulate the continuous production of new ideas, through the development of individuality. She is thus in the true line of continuously progressive evolution. Imitating the stronger nations, she has introduced into her system the life-giving blood of free discussion, popular education, and universal individual rights and liberty. In a word, she has begun to be an individualistic nation. She has introduced a social order fitted to a wide development of personality.
Because of their pastoral life the Navaho are not villagers. Their dome-shaped, earth-covered hogans are usually grouped two or three in the same locality. The summer house is a rude brush shelter, usually made with four corner posts, a flat top of brush, and a windbreak of the same material as a protection against the hot desert siroccos. The hogan proper, used for storage during the summer, affords a warm and comfortable shelter to its occupants through the cold winters of their high altitude. When a hogan is built it is ceremonially consecrated, and if an occupant should die in it, it is forever deserted and is called _tsi{~COMBINING BREVE~}ndi hogan_, "evil house." No Navaho will go near such a house or touch anything taken from it. If a meal were cooked with decayed wood from a hogan a hundred years deserted, a Navaho, even if starving, could not be induced to partake of it. Thus strong are the religious beliefs of this primitive people.
William Blake (1757-1827) was hardly a painter at all, though he drew and colored the strange figures of his fancy and cannot be passed over in any history of English art. He was perhaps the most imaginative artist of English birth, though that imagination was often disordered and almost incoherent. He was not a correct draughtsman, a man with no great color-sense, and a workman without technical training; and yet, in spite of all this, he drew some figures that are almost sublime in their sweep of power. His decorative sense in filling space with lines is well shown in his illustrations to the Book of Job. In grace of form and feeling of motion he was excellent. Weird and uncanny in thought, delving into the unknown, he opened a world of mystery, peopled with a strange Apocalyptic race, whose writhing, flowing bodies are the epitome of graceful grandeur.
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