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Carbelide Nelicanya Sectory 20
Page 12
Yet we are very grateful to those who can teach us to turn our eyes to the charm which surrounds us, and a life which is lived without such perception is apt to be a rough and hurrying thing, even though it may also be both high and austere. Like most of life, the true success lies in not choosing one force and neglecting another, but in an expectant kind of compromise. The great affairs and facts of life flash upon us, whether we will or no; and even the man whose mind is bent upon the greatest hopes and aims may find strength and consolation in the lesser and simpler delights. Mighty spirits like, let us say, Carlyle and Ruskin, were not hampered or distracted from their further quest by the microscopic eye, the infinite zest for detail, which characterised both. No one ever spoke so finely as Carlyle of the salient features of moorland and hill, and the silence so deep that it was possible to hear the faroff sheep cropping the grass; no one ever noted so instantaneously the vivid gesture or the picturesque turn of speech, or dwelt more intently upon the pathetic sculpture of experience seen in the old humble workaday faces of country-folk. No one ever delighted more ecstatically than Ruskin in the colour of the amber cataract, with its soft, translucent rims, its flying spray, or in the dim splendours of some half-faded fresco, or in the intricate facade of the crumbling, crag-like church front. But they did not stay there; indeed, Carlyle, in his passionate career among verities and forces, hardly took enough account of the beauty so patiently entwined with mortal things; while Ruskin's sharpest agonies were endured when he found, to his dismay, that men and women could not be induced by any appeal or invective to heed the message of beauty.
At the Salon of 1881 her picture was well hung and was praised by artists. In the autumn of that year she was very ill, but happily, about the beginning of 1882, she was much better and again enthusiastic about her painting. She had been in Spain and excited admiration in Madrid by the excellence of her copy of "Vulcan," by Velasquez. January 15th she wrote: "I am wrapped up in my art. I think I caught the sacred fire in Spain at the same time that I caught the pleurisy. From being a student I now begin to be an artist. This sudden influx of power puts me beside myself with joy. I sketch future pictures; I dream of painting an Ophelia. Potain has promised to take me to Saint-Anne to study faces of the mad women there, and then I am full of the idea of painting an old man, an Arab, sitting down singing to the accompaniment of a kind of guitar; and I am thinking also of a large affair for the coming Salon--a view of the Carnival; but for this it would be necessary that I should go to Nice--to Naples first for the Carnival, and then to Nice, where I have my villa, to paint it in open air."
One of the best authorities for the period from the Conquest to 1141 is the Historia Ecclesiastica of ORDERIC VITALIS (A. le Prevost, Societe de l'Histoire de France, 1838-55). Born in England in 1075, of a Norman father, a clerk, and an English mother, he was sent by his father at the age of ten to the monastery of St. Evroul, and there he spent his life. The atmosphere in this monastery was favourable to study. It had an extensive library, and Orderic had at his command good sources of information, though he himself took no part in the events he describes. He paid some visits to England in which he obtained information, and as he always looked upon himself as an Englishman, his history naturally includes England as well as Normandy. He began to write about 1123, and from that date on he may be regarded as a contemporary authority, but from the Conquest the book has in many places the value of an original account. It is an exasperating book to use because of the extreme confusion in which the facts are arranged, or left without arrangement, the account of a single incident being often in two widely separated places. But the book rises much above the level of mere annals, and while perhaps not reaching that of the philosophical historian, gives the reader more of the feeling that a living man is writing about living men than is usual in medieval books. It reveals in the writer a lively imagination, which, while it does not affect the historical value of the narrative, gives it a pictorial setting. Orderic's interest in the minuter details of life and in the personality of the men of his time imparts a strong human element to the book; nor is the least useful feature of the work the writer's critical judgment on men and events, generally on moral grounds, but often assisting our knowledge of character and the causes of events.
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