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Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Black and white photograph Physical Dimensions The actual physical size of the original image 21.5 x 14 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Begone Dull Care Description An account of the resource Begone Dull Care concert with Henry Higuera (guitar); Judith Seeger (guitar); Tony Seeger (banjo) and Jonathan Tuck in the Great Hall of McDowell Hall, St. John's College, Annapolis, Maryland, circa 1990-2000. Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource circa 1990-2000 Rights Information about rights held in and over the resource In copyright. Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Subject The topic of the resource Tuck, Jonathan Higuera, Henry Seeger, Judith Leeland, 1944- Seeger, Anthony Identifier An unambiguous reference to the resource within a given context COM-FAC-TUCK-P-0004 Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/1b87ad27305a68e8acdb3d35a12c76b2.mp3 d20ee72444dbecc7e4229e3e2f0c9676 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data wav Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:00:51 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Beholding black holes and quickening grains of spacetime : the quest for a quantum theory of gravity Description An account of the resource Audio recording of a lecture given on October 11, 2019 by Hal Haggard as part of the Dean's Lecture and Concert Series. Creator An entity primarily responsible for making the resource Haggard, Hal M. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2019-10-11 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Gravity Quantum theory Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_HaggardH_Beholding_Black_Holes_and_Quickening_Grains_of_Spacetime_2019-10-11.mp3 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/04be00ccb2c249ddf71040dad58d2320.pdf 6326f830d605aa03fd1d5b7fafddb5e5 PDF Text Text Being a Book I A book is a small, hard, rectangular object, whose pages are bound along one edge into fixed covers and numbered consecutively. This description of a book is not mine. I borrow it from a lecture by tutor Eva Brann, who borrowed it from an essay by the novelist Paul Scott, who borrowed it from a talk on the BBC.1 It is better borrowed, I think, than improved upon, at least in clarity. Once Scott is done with it, this hard rectangular object has become “a canvass that doesn’t exist.” In other words, “a formless, almost indefinable area of consciousness.” In still other words, “the area of contact for the meeting of minds, the clash, the confrontation of wills and visions, and of physical and intellectual impressions of reality—the writer’s and the reader’s.”2 Miss Brann is briefer but no less extravagant about the book’s metamorphosis. In her words it becomes “a special kind of body made to be inhabited by a curious kind of frozen but fusible soul, a body fit to mediate its own peculiar life.”3 I will not attempt my own metaphysics of a book tonight. But I do want to ask why a book admits of metaphysics, and perhaps even requires it. What makes the being of a book elusive when the book itself is so easy to grasp? We can pull one off a shelf, as if it belonged to the furniture of the world; yet when we open it up and begin to read we are carried somewhere else, as if the book were otherworldly. In one sense it may have remained a small, hard, rectangular object, with pages bound into covers and numbered consecutively. But all this has vanished in another sense. And what has taken its place, as the book being held is now being read, is difficult to describe. Nor is this the only difficulty. Consider what becomes of the book being read if read, say, for seminar. Just before the seminar begins there seem to be many books on the table. Yet once the opening question is asked it is as if there is only 1 Scott’s borrowing of the description appears in “The Architecture of the Arts: The Novel (1967)” in My Appointment with the Muse: Essays, 1961–75, ed. Shelly C. Reese (Heinemann: London, 1986), 78. Scott credits the description to Bernard Bergonzi. Brann’s borrowing appears in “What is a Book?” St. John’s Review XLI, no. 1 (1991–2): 78. (Note: the Review sources this to a lecture given in September 1991, but a reprint of the lecture itself dates it August 30 of that year.) A version of it is also currently available on the website of the Imaginative Conservative. 2 Scott, 80 3 Brann, 88. 1 �one book on the table. And in the conversation that follows, with a movement of its own that yet involves the text, perhaps the very idea of a book on the table is best given up. But given up for what? What happens to a book at this college every Monday and Thursday night? Behind this question I have both a hunch and a hypothesis. The hunch is that St. John’s is less committed to books, even the greatest books, than to the being of a book—any book. Put a different way: there is no Canon of Great Books at the College that we read each in turn; there is only the book in front of us, whatever it may be and wherever it may lead. I will come back to this hunch later in the lecture. But I begin with the hypothesis: The being of a book becomes elusive once the book contains words and in some sense is composed of them. I say “in some sense” because how words compose a book will become the question of the lecture. But that there are words in a book at all seems already a source of elusiveness. If we could erase its words, making the book blank, then it might be but a kind of rectangle. We could count the number of books in seminar the way we might count the number of chairs and leave it at that. The trouble starts when the words go unerased: the book’s pages left full of print, giving a reader something to do. Even the words on its cover, announcing the title and author, are enough to complicate what a book is. No longer just a book, it is now the copy of a book, in something like the way the chairs in seminar are copies of a model. We are all sitting in a Johnnie chair, with Homer’s Iliad in front of us, even before the opening question is asked. Yet it would seem strange to say we were all sitting in the same Johnnie chair, as if there were only one chair in the room. So why is it not so strange to say we all have Homer’s Iliad in front of us, as if there were only one book in the room? Especially once the opening question is asked and more words from inside the book are read out loud? The answer, again, seems to be the words, making one book out of every copy in the room. And at least this much happens to a book every seminar night: a rectangle made of pages becomes a more elusive thing made of words. II How elusive is exemplified by the Iliad. Once upon a time the work existed only in song, and was first written down not in pages but on a scroll. In ironic recollection of this perhaps some of us prepared for seminar using an e-book or audiobook on the sly, getting through the work without turning a single actual page. 2 �Then there is the question of translation. All of us, even tutors, likely read the Iliad for seminar in translation. The copies in the seminar room are mostly translations, each made of its own words throughout. In one the Iliad begins: “Sing, goddess, the anger of Peleus’ son Achilleus and its devastation. . . .” In another: “Rage—Goddess, sing the rage of Peleus’ son Achilles, murderous, doomed. . . .” In still another: “Goddess, sing of the cataclysmic wrath of Peleus’ son Achilles. . . .”4 These three beginnings, three of many, proceed word-by-word to their respective ends; yet they are all taken up in our conversation about the Iliad as if they were the Iliad. But what in that case is the Iliad? Or any book in translation? It would seem to be certain words in a certain order, without having to be only these words in this order. The same book might be made of different words in a different order. But how? How can a book be made of words in more than one way? Perhaps we should insist, against this question, that translations of a book are merely translations. They are translations, that is, of some original text, composed of those words in that order. The first word of Homer’s Iliad, then, is not “sing” or “rage” or “Goddess,” nor indeed any word in English, no matter how well-chosen. The first word is μῆνιν, as we learn soon enough in the language tutorial. We also likely learn how some translations of a text are more literal than others—translations that sound like translations—and even learn to prefer them when the language of the original is out of reach. A good translation puts the original in reach, which is a different thing from replacing it. And translations, then, can be made of words in many ways, but the original only in one. Even so, is this original what we mean, what we ought to mean, by the book? Or can a book still exist, and even thrive, in translation? The question put this way can sound almost rhetorical, as if books flourished in translation as a matter of course—across our Program’s reading list. Where would we be if the translation of a book could never become the book? And in calling it a “translation” we distinguish it not simply from some original text, but from any paraphrase of that text. We distinguish it, that is, from any series of words merely about the text. The series we deem a translation, even if it differs from the text, has somehow become the text. Or at least become as close to the text, as joined to the text, as “at one” with the text, as words that differ from the text allow. In translations, then, we confront just how elusive the being of a book can be. We also encounter one way—to recall my hunch—that St. John’s is committed to 4 The first is from the Lattimore translation, the second from the Fagles, and the third from the recent Emily Wilson translation. 3 �this being, in its commitment to translations as books. Our copy of the Iliad can have the name of a translator on its cover; yet the author, we believe, remains Homer. The word “μῆνιν” can be replaced by “sing”; yet the book, we believe, is still Homer’s Iliad rather than becoming Lattimore’s. A book, so our Program claims, can be made of words in many ways, even if first made in one. The word “first” in this formulation could also be questioned if we take a different view of good translations. On this view, translations should not sound like translations, lest they put the original forever out of reach. For the original presumably sounds original. Not that we could know what words in what order would compose the Iliad, say, in English, if this were Homer’s native tongue. But we could guess, I think, that this Iliad would not sound like a literal translation from the Greek. And this suggests that good translations sound original. If so, then it seems a book can be made of words in many ways, where every such way is like the first. III Yet even this much elusiveness in a book can seem a special matter of translation. Consider the seminar night in several weeks, just after spring vacation, when juniors will walk in the room and put their copies of Jane Austen on the table. It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife. These words in this order will begin the book in every copy, followed by the same words in the same order until the end. What could be elusive about that? The pagination might differ from copy to copy, but there seems nothing to trouble us in the words. And the words are enough to make every copy identical. In this case, where none of the copies are translations, it seems that a book is made of words in only one way. But I think we can question even this. We can ask how a book is made of words even in one way, given something that just happened in my lecture. I quoted the first sentence of Pride and Prejudice. The quotation, too, is made of those words in that order. So what is the one way the sentence in the book is made of them? Or if this sentence depends on the rest of the book, let the quotation be as long as the book, made of all those words in just that order. What is the one way the book is made of them, to distinguish it from its quotation? Why is a quotation of the book not the book? 4 �There are two reasons, I think, to consider this question more significant than it might seem at first. One harks back to my hunch about St. John’s, and its commitment to the being of a book. The commitment, in this context, is to the way that any book escapes its own quotation. For where would we be if the quotation of a book could ever become the book? For us, the difference between unquoted words and quoted ones is the difference between the texts we read and the texts we don’t. In the latter texts—call them secondary texts—the books we might read are merely quoted. So read them we do, to see for ourselves what they say. For us, therefore, the quotation of a book is definitively not the book. Yet why this is so is also hard to say—a second reason to think the question significant. The question even becomes paradoxical if we frame it in light of our commitment to books in translation. For what is it about a book that allows it to become its translation but never its quotation? What prevents the book from being made of the same words in the same order, if it can be made of different words in a different order? To make this question easier on myself, I revert to the form it took at first: why is a quotation of the book not the book? Even in this form I find the question hard to answer; I make three attempts in the rest of this lecture before giving up. Attempt number one. A quotation of the book is not the book because the words in the quotation are borrowed from the book, while the words of the book belong to it. So much do they belong that if words are taken from the book without quotation we consider it an act of theft. This is another way we credit the book with being original: a source for the quotation like the source for any translation. Yet unlike translations, and the way they can seem original, quotations seem derivative. Quotation marks announce as much, as do the other ways we have— like indentation—to frame the quotation as derivative. Erase the frame and let the words go unquoted; it is now as if we have a copy of the text itself. And perhaps in this we find the one way a book is made of its words. The words can go unquoted in the book because they are original to the book. They have their origin in the book. They come from the book. But something in this answer has gone awry. For how can words come from a book if it is made of them, and therefore comes from them? The words in a book must come from somewhere else if the book is to be made at all. And in one respect this somewhere else is prosaic. A book is made of words that separately come from the dictionary and together from the rules of grammar. In another 5 �respect—at least for books that transcend the prosaic—the somewhere else is a mystery. If we believe the first line of the Iliad, the words in such books come from a goddess—and only after pleading. Even the greatest book has to beg for its words when none are good enough to borrow or steal. To seem original is to be inspired. And while it might take a muse to write such a book, to print the book only takes a typesetter. The somewhere else in this direction is less a mystery and more a certainty. A series of words becomes a sequence of symbols: the letters of the alphabet and a handful of punctuation marks. What is possible in a book is thus reduced from something uncountable in words to thirty symbols or so. And this reduction effectively determines what the book can be in advance. If we count the symbols, assigning to each a different number, we have a way of counting their sequence in the book; and can translate the book into a number. There is no printable book that is not, in this sense, already a number. And one of them is a copy of Pride and Prejudice. So while in another direction its words come from who knows where, in this direction its words come from a counting number. There is nothing original left for the book to be, despite how it seems. But what then explains how it seems? The quotation of a book still looks made of borrowed words and the book made of words that belong. And this sense of belonging, again, is especially strong at St. John’s. Let the words in all our books come from somewhere else; they still go into the books unquoted, as if there the words had found their home, and could only pay visits to other books in quotation. In this sense, we might say that the quotation of a book always belongs to a different book. But why? Or again: what makes the quotation of a book not the book? Here is my second attempt to answer the question. If we read a book to see for ourselves what it says, perhaps what it says can never be quoted. There is another use of quotation to suggest as much. To begin with a simple example, compare the following sentences: 1. Annapolis is the capital of Maryland. 2. Annapolis is nine letters long. In the second sentence, a copy-editor would want me to put quotation marks around “Annapolis,” 2. “Annapolis” is nine letters long, 6 �to distinguish the name of the city, which is nine letters long, from the city, which is not nine letters long. But quoting a word, in that case, is not a way of saying the word; it is rather a way to speak of the word. This use of quotation is not limited to single words. We can, for example, put all the words from the first sentence between quotation marks, “Annapolis is the capital of Maryland” and now speak of the sentence rather than say it. Since the sentence is six words long, we can say that of it: 3. “Annapolis is the capital of Maryland” is six words long. Or in a less contrived example, I might speak of the sentence as something that amused me when I heard one of my daughters say it: 4. “Annapolis is the capital of Maryland,” my five-year old explained, as if she were a tour-guide during our walk downtown. Or to move from the invented to the actual in a last example, consider the first use of quotation in Pride and Prejudice: 5. “My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherfield Park is let at last?” Mr. Bennet replied that he had not. Austen quotes the question but not the reply, artfully turning the reply into a kind of comment on the question, leaving the impression of a knowing husband and unknowing wife. None of these examples involves the quotation of one text in another text, but the abstraction from speech in textual quotation is arguably the same. The quoted words are never said, only spoken of. Perhaps the clearest example of the effect at St. John’s is in a seminar paper too full of quotations. The quoted passages start to look like filler, saying nothing, even when the unquoted passages are central to the book, saying everything. Another example of the effect is in the typical Friday Night lecture that includes quotations. It is tempting to put the quotations on a handout, or even on a screen—as if a quotation were meant to be seen rather than said. In light of this account, we can revisit Pride and Prejudice and distinguish the book from its quotation definitively. Consider the first sentence again. 7 �It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife. In the book, those words in that order are not just a sentence but an utterance. In quotation, however, the sentence is separated from the utterance, allowing us to carry the sentence out of the book. There is no difference, then, between quoting the first sentence and calling it the first sentence: in neither case is the sentence said; it is only spoken of. Similarly, there is no difference between quoting every sentence in the book and calling the book by its title: the title is another way, if briefer way, to speak of every sentence in turn. Only in the book is every sentence in turn not spoken of but said, in an act of narration rather than quotation. We can generalize this difference to encompass any book. The quotation of a book is not the book in the same way the title of a book is not the book. In both, the book has yet to speak. This is why we have to read the book to see what it says. This is also why a book can become its translation but never its quotation. The one way a book is made of its words is in being made of words that can speak. These might become different words that can speak—the goal of any good translation—but quotation renders the words speechless. Yet something in this answer too has gone awry. For one thing, it is hard not to read quoted words as spoken words, especially in a narrative like the novel. Consider again the first use of quotation from Pride and Prejudice, but lengthened to include the quoted words of Mr. Bennet—as if he were finally forced to speak in reply to his importunate wife: “My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherfield Park is let at last?” Mr. Bennet replied that he had not. “But it is,” returned she; “for Mrs. Long has just been here, and she told me all about it.” Mr. Bennet made no answer. “Do not you want to know who has taken it?” cried his wife, impatiently. “You want to tell me, and I have no objection to hearing it.” This was invitation enough. Not only do the quoted words seem to speak, they seem to speak in the voices of Mr. and Mrs. Bennet. It is as if quotation made speech possible in a written text. 8 �This is underlined by the final line of narration—“this was invitation enough.” For this is an invitation to speak but in the form of quotation: wife replying to husband as husband has replied to wife. To speak in reply, moreover, is to speak of what was said. At least in conversation, then, to speak of what was said is not an abstraction from speech; it is a condition of speech. The abstraction from speech in this example rather lies in the unquoted words of narration. For in what sense is the narrator invited to speak? Who is the narrator, and where, to speak of what either spouse has said? At what place or time, for that matter, and by whom, are the unquoted words in a book ever said? It seems they need no speaker to say them; they need only be written down and read. But in that case perhaps the unquoted words in a book are never said. A book would then be made of words that can never speak, in being liberated, once inside the book, from every circumstance of speech. Consider, too, how if the words in a book could speak—literally speak—there would be no point in learning to read. Every book would be an audiobook as soon as we opened it. It is because the opened book is silent that reading becomes a need. And learning it, for most of us, is not like learning to speak. The task is difficult enough to need schooling and important enough to seem liberating. In these respects, learning to read is arguably the first form a liberal education takes. It may even be the only form, if a liberal education is made of books. But books, in turn, are made of words that have to be read to be heard. In this sense, at least, a book does seem made of unspoken words. We might identify these words with the silence on the St. John’s campus as a seminar book is being read, before it can be discussed. In discussion, by contrast, the book is not read but quoted. This again suggests something gone awry, even backwards, in my second attempt to distinguish quotation from book. For quotation now looks like a kind of speech, leaving the book in a kind of silence. But what kind of silence? And distinguished from what kind of speech? Or again: what makes the quotation of a book not the book? We come to my third attempt to answer the question. This time I return to where I began the lecture: A book is a small, hard, rectangular object, whose pages are bound along one edge into fixed covers and numbered consecutively. Words go unmentioned in this description of a book, as if it were blank. Yet the book is not blank: its pages are numbered consecutively. It is as if a book were 9 �made of numbers rather than words. But is it not made of words—my hypothesis all along? Perhaps not. Consider what a book can become in the act of quotation: “Reason is, and ought only to be, the slave of the passions, and can never pretend to any other office than to serve and obey them.” Mr. Harrell, where are you quoting from? Oh. This is Hume. His Treatise. Page 266. Mr. Harrell, I don’t have your edition. Oh. Let’s see. I’m quoting from Book 2, Part 3, Section 3; the secondto-last sentence of paragraph . . . 4. Something like this happens every time we quote from a book in seminar. We take words out of the book to form the quotation, and what is left in the book is their location. In this sense, a book does seem made of numbers. The quotation, in turn, is not made of numbers. It is made of only words—the words that quotation has dislocated from the book. Could this be why the quotation of a book is not the book? The quotation is made of words, while the book is made of numbers. This answer to the question is more plausible, I think, than it might sound at first. For one thing, it makes sense of a book’s silence, in the unspoken but countable order of its words. For another thing, reading is arguably an act of counting. What else explains the puzzling thing that happens in every seminar? Sooner or later someone will read words from the book out loud. And while the rest of us could just look up and listen, many of us do not. We try to find the words in the book and read them for ourselves, even as they are being read to us by someone else. And the numbers in a book get us only so far. Page 266; or for those with a different edition: Book 2, Part 3, Section 3, Paragraph 4—the numbers allow us to reach the page of the words, even the paragraph. But to get any closer, we have to stop counting by number and start counting by letter. Yet what is counting by letter but reading the words the letters form? And once we reach the words being quoted, counting by letter means reading those words for ourselves. A book would then be made of numbers even when made of words. Could this be the one way a book is made of its words? It is made of words we count—those words in that order, from a first word to a last. As much as I like this answer, it too arguably goes awry by having lost the plot. True, the letters printed in a book may come in countable order to form the words, just as the words come in countable order to form the sentences; as 10 �do the sentences to form the paragraphs, the sections, the chapters—and finally, the book. Nonetheless, when we read all those words in just that order, it is not to count them but to understand them. Or at least try to understand them; for it is possible not to understand them, or to misunderstand them, prompting us to read them again. But we read them again to understand them better. We even have a word—interpretation—for the act of understanding that reading involves. The two are so close that “reading” has become almost a synonym for “interpretation.” In this sense, reading a book elicits a reading of the book. And reading a book at St. John’s means having a reading of the book to talk about. Or even readings, plural—the one way, perhaps, there remain many books on the seminar table. Here is how we put it in our Statement of the Program: The books speak to us in more than one way. In raising the persisting questions, they lend themselves to different interpretations that reveal a variety of independent yet complementary meanings.5 Notice too, on this account, how the books are able to speak. A speaking book, even if we take it metaphorically, suggests something else gone awry in my answer, where it was the quotation that speaks, leaving the book in a kind of silence. But is there any difference between silence and speech when it comes to understanding the book? Those words in that order remain the same, written or spoken. And our understanding of them might well be improved if someone else is doing the reading, allowing us to close the book and truly listen to what it says. What else explains why we call the audiobook a book, and even use it to get our seminar readings done? Or how we fell in love with certain books as children, even before we learned to read? But where does this leave us, then, with the book’s quotation? Perhaps it is not really different from the book, after all. At least if by “quotation,” we mean anything in the book that can be read out loud, and more or less understood. Let our act of quotation remove all of this from the book. What is left for the book to be? Perhaps nothing. IV Even if there were something, I am not, given the time, about to make a fourth attempt to distinguish the quotation of a book from the book. It is also true that 5 Statement of the St. John’s College Program, 2. The current statement is available on the St. John’s College website. 11 �the quotation of a book, like its translation, can seem like a special case. What could be elusive about a book if we leave it unquoted, as well as untranslated? Think again of those copies of Jane Austen that juniors will put on their seminar table in several weeks, every copy having the same words in the same order. In this identity, it seems we can tell the one way a book is made of its words, from a first word to a last, before this way gets obscured by the book’s translation or quotation. Even so, there is also the book’s interpretation, which is not a special case. It happens as soon as we read the book, and make any sense of what it says. And we can ask what reading does to the book. In one sense, clearly nothing; the words remain unchanged. This is why we can predict that every copy of Austen will be identical, and why we can call it a copy of Austen, as if the words of Pride and Prejudice belonged to the writer of the book. But in another sense, reading the book does something to it—something so radical that Pride and Prejudice will soon belong to its readers among the juniors. And copies on the seminar table—at least the copies not borrowed from the library—will likely bear the marks of this ownership, even before the conversation starts. Certain sentences underlined; a whole paragraph bracketed; a page-number circled; the page itself bookmarked. Then the marks in the margins: a question mark, a check mark, an exclamation point; even a word or phrase written out, a whole sentence crowded in, possibly several at the page’s top or bottom. On a blank page in the front or back, we might even find an outline. To this legible extent, we could say that reading the book thickens the book, at least by every reader with a pen in hand. But this is only prelude to how reading the book lengthens the book, once the opening question is asked. For at that point, we each put our reading of the book into words of our own. And unlike the words of the writer, which come in order from first to last, there is no such order from first to last in the words of the reader. Not that the outcome is chaos; the outcome is conversation. And after that, perhaps an essay on the book, followed by more conversation in the oral. But this, then, is another way that the reader’s words differ from the writer’s: for the writer has the last word in a way that the reader never will. The book is lengthened by the reader to some indefinite point. We could even call it an infinite point—at least for any book about which there is always more to write, more to say, more to think. And with a book like Pride and Prejudice, we can make the difference in length precise. The words of the writer make this book about twelve hours long, using the average running time of an audiobook. But the book has been lengthened, since its publication date, by the words of every 12 �reader, to make it two hundred and ten years long—and counting. If we accept this difference in length as real—and I only have time enough left in the lecture to run with it—then it looks as if a book is always made of its words in two ways rather than one. One way is by the writer, whose words make the book a finite thing. But the other way is by the reader, whose words make the book an infinite thing. This difference seems to hold even if the reader remains silent. For what happens, exactly, when we pull the book off a shelf, open it up, and begin to read? Are we carried somewhere else—my earlier way of putting it? Or are we glued to a chair with our nose in the book—which is how it would look to anyone else? And what of the book itself? Does it remain a small, hard, rectangular object, with pages bound into covers? Or does it become like a canvass that doesn’t exist? The dichotomy in these questions is essentially between the finite and the infinite. Or if you prefer: between the bound and the unbound. And the difference is made by the words. Do they bind the book to its pages, and the reader in turn? Or do they free the book from its pages, and the reader in turn? Suppose the answer is “yes” to both. Could this be how the words of a book make its being elusive—to recall my hypothesis? The elusive, in this case, would involve a contradiction in the words, and the way they limit the book at the same time they liberate the book. My hypothesis, put this way, also allows me to recast my hunch. Perhaps St. John’s is committed to the contradiction in a book—the contradiction, more exactly, that is a book. If so, there ought to be signs of how we live in the contradiction. Here are two, I think. One is the conversation of a seminar, which at our college replaces the lecture given by a professor nearly everywhere else. What makes this kind of conversation possible? What is it about a book that can prompt a discussion of what it means, in place of any account? One thing—to recall a claim I quoted from our Statement—is that the books speak to us in more than one way. We seem to rely on this in seminar. For what if a book could only say the same thing to every reader in the room? The conversation would be at best a quoting of the book back and forth. But consider a second claim we make in our Statement—a claim that seems to contradict the first—to explain the point of seminar: The books can only repeat what they have to say, without furnishing the clarifications that we desire. To overcome this limitation is the goal of the St. John’s seminar.6 6 Statement, 2. 13 �We also seem to rely on this in seminar. For what if a book could only say a different thing to every reader in the room? The conversation would be at best a trading of translations by sight. It can only be a conversation, then, if the book says the same thing to every reader in the room at the same time it says a different thing to every reader in the room. And we live in this contradiction every Monday and Thursday night. But not only those nights. For a second sign of our life in contradiction comes from the book itself. This replaces the lecture of a professor even before the conversation begins. We read the book to see for ourselves what it says, with no need to hear it from anyone else. So peculiar is our commitment to the book in this respect that there exists in nearly every book we read an introduction we skip. But what makes this kind of reading possible? What is it about a book that can prompt a discovery of what it means, in place of any account? If we are not to read such an account, then it seems the book has to answer the question of what it means—completely. Yet if we are not to write such an account, then it seems the book has to raise the question of what it means—perpetually. Perhaps this explains the difference between the writer’s words and the reader’s. In the answer of what is meant, there is a last word in the writing of the book. But in the question of what is meant, there is no last word in the reading of the book. And when we are not living in this contradiction through conversation about the book, we are living in it through the book itself. V Or so the idea I have been running with would suggest of our commitment, if a book is always made of its words in two ways at once. There is no time left for me to question this final part of my lecture. But I do have time, I think, to question the whole of it—by way of conclusion. For have I really said anything about the being of a book? A book, that is, rather than a text? What is the difference, for example, between the books we read for seminar and the manuals we use for tutorial or laboratory? One answer is that the books are great—great in a way that our manuals, being manuals, will never attain. But if my hunch is right, calling our books “great” is no real answer. What then is the answer? There is perhaps only one place in my lecture where I address books in their being as books: at the beginning, in fourth-hand words. A book is a small, hard, rectangular object, whose pages are bound along one edge into fixed covers and numbered consecutively. 14 �Much of this description could apply a manual—or for that matter a senior essay. They are somewhat small and rectangular; and they can be at least as hard as a book in paperback. The pages are numbered consecutively; and we can bind them along one edge with rings, or a spiral, or staples. But the pages, thus bound, are not fixed in covers. In this respect, one page remains separated from the next. In particular, the last page is separated from the first, by all the pages in between. Not so with a book. The last page forms a cover with the first, to contain all the words in between. In this respect, the first and last page are one rather than two. In practice, from the use of signatures, this only holds for the front and back cover of a book. But we can use these covers to imagine the perfectly-bound book, where the first page forms a cover with the last, the second with the second-to-last, the third with the third-to-last, and so on. Perhaps you can see where I am going. The book is like any text insofar as the first page leads to the last; and this makes it finite. But in a book, and only a book, the last page leads to the first; and this makes it infinite. It starts to look as if the binding of a book allows the being of a book to be embodied. This being may remain elusive, even contradictory, if the book is finite and infinite at once. But the way a book is bound seems to allow the infinite to emerge from the finite. When we read the book once, as if it were finite, we are invited by the book to read it again, making the finite infinite. It is as if books were built to be read again, bound to be unbound. In one sense, “books to be read again” can sound like a platitude, especially if we think the books in question are great. Those books are obviously built to be read again. But even here I think the platitude is really a paradox. Let the books be great—at a school where books are not simply what we read, but how we learn and come to know. It may still make sense that we can read a book once, then read it again. But what could it mean to learn something once, and then—as if we unlearned it—learn it again? Or know something once, and then—as if we forgot it—know it again? Even the greatest book we read on this question, Plato’s Meno, leaves the answer—recollection—at the level of myth. Could being a book make it the truth? Daniel Harrell St. John’s College, Annapolis Friday Night Lecture February 23, 2024. 15 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data pdf Page numeration Number of pages in the original item. 15 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Being a Book Description An account of the resource Typescript of a lecture delivered on February 23, 2024, by Daniel Harrell as part of the Formal Lecture Series. Mr. Harrell describes his lecture: "When the so-called New Program was established at St. John’s College in 1937, conversation was to play no essential role—at least if you believe the first statement of the program, written by Scott Buchanan. Where you would expect the word 'conversation' you find 'instruction' instead, as in this brief description of the seminar: Meetings of seminar groups will occur twice a week with any additional meetings that special circumstances or difficulties may indicate. There will be two instructors in charge, and the instruction will make use of a wide range of devices from explication de texte to analysis of intellectual content and the dialectical treatment of critical opinion. When I read this description, I like to think that the importance of conversation to our endeavor emerged over time: a matter of discovery rather than dictate. Has something similar happened with the importance of books to our endeavor? We have always stated this importance in terms of what makes certain books great; but what makes them books, I have come to think, is even more central to our experience of reading them, discussing them, and learning from them. Perhaps there is no way to dictate by 'great' how we come to find ourselves in these books, just as there was no way to dictate by 'instruction' how we came to find ourselves in a conversation about these books. But what makes books books? What does it mean to be a book? This is the question of my lecture. And my hope—despite the St. John’s frame I use here—is that the lecture will be of interest to any reader of books, even if it fails, by my lights, to make full sense of a book." Creator An entity primarily responsible for making the resource Harrell, Daniel Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2024-02-23 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission to: Make an audio recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audio recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a copy of my typescript available online." Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Books Definition (Philosophy) Meaning (Philosophy) St. John's College (Annapolis, Md.) Language A language of the resource English Identifier An unambiguous reference to the resource within a given context LEC_Harrell_Daniel_2024-02-23 Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/1f498d8c95bd2a6649a37831bb522e52.mp4 682f0714cd84458f79f989ec4f8cdebf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data mp4 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:54:50 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Being a Book Description An account of the resource Video recording of a lecture delivered on February 23, 2024, by Daniel Harrell as part of the Formal Lecture Series. Mr. Harrell describes his lecture: "When the so-called New Program was established at St. John’s College in 1937, conversation was to play no essential role—at least if you believe the first statement of the program, written by Scott Buchanan. Where you would expect the word 'conversation' you find 'instruction' instead, as in this brief description of the seminar: Meetings of seminar groups will occur twice a week with any additional meetings that special circumstances or difficulties may indicate. There will be two instructors in charge, and the instruction will make use of a wide range of devices from explication de texte to analysis of intellectual content and the dialectical treatment of critical opinion. When I read this description, I like to think that the importance of conversation to our endeavor emerged over time: a matter of discovery rather than dictate. Has something similar happened with the importance of books to our endeavor? We have always stated this importance in terms of what makes certain books great; but what makes them books, I have come to think, is even more central to our experience of reading them, discussing them, and learning from them. Perhaps there is no way to dictate by 'great' how we come to find ourselves in these books, just as there was no way to dictate by 'instruction' how we came to find ourselves in a conversation about these books. But what makes books books? What does it mean to be a book? This is the question of my lecture. And my hope—despite the St. John’s frame I use here—is that the lecture will be of interest to any reader of books, even if it fails, by my lights, to make full sense of a book." Creator An entity primarily responsible for making the resource Harrell, Daniel Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2024-02-23 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission to: Make a recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make a recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a copy of my typescript available online." Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Subject The topic of the resource Books Definition (Philosophy) Meaning (Philosophy) St. John's College (Annapolis, Md.) Language A language of the resource English Identifier An unambiguous reference to the resource within a given context LEC_Harrell_Daniel_2024-02-23_ac Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/c6eecaa5eb3d7bd87ec63e66673c0f51.jpg 28bbb7a5505a6c7646c73faee1191d59 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 17.5 x 12.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0803 Title A name given to the resource Bench outside the Francis Scott Key Auditorium Lobby in Mellon Hall, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1970-1980 [circa] Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Mellon Hall (St. John's College, Annapolis, MD) 1970-1980. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Francis Scott Key Auditorium Francis Scott Key Lobby Mellon Hall https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/7d49441985bd172fa2f1e3347c840713.pdf 329ff464ce6c27101ea4e5b32f00ba1d PDF Text Text ~-· . BENEFIT,.~S:ONCERT .. I • \'. .. . for ... · ALLIES -Wi\.R REL·fEp r \~ UNDER THE PATRONAGE OF LORD AND LADY HALIFAX t~i .,J,'f~ . .. .. , , ... and .. .,,.._.· ·-"' . . • ..• ·. RUSSIAN ..WAR REL~F ··· . - ....... ' .- .. .-. _,.. ~ . '"F 'i ~ _. · .,; --+ ~ ! .._. .. . .. '· "t• ~ , ~. • ~ i\. ":.- - · ~- .c: • A .~ -~:.~-. ~""''B~~i;;;.:~ :_ · :; " . .:t ':': .. !'; ,. .,. ~~ ' ' ·. · Qued ,(/did ~ . ~. ; ~ 1i~ -.;- ; ... .- . - · ·c _..,_ _ . . Wednesday, Ntay 20th 1942 1 . ·~ 't~ ... at .. . ~~>Saint John's College 1·• • • ...,;j �Program I. Overture to "Prometheus" II. Concerto for Piano and Orchest ra ni C minor B eeth oven Mozart lst movement -allegro Soloist : ALEXANDER KoUKL Y, '44 Conductor: R. \V. HUTCHISON, '44 . III. Concerto for Violin in D major 2nd movement- andante cantabile 1st movement - all egro Soloist: MRS. VIRGINIA MUTTER BENAC INT E RMISSION Mozart �Program IV. Fiv~ Choruses from "Oedipus R ex" for men 's voices, speaker, and two pianos 1. "Alas, beyond all reckoning " 2. "Glad message from the voice of Zeus" 3. "The Prophet wise" 4. Nobokou "Alas, 0 O edipus" Spea ker: CoNSTANCE HOLLADAY NABOKOV 5. "Look ye, who dwell in Thebes" At the pianos: ALEXANDER KOUKLY and ALVIN EPSTEIN INTERMISSION V. VI. " Caligaverunt oculi mei" a cappella mixed chorus Six excerpts from "Orpheus and Eurydice" Soloist: NATA~IE BODANYA Soprano of Metropo!itan Opera Company, w ith C horu s and Orchestra 1. " If h ere, where all is dark and silent" 2. "Aria : 'Go and with thy lyre' -Recitative and aria: 'The gods if they call thee ' " 3. Ballets Nos. 2 9 and 3 0 4. Aria : " A change now deceiving" 5. Aria with Chorus : " On these mea dows" St. John 's College C ommunit y Ch orus and Orch estra und er th e direction o f Nicola s N ;1bo ko v Vittoria Gluck �March 28, 1976 f I I ' I write this nostalgia 34 years after the / events.which occurred at that period when ~· I was a student at St. John's College and the author of this book, Nicolas Nabokov, was conductor of the male choir and the community chorus. Although~bued with the pleasantry of youth, those were, in all, not pleasant times. America was deeply wounded at ~earl Harbor in the middle of my senior year. We had been alerted to expect possible recourse from the Atlantic Ocean side, and we were located right on the ~~ __ 1 main tributary, the Chesapeake Bay. He were \f"""Wl"-"1 ~ a prime target for a determined terrorist attack from German. n~val v ~ssels if they 1had 1a~d.~~~ ~ the risk. Hi~\"1/ ~ ~crtc~ ~1 cl id J ~· w~. . . . , . ____, ( ~ U1- ~ ;.....,~ It was good to have othe things to occupy our minds. Certainly it was difficult enough to conc~ntrate on studies under the pressures of the ~1e and the uncertainties of the future. Music, as always, was my outlet. d program from ~ On the next page you will see theAfinal concert in which I performed. tXMX~MXM~X Previously we had done two concerts of mixed sacred and secular music. This final one,~ under the auspices of Lord and Lady Halifax, J he then the British Ambassador to the Unite~ States, [ was on o the mos enjoya e from the performer~ viewpoint ~ This was a concert by the complete community chorus and orchestra, with participants drawn from the Annapolis ~ ~~ ~~~~~ .XXI~X*~~XXXx~XI~NX~XMa~XX plus the male chorus of the tC1 ollege. The orchestra conductor on at le~st one selection ~ a student as was the piano so ~ st. RXXMXXX We had a~our-stripe Navy captain playing clarine ~ sitting beside a nine-year old boy, also playing clarinet. Our violin solist was a Navy wife, and our soprano soloist, Natalie Bodanya, of the Metropolitan Opera Company, was Mrs. William Gorman, wife of a professor of the �~llege. r~ l ~ -2- - ·\-k\·l vy' RehearsalsA began just after the ~hristmas vacation, in early January, and helped considerably to ease the post •Christmas let down. The music began to emerge into something ve~y attractive , especially the Orpheus . Solo vocal parts in the Orpheus wer e played on a clarinet or flute until Natalie returned from N~~ork ~ : ~ in early April, -when her season ' s ·work wi th the *~ was finished. ~ we fi'?st-tnfa;d that magnifice t ( voice J<, ing the solo parts in Orpheus it was as •t-It" ~ all of us were lifted from the chairs to our feet. Thereafter we .did all xl* of the accompanying parts in rehears ;}) standing. -·- ........... • • \. t M r. Nabokov (or Nic~~ as we called him) was patient, for we were definitely not a professional group and had verytew trained voices in the chorus. You will confirm this on page 207. We tried , and if we were found wanting, we simply add "mea culpa." and other students IAspent several pleasant Sundays at the home of Bro and Mrs . Gorman (Natalie Bodanya and her husband), listening to musical artists perform, and on one occasion she invited me to sing the bass part with her to a duet in Mozart ' s XMX~~~ Die Zauberflb'te (The Magic Flute). \'fe were --:.:!':.-accompanied on the piano by a young, pr o mising ~.~ ill\. pianist, Leo Smit (page 198) . I_w ~ reminded of .~ the musicales I xax•x a~ ended in salons of Vienna and Salzburg, many years later. On another occasion, at a formal dance, I was intro duced by Natalie to Lawrence Tibbett, then and for many years before and after, a leading barit one at the Metropolitan . The three of ~ s enjoyed ·a long• ~ con.versafio~ c~mc:rn ~ng opera an~ lieder . 'n~'\f d.'" .U (I..J t t.•.,.d ~ ·~· • r: ......._. , I '].hu.s.., e were not strangers to Natalie when -N.,..,It. ~ she sang with us, for she had studiet German with .~v ~ before leaving in 1941 for~ Metropolitan ~· season. Then too, our c+ass r woufay - s1 her young son ; as r eq uired . ~v e regarded this lovei'ly person, and ma gnificent artist, as one o f our claSS JV'I a ·t a.~ , \ •.,J 'J , .____,c;_...,. �- 3If Mr. Nabokov seems a little petulant with what he found at St . John's he is probably justified. Untimely snaf tched from 'the glorious aur~ of the imperia ~ Russian elite to penury in a Paris garret ~ , all as a result of havt ing been birthed in a per ~~h£n atavistic connections to royalty were unpopular, but suddenly criminal , he bore his fate with admirable fortitude and classic dignityo We were, after all, a small college., also somewhat revolutionary in educational outloo~ ut;[like Nick , tenacious , unyielding, and abo~e aQl, courageous. As I look back up on those years one might believe, f r om the ab o ve descriptions , that they ~e ? ! of my life. At the time , they were, for it was 'that I had and what I was enjoying to { l the best of my ability amidst a world gone (}J>-- schiz~phrenic . c Hould I care to repeat. them? No, not for ev ~ n a recoup of all the years intervening, because there is a false II~«IX euphoria, adumbrated by the aging process, which dece~ves us into beliving that youth, like , Candide's best of all possible worlds , is the best of all possible times . Bo th, of course, are completely wrong . ) , ~ I •I \ Ahk: ,b.-; . (1 l q '7~; . ( f\£0-0 l{o~t( I f~tc lc ( d(eJ . ,. T cWJC'S ~ r~d· erce.( (e~+ ~~~(C.,((L, "'-1 0~ cf-/ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 6 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Benefit Concert for Allies War Relief Date A point or period of time associated with an event in the lifecycle of the resource 1942-05-20 Identifier An unambiguous reference to the resource within a given context Bx1-31 Description An account of the resource Program of the Benefit Concert for Allies War Relief under the aptronage of Lord and Lady Halifax and Russian War Relief. Guest artist was Natalie Badanya. In addition is a letter dated March 28, 1976 by one of the performers from the college. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/e0be5caf1a84937a92fae545edde7070.jpg ba0560a89d1c26aaad688622371d8da9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 17.5 x 21.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0924 Title A name given to the resource Bernard E. Jacob and Barbara Dvorak (Winiarski) Discuss a Drawing Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1954 [circa] Creator An entity primarily responsible for making the resource Marx, Hans Subject The topic of the resource Jacob, Bernard E. Dvorak, Barbara Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Alumni https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/a0ed02521508c52d97293d18e87bc0ab.pdf 785f8d18dbe5bee66ee4ba56357894a5 PDF Text Text Charles G. Bell, 126b'''Caii3y3n Road, or St. John's College Santa Fe, Ne^r Mexico 87501 SYMBOLIC HISTORY — Through Sight and Sound 35t Betveen Wars — 20th Century, Art and Politics 1) Rembrandt 1656, Jacob Blessing the Sons of Joseph, State Gallery, Kassel (video begins vith detail) la) Same, detail (vith video lb and other details) MUSICt Albert 1640, from Recitative, Kirchenkantata, "Bist du nicht . --- mit deinen Gaben", (Tinavre) Col.7073 D, Side 7 Begin vith the style-plateau of Europe, Rembrandt, 1656, Jacob blessing the sons of Joseph, in the century of Descartes and Newton (in music this Albert), when rational science, chordal harmony, representational art, seemed to constitute a divine order — Henry Moore: That spiritual object, which we call space... represents for us... the true and universal nature of the continuous divine presence... (end Recitativ^^ ' Bos?Sn (upplr Daughters of E.D. Boit, Museum of Fine Arts, Boston Stewart Gardner, Kus. of Fine Arts 2b) Again 2, Daughters of Boit, detail Ill ^ ”»e, John Hay ^SIC: Hugo Wolf 1896^^0var dein Haus (Rita~ Streich) D.Gram. 138641 From this 1882 group portrait, through the First World f War, Sargent kept up the grand manner of figures lighted in space. But against Rembrandt or Velasquez, these daughters of Boit in their Paris drawing room (with the music of Hugo wold) seem as spaced out as the children of Henry James. When a reality which once affirmed God and world has become BO spectral, (fade Wolf) how is it to be maintained? a3) Gino Seyerini 1915, The Armored Train, detail, R. Zeisler, NYC [video only] b3) Andre Derain 1905, Le Faubourg, Collioure, priv. coll'n, Paris 3) Double: Again a3, Severini's Train, whole; and Picasso 1938, Girl with Cock, Museum of Art, Baltimore 3a) Again 3B, Picasso, Girl with Cock j �C.G. Bell Between Kars - 2 MUSIC; Varese 1922# frorn-Americnie (Utah)# Vanguard SRV~274 SD All during Sargent's lifetime and in all arts (Varese's doubleedged clang of Amerioue# 1922)# the converse vave had been moxinting# through Cezanne# Post-Impfessionist# Fauve# to the dissolving ecstasy of Ltuninism# Blaue Reiter# Futurism — this 1915 Severini (left)# where an armored train elides into rapture. % And when Picasso (right)# in the throes of a Europe bungling through Fascism to Second War# struck back# it was not by realism, but by the cleaver of post-Dada attack — this Girl with a Cock of 1938. [video only) a4) G. Kolbe (Nazi) c. 1935, Great Fighter [video only] b4) Boccione 1913, Unique Form of Continuity in Space, bronze, Civic Gallery of Modern Art, Milan 4) Double: b4, Boccione's Continuity; & a4, Kolbe's Fighter 4a) Reginald Marsh 1932, Tattoo & Haircut, Art Institute, Chicago [video only] 4b) Marsh 1934, Negroes on Rockavay Beach, Whitney Museum of American Art, NYC 4c) Again 4, Double, Conti^iuiiy & Fighter, upper detail [video only] 4d) Again a4. Fighter, detail [video only] 4e) Again b4. Continuity, detail Though Establishment# even into nightmare times# resisted modernism (whether of Yea or Nay)# as if it sabotaged old claims _ V this 1913 Boccione (left)# "Unique Form of Continuity in Space." (fade Varese) No wonder# as the Free Enterprise flivver went into Depressionshimmies and mass cults took over (Mussolini# Stalin# Hitler# the milder New Deal)# they backed art-reaffirmation of nature and man. This 1935 Kolbe "Great Fighter" (right) damns the whole Boccione experiment. Yet how like# in that wilful assertion which pushed with Futurists toward the First# with Fascists toward the Second World War. Must not both wear like a shadow some Hollow Man suppressed anaemia: "Here we go round the prickly pear/. ..At five o'clock in the morning"? �. Bell Between Wars - 3^ a5) Maurice Utrillo C.1910, Rue des Abesses, Paris, Whitney Collection, NYC [slide only] b5) Derain 1906, Charing Cross Bridge, Private Colection, New York City 5 [video only] c5) Picasso 19b8, Standing Figure, Museum of Fine Arts, Boston 5) Utrillo 1910-12, Rue du Chevalier de. la Barre, Coll'n. of Richard Seewald (with video detail) For there was a euphoria (from Revolutibn through romantic, symbolist, modern, which it was always possible, by, temperament, drink, or Pascalian vertigo, to slip off of ~ Hindemith, from 1922. So alcoholic Utrillo's pre-war Paris clouds the Fauve-bright scene -- like the Boston of Eliot's "Prufrock": Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question... O, do not ask, "What is it?" Let us go and make our visit. 6) c. 1919?, Woman in a Large Hat, R. Lehman Collection, NYC (with video detail) Modigliani too, by addiction and consumption, fell beyond Picasso's Blue and Rose into the enervations of that Lady whose Portrait Pound — "your mind and you are our Sargasso Sea", and "she is dying piecemeal/ of a sort of emotional anaemia" — would turn over to Eliot* "Eyes that fix you in a formulated phrase", and "I shall sit here, serving tea to friends". (end Hindemith, sehr lanasam) [slide only] a7) Kandinsky 1913, Improvisation 30 (Cannon), Art Institute •*'“ of Chicago [video only] a*?) Kandinsky 1914, Picture with 3 Spots, Guggenheim Museum, NYC 7) Double: Again a7, Kandinsky, Improvisation 30; & 1927, Points of an Arc, private collection (with video details) 7a) Again 7B, Kandinsky Arc Points _______ ^________ ____________________ MUSIC* Hindemith 1922-3, Same sonato, 4th Mvt, "Rasendes", Mace ------------------------------------------------------ MCS 9075 Kandinsky's early elation (left) had turned foreseen destruction to a Symbolist Sieg Heil: this 1913 Improvisation with firing cannon and toppling materialist towers. But Kandinsky himself after Versailles (all those little doomed democracies carved �C.G. Bell Between Wars for exploitation out of defeated empires) Kandinsky (right) tightened inebriation to a geometric aftermathi while the climax movement of the same 1922 Hindemith, strait-jackets pre-war iconoclasm. F.A. Breuhaus, Bonn Such the foreboding drumbeat Hofer, in 1920 Berlin, would bring from Cubism and the blood-depletion of war. AgaiVi Eliot had penetrated to that skeletal mood in 1911 Paris; "Rhapsody on a windy Night": Every steet lamp that I pass Beats like a fatalistic drum. The last twist of the knife. (end Hindemith, "Rasendes") a9) Salvator Dali 1935, Nostalgic Echo, coll'n L.M. Maitland, close detail b9) Clovis Trouille c. 1940?, Mon Tombeau, detail, artist's coll'n (with video detail of bats) 9) Again a9, Dali's Echo, whole (with closer video detail) In The Waste Land Eliot seems to have foreshadowed also the Dali smart Surreal, this 1935 Nostalgic Echo, with its bell-clap^^ woman and skip-roping inversion; A woman drew her long black hair out tight And fiddled whisper music on those strings And bats with baby faces in the violet light Whistled, and beat their wings And crawled head downward down a blackened wall And upside down in air were towers Tolling reminiscent bells, that kept the hours And voices singing out of empty cisterns and exhausted wells. 10) Mack Senne’tt c. 1917, Bathing Beauties, Mus. Mod. Art, NYC (with video detail) As for Dali, after*Spain and Paris,, he was now sharing in the continental fruitcake of America, everything from Rock of Gibralter East to the Zaniest shenanigans of Hollywood — this Mack Sennet 1917 Bathing Beauties; give those girls anyway? and what is Santa going to a bag of diapers? �9 Between Wars C.G. Bell 5 11) John Marin 1922, Lower Manhattan, watercolor. Museum of Modern Art, NYC ____ (with video detail)_____________ __________ ____________________________ Yet the Ea^t too was pulsing with the vibrance of capital expanding as never before toward boom and bust — staid insurance companies housing JveS and Wallace Stevens, while John Marin caught this 1922 Lower Manhattan, the sun going off Like an atonic bomb at the heart of it. Such affirmation as William Carlos Williams risked in his 1917 "El Hombre": It's a strange courage you give me ancient star: “ shine alone in the sunrise toward which you lend no p^rt! al2) 20th cent.. Swimming pool at the Hearst Castle, San Simeon, CA 12) Double: Inigo Jones Etc. 1647-52, Double Cube Room, Wilton House, England; & Assembly room, Hearst**s San Simeon (1919) 12*a) Single of 12B, Hearst *s Assembly room________________ _______________ While incalculable fortunes rose and deployed themselves, not yet for the modern, but in the acquisition and pastiche-display of Gothic, Renaissance, Baroque. Beside the ornate refinement of Inigo,Jones' mid-17th century Double-Cube Room, Wilton House near Salisbury (left), how ecclectic the ostentation of the Assembly Room at ;5an Simeon, where William Randolph Hearst sat at the hub of a tabloid ,empire to receive his guests. Did the infinitely varied surge and intemperance of that America admit of any limits jt; at ali? al3) Nigerian (Olowe of Ise) 1895, Reception of first British Administrator to visit Ekiti, carved doors from Palace of Ogoda, British Museum, London, detail 13) Same, Carved doors, whole (video various details)---------- ---------MUSIC, central Africa, Burundi chant avec clthare (vhlsper-so^ By will or fate we had subsumed everything the conquering West had dreamed or brought of against what was not yet called the Third world:— this Reception of the first British administra tor in Ekiti, Nigeria — Captain Ambrose like a sick bird, with �C.G. Bell V. - Between Kars 6 his shackled bearers, confronting the Uoruba chief with his wives and elders. (fade Burundi> Jttterbugglng In a Jake Joint, Clarksdale, MUSICt Duke Ellington Orchestra 1938. from Battle of Swing ' ' ' - jjazz II tape, A.475) But would not Kurtz meteoring down to the Heart of Darkness symbolize the reverse conquest of beat rythm seeding New World and Old with reckless revitalization — these indomitable Blacks to a Juke Box in Clarksdale, Mississippi, 1939 .A' (why not to Duke Ellington's "Battle of Swing", lately the rage of Paris?) (end Ellinoton) 15) Photoi Margaret Bourke-White 1937, -At the Tine of the Louisville ---- Flooa-, Eastman House, Rochester. NY (with video A.t.Hsi _Blues, Odetta (from Blind Lemon Jefferson#) I just can't kfeep from cryln' sometimes. RCA LPM 2573 all post*>Nretzschean modern, that wild release transvalues the caustic betrayal of enlightened and romantic hope. This 1937 photograph is entitled "At the Time of the Louisville Flood", but the seeking blacks against that slogan-sale of the American Way, might project from any Depression city the job or soup lines of a crazed economy, everywhere veering toward violence. 16) Photo 1938, Mussolini & Hitler parading on Hitler's visit to Italy, Florence (with video details) (cf» Atomic Age a76)* I wa’s in Florence during Hitler's 1938 visit. The Italians hated the Germans, but Welcome signs plastered the walls. From windows, not to be raised above five centimeters, we saw the great car pass between banks of soldiers, the Duce and FUhrer side by side, one acting for the crowd, the other for his own romantic heart. On every lamp-post loud-speakers had been hung, form which (to offset Italians shouting for Mussolini) volleyed a raucous "Heil Hitler, Heil Hitler?" The corporal waved acceptance. passed, the real cry eased, while the record-rehearsing As the car ^ �Bell Between Wars - 7 ■legaphones boomed "Hile Hitler, Heil Hitler" ad absurdum. Italian cleverness! 17J^Hans^Hofmann wSSo S2an) Of ArtV New But who was being deceived? Mfe's Picture History of World War ii ' Fantasia, University Art Museum, Berkeley, CA (with ?95fGallery, Nev YorX ^ Square: "Ascending", Whi tney Museum MUSIC: Schonberq 1936, Fourth Quartet, opening. Vox SVBX 590. sidP> s From that vortex beyond the human, of which Chaplin would make fun and history destruction, the arts, the races banned as degenerate: this Hofman color Fantasia of 1943, with its stressed discoveries of pure "push and pull...force and counterforce"; SchOnberg'E 1936 twelve-tone Fourth Quartet: the very sciences of relativity and indeterminacy, also accused of decadence _ these regrouped in America for a love-feast of modernity — euphoric transvaluation of earth-upheaval. Had what was exiled constituted a kind of "Drunken Boat" danger: or search through danger for radical renewal: or was it the protraction of a now fashionable mode? Could it be all in one? (fade_SchSnber£) 18) Provencal Rom'q c. 1160, Bearded Apostle (head), Gilles-du-Garde, near Arles (with video detail)_______________ _____ MUSIC: Leonin c.llSO, from Alleluva, at "In Azimus "(Oberlin etc.) -- • ■ ■■ ... .. — MHS 676 (Band 2) "Eternity," said Bernard of Tours, called Silvestris, "is I that from which time must be bom and into which it must be resolved." But not all our art-stripping could revive the force with which spirit first buttressed (over the bare-fifth voids of Romanesque) the almost demonic stare of body overmastered by God’s word. (fade Leonin) 19) J. Dietrich 1738, St. Augustine (head), Diessen am Ammersee, Bavaria (with video detail) �C•G• 6g1X Between Kars - 8 MUSIC: Bach 1733-8# from Quoniani, B Minor Mass (Karayan etc.) ■ ------ -------------------------- Angel '3500 C Nor our sensuous cultivation# our fulness of techniques and knowledge# restore the sanctifying order of earth and man, which the 1700's rhetoric of Baroque (here Dietrich and Bach) tirelessly proclaims. (fade Quoniam) 20) Rouault 1925, The Apprentice (self portrait). Museum of Modern Art, Paris (with video detail) 20a) Rouault 1932, Christ Mocked, Museum of Modern Art, Paris (with video detail)____ ______________________ MUSIC: Satie 1918, close of Socrate, Angel S-36846 In conscious disclaimer of that plenitude# Rouault's simulation of stained glass# or this close of Satie's Socrate does not resume the clean force of the pre-personal, romantic# Eliot's 1911-12 "Prufrock": its soil is broken "I am no prophet _ and here's no great matter" (close Satie) — a debility perfected by 1925 in "The Hollow Men": "...We are the stuffed men/ Leaning together/ Headpiece filled with straw. Alas!" ... "Waking alone/ At the hour when we are/Trembling with tenderness/ Lips that would kiss/ Form prayers to broken stone." Between "This broken jaw of our lost kingdoms" and faith "Falls the Shadow/ Life is very Ipnq... For Thine is/ Life is/ For thine is the/ This is ^he way the world ends...Not with ^ bang but a whimper." Had the spirit and exhuberance of the past worn down to Eliot's neo-skeptic return to high church and state? of"Moal: irtf'NYC** Dancer Accompanies Herself vlth her Shaaowe, Mus. Hashlnston, Art Musenm, Portlana, & American Gothic, Art Institute, Chicago 21a) Again 21B, Wood's Gothic (with video details) Again 21A, Maurer's Washington 2l£j John Stuart Curry 1937. The Mississippi, eitv Mnsenm. st. Louis By 1916 cliques of Americans had turned (with Gertrude Stein) to clever or pained debunking, if Man Ray and Schamberg carried �o » r Between Wars - 9 it with the wit of Dada» poor Maurer (left)» who scarificed Impressionist success to the Cubism of Paris, gave that reduction a melancholy of his own: this George Washington of 1932, year of the artist's suicide. Appropriate to a time of Crash and Depression, that such anaemia on the abstract side should be countered on the realist by Grant Wood's 1930 American Gothic (right), its make-believe of pitch-fork father and spinster daughter (ironically aproned in circles and dots) prime for Eliot's slide through The Waste Landt I think we are in rat's alley Where the dead men lost their bones — to the dry conversion of Ash-Wednesday (also of 1930) — Although I do not hope to turn again Although I do not hope..i Wavering between the profit and the loss... Yet in the realistic fiction of that horizon, Mississippi Faulkner could sweep the impenetrable gloom of The Sound and the Fury, Absalom, Wild Palms on an affirming thunderhead of hallucinated prose: ___ 22) Marie Hull 1936, An American Citizen (John Wesley Washington), Artist's collection (with video detail) ^ w c*. 22a) John McCrady c. 1936?, Swing Low Sweet Chariot, City Art Museum, St. _____Louis, MO------------------ --------- —--------------------- ----—----, . . Because if memory exists outside of the flesh it wont be memory because it wont know what it remembers so when she became not then half of memory became not and if I become then all of remembering will cease to Yes, he thought, between grief and nothing I will take grie . Marie Hull, Mississippi painter to be caught up later in the excitement of the New York School, is no art-equivalent. Though this portrait, from the Depression, of "An American Citizen" (another Washington), has the stamp of Faulkner's indomitable Blacks— in Dilsey's church, the monkey-like preacher with the great voice: �Between Wars - 10 C.6. Bell 0 breddred! I sees de doom crack an hears de golden horns shoutin down de glory# en de arisen dead vhut got de blood en*de ricklickshun of de Lamb. a23) Robinson Jeffers 1958# Photo by Edward Weston [video only] b23) Photo Sept. 26, 1918, Mobile Railroad Gun at Baleycourt, U.S. Official War Pictures , . n ^ ^ , c23) Photo May 3, 1939, World War II, Chungking (China) bombed by Japan, Life»e Picture History d23) Photo: Crab Nebula in Taurus, remnant of Super-nova observed by Chinese in 1054 AD ^ e23) Robinson Jeffers' Stone Tower, Carmel, CA (CGB 83) f23) Yeats' Ballylee Tower with bridge (CGB '80) 23) Morris Graves 1940. Blind Bird. Museum of Modern Art, New York C_i^-West of the Black sway, Jeffers attempted a Dionysiac crucible of terror* He brays h\imanity in a mortar to bring the savor From the bruised root... I have seen these ways of God... Unmeasured power, incredible passion, enormous craft: ... a certain measure in phenomena: The fountains of the boiling stars, the flowers on the foreland, the ever-returning roses of dawn. As if three pockets of the English speaking world had approached tragic resonance* Jeffers' Carmel coast, Faulkner's Mississippi, and (above the rest) the Ireland of William Butler Yeats. Yet these were word-kindlings, loosely linked to any art-stirrings from the same or other soil ~ as from Seatle, Graves' 1940 V Blind Bird. 24) Frank Lloyd Wright 1936, Falling Water, Bear Run, PA 24a) F.L. Wright 1936, Falling Water, South elevation. Night 24b) Photo: Windsor ruins near Port Gibson, MI (CGB '80)--------------Who is greater than Frank Lloyd Wright? tragic. Yet he defies the Can even his masterpiece, this 1936 house cantilevered over Falling Water, lift the ruins of time to an eternal sphere, all presences abide? It is what Yeats does in poems of those years ~ "The Curse of Cromwell"* I came on a great house in middle of the night,^ Its open lighted doorway and its windows all alight. And all my friends were there and made me welcome too; But I woke in an old ruin that the winds howled through; And when I pay attention I must out and walk Among the dogs and horses that xinderstand my talk. O what of that, O what of that. What is there left ^ say? �’CVG'.«Bell Between Kars - 11 25) Mondrian 1902, Trees on tKe R*»in detail)______________ on the Gein, Gemeentemuseum, The Hague (vith video Begin again. MUSIC. ------- , Can ve typefy the style-current of the first third of the" century? Mondrian would »,ove in twenty years from this 1902 I«>tch landscape to a ruled abstraction of white and primary color equares. In the comparable break with tonal harmony, Pebussy, up to 1890 was refining French Romantic ?vlth^vtdeo Farmhouse, Gemeentemuseum, The Hague towards musical Impressionism, while art sought an abstract color-music. Yet what Of the ratios on which music had relied? The ear knows them by wave-overlay. but seeing blurs proportion, whether Of space or color frequency. stretched representation. No wonder visual harmony has mostly In this 1906 Mondrian (from four years later than the first), landscape feels its way toward geometry. (end Nocturne) Mondrian c. 1911-1?, Horizontal Tree, Sidney .T.nis Gallery, w.w v„,. ^SlCi^bussv loot. PaooHe.. unin^, ^t. PHC t ,n., si* ">ore years Mondrian climaxes that search for the form underlay of nature, indeed the background of this Horizontal Tree already admits the cubism of Paris. With pebussy, a oomparable span might take us to the gamelan inspired Pagodas of 1903. detfu)^ detail Composition, Stedelijk Museum, Amsterdam (vith video Almost within a year Mondrian had dissolved the espalliered tree (with other natural objects) into a complex of straight and curved lines forming planes of blue and tan - for which the title �C.G* Bell Between Kars - 12'- now can only be "Composition". t It is the pre-war climax of abstract experiment. (fade Pagodes) [slide only] a29) Mondrian Double: 1921 Composition with Red, Yellow and Blue, The Hague; & 1922 Composition 2, Guggenheim Museum, New York City 29) Single a29A, Mondrian Red, Yellow Si.Blue (with video details)__________ MUSIC: Debussy 1915, from Etudes, Pour les notes repetees Debussy did not live into the reductive tightening of the post war twenties, in which, from 1921 to 1933, Mondrian’held to a canon of perpendicular black lines, ruled on white and edged with primary-color rectangles — though Debussy's last studies, the Etudes of 1915, move that way. Is Mondrian's abstract stripping the main stream of the time? And what is its content? Before I knew Wil.liam Carlos Williams, I cited his "Between Walls" for such indirection: Between Walls the black wings of the hospital where nothing a30) Mondrian 1942-3, Broadway Boogie Woogie, Museum of Modern Art, NYC 30) Mondrian 1943-44 (unfinished). Victory Boogie Woogie, Coll’n Tremaine, Meriden, Conn.____________________ __________________ _________________ will grbw lie cinders... in- %diich shine the broken pieces of a green bottle Though when I asked him afterwards if that shattered glass spoke mere fragmentation, or the outcrop of beauty even from the sterile — he, who hated to explain poetry, groaned: "I meant the latter." So Mondrian in New York, 1943, brought the vibrance \ of what he now called Boogie-Woogie, to this final unfinished diamond entitled "Victory Boogie-Woogie". (fade Etudes) �C’ .G. Bell Between Wars - 13 31) Duncan Grant 1910, Portrait of James Strachey, Tate Gallery, London (with video detail MUSIC; Vaughan Williams 1914, from London Symphony, into the 2nd mvt., " -------------------------------- London LL 569 We cannot deny the trend of reattachment. Duncan Grant, born in India, trained in Paris, painter of the Bloomsbury group, might seer, at first drawn to the abstract. Into the Edwardian realism of this 1910 portrait of James Strachey, secure in its heritage from Pre-Raphaelite and Degas — 32j._D_.._Grant 1912, Still Life, Courtauld Institute, London________ _______ he has absorbed, in this Still Life of 1912, Cezanne. Perhaps the early work of Vaughan Williiuns, as from the London Symphony, finished in 1914, has some such blend of romantic and modern, expressed in a richly |>ersonal idiom. 33} D. Grant 1913, The Tub, Tate Gallery, London (with video detail)_______ But Grant, by the next year, under the tutelage especially of Matisse, ventured further into the modern experiment than Vaughan Williams, perhaps, ever would. Surely the painter's admirers must have thought him launched into the proper orbit of the century, (fade London Symphony) After the First War, however, he made an about face and gave the rest of his life 34) D. Grant 1940, Haystack before trees, Tate Gallery, London 34a) Nolde c. 1945?, Surf, Kunsthalle, Hamburg to a modern reconstitution of the realistic English landscape. It was the sort of affirmation Vaughan, Williams aimed at in the Fifth Symphony shift to E major. MUSIC; Vaughan Williams 1943, Symphony No. 5. 1st Mvt, major theme * ^ ------------ - Angel 35952 How crucial xs that earth—rallying to the decades of Between—war? (fade Vaughan Williams) �i ^ C.G. Bell Between Kars - 14 35) Double: Wyndham Levis 1913, Composition, drawing, Tate Gallery, London; and 1937, Red Portrait (oil), Grosvenor Gallery, London (with video detail)__________________________ __ _____________________ _ Even Wyndham Levis, Blast and Tyro of English avant-garde, would move from the Vorticist iconoclasm of his 1912-14 Compositions, to the representational i>ortraits of the •30's, this in red, a haunted recording of the very aesthetic anaemia, the very people his pen vas satyrizing in The Apes of God. 36) Picasso 1901, Harlequin Leaning on his Elbow, Met. Mus., NYC (with video detail) [slide only] 36a) Picasso 1905, Acrobat's Family with a Monkey, Goeteberg Museum, Sweden What of Picasso, style-maker of the century, — with the only musician who rivalled his art-surprises? As Hugo Leichtentritt wrote, "There is not one Stravinsky) there are ten." MUSIC: Stravinsky 1907 & ff, from Pastorale, Col M 30579 Picasso leads the way. This Harlequin anticipation of Blue and Rose is from 1901} whereas the earliest Stravinsky cognate seems the 1907 Pastorale (here in a later setting for violin and wind quartet). (end Pastorale) a37) Picasso 1907, Buste de Femme ou de Marin, Picasso Museum, Paris 37) Picasso .1907/ Head (sketch for Les Demaiselles d'Avignon), priv. coll 'n. MUSIC: Stravinsky 1912-13, from Sacre du Printemps, Col.MG ST 31202 Picasso's eruption of force advances from 1906-09, through the t Negroid to the violent beginnings of Cubism. Stravinsky peaks his upheaval a few years later in the Rite of Spring, (fade) 38) Picasso 1921, Three Musicians, Museum of Modern Art, NYC (with video detail) ___________________ ___________________________________________ IfflSIC: Stravinsky 1922-23, Octet for Wind Instrumf^nts. from 2nd Mvt, “ --------------------- ---------- !— Close, Col M-30579 The post-war cleverness of cubism pervaded by the irony of Dada and-Jazz, ties Picasso's 1921 "Three Musicians" to Stravinsky's Octet for Wind Instrxaments, a year or so after, (fade Octet) �cVg. Bell Betveen Kars 15 a39) Picasso 1932, The Dream, Ganz Coll'n., Nev York, upper detail 39) Same, Picasso’s Dream, vhole (vith video detail) MUSIC» Stravinsky 1939-40, Symphony in C, 2nd mvt, nr.opening, —-- ---------- --- -------------- ' Deutsche Gram. 2530 267For the correlations of Picaisso's Classical delight and of his Guernica terror, the Stravinsky time-sequence appears crossed. This Dream of 1932 (what would fetch daughter Maia from the vibrant new model Maria-Therese) looks toward Stravinsky's most pellucid re­ shaping of the Classical, the 1940 Symphony in C. (fade 'C* Symph.) 40) Picasso 1934, Bullfight, Ganz Collection, NY (with video detail) MUSIC; Stravinsky 1927, Oedipus Rex, from Epilogue. Col M 31129 By 1934, Picasso's Bullfight series was prophetically warming up (with Fascist Europe) for the Guernica. But Stravinsky's tragic blast had come earlier, as in this Oedipus Epilogue, of 1927 — before his classical lightening, (fade Oedipus Rex) [video only] a41) Picasso 1924, Paul in a Clown's Suit, Coll'n of the artist 41) Double; Picasso 19^23-4, Bird Cage, V.M. Ganz, NY; and a41, Paul in a Clown's Suit ^ Clearly, in the dialogue of abstract flight and earth-return, Picasso plays an ambiguous role — Picasso, who within a year (1923-4), had always the style-choice of putting space together, as in this clown portrait o£ his son Paul (right); or of wrenching it apart, as in this post-cubistic "Bird Cage" (left) ~ without any implied polemic of world loss or recapture. 42) Conrad Witz 1444, Miraculous Draught of Fishes, Museum of Art, Geneva (with video details) In Western history, however, the representational conquest has been no matter of indifference, but a reality of power. ' Let five boating scenes plot that odyssey. In Conrad Witz* 1444 Miraculous Draught of Fishes (cf. Luke 5), with Christ's Walking on the Waves and Peter's sinking (cf. Mathew 14; blended in John 21), Renaissance observation has taken its �C.G. Bell Between Wars - I’B stand in sacred legend, which opens to the delight of the Lake, shpre an4 mountains near the city of Geneva — a birth of nature in the miraculous, real by timeless suspension (everything mirrored in the water but the risen Christ). 43a)^Same^“qfor» Malta, Nat. Gal., London Same, Storm detail (video, another detail In our second the ship is going to pieces on the rocks. It is Paul's shipwreck on Malta, closing the Classical world, as the shipwreck of Odysseus had opened it. Acts; There arose a tempestuous wind, Euroclydon... and falling into a place where two seas met they ran the ship aground...but the hinder part was beaten with the violence of the waves...and some on boards, some on broken pieces of the ship...they escaped all safe to land. But what fills Elsheimer's Shakespearean scene is the night violence of ocean: (Othello) What from the cape can you discern at sea... (Winter s Tale) The ship...swallowed with yeast and froth, as you'd thrust a cork into a hogshead... A world real by Cartesian and Apocalyptic ambivalence. Hunting in the Estuary, Gallery Quirini----Stampalla, Venice (with video detail) In Longhi's 1760 Duck Hunting in the Venetian Estuary, the sacred sanction has receded. Secular pleasure stands on its own. Even the shadowed, heroic might it received from spatial formula­ tion under religious war (as in Rembrandt) has lightened to the wit of the salon century. Though that comic ease holds the great claims of nature and man in the moderation of aristocratic propriety. 45) W.S. Mount 1845, Eel Spearing at Setauket, NY State Historical Association, Cooperstown, NY (with video detail) Worth^^”^^*” a River, Amon Carter Museum, Fort With Mount's Eel Spearing, the earthly hope has staked out romantic holdings in the New World. How quietly radiant the �Between Kars C.CJ. Bell Transcendental pervasion: 17 (Thoreau) "The morning wind forever blows, the poem of creation is uninterrupted." If Longhi's four servants have been replaced by a black woman, she is the Queegueg who handles the gig, while the white boy paddles — type for Buck and Jim, proto­ Only a throb of sentiment hints how near we are to the breaking of earth's over-extended claim. What child of the Mississippi (or Brandywine) could rekindle such radiance today? Has not history itself imposed another search by making (most of all in the New World) that vulnerable ecology of individual wish and joy a laughter to the gods? 46) Paul Klee 1923, Scene from a Comic Operatic Fantasy "The Seafarer", Frau Trix Durst-Haas, BasJLe, Switzerland 46a) Same, Comic Opera, detail (with closer video detail) It is by no mere caprice that when Paul Klee (1923) took up the boating and spearing, day becomes such dream-night as in Joyce's Anna Livia Plurabelle (pub. 1928 — to be comprised in Finnegans Wake) Can't hear with the waters of. The chittering waters of. Flittering bats, fieldmice, bawk talk...Can't hear with bawk of bats, all the liffeying waters of...My foos won't moos...My ho head halls...Tell me tale of stem or stone. Beside the rivering waters of, hitherandthithering waters of. Night! Klee's quarry has gone surreal -- sea-abstracts in a spaceless monitor of raised and lighted water, which the hunting whimsy stabs. The war of representation has been fought in the probabilityfield of the mind-invested globe. "Wonder ye then at the fiery chase?" a47) Jan Vermeer 1667, The Guitar Player, Kenwood House, Hampstead, London 47) Vermeer 1665, The Studio, Kunsthistorisches Museum, Vienna (with video detail) MUSIC: Buxtehude pub. 1695, Largo from Sonata Op. 1 no. 3, ~ ~ " •" -- Music Guild 121 Who can specify when the reasoned affirmation of world order reached its eurt-peak? Contradictory dimensionalities blur the �Between Kars - *18. ^ ' C.G. Bell question. Yet we would not be far off, if we should choose, from the century of Milton and Leibnitz, Vermeer's masterpiece. The Studio — with the instrumental sonata then forming out of chromatic polyphony in Rosenmuller, or this Buxtehude(end Buxtehude! a48) Joseph Beuys 1962-67, Hasengrab, (see Shirmer, Munich: Beuys) 48) Dan Flavin 1968, Daylight, Pink & Yellow Flourescent Tubes, Leo Castelli Gallery, New York MUSIC: Cage 1958, from Fontana Mix, magnetic tape. Turnabout TV 34046S ■I I II II I I .1.1 nil I 111 iM ■■■■■■ III ■■■ I ■■■!■ ■ A — — -I Nor can the limit of the modern break with that humanly proportioned cosmos be defined — whether in the Expressionist or Futurist attack, in Dada or the Surreal, or the extensions of the post-war abstract — here one of Flavin's con­ structions with flourescent tubes, ^o too with music: on what scale can we weight the indeterminate abandon of Cage's Electronic sound against his Silence? (fade Cage) 49) Albrecht Durer 1495, Trees in a Mountain Landscape, watercolor, Kupf Kab., Berlin To confirm, around the 17th century, that upland of spirit in form, take thr^e landscapes, as like in airy freedom as their time-span admits of: — this 1495 Durer watercolor: 50) Claude Lorrain,1638-9, Landscape watercolor, British Museum, London this Claude Lorrain drawing about 1639, with the conscious pervasion of Saint-Amant, "Mon Oieul gue mes yeux sont contents/ De voir ces bois..." 51) Monet 1880, Woman Seated Under the Willows, National Gallery, Wash. DC this sunlit Monet of 1880. Though chosen for some similitude of instinctive lightness, each remains a compendium of its period style. 2nd 49) Again Durer, Trees in a Mountain Landscape 2nd 49a) Same, Durer Landscape, detail MUSIC: Brumel c. 1500, Du tout plongiet - Fors seulement, close ~ ...... • ...—Seraphim SIC-6104 , �/e.l. Bell Between Kars - 19 Dtlrer's observational discovery is suspended in the trans­ personal gift of the creed-world, as sensuous a mystery as in the rondeavDc of Josguin, or this Brumel. (end Brumel) 2nd 50) Again Lorrain, Landscape watercolor 2nd 50a) Lorrain c. 1640?, Herdsman^ Resting under a Tree, British Museum, ________ London______________________________________ _____ __ ______ MUSIC; Cavalli 1654, Beato chi puo, Musiche Italiane Antiche 4 Even in so light a wash, Claude asserts the noble_ formulation of the phenomena^(as in the mathematics of chordal harmony, Cavalli's Blessed Solitude, "Beato chi puo"), its mood tion by Descartes' universal knpwer; think, therefore I am." penetra­ "I ( fade Cavalli) 2nd 51) Again Monet, Woman Seated Under the Willows 2nd 51a) Same. Monet's Woman & Willows, detail of woman----------------MUSIC; Faurg 1887, Les Presents (song). Hist. Mus. Sound, In Monet (as in Faure), all that inherited spatial grandeur wimples toward the new evanescence ; the great Miltonic moods thin to the personal poignance of an almost sobbing delight. (fade Faure) 52) Spanish (Silos) 1109, Commentary on the Apocalypse, MS Add 11695 folio 240, British Museum, London (with video detailsj------------ ------ ---» MUSIC; Iraq. Roval Mode. His Image, voice, viol t lute; RCA V-LM-60_57 Before and after (or geographically around) the plateau of Europe from the 15th through the 19th century, lies a world more stripped to the timeless and spaceless; the primitive force of this 1100 Beatus commentary on the Apocalypse,from Silos, in a Spain permeated by the Dark Age and Moorish (does the Royal Mode of old Persian song preserve something of that faith-frenzy?) (fade Roval Mode) �C.6. Bell Between Wars - -20 53) Boccioni 1912, Materia (his nother), G. Mattioli Coll'n, Milan (with video detail)^ MUSIC; Schonberq 1912, Pierrot Lunaire, last stanza of 1st song; ■ ■ - ---Col. M 25679 Such force erupts again after eight centuries in the faithhungry surfeit of self, to Expressionist and Futurist thrillspasms: Boccioni's 1912 study of his mother, or from the same vear Schonberc's Pierrot Lunaire — Nietzschean nilomanias. (fade SchSnbero) ---------- a54) Goya 1788, The Meadow of San Isidoro, Pradd, Madrid, detail 54) Same, San Isidore, whole (and another video detail) MUSIC; Mozart 1786, from Concerto 24 in C Minor, 1st mvt, nr close, • — ..... — - Murray Hill S-3906 Yet where could human fulfillment have affirmed "So far and no further"? Since already Goya's last possession of an 18th century enlightened order was reaching from its lace and powdered wigs to the liberation that would turn this festive meadow to a Napoleonic battlefield <— a summons of which even Mozart felt the dissonart call. (Mozart forte, then fade) 55), Mark Pothko 1944, Slow Swirl at the Edge of the Sea, Mary Pothko (with video details) 55a) Pothko 1949, Violet, Black, Orange, Yellow on White and Ped, Guggenheim, New York (video detail only) MUSIC: Messiaen 1940, Quatour pour la Fin du Temps 3 opening, Abime — des Oiseaux, D. Gram. 2531 093 There was no stopping place, from that, to the soul-risk of the wartime forties, Messiaen's Abyss of Birds from the Quartet for the End of Time, with Rothko's Slow Swirl at the Edge of the Sea, closing his Surreal apprenticeship, just before he melted landscape to 'drowning color pools, (fade Messiaen on low note) 2nd 54) Again 54, Gova's San Isidoro, another detail Let six stations — from the Goya picnic, 2nd 55) Again 55, Pothko’s Slow Swirl, detail to the Rothko swirl, trace the abstraction of the outward, the surrealization of the within. �Between Kars C'.G. Bell 21 56) Constable 1825, Jumping Horse (center detail), Victoria & Albert Museum, London_________ ______________________________________________ In Constable's Leaping Horse of 1825, how visionary eye's vision has become. But there is also the inner eye, and from 1800 to now, it is as if those polar pairs of sight and dream 57) John Martin c. 1825?, Fallen Angels Entering Pandemonium, Tate Gallery, London 57a) Same, Martin's Pandemonium, detail had advanced together in revelational estrangement.' Since time-linked with Constable's observation, and from the seune quarter of England, John Martin was continually transforming appearance into fantasy: Milton's Pandemonium like Poe's "Dreamland" — "I have reached these lands but newly/ From an ultimate dim Thule —/ From a wild weird clime that lieth sublime,/ Out of Space ~ out of Time." 58) Montecelli c. 1880?, Under the trees by water's edge. Collection Alfred Lambert (with video detail) After 1870, whatever dislocation of the outward was peaking to Van Gogh, cropped out here and there — in Marseilles with the late works of Monticelli ~ this color impasto "Under trees by water's edge". — as "earthworld, airworld, waterworld thorough hurled" as the "bushybowered wood" and "marbled river" of Hopkins "Epithalamion": "What is water? Spousal love." 59) Victor Hugo c. 1866, The Snake, Hugo Museum, Paris While subjectivity itself, in Victor Hugo's "The Snake", about 1866, draws from Symbolist encroachment (Baudelaire's "Litanies of Satan", or Meredith's "On a starred night Prince Lucifer uprose") its alienating core. 60) Cezanne 1900->05, The Bathing Women, Nat. Gal., London With the turn to this century, Cezanne's studies of landscape and of human forms converge in those monumental still-lifes called "Bathers" — this almost final one in London, whose solid �C.G. Bell Between Wars -* 2? * geometry is no more Euclidian than that of Lobachevsky or Riemann, of Abbott's Flatland or Duhamel's Mount Analogue♦ 61) Edward Munch 1895» Jealousy, Rasmus Meyers coll*n> Bergen Over the same years Munch, moving oppositely, from inside out, nightmared the canvas to a symbolic confession: his jealous friend Przybyssewski, whose Eve-wife Dagny plucks for the artist the forbidden fruit. [video only] a62) Picasso 1913, La Bouteille de Suze, Washington University Collection, St. Louis, MO 62) Double: Braque c. 1914, Composition, Papier colle, Priv. Coll'n, Basel, & Giorgio di Chirico 1913-14, Anguish of Departure, Albright, Buffalo 62a) Again 62B, Chirico»s Anguish (video detail) I As a wave mounts up a shoal, the motions of abstract and surreal climb the slopes of the Great War, both cresting, 1913 and one in the paper collages with which Picasso and here Braque (left) completed their cubistic analysis —— a reduction of the physical beyond which, in a sense, art could not push on. At the same time, with Giorgio de Chirico (right), the depths of the sub-conscious poured out as in Freudian dream. Could the disillusions and Kafka—neuroses of war and post-war plumb a more haunted surreal? Without and within, we could almost affirm 1914 as •the climax of experiment. a63) Robert Rauschenberg 1955, Rebus,. Coll'n V. Ganz 63) Hans Arp c. 1920, Bird in an Aquarium, painted wood, Museum of Modern Art, NYC (with video detail)____________________________________ Though if put to it, we could surely—in the tide of Dada, non-objective, op and pop, which has seemed ever since to rise without limit all over the Western wrld -- extend the dual sequence through Second World War to now. So one who had thought Chekov, Shaw and Chaplin had pushed heartbreak comedy all ■the way, might yet be startled, in Becket and Ionesco, by the fuzed schizophrenia of that laugh-agony. But have not the poles also fuzed in this Arp cut-out, about 1920, Bird in an Aquarium? 4 Can we call it abstract. ,>. S' �C.G Bell Between Wars - 23 64J Joan.Miro 1924-25, Harlequin's Carneval. Albright Gal., Buffalo and set against it as* surreal the diverting flea-circus of Miro's Carnival, one of countless marvels in a field too complex to be ordered, much less clarified ~ ^ough the professional analysts, every year or so, would attempt just that, in ism-searching too tomes on "New Directions in Art"? 65) Mark Tobev 1941, Forms Follov Man, Seattle Art Museum \ While all directions went on cross-breeding: 1941, West Coast Tobey's "linear multiplicity", this "Forms Follow Man", abstraction loosened to a "White writing" which mystically absorbs the surreal. Yet the same fusion can everywhere exhibit the other leaning, 66) Darrel Austin c. 1940?, Europa and the Bull (cf. Life, 1940's) (with video detail) 2^ • as (for a West Coast complement to Tobey) in Darrel Austin — this palette-knife swamp of Europa, lambent as the sphynxhaunted pools of Raintree County: ^ "He could see her pale form turning over and over in a slow spiral floating away on green waters..." > 67) Double: de Kooning 1950-52, Woman I, Museum of Modern Art, NYC; and Barnett Newman 1951, The Way I, Annalee Newman, NY 67a) Again 67A, de Kooning's Woman 67b) Again 67B, Newman's Wav Finally, with the post-war Fifties, the New York School brought to simultaneous culmination (on those huge canvases, pushed by the vast resources of art-speculation), opposites transcending the former poles, a color-action of violent gesture (here de Kooning, Woman I), and a passive mystery of spaceless colorspace (Newman's The Way I) right). In the cross-section we have thus made, from Goya to Abstract- Expressionism, it might seem that the whole drift of the modern, formal or romantic# was univocal — to dissolve all rational �C.G. Bell Between Wars - 24 programs of man and world in an inebriation of the depths, non­ objective or subliminal. If crisis was the cause, our misrule of the mind-invested globe, how could the trend be opposed? 68) Albright 1927-30, Into the World There Came a Soul Named Ida, Art Institute, Chicago (with video details) Though it cannot be denied that the period of between-wars also witnessed a realism of material reattachment. What then,, if that \ attachments soils its own material nest? /\ Albright's 1927-30 "Into the World There Came a Soul Named Ida" was as sure as Miss I^nelyhearts to outrage all who thought such realism should be life-affirming. risk the distortion of a simplifying schema. 69) Quadruple: Top L: Delauney 1912-13, Suri #1, Stedeliik Amsterdam; Lower L: Picabia 1917, Amorous Display, ^i^coll'n Paris; Lower F: Cropper 1935, The Senate, detail^ Mus MoS ^r? "nyc e9a,lL^ie 69b 69c) 69d) 69e) irill: Single of Single of Agian 69, Single of 69B, Picabia's Amorous... 69C, Cropper's Senate Quadruple slide 69D. Zvefvez's Divide the field into four: by an X-axis running left to right, as from abstract and surreal to real and representational, across it raise a Y, as from negation (below) to affirmation (above). On this Cartesian plot, counterclockwise rotation will compass the art and politics from War to War. The fire-rush of avant-garde stands Heft and above, Delaunay's 1913 delight of sheer Sun-circle energy. Below it (also abstract, but negative), Picabia's 1917 Amorous Display toys with the machine mockery war and Dada had already made of modern vision. Below and to the right, .Cropper revives earth-seated realism, although for‘mockery ~ this Depression swipe at a senate of sleep and rant -- of which it might be asked: as well? if the intent is negation, why not negate objects Any answering claim of social message must sweep us right and above where programmatic realism asserts the imperative �“ C.6. Bell Between Wars - 25 of its earth-yea — this 1934 Russian Communist portrait of Kirov. • In this quadrant/ right and above/ art comes into danger. 70) Doubles Michelangelo 1513-16/ Moses/ detail/ Pietro in Vincoli, Rome; and Curry c. 1930?/ John Brown of Kansas/ Study for Fresco, Kansas State Capital I So in Curry's John Brown of Kansas/ post-romantic indulgence of t the vill-to-power manifestly suggests (beside its Michelangelo Moses-model) that heroism which/ as Eliot said in "Gerontion", fathers "unnatural vices". 71) Doubles Michelangelo 1501-04/ Head of David/ Accadcmia, Florence; S. Arno Breker c. 1938, Preparedness, Kunst, Vol 81 How ominously that could be the case, when at storm-center Nazi rallying would require of every level — religion, politics, science and art — the cheer of Mass-acclaim for the militance of reaction, nothing more grimly enforces than Arno Broker's "Preparedness" (right), its overweening also measured against (i’ Michelangelo — the civic call of the David. a72) Ernst Barlach 1914, The Avenger, 1956 D.S. Show 72) Barlach Double, again a72. Avenger; and 1927, Floating Angel, Cologne Protestant Church 72a) Single 72B, Barlach's Angel, detail_____ ___________________________ Let Ernst Barlach, North German sculptor, friend of Kaethe Kollwitz, attest the danger of that rocky narrows in the stream. In response to the First War, which Nietzscheans, even Rilke, hailed, Barlach's 1914 Avenger (left) bradished the blade of Biblical warning: Bword." "Who take the sword shall perish with the When such art-exhortation (with Barlach's cult of peasant humanity, especially Russian) had thrown him into the solitude of Hitler's condemnation, this 1927 floating angel (to be destroyed by the Nazis and reconstituted after the war from a hidden cast), became his dying prophecy, God's messenger hung in sightless gloom over the hvunan shore. �C.G. Bell Between Kars 26 * a73) Diego Fivera 1914, Las Figuras, Arkansas Arts Center Foundation b73) Same, Fivera's Figuras, left detail c73) Fivera 1914, Marine Fusilier, Nat. Inst. Fine Arts, Mexico City 73) Double: Deigo Fivera 1914, (c73) Marine Fusilier; and 1915, Zapata Landscape, Nat. Inst. Fine Arts, Mexico City ^ 73a) Again 73B, Zapata, detail (and closer detail)________________ ________ ^ Back to 1914. As the long-awaited. First World War came to Europe, the also expecteci revolution was. under way in Mexico. IVhile Rivera was with Picasso in Paris. When the abstraction which had affirmed by dislocation# took both impacts# who could say whether it stood now above or below# in the quadrant of Yea or of Nay# or if those Opposites had merged? MUSIC: Carillo 1913 & after, from Cristobal Colon ik etc, tones) ' * — Old 78; Col 7357 M (close of side A) Of his 1914 Marine Fusilier (Sailor at lunch)# though Rivera would later assert: "l believe my Cubist paintings are my most .Mexican"; or of the 1915 Zapata Landscape (Guerilla Fighter), "It is probably the most faithful expression of the Mexican mood that I have ever achieved" — his revolutionary compatriots might have judged (as of the micro-tone experiments of Mexican Carillo): "Elitist imitations of international avantgarde. " (fade Carillo) a74) D. Fivera 1927, El Hombre ante los Elementos, fresco, Escuela Nac. de Agriculture, Chapingo, Mexico b74) Same, Fivera fresco, lower detail (with further video detail) 74) Same, Fivera fresco, wide angle (video various details) MUSIC: Carlos Chavez c. 1930?, from Los Cuatro Soles (of water, air, ~ fire, earth) Ballet, Col. MQ 32685 (middle, soft-loud) Whereas# when Rivera took up twelve years later the painting of political and social frescoes for the post-revolutionary govern­ ment — this School of Agriculture myth of man facing the elements Earth# Air# (left) Water# (right) Volcanic Fire# with the machines of their mastery (the very child sparking an electric arc) — he had obeyed the other imperative# of monumental# patriotic representation. As if we had gone from Carillo's fractional tones to Chavez folkloristic Ballet on the Mahuatl sun-cycles of the same Four Elements. �C.G. Bell Between Wars - 27 [video only] a75) Jose Orozco 1939, Hernan Cortez Fresco, detail, ceiling of auditorium, Hospicio Cabanas, Guadalajara 75) Same fresco, detail of Cortez At the same time Orozco — though with more Expressionistic attack began his fresco celebration of national culture, which would climax, 1939, in the vaulted auditorium of the Guadalajara orphanage — this Marxist vision of Cortes as armored machine, advancing in flames over mutilated Indians. 76) Sigueiros 1943, Self-portrait, Inst. N3C. de Bellas Art’es, Mexico City (with video details) Finally Sigueiros, third of the great moralists, makes of his 1943 fist-advancing self a personal assertion of the whole Mexican revolutionary claim — the pathos of between-war realism raided to the partisan demand of the Second War crusade. (fade Chavez) 77) Russian Byzantine 1065 and after. Church of the Intercession of the Virgin, near Vladimir (with video detail) MUSIC; Traditional Russian Chant, Liturgy for Lent, Psalm 141, solo; — ...."....... " --- ----- - "" ' Anth. Son. LP-10 A-2 In Russia avant-garde came as a late flowering from a more primitive soil. With what vis inertia the snowy wonder of the Byzantine north held its own: witness this 1065 Church near Vladimir, altered through centuries, just such as Tolstoy's Godfolk would still have pilgrimaged to, with the old chant they itfould have sung. [video only] a78) Russian 15th-17th cent.. Walls and Tower, Kremlin of Novgorod 78) Same, Novgorod Kremlin, another view with bells (with video detail) (same music. Chorus) And like the Renaissance impassioned harmonization of that chant, the force of European revival spills into the ancient city of Novgorod — in this 1490 wall and 1600 bell tower, announcing Peter the Great. (fade Liturgy) �f C.G. Bell Between Wars - 28 79) Alexander Ivanov c. 1850/ Boys Basking in the Sun, unused study for State Museum/ Leningrad (with video Christ's Appearance/r Russian db«««« wwwsi AJdAAAiUA.au \«AWii V A U tT ^ (Sof a4 1 1 detail) 79a) I.E. Repin (Russian) c. 1881/ Cossacks Writing a Letter to the Turkisl® Sultan/ Tretyakov Gallery. Moscow (with video detail) MUSIC: Tchaikovsky 1866/ 1st Symph (Winter Dreams)/ 2nd mvt close, ------ ——--------------------- ------------------ -—--- SUM 5053 Curious, that even as the Russian soul tpok the full dose of Romantic sickness (the consumptive refinement of Ivanov's midI century studies for Christ's Appearance to the Multitude/ with Tchaikovsky's First Symphony, called Winter Dreams), the infection showed itself in the egoism of Slavophil world-calling: Prince Odoyevsky -Weston Europe is on the highroad to ruin. We Russians, on the contrary, are young and fresh and have taken no crimes of Europe. We have a great mission to fulfill. Our name is already inscribed on the tablets of victory; the vicories of science, art and faith await us on the ruins of tottering Europe. (close Tchaikovsky) Co-ll-n Of the Artist, Prom that Romantic longing, the arts of Russia vper to modernism with the rest of Europe. In the sudden absorption of Fauve, Cubist, Futurist, leading to Constructivism, came Natalia Goucharovna, whose "Green and Yellow Forest" of 1912 (climax year also for Stravinsky and Scriabin) lives the ecstatic explo­ sion — knife-edge already designated on our Cartesian plot as the quadrant convergence of left above and left below, it is the ambivalent violence and fragmentation Blok carried over into his 1918 revolutionary poem. The Twelve. 81) M. Saryan 1937, Industry in the Mountains, State museums, USSR (with video detail) The Stalinist 'thirties saw the enforcement of proletarian reaction. The older painters adjusted as best they could; the younger came fresh to the mass jubilee. While the rebuke of �f ^ ’''C.G. Bell Betveen Kars - 29 Shostakovich for musical experiments, mounted him on the warhorse of the Fifth Symphony (1937). MUSIC: Shostakovich 1937, Fifth Symphony, 1st mvt, clima?^ (Kousevitsky) -------------------- ------------------------------------ Col. ML47 39 82) Seraphina Ryangina 1934, Higher and Higher, State museums, USSR (with video detail) 83) Toitze 1935, Stalin at the Rvon Dam, USSR state museum (fade Shostakovich) 2nd 82) Again Rvanoina’s Higher, detail ~ The modern apocalypse gone as sentimentally heartfelt as the outpourings of Sholokov's Anna: You know. Ilia, I perceive the future like a distant magically beautiful music. Just as one sometimes hears it in sleep...Kon't life be beautiful under Socialism! No more war, no more poverty or oppression or national barriers... 2nd 83) Again Toitze*s Stalin, detail Though against the Nazi overstretching, this believed propaganda might almost have tipped the heavenly scales to a prophecy of Leningrad. a84) F.C. Hassam 1918, Flag Day, Hirshhorn Coll'n 84) Paul Cadmus 1934, Coney Island, J.R. Stark Coll'n 84a) Same, Cadmus' Coney Island, detail , oa\ 84b) KW II Photo 1943’, Dive Bomber Assembly Line (cf Atomic Age 80J-------MUSIC: Ives c. 1905?, Central Park in the Dark, climax. Col MS-6843 Ives* "Central Park in the Dark" from early in the century shouts' the affirming vigor of American realism. Cadmus' Coney Island from 1934 wallows in negation — like the anti-life of Farrell's Studs Loniaan: (fade Ives) click of the cue balls from where Stan Simonsky was practicing. An elevated train rumbled. An auto­ mobile whizzed by. A heavy-footed, well-formed girl passed. "How you like it?" "Push-Push!" mumbled Mike. In the confusion of data Spengler made the assessment which disasterously misled Hitler — that the United States was too decadent to be a cause for concern. �♦ C.G. Bell * A Between Kars - 3t>’ 85) Stuart Davis 1924, Odol, Coll'n Mrs. S. Davis 85a) Grant Wood 1932, Daughters of the Revolution, Coll'n E.G. Robinson 85b) Double: Norman Rockwell 1927, Sears Catalog Cover; and Kayne Thiebaud 1963, Girl with an Ice Cream Cone, Private Coll'n 85c) Double: Again 85, Davis' Odol; & Andy Warhol 1965, 4 Campbell's Soup Cans, private coll'n Ten years before Cadmus' cartoon-realism, Stuart Davis had given negation the acid-bath of the abstract, joining Dada in lower-left-quadrant debunking. Cvunmings at the same time hatched "Poem, Or Beauty Hurts Mr. Vinal"i take it from me kiddo... from every B.V.D. let freedom ring... Amer i ca, I love. You. And there*re a hun-dred-mil-lion-oth-ers, like all of you successfully if delicately gelded (or spaded) gentlemen (and ladies) — pretty 1ittleliverpi11hearted-Nujolneeding-There's-A-Reason americans (who tensetendoned and with upward vacant eyes, painfully perpetually crouched, quivering, upon the sternly allotted sandpile —how silently emit a tiny violetflavoured nuisance: Odor? ono. cqmes out like a ribbon lies flat on the brush a86) Saint-Gaudens 1891, "Grief", monument for Henry Adams' Wife, Rock Creek Cemetary, ‘Washington DC b86) Same, "Grief", detail of face c86) Frank Lloyd Wright 1907, Avery Coonley House, Riversdale, IL 86) F.L. Wright, Living Room, Coonley House 86a) Arthur B. Davies before 1909, Dream, Metropolitan Museum of Art, New York City (with video detail) MUSIC: Ives 1908, The Unanswered Question, opening Col MS 6843 Where was the rapture with which America had faced the century? For Frank Lloyd Wright, the 1907 Coonley House opened fifty years of radiance; and surely this living room accords with the myster- �Bell Between Wars - 31 ious web of Ives 1S08 Unanswered Question — though for Ives, the power to compose would wane after the 1916 war. And Pound, before the embitterments and crippling misjudgments of the later century — how he glows with Sappho and Troubadour and early Yeats: Aupia Be in me as the eternal moods of the bleak wind, and not As transient things are — gaiety of flowers. Have me in the strong loneliness of sunless cliffs And of grey waters. Let the gods speak softly of us In days hereafter. The shadowy flowers of Orcus Remember thee. (fade Ives after dissonance) a87) John Marin 1919, Sunset, Maine Coast, Museum of Fine Arts, Columbus Ohio 87) Marin 1923, Ship, Sea and Sky Forms, an Impression, vatercolor, Mus. Fine Arts, Columbus, Ohio___________________________________________ Before the war, through it and after, John Marin held to the vital claim of his Maine and New York yatOrcolorsj but what that thrill affirms, William Carlos Williams' 1935 poem "Yachts" may clarify: the whole sea become an entanglement of watery bodies ...reaching from the dead to be taken up they cry out, failing, failing! their cries rising in waves still as the skillful yachts pass over. 88) Hartley Double: 1914, Portrait of a German Officer; and 1937, Smelt Brook Falls, City Art Museum, St.Louis (with video singles)__________ We can set up polarities of yea and nay, objective, non­ objective; but how is time dramatized if the current rxans both ways? That Marsden Hartley, in Germany, 1914, called this insignia-abstracted mockery (left) "Portrait of a German Officer"; while by the 'thirties, in Maine, his Constructivist schooling would serve the representation -of natural scenes — is that part of a trend, as from Gertrude Stein to Hemingway? �Between Wars - 32 C.G. Bell a89) Arthur Dove 1911/ Nature 89) A. Dove 1937/ Rise of the 89a) A. Dove 1913/ Ferry Boat detail) [video only] again 89/ Dove’s Symbolized/ Art Institute of Chicago Full Moon/ Phillips Coll'n/ Washington DC Wreck/ Whitney Museum/ Nl’C (with video Moon, detail Early in the century American avant-garde had fortified a position around Stieglitz in New York. Yet as Hartley did/ Dove too from 1910 pure abstraction, tended, between wars, toward representational recommitment. Though his 1937 "Rise of the Full I Moon" admits only such depiction as Expressionist magic requires. So Wallace Stevens describes the sunrise in "The Fed Fern": The large-leaved day grows rapidly, TUid opens in this familiar spot Its unfamiliar, difficult fern. Pushing and pushing red after red... Infant, it is enough in life To speak of what you see. But wait Until sight wakens the sleepy eye And pierces the physical fix of things. 90) Double: Georgia O'Keefe 1917, Light Coming on the Plains II, Amon Carter Museum, Fort Worth, TX; jand 1929, Black Cross, NM, Art Inst., Chicago 90a) Single of 90A/ Again O'Keefe Light 90b) O'Keefe 1928, Wave, Night, Maine Coast, light, etc, Phillips Academy, Andover, Maes. 90c) Single of 90B, Again O'Keefe Black Cross Also Georgia O'Keeffe seems most abstract at the start. though the 1917 watercolor (left) is called "Light Coming on the Plains". distance One feels, no less than with Dove, such preternatural as Wallace Stevens casts in the circling spell of "The Snow Man", — "One must have a mind of winter/ To regard the frost and the boughs" — a syntax that wanders, as over •the land/ Pull of the same wind/ That is blowing in the same bare place" (and returns) For the listener, who listens in the snow. And, nothing himself, beholds Nothing that is not there and the nothing that is. By the 1929 "Black Cross, New Mexico", the artist has taken on the landscape of the Southwest; yet the earth sought remains �■f Bell Between Wars - 33 archetypal, — Wallace Stevens' "Cliffs of Moher rising out of the mist,/ Above the real..." a91) Bonnard 1916-20, Pastoral, Bernheim-Jeune Collection, detail b91) Bonnard c. 1900, Woman with Black Stockings, Lord Fosslyn, Grt. Britain 91) Again a91, Bonnard's Pastoral, whole MUSICt Ravel 1909, Daphnis and Chloe Suite No. 2, Col MS 6077 (near ■' .. beqinninqT In Europe, in France, in Paris, the abstract current was also \ countered, though not by the nature-awe of the New World, Bonnard, who at the sardonic turn of the century had exchanged Nabis prophecy for post-impressionist delight, here, at the close of the First War, and against the acid of Dada, greets the armistice as with a memory of Ravel's Daphnis and Chloe — before the shells had torn pastoral Arden. (fade Ravel) [video only] a92) Georges Braque 1913, La Table du Musicien, Kunstmuseum, Basle 92) Braaue 1929. Still Life; Le Jour, National Gallery, Wash. DC And when Braque, drafted from Cubist experiment to be wounded and trepanned, returned convalescent to more than 40 years of Btill-life synthesizing — were those color-muted geometries fixations of the drier '20'8, or already, after pre-war collage analysis, insistencies on a reliable realm: Rilke's "custom", "Treusein einer Gewohnheit"; his saying "House, Bridge, Fountain, Gate, Jug"? 93) Matisse 1907, Music, Museum of Modern Art, NYC (with video detail) 93a) Matisse 1909-10, Dance, Hermitage, Leningrad______________________ ^ For sensuous affirmation within the current of avant-garde itself, Matisse asserts a presence as continuous as the lovers / and dancers of Yeats: "1 am of Ireland,/ And the Holy Land of Ireland,/ Come out of charity,/ Come dance with me in Ireland." So Matisse, from hie radical Fauve beginnings, left no more doubt how strong that life-line was, than the Yeats of 1899: �C.G. Bell ocbween wars fiddler of Dooneyl* And dance like a wave of the sea. detaf?) T!hre& Sisters, Coll*n Mme Paul Guillaume (with video Yet Matisse did not escape, in this 1915 "Three Sisters", the waste-of-life tightening which, with the death pf brothers and lovers, fell on so many. j^en Yeats took a darker turn that year: The holy centaurs of the hills are vanished* I have nothing but the embittered sun... As for Bartok, it vas throuah the lean •twenties that he would pare and spare. (fade Barfnw' 95)’MatlMrc!®j922!'’|tifr”ife-‘ADnf Bash. DC Ivldeo ““ video detail) o" PlhK Tablecloth, Nat. Gal., collection Matisse, however, in this still Life of 1922, has already recharged the sensuous. •thirties. That turn in music typefies the Thus Bartok^s Violin Concerto. It is what renews Yeats' youth — And pluck till time and times are done The-silver apples of the moon. The golden apples of the sun ~ more passionately in his age: I carry the sun in a golden cup. The moon in a silver bag. 96a)**Photo%fter”l940^°M?J?^®*^^< gouache on paper cutouts, prlv. coll'n j If 96b Aoaln wheelchair, making cutouts 2S°i Again B6, Matisse's Dancers, upper deta-ti_________ As he approached 70 Matisse achieved an ultimate physicality in a form of radical reduction, that of the paper cut-out. Yeats had expressed it as the dilemma of age ~ body become �1 ^ ' C.G. Bell Between Wars - 35 "a sort of battered kettle at the heel", while mind lived more and more in "an old man's frenzy"; ...Never had I more Excited, passionate, fantastical Imagination, nor an ear and eye That more expected the impossible... (fade Bartok) Yet twenty years before this Matisse, 97) Chagall 1917-18, The Promenade, Russian State Museum, Leningrad (with video detail) as the First War had closed, Chagall, on vacation from Paris to his native Vitebsk, painted such a picture of himself on "Promenade with his wife Bella, joy lifting her high as a kite. While the Revolution, from which Chagall would go into exile, advanced toward Theirmidor. Was there an alienation and reattachment? what? Attachment to what? Alienation from If mystery is the attachment, it comprises alienation. 98) Chagall 1933 S. 1945, The Wedding Candles, detail, private collection (with further video detail) Yet Chagall too was most abstract in those early works, whereas in his later, as in this picture of the same Bella, begun in the thirties, and transformed in 1945, after her death, when she became the mystical Jewish Bride — mythic sentiment and the luxury of paint are heightened together. Chagall was in Connecticut when he reworked this canvas; 99) Max Weber Double: 1917, Two Musicians, Museum of Modern Art, NYC; and 1944, The Wayfarers, Gallery of Fine Arts; Columbus, Ohio 99a) Again Musicians, detail 99b) Again Wayfarers, detail [video various details)________________________________________________ but the Avant-garde response to the human plight was international. The years that led Max Weber from Cubist detachment in the Paris of 1917 (left; Two Musicians), to the vortex of 1944 (these Holocaust refugees called Wayfarers — right), also took Wallace Stevens from "Thirteen Ways of Looking at a Blackbird": �Between Wars C.G. Bell 36 A man and a woman Are one. A man and a %raman and a blackbird Are one ~ 4 to his wartime "Martian Cadenza": What had this star to do with the world it lit. With the blank skies over England, over France And above the German camps? It looked apart. Yet it is this that shall maintain... Mot the symbol but that for which the symbol stands. The vivid thing in the air that never changes. Though the air change... 100) S. Dali 1931, Persistence of Memory, Museum of Modern Art, NYC 100a) Dali c. 1936?, Face and Fruit Dish on Beach, Wadsworth Athenaeum, Hartford, Conn. In Wales, the bardic rapture of Dylan Thomas drove him from early poems (1934) surreal as Dali's Persistence of Memory, with its voodoo of limp watches — Dawn breaks behind the eyes; From poles of skull and toe the windy blood Slides like a sea; Nor fenced, nor staked, the gushers of the sky Spout to the rod Divining in a smile the oil of tears — 101) Jack B. Yeats 1948, We Left Our Name on the Road...of Fame, Lord Movne, Dublin (with video detail) to such a yea-frenzy as Jack Ifeats, also in the 'forties, blazoned abroad: "We left Our Name On the Road...Of Fame". Thus from Dylan's "Vision and Prayer": I turn the corner of prayer and burn In a blessing of the sudden Sun. In the name of the damned I would turn back and run To the hidden land But the loud sun Christens down The Sky. I Am found. The slump of Between-Wars had become a launching pad: 102) Photo: New York City with Empire State Building, from RCA Observatory^ roof (with video detail) �t ©.G. Bell Between Kars - 37 Depression crucible of Europe» Russia, America, Japan, hatching social euphorias: Manhattan, as much as any art sign, chain-reaction pile of transvalued negation, thrusting through crisis and war to the Atomic Age, growth stocks, the space-flight spiral of a new Avant-garde. On the verge of that blast-off, let us recompose the currents of the century — daring and reaction, with ,the risk, pathos, transcendence of their infolded destiny — the outward terror, the inward vision. al03) Nijinsky in "L*Apres-midi d'un Faune", (recumbent), 1912 103) Nijinsky dancing "Afternoon of a Faun", London, 1912 103a) Nijinsky in "Le Spectre de la Rose", 1911 (with video detail) 103b) Again 103, Naiinsky dancing, upper detail Perhaps the Fauve ecstasy of the early century peaked in the Russian Ballet. Even the stills of Nijinsky dancing the "After­ noon of a Faun" in London, 1912, suggest the art rapture from Matisse to Delaunay, Marc, Kandinsky — what Joyce made Irish in the girl-on-the-strand epiphany of the Portrait (1904-14): A girl stood before him in midstream, alone and still, gazing out to sea. She seemed like one whom magic had changed to the likeness of a strange and beautiful seabird...Long, long she suffered his gaze and then quietly withdrew her eyes from his and bent them towards the stream, gently stirring the water with her foot... —Heavenly GodI cried Stephen's soul, in an outburst of profane joy... ...on and on he strode, far out over the sands, sihging wildly to the sea, crying to greet the advent of the life that had cried to him... al04) Nijinsky 1919, arc drawing (female persona). Museum of Modern Art, New York City? 104) Nijinsky Double: again al04. Arc Drawing; & 1922, Demon, watercolor, Museum of Modern Art, New York City? 104a) Single of 104B, again Nijinsky's Demon WozzgIc f MUSIC: Be^ 1914-21,/from III,ii, murder of Marie, Col.Odyssey 33126 Slde^ Though beneath the projected joy of Nijinsky was the fleeing feminine persona he recorded in the child limitation of his �C.6. Bell Between Wars<j- '38«- arc'drawings; and# as he approached the break of dementia, the mask of his demon pursuer Diaghilev. That turn to terror is implicit in the final dance Nijinsky talked of performing: "Le Mariage avec Dieu"; Rilke had bared it in the destructive angel, Berg in Wozzek's murder and suicide by the haunted pond. [slide only] al05) Franz Marc 1913-14, Tyrol, detail Neue Pinakothek, Munich (CGB *59) 105) Otto Dix 1914, War (Arms), Kunstmuseum, Duesseldorf (vith video _____details) _______________ ______ ______________________ MUSIC: Richard Strauss 1889, from Tod und VerklSrung, death climax. ~ ~ Angel S 35976 In Nietzsche, by an ambivalence typically modern, force leaps to the quantum state of its own celebration — will to Power c. 1887: "Dionysian wisdom: joy in the destruction of... existing things, however good...We have to be destroyers." So the sequences of Expressionism mount a transport of fragmentation (this Otto Dix, Arms, of 1914), symptomatic of the Great War itself. How the youthful Richard Strauss lashed his 1889 Death and Transjfjguration toward that high frenzy — (fade Tod u.VerklSrung) to become the twelve-tone pact of Thomas Mann's Faustus. 106) Kaethe Kollwitz, 1907, Schlachtfeld, etching. National Gallery, Wash. DC (with video detail) 106a) Same, Kollwitz.etching, lover detail________________ _________ MUSIC: Richard Strauss 1943, Metamorphosen, opening, Angel S 35976 It took a woman, Kaethe Kollwitz, to foreshadow the human reality of that night trudge over No Man's Land: -- her Battle­ field of 1907 pointing down the century, borough the Kaiser miscarriage arid then the Nazi, to the bombed out Munich of 1943, with the same Richard Strauss, in octogenarian gloom, composing his last Metamorphoses. (fade ) al07) Kaethe Kollwitz 1921, Lithograph, Gefallen bl07) Kollwitz 1924, Lithograph, Nie wieder Krieg 107) Double of the Kollwitz lithographs [video various details and order) �^ f C.G. Bell ^ Between Wars - 39 MUSIC: Metamorphosen cont., forte (3/4" into record) And when the first trench slaughter had eased, it was Kaethe Kollwitz whose lithographs would show the Weimar racking of the soul — 1921,the despair of "Killed in Action", beside the 1924 wish-spasm of "No More War", a cleavage romantic realism heightens toward schyzophrenia. It is still Hegel's paradoxical rise out of a fruit turned to poison; still the Western cycle as convergence of G&tterdammerung and paradisical hope. (fade Metamorphosen) al08) George Grosz 1915-22, "Dawn", vatercolor XV, from Ecco Homo bl08) Grosz 1915-22, "Man is Good", vatercolor XII, from Ecce Homo 108) Schwitters 1919, Construction for a Noble Lady, Los Angeles County _____Museum (with video detail) ________________________ ____________ MUSIC: Metamorphosen cont., piu forte (just before middle) If the stock market searches economic futures, how the depth-confessions Hitler would trample xinder, had foretold the death of bourgeois values: like the 1919 invective of Pound: home to old lies and new infamy usury age-old and age—thick, and liars in public places; this Dada Schwitters, "Construction for a Noble Lady" — her imc lost in the jvink assemblage of "a botched civilization" — Schwitimers own poems of nonsense soxind: "rakete rinnzekete/ rakete rinnzekete/ rakete rinnzekete/ Beeeee/ bO." those Nazi art-banishers. They knew, Yet how pig-headedly wrong, to think they could shore — against world hurricane Adolf^w Hitler c. 1925?, Corinthian Ruins, Life, Oct. 30, 1939--whatever right they ranted to save. Where Hitler's early paintings glean the nostalgia of ruins. Staggering that the wielder of so timid a brush, veered into �C.G. Bell * _ Between Kars^- *40^ politics to stave off Spenglerian decay, should have loosed such Apocalypse on Europe. (fade Metamorphosen) liPl Paul Klee 1939, Aspiring Angel, private coll'n (with video dPfa.’i) MUSICI Metamorphosen, cont. (slow, 1 * from end) Geman Bodernism Went Into exile. The year of Hitler's rise, Klee, dirolesea from the oSsseldorf Academy, withdrew to his home in Switzerland, with what sad self-mockery this 1939, Aspiring Angel comment, on the arti.f . approaching death and the disaster Of the earth-scene. (fade) ^ideo^mldrift^^detail) H®^^ald, plaster. Die Kunst, 1943 (with 11.1a) Same, Herald, upper detail MUSIC; Metamorphosen, cont. (after pause. Against that poignant foreclosure, official German art (like a Wehrmacht invasion), stormed the northeast quadrant of our style chart — the yea-cry of realist reaction. Arno Bfecker, most favoured eculptor of the Third Reich, modelled for all the totalitarian sanity and strength that must prop up the sagging West. (fade) Gross 1938, A Piece of my World, Gallery, Newark NJ Ijjaj Same, gross- My Vend, d.tsll f.ts.h MUSIC; Metamorphosen, concl. (last bars) Irom that upheaval, what could the old avant-garde of embittered excoriation.do but record, from the stations of their exile (with Mann and Hindemith in an already crusading America; or with Strauss indeed, immured in wartime Munich), the confirmation of their worst fears; these mouldy scarecrow veterans of George Gross's "A Piece of my World", (end Strauss, Metamorphosen) What we have followed to the pathos of this terminus, might be called the outward motion. �■ -I - - ..... ..—— =- ^;g. Bell — Between Kars - 41 .all3) Picasso 1937, Guernica, Final state, Picasso Museum, Barcelona 113) Picasso Double^ 1937, Studies for Horse and Woman with dead child (video also singles) A year earlier Picasso, painting for the Spanish Pavilion at the Paris Exposition the great political picture of between-wars (the bombing of the Basque town of Guernica by Nazi planes in Franco's hire), Picasso advanced from graphic sketches — this anguished horse, still in touch with ^ * % Delacroix; this mother and dead child, charged withg the residuum of romantic outrage — 114) Detail of Guernica, left, with woman and horse (final state) to an apocalyptic abstraction, in which modern vision (by paradox) vaults the falls of its outwardness. It is what SchCJnberg stretched over a lifetime, 2nd 113A) Again Study for Horse 2nd 113B) Again Study for Woman and Child 2nd 113a) Guernica, Study for Sun's rays & Corn from Warrior's MUSIC; SchMnberq 1899, climax & epiohanv from the Transfjqnr«:>H ' ---- - Night, Turnabout TV 4032 S from the climax and Epiphany of the Transfigured Night, (skip to Epiphany and fade) 2nd 114A) Again Picasso Guernica, right detail, horse 2nd 114B) Again Picasso Guernica, left detail, woman and child ■£Pg.. 114a) Same, Guernica, detail of Flowers from Warrior's Sword Hand______ MUSIC; SchCfriberg 1936, from Violin Concerto, near opening. Col. M2S 679 to the,12-tone transemotionality of the 1935 Violin Concerto — such a calcining as Camus would bring to the agonies of La Peste (1947); This hioman form,. .lacerated by the spear-thrusts of the plague, consumed by searing superhuman fires, buffeted by all the raging winds of heaven, was foundering under his eyes in the dark flood of the pestilence, and l^e could do nothing to avert the wreck. (fade SchUnbera) Without that Nietzschean crucible of dangerous conversion, how could Rilke's Duino Elegies have brought (in the last) hazel katkins from the land of pain? �Between C.G« Bell \ ^ alls) Franz Marc 1913, The Bewitched Mill, Art Institute, Chicago (with video detail) 115) Double: again allS, Marc's Mill; and Paul Klee 1922, Twittering Machine, Museum of Modern Art, NYC 115a) Single 115B, again Klee's Twittering Machine [video only] 115b) Klee 1924, Dance of the Red Shirts, private coll'n, Bern, Switzerland ^ i MUSIC: Webern 1909, first of Five Pieces, Opus 5, V-LM/LSC 2531 On the brink of the First War, when the Elegies were begun, Franz Marc's Enchanted Mill had explored such transreal discovery as would lead Rilke, guided by a youthful sorrow, "from the streets of the grief-city", far out ("Weit, wir wohnen dort draussen") — Lightly she leads him on through the wide landscape of Laments — to the rock source of joy, "a carrying stream." But Marc was Jcilled at Verdun; and it was Klee, who in ironic miniatures, whimsied by Dada and the Surreal, this 192*2 Twittering Machine (right) , would pursue the Blaue Reiter search, even to the Second War. ^ In music, Schonberg's pupil Webern — subtle and terse as Klee — had been working since 1909, (here the first of his Opus 9 pieces), toward an ultimate suspension of modernity. But could either Klee or Webern take up the starred secrets of Rilke's Symbolist journey? (fade Webern) 116) Lehmbruck 1911, Kneeling Woman, Municipal Museum, Duisburg (with video detail) 116a) Same, Woman, detail of Head MUSIC: Berg 1935, from Vln Concerto, Pt.II, before Death Agony, ---------------------------------- ;------ Philips ST 802 785 LY For that transcendence of Romantic, "we, wasters of sorrow", turn in music to Berg's 1935 Violin Concerto on the death of Manon Gropius; and in art, why not to Lehmbruck, prodigy of the mining Ruhr, who modelled this Kneeling Woman in 1911, about when the roar of the Adriatic ^ave Rilke the opening of the First Elegy, "Who, if I cried out, would hear me, among the angelic �p ^^,G. Bell Between Kars - 43 orders?", and soon after, of the Tenth: "That I, issuing at last from destroying visions/ May break into jubillant praise for assenting angels." }^2\1913, Ascendant Youth, detail, Mun. Mus., Duisburg 117a} Same, Youth, whole Lslides opposite order} With Lehmbruck's Ascendant Youth of 1913, sorrow stretches like Rilke's "tall teartrees", his "fields of blossoming', sadness", up toward the stars of "the Land of Pain:..." (fade and skin tn _____ ____ ___ ~ death agonv) Varrlor, cement. Museum, Puleburg The Great War whelmed Lehmbruck in the 1916 Fallen Warrior. Such in Berg's Concerto, is the last agony of Manon Gropius. But when the Berg, from that 12 tone struggle, feels its way toward Bach's hymn to death, "Es ist genug", m 119) Lehmbruck 1918, Praying Woman, cement, Duisburg _119a) Same, Praying woman, detail of head_______________________________ it is as if Lehmbruck had brought from war itself his 1918 Praying Girl) or Rilke, in bhat rock gorge, discovered the spring of joy: **die Quelle der Freude:* They stand at the foot of the range. And there she embraces him weeping. Alone he climbs to the mountains of primal pain. And never once does his step resound from the soundless fate. (fade Bero) 120) Lehmbruck 1918, Heads of Lovers, cement, Duisburg 120a) Variant of 119, Praying Woman, Kunsthalle, Hamburg (CGB '86) (with video detail) 120b) Again 120, Heads of Lovers, detail MUSIC: same Bero, close i*' Lehmbruck's final Heads of Loves, already breathing the Orphism of his suicide, that we scale (with the close of the m Berg, and of the Rilke), the height of Between Wars — a mystery we claim — earth wrinkling behind us like a pricked balloon. �C.G. Bell Between Kars 3gs And yet, were they waking a likeness yithin us, the endlessly look, they'd be pointing, perhaps, to the catkins, hanging from empty hazels, or else they'd be meaning the rain that falls on the dark earth in the early Spring. — der fallt auf dunkles Erdreich im friiVijahr — And we, who have always thought of happiness climbing, would feel the emotion that almost startles when happiness falls. I Und wir, die an steiaendes Gluck denken, empfanden die Rtihrung, die iins beinah destfirzt, wenn ein GlAckliches fSllt. (close of Berg) ^ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charles G. Bell's Symbolic History: Through Sight and Sound Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Description An account of the resource Scripts of Mr. Charles G. Bell's Symbolic History series. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 44 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Between Wars -- 20th Century, Art and Politics, Symbolic History, Part 35 Description An account of the resource Script of Part 35 of the Symbolic History series by Charles G. Bell. Creator An entity primarily responsible for making the resource Bell, Charles G. (Charles Greenleaf), 1916-2010 Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource [1988-1990] Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_BellC_Symbolic_History_Script_35_Between_Wars--20th_Cantury_Art_and_Politics https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/9807f1e7e1a81b5dbe665ad6c27fdceb.pdf 2e1b33ff4b11c25585b0ec9e2c31d35e PDF Text Text ����������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Transcripts—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College at the Santa Fe, NM campus. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 9 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Beyond passion : the inner quest of J.S. Bach Description An account of the resource Transcript of a lecture given on April 10, 1998 by Peter Pesic as part of the Dean's Lecture and Concert Series. Creator An entity primarily responsible for making the resource Pesic, Peter Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 1998-04-10 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Bach, Johann Sebastian, 1685-1750. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context 24000419 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/1676e43cf74c07c0fba76a0e9d7bd456.mp3 67cf9a98edd0947ec6800a445824fd92 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data CD Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:11:59 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Greene, Joshua David, 1974- Title A name given to the resource Beyond Point-and-Shoot Morality: Why Cognitive Science Matters for Ethics Date A point or period of time associated with an event in the lifecycle of the resource 2011-11-11 Format The file format, physical medium, or dimensions of the resource mp3 Description An account of the resource Audio recording of a lecture delivered on November 11, 2011, by Joshua Greene as part of the Formal Lecture Series. Greene describes his lecture: "How does the moral brain work, and how can it work better?... In this talk I'll review evidence old and new for the dual-process theory of moral judgment, according to which moral judgments are driven by both automatic emotional responses and controlled reasoning processes. I'll argue that these distinctive cognitive processes map onto competing moral philosophies, respectively typified by philosophers such as Immanuel Kant and John Stuart Mill. I'll then consider the respective functions of automatic and controlled processes. Automatic processes are like the point-and-shoot settings on a camera, efficient but inflexible. Controlled processes are like a camera's manual mode, inefficient but flexible. Putting these theses together, I'll argue that we often make poor use of our moral brains, using point-and-shoot morality to deal with problems it can't handle. I'll argue that when it comes to dealing with peculiarly modern moral problems, we should think more like Mill and less like Kant." Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission: To make an audio recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. To make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. To make an audio recording of my lecture available on the St. John's College web site." Type The nature or genre of the resource sound Subject The topic of the resource Ethics Psychology. Moral and ethical aspects Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Bib # 79636 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/fa19965fd498ad942013356e8c16f02e.mp3 dd9c9aefe0678114f869f85013e6f1a7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data CD Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:27:44 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Beyond reductionism : biology as a liberal art Description An account of the resource Audio recording of a panel discussion that took place on April 5, 2013 as part of the Dean's Lecture and Concert Series. Creator An entity primarily responsible for making the resource Cornell, John F. Schneider, Gregory Wells, Llyd Wiener, Linda, 1957- Winslow, Russell (Russell E.) Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2013-04-05 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Biology -- addresses and essays. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context 20014076 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/8285d7a9a0bee1a6ee3aa611c625b791.pdf f41dc79c5ec53fc939e0839991646517 PDF Text Text Created with admiration by Luke Klassen, Greenfield Library, Graduate Institute Class of 2025 (Annapolis). �Eva Brann was a faculty member at St. John’s College in Annapolis, Maryland, for over sixty years. Among her numerous written works are over twenty books and more than two hundred lectures and addresses delivered at nearly one hundred institutions in thirty-four states and five foreign countries. She held degrees from Brooklyn College and Yale University and was a 2005 recipient of the National Humanities Medal. This bibliography includes those of her works held in the collections at the Greenfield Library as of October 2024. Created with admiration by Luke Klassen, Greenfield Library, Graduate Institute Class of 2025 (Annapolis). �Table of Contents* Addresses .................................................................................................................................................. 1 Speeches ............................................................................................................................................. 4 Talks ................................................................................................................................................... 5 Toasts ............................................................................................................................................... 11 Articles .................................................................................................................................................... 12 Drafts ............................................................................................................................................... 23 Book Contributions ............................................................................................................................... 24 Books ...................................................................................................................................................... 25 Chapters ................................................................................................................................................. 27 Drafts ............................................................................................................................................... 30 Draft and Unpublished Essays ............................................................................................................... 31 Lectures .................................................................................................................................................. 33 Reviews ................................................................................................................................................... 39 Drafts ............................................................................................................................................... 43 Translated Works ................................................................................................................................... 45 Books ................................................................................................................................................ 45 Articles ............................................................................................................................................. 46 Drafts ............................................................................................................................................... 46 Other ...................................................................................................................................................... 46 Unknown ............................................................................................................................................... 49 Drafts ............................................................................................................................................... 49 *Each entry is followed by the call number(s) by which that work may be found at the Greenfield Library. Items with call numbers beginning ‘FaFi-’ are part of the Faculty Files collection and may be requested at the circulation desk. �Addresses "About the Greatness of Great Books." Address delivered at the University of Notre Dame, Notre Dame, IN, April 4, 2001. [FaFi-BrannE003] "Barry Mazur—Steiner Lecture." Address delivered at St. John's College, Annapolis, MD, September 30, 2011. [FaFi-BrannE409] "Caritas Book and Author Luncheon." Address delivered at St. John's College, Annapolis, MD, Saturday, March 16, 1991. [FaFi-BrannE319] "Chris Nelson's 20th Year as Our President." Address delivered at St. John's College, Annapolis, MD, 2011. [FaFi-BrannE420] "Commencement: Glendale Preparatory Academy, Mesa Preparatory Academy." Address delivered at Glendale Preparatory Academy, Peoria, AZ, May 25, and at Mesa Preparatory Academy, Phoenix, AZ, May 26, 2012. [FaFi-BrannE427] "Croquet Match: Saturday, April 24, 1993." Address delivered at St. John's College, Annapolis, MD, April 24, 1993. [FaFi-BrannE053] "Democratic Distinction: An Address to Initiates of Alpha Chapter of District of Columbia, The George Washington University, Washington, D.C., May 8, 1993." Address delivered at Phi Beta Kappa Society, Washington, DC, May 8, 1993. [FaFi-BrannE067] "Do Colleges Have Something to Offer Universities Concerning Liberal Education?" Address delivered at the Association for Core Texts and Courses, Notre Dame, IN, June 11, 2013. [FaFi-BrannE441] "Does It Matter by Whom or When a Book Was Written?" Address delivered at the Caritas Society of St. John's College, Annapolis, MD, January 14, 1993. [FaFi-BrannE075] "Excellence and the Pursuit of Ideas." Address delivered at the College of Wooster, Wooster, OH, 1982. [FaFi-BrannE089] "Far Pavilions and Pig Pens Nearby." Address delivered at Eckerd College, St. Petersburg, FL, November 11, 1991. [program copy and typescript: FaFi-BrannE095] "For Curtis Wilson's 50th Year at St. John's." Address delivered at St. John's College, Annapolis, MD, October 2, 2000. [FaFi-BrannE103] "For Erik Sageng: September, 2014." Address delivered at St. John's College, Annapolis, MD, September 2014. [FaFi-BrannE526] "For Harvey Flaumenhaft." Address delivered at St. John's College, Annapolis, MD, May 16, 2005. [FaFi-BrannE104] 1 �"For Malcolm Wyatt's Retirement." Address delivered at St. John's College, Annapolis, MD, April 17, 2002. [FaFi-BrannE105] "For Ms. Barbara Dorsey: On Her Being Honored by the College, September 29, 2012." Address delivered at St. John's College, Annapolis, MD, September 29, 2012. [FaFi-BrannE430] "For Robert Williamson's Induction as Honorary Alumnus: October 5, 2002." Address delivered at St. John's College, Annapolis, MD, October 5, 2002. [FaFi-BrannE107] "For Stewart and Connie Greenfield." Address delivered at St. John's College, Annapolis, MD, October 3, 1998. [FaFi-BrannE108] "For the Graduation of June 3, 1999, The Village School, Charlottesville, VA." Address delivered at Village School, Charlottesville, VA, June 3, 1999. [FaFi-BrannE111] "[For the induction of Laurence Berns as honorary alumnus]." Address delivered at St. John's College, Annapolis, MD, Saturday, September 23, 2000. [FaFi-BrannE293] "For the Memorial Fun Run of Croquet Weekend: April 18, 2015." Address delivered at St. John's College, Annapolis, MD, April 18, 2015. [FaFi-BrannE531] "For the Post-Semester Party." Address delivered at St. John's College, Annapolis, MD, May 15, 2017. [FaFi-BrannE563] "For the St. John's College Board Retreat: November 5, 2004." Address delivered at [s.l.], November 5, 2004. [FaFi-BrannE119] "For the Students of Glendale Preparatory Academy: Who Have Read Homer's Epics." Address delivered at Glendale Preparatory Academy, Peoria, AZ, October 24, 2012. [FaFi-BrannE431] "For the Teachers of Glendale Preparatory Academy." Address delivered at Glendale Preparatory Academy, Peoria, AZ, October 24, 2012. [FaFi-BrannE436] "Graduation Address at Gutenberg College, Eugene, Oregon: June 14, 2003." Address delivered at Gutenberg College, Eugene, OR, June 14, 2003. [FaFi-BrannE127] "Great Books and the Book." Address delivered at Newark School of Theology for Ecumenical and Interfaith Studies, Newark, NJ, September 2, 1997. [FaFi-BrannE128] "Jacob Klein: European Scholar and American Teacher." Address delivered at Providence College, Providence, RI, Friday, March 11, 2016. [FaFi-BrannE505] "Jacob Klein's Two Prescient Discoveries." Address delivered at Seattle University, Seattle, WA, [May 27-29], 2010. [FaFi-BrannE445] 2 �"Keynote Address: Great Hearts Summit." Address delivered at Great Hearts Academies, [Phoenix], AZ, August 6, 2007. [FaFi-BrannE580] "Kick-off: Women's Soccer." Address delivered at St. John's College, Annapolis, MD, September 8, 1995. [FaFi-BrannE401] "Pre-Socratics or First Philosophers?" Address delivered at the Metaphysical Society of America, Annapolis, MD, Friday, March 18, 2016. [FaFi-BrannE506] "Prologue to 'Socrates' Legacy': For William Darkey." Address delivered at St. John's College, Santa Fe, NM, September 18, 2009. [FaFi-BrannE452] "Real Olympics: May 8, 1993." Address delivered at St. John's College, Annapolis, MD, May 8, 1993. [FaFi-BrannE303] "Reflections on Academic Freedom and Our Program." Address delivered at St. John's College, [Annapolis, MD], January 1990. [FaFi-BrannE305] "Service-Learning: Youth as Resource." Address delivered at St. John's College, Annapolis, MD, January 29, 1993. [FaFi-BrannE286] "St. John's College Dinner Celebrating the Conclusion of the Capital Campaign and the Beginning of the Three-Hundredth Year." Address delivered at St. John's College, [Annapolis, MD], 1996. [FaFi-BrannE313] "The Permanent Part of the College: For the St. John's College Alumni Association of San Francisco, Fall 1980." Address delivered at the St. John's College Alumni Association, San Francisco, CA, Fall 1980. [FaFi-BrannE243] "The Scholastic Aptitude Test at St. John's College." Address delivered at Charlottesville, VA, October 13, 2001. [FaFi-BrannE284] "The Undergraduate Program." Address delivered at St. John's College, Annapolis, MD, November 17, 2014. [FaFi-BrannE520] "The Uniqueness of the St. John's Program: (For the Special Plenary Session of the Board of Visitors and Governors, October 22, 1988)." Address delivered at St. John's College, Annapolis, MD, October 22, 1988. [FaFi-BrannE358] "Uniting Students' Learning." Address delivered at the Association for Core Texts and Courses, New Orleans, LA, April 8, 1999. [FaFi-BrannE359] "Women's [Soccer] Practice Kick-Off." Address delivered at St. John's College, Annapolis, MD, September 10, 1993. [FaFi-BrannE401] 3 �"Women's Soccer Season Kick-Off: September 9, 1994" Address delivered at St. John's College, Annapolis, MD, September 9, 1994. [FaFi-BrannE401] Addresses: Speeches "'Changing the World'." Speech delivered at St. John's College, Santa Fe, NM, May 21, 2016. [print: FaFi-BrannE528; SJC Digital Archives: Santa Fe Commencement Programs and Addresses Collection; audio: SJC Digital Archives: Santa Fe Commencement Programs and Addresses Collection] "[Reception of an honorary degree, Iona College]." Speech delivered at Iona College, New Rochelle, NY, November 12, 2006. [FaFi-BrannE156] "[Reception of the Distinguished Alumna Service Medal, Brooklyn College]." Speech delivered at Brooklyn College, New York, NY, May 31, 2007. [FaFi-BrannE109] "Acceptance Speech: Russell Kirk Paideia Prize." Speech delivered at Circe Institute, [Kannapolis, NC], July 18, 2014. [FaFi-BrannE537] "Commencement Speech: St. John's College, Annapolis, Maryland, May 18, 1997." Speech delivered at St. John's College, Annapolis, MD, May 18, 1997. [FaFi-BrannE047] "For Beate: September 29, 2004." Speech delivered September 29, 2004. [FaFi-BrannE100] "For Bud Billups[' Retirement]: September 7, 2006." Speech delivered at St. John's College, Annapolis, MD, September 7, 2006. [FaFi-BrannE265] "For Peter V. V. Hamill (2007)." Speech delivered March 17, 2007. [FaFi-BrannE106] "For Terry McGuire, Assistant to the Dean, on Her Retirement." Speech delivered at St. John's College, Annapolis, MD, June 11, 2015. [FaFi-BrannE518] "For the Presentation of the St. John's Alumni Association's Award of Merit to Martin Andrews: March 17, 2009." Speech delivered at St. John's College Alumni Association, Annapolis, MD, March 17, 2009. [FaFi-BrannE448] "In Memory of Chaninah Maschler." Speech delivered at St. John's College, Annapolis, MD, September 2014. [FaFi-BrannE539] "In Memory of Robert Goldwin." Speech delivered at [s.l.], April 24, 2010. [FaFi-BrannE471] "Memorial Service for J. Winfree Smith." Speech delivered at St. John's College, Annapolis, MD, April 20, 1991. [SJC Digital Archives: Speeches, Presentations, and Other Lectures Collection] 4 �"Reflection on Jean Davison, d. 2017, Aged 95." Speech delivered April 13, 2018. [FaFi-BrannE562] Addresses: Talks "About Ursula LeGuin's 'The Ones Who Walk Away from Omelas.'" Talk delivered at Park School of Baltimore, Baltimore, MD, March 1, 2000. [FaFi-BrannE005] "Achilleian Armor and Odysseian Time." Talk delivered at Mercer University, Macon, GA, October 21, 2010. [FaFi-BrannE405] "Are the Platonic Doctrines Unwritten Because They Couldn't or Because They Shouldn't Be Published." Talk delivered at Seattle University, Seattle, WA, May 9, 2009. [FaFi-BrannE449] "Are There Adults?" Talk delivered at the Alliance for Liberal Learning, Chicago, IL, November 7, 2015. [FaFi-BrannE507] "Beauty Bare (Complete Version)." Talk delivered at Philoctetes Center, New York, NY, November 14, 2009. [FaFi-BrannE451] "Can the Reading of Literature Make Us Better?" Talk delivered at Maryland Humanities Council, Baltimore, MD, December 7, 1991. [FaFi-BrannE037] "Character and Liberal Education." Talk delivered at Middlebury College, Middlebury, VT, [April] 1981. [FaFi-BrannE040] "Civic Education." Talk delivered at St. Catherine's College, [St. Paul, MN, or Springfield, KY], 1982. [FaFi-BrannE041] "Coeducation." Talk delivered at Middlebury College, Middlebury, VT, January 1983. [FaFi-BrannE042] "Commencement Talk: Chandler Preparatory Academy, May 27, 2011." Talk delivered at Chandler Preparatory Academy, Chandler, AZ, May 27, 2011. [FaFi-BrannE406] "Communities." Talk delivered at Kentucky State University and St. John's University, Middlebury, VT, March 14, 2000. [FaFi-BrannE048] "[Concerning the 'canon controversy']." Talk delivered at Harvard University, Cambridge, MA, October 16, 1992. [FaFi-BrannE006] "[Concerning the St. John's Program and the history and evolution of core curricula]." Talk delivered at Columbia University, New York, NY, March 24, 2007. [FaFi-BrannE347] 5 �"Dangers to Liberal Education." Talk delivered at Transylvania University, Lexington, KY, January 29, 2008. [FaFi-BrannE572] "Delight in Reading Homer." Talk delivered at Southeastern Louisiana University, Hammond, LA, September 15, 2004. [FaFi-BrannE065] "Depth Versus Complexity." Talk delivered at the University of Georgia, Athens, GA, September 16, 2016. [FaFi-BrannE513] "Difficult Desire." Talk delivered at Catholic University of America, Washington, DC, September 15, 2017. [FaFi-BrannE555] "Do the Great Books Change?" Talk delivered at the Great Books Fair, Chicago, IL, November 9, 2008. [FaFi-BrannE574] "Do You Know What an Odyssey Is?" Talk delivered at Whitman College, Walla Walla, WA, September 2, 1993. [FaFi-BrannE073] "Education in Plato's Republic." Talk delivered at Coppin-Hopkins Humanities Program, Baltimore, MD, February 1, 1989. [FaFi-BrannE078] "Eight Theses on Liberal Education." Talk delivered at Middlebury College, Middlebury, VT, Fall 1997. [FaFi-BrannE112] "Eve Separate." Talk delivered at St. John's College, Annapolis, MD, June 2005. [FaFi-BrannE087] "For a Contemplative and a Common Curriculum." Talk delivered at Carleton University, Ottawa, Canada, May 27, 1993. [FaFi-BrannE117] "For Laurence Berns." Talk delivered September 2011. [FaFi-BrannE411] "For the Canon of the Western Tradition." Talk delivered at the University of Notre Dame, Notre Dame, IN, 1992. [FaFi-BrannE115] "For the Graduate Students in Classics at Yale." Talk delivered at Yale University, New Haven, CT, October 12, 2006. [FaFi-BrannE116] "[For the Liberal Arts Colloquium at Westmont College]." Talk delivered at Westmont College, Santa Barbara, CA, January 20, 2001. [FaFi-BrannE334] "Homeric Morality?" Talk delivered at Rotary Club [of Annapolis], Annapolis, MD, January 25, 2007. [FaFi-BrannE138] 6 �"Human Excellence, Jewish Excellence." Talk delivered at the University of Pennsylvania, Philadelphia, PA, August 29, 2010. [FaFi-BrannE478] "Illiberal Education." Talk delivered at Hillsdale College, Hillsdale, MI, November 14, 2001. [FaFi-BrannE142] "Immediacy." Talk delivered at St. John's College, Santa Fe, NM, October 2014. [FaFi-BrannE480] "Is Liberal Education Necessarily Secular?" Talk delivered at Jewish Educational Alliance, Savannah, GA, November 8, 2009. [FaFi-BrannE456] "Liberal Arts in the Near and Far Future: Guesses and Hopes." Talk delivered at Catawba College, Salisbury, NC, February 1990. [FaFi-BrannE182] "Liberal Arts: The Future." Talk delivered at Westmont College, Santa Barbara, CA, 2001. [FaFi-BrannE181] "Liberal Education and Multiculturalism: Friends or Enemies?" Talk delivered at University of Pittsburgh, Pittsburgh, PA, November 11, 1992. [FaFi-BrannE183] "Liberal Education." Talk delivered at Zaytuna College, Berkeley, CA, September 29, 2017. [FaFi-BrannE547] "Literacy, Culture, and the Shaping of Democracy." Talk delivered at the University of Nebraska, Lincoln, NE, October 1987. [FaFi-BrannE185] "Memorial for Jeff Bishop." Talk delivered at [s.l.], October 27, 2007. [FaFi-BrannE559] "Moral Teaching and Free Inquiry." Talk delivered at the Unitarian Universalist Church of Annapolis, Annapolis, MD, Sunday, November 28, 1993. [FaFi-BrannE197] "Musings on Gender." Talk delivered at Seattle College, Seattle, WA, March 1996. [FaFi-BrannE206] "Natural Connections: The Breadth of the Liberal Arts." Talk delivered at John Carroll University, University Heights, OH, May 1992. [FaFi-BrannE207] "Odysseus: Patron Hero of the Liberal Arts." Talk delivered at Grand Valley State University, Grand Rapids, MI, June 12, 2014. [FaFi-BrannE538] "On Compromise." Talk delivered at Ashland University, Ashland, OH, October 27, 2017. [FaFi-BrannE556] 7 �"On the Use of Texts in Teaching Philosophy." Talk delivered at the American College Personnel Association, Pittsburgh, PA, March 28, 1998. [FaFi-BrannE222] "Panel of the Second Annual Conference of the Association for Core Texts and Courses." Talk delivered at the Association for Core Texts and Courses, [s.l.], April 28, 1996. [FaFi-BrannE295] "Panel Presentation for the First Annual Conference of the Association for Core Texts and Courses." Talk delivered at the Association for Core Texts and Courses, [Philadelphia, PA], April 29, 1995. [FaFi-BrannE231] "Plato's Opinion of the Fine Arts: A Major Offensive Against Artists." Talk delivered at Maryland Institute College of Art, Baltimore, MD, March 27, 2006. [FaFi-BrannE254] "Politics and the Imagination." Talk delivered at Wake Forest University, Winston-Salem, NC, April 1983. [FaFi-BrannE259] "Pregnant Speech." Talk delivered at the American Council of Trustees and Alumni, Washington, DC, October 28, 2016. [FaFi-BrannE561] "President's Council." Talk delivered at St. John's College, Annapolis, MD, May 2, 1992. [FaFi-BrannE294] "Principles of the St. John's Program." Talk delivered at Shalem Center, Jerusalem, Israel, January 5, 2010. [FaFi-BrannE460] "Roundtable on the Great Books." Talk delivered at the Southern Political Science Association, Memphis, TN, November 1989. [FaFi-BrannE282] "Sight Unseen: Philosophy in Greece." Talk delivered at Humanities West, San Francisco, CA, June 4, 1994. [FaFi-BrannE290] "Socrates: Antitragedian." Talk delivered at the University of Crete, Rethymno, Crete, June 12, 2012. [FaFi-BrannE428] "Some Notions About Reading Platonic Dialogues with Undergraduates." Talk delivered at Thomas Aquinas College, Santa Paula, CA, November 2002. [FaFi-BrannE317] "St. John's College at the Turn of Its Fourth Century." Talk delivered at St. John's College, Annapolis, MD, [August] 1994. [FaFi-BrannE314] "Studying the Imagination." Talk delivered at the University of Dallas, Irving, TX, January 27, 2018. [FaFi-BrannE573] "Take No Thought for the Morrow." Talk delivered at Saint Mary's College of California, Moraga, CA, Thursday, November 8, 1990. [FaFi-BrannE330] 8 �"Talk on Homeric Moments: Great Hall." Talk delivered at St. John's College, Annapolis, MD, Tuesday, November 19, 2002. [FaFi-BrannE333] "The Actual Intention of Plato's Dialogues on Justice and Statesmanship." Talk delivered at the Notre Dame Centre for Ethics and Culture, Notre Dame, IN, November 10, 2012. [FaFi-BrannE433] "The Age of Anxiety." Talk delivered at Middlebury College, Middlebury, VT, Spring 2005. [FaFi-BrannE008] "The Being of Fictions." Talk delivered at Harvard University, Cambridge, MA, November 1, 2000. [FaFi-BrannE021] "The Dispassionate Study of the Passions." Talk delivered at Catholic University of America, Washington, DC, March 30, 2012. [FaFi-BrannE437] "The Ethics of a Community of Learning." Talk delivered at Duke University, Durham, NC, March [5-7], 2004. [FaFi-BrannE084] "The Ethics of a Community of Learning." Talk delivered at Southern Oregon State College, Ashland, OR, October 1997. [FaFi-BrannE114] "The Founding and Higher Education." Talk delivered at St. Mary's College, Maraga, CA, June 19, 1997. [FaFi-BrannE122] "The Holy Woman of Pankot: Paul Scott's Towers of Silence, the Third of His Raj Novels." Talk delivered at the University of Tulsa, Tulsa, OK, March 2003. [FaFi-BrannE137] "The Metaphysics of Conversation." Talk delivered at Middlebury College, Middlebury, VT, Fall 2003. [FaFi-BrannE192] "The Music of Plato's Republic." Talk delivered at the Israel Academy of Sciences and Humanities, Jerusalem, Israel, [January 31], 2006. [FaFi-BrannE200; corrected version: FaFi-BrannE199] "The Place of Human Values in Education." Talk delivered at Millsaps College, Jackson, MS, September 13, 1985. [FaFi-BrannE252] "The Purpose of Liberal Education." Talk delivered at [a 'small independent liberal arts college'], Tbilisi, Georgia (country), June 11, 2011. [FaFi-BrannE421] "The Role of Higher Education in a Young Jewish Republic." Talk delivered at Shalem Center, Jerusalem, Israel, January 4, 2010. [FaFi-BrannE457] "The Roots of Modernity." Talk delivered at Whitworth College, Spokane, WA, February 20, 1979. [FaFi-BrannE280] 9 �"The Roots of the Enlightenment." Talk delivered at the Claremont Institute, Claremont, CA, January 1990. [FaFi-BrannE281] "The Shallows and the Depths: Public Opinion and Private Conviction: In Memory of Paul Lowdenslager." Talk delivered at Western State College of Colorado, Gunnison, CO, October 2001. [FaFi-BrannE288] "The Tyrant's Temperance: Plato's Charmides." Talk delivered at [s.l.], [2002/03]. [FaFi-BrannE356] "The Unfabricated and Immaterial Image." Talk delivered at the University of Pennsylvania, Philadelphia, PA, March 1992. [FaFi-BrannE357] "The University: Service to Society." Talk delivered at the Complutense University of Madrid, El Escorial, Spain, July 7, 1995. [FaFi-BrannE362] "Time in the Odyssey: (Short Version)." Talk delivered at St. John's College Alumni Association San Francisco, San Francisco, CA, August 1, 2010. [FaFi-BrannE479] "Tips for Reading Homer's Poetry." Talk delivered at [s.l.], March 2017. [FaFi-BrannE557] "Truth and Teaching." Talk delivered at [the University of Oklahoma], Norman, OK, October 1990. [FaFi-BrannE354] "Was Jefferson a Philosopher?" Talk delivered at the American Political Science Association, Chicago, IL, September [2-5], 1976. [FaFi-BrannE369] "What is the Common Good of Liberal Education?" Talk delivered at Bowdoin College, Brunswick, ME, April 18, 2008. [FaFi-BrannE571] "What is the Good of a Liberal Arts Education?" Talk delivered at Kentucky State University, Frankfort, KY, and St. John's University, Collegeville, MN, January 1984. [FaFi-BrannE387] "What Should Liberal Education Be in the Twenty-First Century?" Talk delivered at HampdenSydney College, Hampden Sydney, VA, October 30, 2001. [FaFi-BrannE389] "What Socrates' Death Means to Us." Talk delivered at St. John's College, Annapolis, MD, February 18, 2007. [FaFi-BrannE388] "Whose Sense? Whose Sensibility?: Jane Austen's Subtlest Novel." Talk delivered at Jane Austen Society of North America, Washington, DC, October 1990. [FaFi-BrannE393] "'Why Justice?': The Answer in Plato's Republic.” Talk delivered at Goucher College, Baltimore, MD, September 2002. [FaFi-BrannE399] 10 �"Why Read?" Talk delivered at Biola University, La Mirada, CA, March 3, 2016. [FaFi-BrannE568] "Why Study Philosophy, at Any Age?" Talk delivered at Heritage High School, Richmond, VA, October 9, 1995. [FaFi-BrannE396] "Will, Willing, Willfulness, Willpower." Talk delivered at Benedictine College, Atchison, KS, March 22, 2013. [FaFi-BrannE435] "Year Fifty at St. John's." Talk delivered at St. John's College, Annapolis, MD, September 29, 2007. [FaFi-BrannE581] Addresses: Toasts "Dean's Toast 'To the Republics.'" Toast delivered at St. John's College, Annapolis, MD, May 14, 1993. [FaFi-BrannE063] "Dean's Toast to the Republic." Toast delivered at St. John's College, Annapolis, MD, May 13, 1994. [FaFi-BrannE063] "Dean's Toast to the Republic." Toast delivered at St. John's College, Annapolis, MD, May 17, 1996. [FaFi-BrannE063] "Dean's Toast to the Republic." Toast delivered at St. John's College, Annapolis, MD, May 16, 1997. [FaFi-BrannE063] "Eighty-Fifth Birthday at Chris Nelson's: 1/28/14." Toast delivered at [s.l.], January 28, 2014. [FaFi-BrannE402] "The Toast to the Republic." Toast delivered at St. John's College, Annapolis, MD, May 15, 1992. [FaFi-BrannE063] "Toast for Chris Denny." Toast delivered at St. John's College, Annapolis, MD, May 14, 1993. [FaFi-BrannE063] "Toast for Chris Nelson." Toast delivered at St. John's College, Annapolis, MD, September 24, 2016. [FaFi-BrannE495] "Toast to the Republic." Toast delivered at St. John's College, Annapolis, MD, May 17, 1991. [FaFi-BrannE063] "Tutor's Toast to the Seniors." Toast delivered at St. John's College, Annapolis, MD, Friday, May 13, 2005. [FaFi-BrannE348] 11 �Articles "A Call to Thought." The St. John's Review 45, no. 1 (1999): 109-118. [FaFi-BrannE036; SJC Digital Archives: The St. John’s Review Collection] "A Day in the Life of a Dean." The Gadfly 18, no. 18 (March 25, 1997): 2-3. [FaFi-BrannE057; SJC Digital Archives: The Gadfly Collection] "A Figured Geometric Fragment from the Athenian Agora." Antike Kunst [Ancient Art] 2, no. 2 (1959): 35-37, plates 17-19. [FaFi-BrannE099; JSTOR] "A Manifesto for Liberal Education." The Imaginative Conservative, February 18, 2022. https://theimaginativeconservative.org/2022/02/manifesto-liberal-education-eva-brann.html. [FaFi-BrannE578] "A Moment's Musing on the Time of Our Lives." Hellas 3, no. 2 (Fall 1992): "Platonism, Classicism, and the Modernists": pgs. 39-44. [FaFi-BrannE196] "A Note on Apollonius' Parameter (Corrected Version)." The Collegian, Supplement, November 1962: a-i. [FaFi-BrannE210; SJC Digital Archives: The Collegian Collection] "A Note on Descartes' Geometry." The Collegian, September 1963: 61-63. [FaFi-BrannE208] "A Note on the Structure of Sophocles' Electra." Classical Philology 52, no. 2 (April 1957): 103-4. [FaFi-BrannE211; JSTOR] "A Note on the Viviani Scholium: (On the Inclined Plane)." The Collegian, March 1963: 1-33. [FaFi-BrannE212; SJC Digital Archives: The Collegian Collection] "A Pithos Burial from Aigaleos." American Journal of Archaeology 64, no. 1 (January 1960): 71. [FaFi-BrannE251; Chicago Journals] "A Reading of the Gettysburg Address." [See Lectures] "A Reflection on Service." The College (2001-17) 41, no. 1 (Spring 2016): 16-19. [FaFi-BrannE510; SJC Digital Archives: The College (2001-17) Collection] "A Slanting Light on Pride and Prejudice: For Larry Berns from Eva Brann." The St. John's Review 51, no. 1 (2009): 91-100. [FaFi-BrannE458; SJC Digital Archives: The St. John’s Review Collection] "A Way to Philosophy." Metaphilosophy 6, nos. 3-4 (July-October 1975): 357-371. [FaFi-BrannE371] 12 �"A Way to Philosophy." Thinking: The Journal of Philosophy for Children 5, no. 2 (1984): 6-12. [FaFi-BrannE373; Montclair State University Digital Commons] "A Well of the 'Corinthian' Period Found in Corinth." Hesperia 25, no. 4 (October-December 1956): 350-374, plates 52-60. [FaFi-BrannE376] "Against Time." [See Lectures] "An Anatomy of Planetary Orbits." The Collegian, April 1964: 1-28. [FaFi-BrannE010; SJC Digital Archives: The Collegian Collection] "An Early Protoattic Amphora." American Journal of Archaeology 64, no. 1 (January 1960): 71-72, plate 5. [FaFi-BrannE251; Chicago Journals] "An Early Protoattic Hydria." American Journal of Archaeology 63, no. 2 (April 1959): 1-2, plate 45. [FaFi-BrannE076; Chicago Journals] "'An Exquisite Platform': Utopia." Interpretation: A Journal of Political Philosophy 3, no. 1 (Fall 1972): 1-26. [FaFi-BrannE091] "And Now for Something Different...: The Academic Program of St. John's College in Annapolis and Santa Fe." Conference & Common Room 33, no. 3 (April 1996): 25. [FaFi-BrannE011] "Anne's Second Chance." The College (2001-17) 32, no. 3 (Fall 2006): 22. [FaFi-BrannE015; SJC Digital Archives: The College (2001-17) Collection] "Are the Platonic Doctrines Unwritten Because They Couldn't or Because They Shouldn't Be Published." Comparative and Continental Philosophy 1, no. 2 (Fall 2009): 171-179. [FaFi-BrannE473] "Beauty Bare (Shortened Version)." Dialog: The Newsletter of The Philoctetes Center for the Multidisciplinary Study of Imagination 4, no. 2 (December 9): "Special Mathematics Issue": 1-2. [FaFi-BrannE450; Philoctetes] "Benign Interruptions in Students' Progress Toward Graduation and Postgraduate Education." Going Places: The Placement Office Newsletter, St. John's College, Santa Fe, May 1995: 1-3. [FaFi-BrannE023] "Can the Reading of Literature Make Us Better?" Maryland Humanities, Fall 1992: 4-5. [FaFi-BrannE037] "Chris Nelson's 20th Year as Our President." The College (2001-17) 36, no. 1 (Fall 2011): 5. [FaFi-BrannE420; SJC Digital Archives: The College (2001-17) Collection] 13 �"Coeducation." The Key Reporter 49, no. 2 (Winter 1983-1984): 2-4. [FaFi-BrannE043; The Key Reporter] "Commencement Address: Graduate Institute in Liberal Education: August 15, 1975." The College (1969-80) 27, no. 4 (January 1976): 19-22. [FaFi-BrannE045; SJC Digital Archives: The College (1969-80) Collection] "Concerning the Declaration of Independence." [See Lectures] "Courage Nailed Down: Plato's Laches." KRONOS 8 (2019): 57-71. [FaFi-BrannE545; Kronos] "Current Questions About the St. John's College Book List." Letters from Santa Fe, Summer 1992: 811. [FaFi-BrannE055; SJC Digital Archives: Letters from Santa Fe Collection] "Dean Brann Reaffirms Our 'Radical Venture': Statement of Educational Policy." The St. John's Reporter 18, no. 2 (December 1991): 14-15. [FaFi-BrannE058; SJC Digital Archives: The St. John's Reporter Collection] "Dean Brann Reveals the SJC 'Roller Coaster': Report from an Honorary Alumna." The St. John's Reporter 17, no. 2 (December 1990): 13. [FaFi-BrannE059; SJC Digital Archives: The St. John's Reporter Collection] "Dean's Office: Open for Business." The Gadfly 17, no. 1 (September 12, 1995): 11. [FaFi-BrannE061; SJC Digital Archives: The Gadfly Collection] "Democratic Distinction." The Key Reporter 58, no. 4 (Summer 1993): 2-4. [FaFi-BrannE066; The Key Reporter] "Depth and Desire." [See Lectures] "Does It Matter by Whom or When a Book Was Written?" The Collegian 5, no. 1(?) (October 15, 1993): 2-7. [FaFi-BrannE074; SJC Digital Archives: The Collegian Collection] "Eliot and Moral Values." The World and I, August 1993: 402. [FaFi-BrannE113] "Equal To?" Renovatio 5, no. 1 (Fall 2021): 15-24. [FaFi-BrannE564] "Eve Separate." The St. John's Review 49, no. 1 (2006): 71-110. [FaFi-BrannE088; SJC Digital Archives: The St. John’s Review Collection] 14 �"Excellence and the Pursuit of Ideas." Thinking: The Journal of Philosophy for Children 5, no. 3 (1984): 2-7. [FaFi-BrannE090; Montclair State University Digital Commons] "[Excerpt from Intercampus Basketball pre-game speech]." The MOONfly, March 28, 1995: 4. [FaFi-BrannE002] "Extraterrestrial Reflection." Space World, September 1985: 9-12. [FaFi-BrannE093] "Finding the Words: Living an Articulated Life." The Gadfly 34, no. 6 (September 28, 2012): 8. [FaFi-BrannE432; SJC Digital Archives: The Gadfly Collection] "For a Contemplative and a Common Curriculum." Shimer Round Table, no. 1 (Autumn 1997): 4047. [FaFi-BrannE118] "For Beate: September 29, 2004." The St. John's Review 48, no. 2 (2005): 20-26. [FaFi-BrannE101; SJC Digital Archives: The St. John’s Review Collection] "[For Bert Thoms]." The College (1969-80) 31, no. 1 (July 1979): 30-32. [FaFi-BrannE102; SJC Digital Archives: The College (1969-80) Collection] "Gone West." Energeia, Spring 1999: 78-83. [FaFi-BrannE126; SJC Digital Archives: Energeia Collection] "Hephaestus' World: The Shield." The American Poetry Review 31, no. 6 (November/December 2002): 40-42. [FaFi-BrannE133] "Honors and Liberal Education." The UHP Report 3, no. 8 (April 1985): 1-3. [FaFi-BrannE139] "How We Split the World Apart: The Separation of Faith and Philosophy." Renovatio 3, no. 1 (Spring 2019): 97-104. [FaFi-BrannE549] "Hundrede Hovedværker: En Amerikansk Læreplan [One Hundred Masterpieces: One American Curriculum]." Uddannelse [Education] 26, no. 4 (April 1993): 178-183. [FaFi-BrannE141] "In Memory of Constance Darkey." The College (2001-17) 28, no. 1 (Fall 2001): 45. [FaFi-BrannE150; SJC Digital Archives: The College (2001-17) Collection] "[Inaugural] Reflections on Imaginative Conservatism." The Imaginative Conservative, October 4, 2013. https://theimaginativeconservative.org/2022/07/reflections-on-imaginativeconservatism-timeless.html. [FaFi-BrannE486] "Inner and Outer Freedom." The College (1969-80) 31, no. 1 (July 1979): 43-47. [FaFi-BrannE151; SJC Digital Archives: The College (1969-80) Collection] 15 �"Intellect and Intuition." The St. John's Review 35, no. 1 (Winter 1984): 52-58. [FaFi-BrannE152; SJC Digital Archives: The St. John’s Review Collection] "[Interview with Nathan Huey]." ἱστορία [historia] 1, no. 3 (April 2016): 10-15. [FaFi-BrannE509] "Introductory Note on Distance vs. Time in Galileo." The Collegian, February 1963: 1-2. [FaFi-BrannE052; SJC Digital Archives: The Collegian Collection] "Kant's Imperative." The College (1969-80) 31, no. 2 (January 1980): 40-45. [FaFi-BrannE162; SJC Digital Archives: The College (1969-80) Collection] "Kant's Philosophical Use of Mathematics: Negative Magnitudes." The St. John's Review 48, no. 2 (2005): 49-72. [FaFi-BrannE165; SJC Digital Archives: The St. John’s Review Collection] "L'imagination dans la Cité [Imagination in the City]." Lettre Internationale, no. 20 (Spring 1989): 46. [FaFi-BrannE184] "Late Geometric Grave Groups from the Athenian Agora." Hesperia 29, no. 4 (October-December 1960): 402-416, plates 88-92. [FaFi-BrannE168; JSTOR] "Late Geometric Well Groups from the Athenian Agora." Hesperia 30, no. 2 (April-June 1961): 93146, plates 13-23. [FaFi-BrannE169; JSTOR] "[Letter for time capsule]." The St. John's Reporter 23, no. 3 (Spring 1997): 20. [FaFi-BrannE310; SJC Digital Archives: The St. John’s Reporter Collection] "Letter to a Young Essayist." The Collegian, Autumn 2002: 17-23. [FaFi-BrannE472] "Letter to the Editor." The Collegian, June 1, 1970: [2]. [FaFi-BrannE178] "Letter to the Editor." The Collegian, December 13, 1971: 2-5. [FaFi-BrannE179] "Liberal Education and Multiculturalism: Friends or Enemies?" Vital Speeches of the Day 59, no. 7 (January 15, 1993): 221-224. [FaFi-BrannE183] "Liberal Education at St. John's College." Renovatio 1, no. 2 (Fall 2017): 95-100. [FaFi-BrannE548] "Lincoln for a Refugee." Humanitas 11, no. 2 (June 2010): 108-111. [FaFi-BrannE413] 16 �"Literacy, Culture, and the Shaping of Democracy." The Nebraska English Journal 33, no. 3 (Spring 1988): 2-7. [FaFi-BrannE185] "Love and Reason: Response to McWilliams." Social Research 54, no. 3 (Autumn 1987): 491-497. [FaFi-BrannE186] "Madison’s 'Memorial and Remonstrance': A Jewel of Republican Rhetoric." The Imaginative Conservative, June 22, 2021. https://theimaginativeconservative.org/2021/06/madisonmemorial-and-remonstrance-republican-rhetoric-90-eva-brann.html. [FaFi-BrannE577] "Mental Imagery: (The College and Contemporary Cognitive Science)." [See Lectures] "Mere Reading." Philosophy and Literature 20, no. 2 (October 1996): 383-397. [FaFi-BrannE191] "Momentary Morality and Extended Ethics." [See Lectures] "Ms. Brann on κυναι [kunai]." The Gadfly 33, no. 12 (December 6, 2011): 2. [FaFi-BrannE438; SJC Digital Archives: The Gadfly Collection] "Myths Versus Novels." Renovatio 4, no. 1 (Spring 2020): 55-73. [FaFi-BrannE543] "Note on the Analytical Calculus Avoided in Newton's Principia." The Collegian, February-March 1964: 33-40. [FaFi-BrannE209] "Note on the Encyclopedia Britannica Text of Copernicus." The Collegian, February-March 1964: 4143. [FaFi-BrannE209] "On the Language Tutorial: Excerpts from the Dean's Statement of Educational Policy, 1995-96." The St. John's Reporter 22, no. 2 (Winter 1996): 21, 23. [SJC Digital Archives: The St. John's Reporter Collection] "On the Timelessness of the Tradition." The Imaginative Conservative, October 16, 2016. https://theimaginativeconservative.org/2022/09/timelessness-tradition-eva-brann-video.html. [FaFi-BrannE576] "Our Mortal Coil." [See Lectures] "Paradoxes of Eternal Verities." Kronoscope 4, no. 1 (January 2004): 127-129. [FaFi-BrannE236] 17 �"Paul A. Lowdenslager." The St. John's Reporter 22, no. 2 (Winter 1996): 23. [FaFi-BrannE213; SJC Digital Archives: The St. John's Reporter Collection] "Peter von Blanckenhagen: 1910-1990." The St. John's Reporter 17, no. 1 (September 1990): 15. [FaFi-BrannE246; SJC Digital Archives: The St. John's Reporter Collection] "Pictures in Poetry: Keats' 'Ode on a Grecian Urn.'" San José Studies 14, no. 3 (Fall 1988): 6-13. [FaFi-BrannE249; Scholar Works] "Plato's Theory of Ideas." [See Lectures] "Postmodern Don Quijote." Energeia, Spring 2014: 47-57. [FaFi-BrannE500; SJC Digital Archives: Energeia Collection] "Protoattic Well Groups from the Athenian Agora." Hesperia 30, no. 4 (October-December 1961): 305-379, plates 65-90. [FaFi-BrannE298; JSTOR] "Res Tene, Verba Sequentur: A Reflection on Three Questions Concerning the Re-Telling of Sacred Stories and of Myths (An Academically Disreputable Inquiry)." The St. John's Review 57, no. 2 (Spring 2016): 1-11. [FaFi-BrannE491; SJC Digital Archives: The St. John's Review Collection] "[Response to Kenneth Colston on Thoreau]." New Oxford Review 83, no. 5 (June 2016): 7-8. [FaFi-BrannE502; New Oxford Review] "Seventh Century Sherds from the Olympieion Area." Hesperia 28, no. 3 (July-September 1959): 251252, plate 4. [FaFi-BrannE287; JSTOR] "Socrates: Antitragedian." Philosophy and Literature 38, no. 1 (April 2014): 30-40. [FaFi-BrannE499] "St. John's College and the Beginning of the Three-Hundredth Year: Keynote Address at the Campaign Conclusion Celebration." The St. John's Reporter 22, no. 4 (Summer 1996): 13, 21. [FaFi-BrannE313; SJC Digital Archives: The St. John's Reporter Collection] "St. John's Educational Policy for a 'Living Community.'" Change: The Magazine of Higher Learning 24, no. 5 (September/October 1992): 36-43. [FaFi-BrannE321] "Statement to the BV & G [Board of Visitors and Governors]." The Gadfly 14, no. 20 (April 20, 1993): 7. [FaFi-BrannE193; SJC Digital Archives: The Gadfly Collection] "Straight Talk About the Small Independent Liberal Arts Colleges." Liberal Education 81, no. 4 (Fall 1995): "Boundaries and Borderlands": 58-61. [FaFi-BrannE324] 18 �"Take No Thought for the Morrow." Educational Perspectives 8, no. 2 (Spring 1991): 1-5. Educational Perspectives 15, no. 1 (Fall 2010): 7-12. [FaFi-BrannE332] [FaFi-BrannE412] "Teachers and Students: Intimate Distance." Energeia, Spring 2015: 34-46. [FaFi-BrannE498; SJC Digital Archives: Energeia Collection] "Teaching at St. John's College: Statement of Educational Policy, 1993-1994." The St. John's Reporter 20, no. 2 (December 1993): 16-17. [FaFi-BrannE336] "Telling Lies." [See Lectures] "The American College as the Place for Liberal Learning." Dædalus, Winter 1999: "Distinctively American: The Residential Liberal Arts Colleges": 151-171. [FaFi-BrannE009; JSTOR] "The Being of Fictions." Energeia, Spring 2002: 7-22. [FaFi-BrannE022; SJC Digital Archives: Energeia Collection] Perspectives on Political Science 43, no. 3 (June 18, 2014): 116-121. https://doi.org/10.1080/10457097.2014.917241. [FaFi-BrannE523] "The Canon Defended." Philosophy and Literature 17, no. 2 (October 1993): 193-218. [FaFi-BrannE039] "The Conditions of Exchange." International Educational and Cultural Exchange 12, no. 4 (Spring 1977): 3-9. [FaFi-BrannE050; Internet Archive] "The Elements of Science." Palaestra, Supplement, April 1968: 1-10. [FaFi-BrannE080; SJC Digital Archives: The Collegian Collection] "The Empires of the Sun and The West." [See Lectures] "The Gnomon: A Note on the 'Knower.'" The Collegian, May-June 1964: 11-38. [FaFi-BrannE519; SJC Digital Archives: The Collegian Collection] "The Golden Ages of St. John's College." The St. John's Review 35, no. 3 (Summer 1984): 59-61. [FaFi-BrannE579; SJC Digital Archives: The St. John's Review Collection] "The Great Gatsby in the Graduate Institute." The Gadfly 23, no. 18 (January 29, 2002): 6-8, 12. [FaFi-BrannE131; SJC Digital Archives: The Gadfly Collection] "The Great Tradition." Academic Questions 25, no. 1 (Spring 2012). https://www.nas.org/academicquestions/25/1/the_great_tradition. [FaFi-BrannE429] 19 �"The Imagery Debate in the Beginning of the Third Millennium." Journal of Mental Imagery 27, no. 3&4 (Fall/Winter 2003): 153-155. [FaFi-BrannE145] "The Letters Between Jefferson and Madison." Christian Science Monitor, Wednesday, June 28, 1995: 14. [FaFi-BrannE180; Christian Science Monitor] "'The Math Book': Remembering Klein's Seminal Work." The College (2001-17) 35, no. 3 (Fall 2010): 32-33. [FaFi-BrannE414; SJC Digital Archives: The College (2001-2017) Collection] "The Most Charmless Subject." The UHP Report 4, no. 3 (November 1985): 1-4. [FaFi-BrannE198] "The Music of the Republic." The Collegian, Supplement, March 1966: 1-63. [FaFi-BrannE201; SJC Digital Archives: The Collegian Collection] "The Music of the Republic." The St. John's Review 39, no. 1&2 (1989-90): "Four Essays on Plato's Republic: A Double Issue of The St. John's Review": 1-104. [JC71.P6 F65 1990; FaFi-BrannE205; SJC Digital Archives: The St. John’s Review Collection] ΑΓΩΝ [AGŌN] 1, no. 1 (April 1967): 1-117. [FaFi-BrannE204] "The Offense of Socrates: A Re-Reading of Plato's Apology." [See Lectures] "The Paradoxes of a Republican Education." Whitman 1, no. 1 (November 1978): 7-8. [FaFi-BrannE541] "The Perfections of Jane Austen." [See Lectures] "The Permanent Part of the College." The St. John's Review 33, no. 1 (Fall 1981): 81-84. [FaFi-BrannE244; SJC Digital Archives: The St. John’s Review Collection] "The Permanent Part of the College [Selections]." The St. John's Alumni Association News 1, no. 3 (Summer 1987): 3-4. [FaFi-BrannE245] "The Poet of the Odyssey." [See Lectures] "The Program of St. John's College in Annapolis, MD, and Santa Fe, New Mexico." The St. John's Review 35, no. 3 (Summer 1984): 48-55. [FaFi-BrannE297; SJC Digital Archives: The St. John’s Review Collection] "The Roots of Modernity." The St. John's Review 35, no. 2 (Spring 1984): 66-69. [FaFi-BrannE280; SJC Digital Archives: The St. John’s Review Collection] 20 �"The Scholastic Aptitude Test at St. John's College." The Gadfly 23, no. 9 (October 16, 2001): 8-10. [FaFi-BrannE283; SJC Digital Archives: The Gadfly Collection] "The Soundminded Schizophrenic: Living in the Just-Nowness: A Moment's Reflection on Modernity." The Gadfly 34, no. 21 (April 30, 2013): 3. [FaFi-BrannE442; SJC Digital Archives: The Gadfly Collection] "The Student's Problem." Liberal Education 54, no. 3 (October 1968): 369-385. [FaFi-BrannE325] The Collegian, Supplement, October 1967: 1-25. [BRA (Lectures); SJC Digital Archives: The Collegian Collection] "The Tin Star at High Noon." Energeia, Spring 1995: 32-35. [FaFi-BrannE344; SJC Digital Archives: Energeia Collection] "The Tyrant's Temperance: Plato's Charmides." Energeia, Spring 2003: 77-98. [FaFi-BrannE202; SJC Digital Archives: Energeia Collection] "The Unexpurgated Robinson Crusoe." [See Lectures] "The Venetian Phaedrus." Oratio 1, no. 1 (October 1971): 1-26. [FaFi-BrannE364; SJC Digital Archives: Oratio Collection] The College (1969-80) 24, no. 2 (July 1972): 1-9. [BRA (Lectures); SJC Digital Archives: The College (1969-80) Collection] "Through Phantasia to Philosophy." Thinking: The Journal of Philosophy for Children 6, no. 1 (1985): 1-8. [FaFi-BrannE341; Montclair State University Digital Commons] "Through Phantasia to Philosophy: Review with Reminiscences." The St. John's Review 37, no. 2&3 (Spring 1986): 57-64. [FaFi-BrannE342; SJC Digital Archives: The St. John’s Review Collection] "Tips on Writing: (Excerpts from the Fall 2017 Colloquy Symposium)." Colloquy 2 (Fall 2017): 16-17. [FaFi-BrannE550; SJC Digital Archives: Colloquy Collection] "Truth and Teaching." Energeia, Spring 1992: 1-3. [FaFi-BrannE354; SJC Digital Archives: Energeia Collection] "Universal, Not 'Catholic,' Art." New Oxford Review 82, no. 2 (March 2015): 12-13. [FaFi-BrannE532; New Oxford Review] "Utopia—: The Imagined Polity." This World, no. 9 (Fall 1984): 78-83. [FaFi-BrannE363] 21 �"Virtual Space—Real Time." The St. John's Reporter 23, no. 2 (Winter 1997): 10. [FaFi-BrannE366; SJC Digital Archives: The St. John’s Reporter Collection] "What is a Body in Kant's System?" [See Lectures] "What is a Book?" [See Lectures] "What is Philosophy?" [See Lectures] "What is Postmodernism?" The Harvard Review of Philosophy 2, no. 1, Spring 1992: 4-7. [FaFi-BrannE377; Philosophy Documentation Center] "What is the Common Good of Liberal Education?" Energeia, Winter 2009: 83-96. [FaFi-BrannE570; SJC Digital Archives: Energeia Collection] "What, Then, Is Time?" [See Lectures] "When Does Amorality Become Immorality?" Philosophy and Literature 22, no. 1 (April 1998): 166170. [FaFi-BrannE392] "WHERE, Then, Is Time?" [See Lectures] "Whose Sense? Whose Sensibility?: Jane Austen's Subtlest Novel." Persuasions: The Jane Austen Journal, no. 12 (1990): 131-133. [FaFi-BrannE394; Jane Austen Society of North America] "Why Read?" Energeia, Spring 2016: 3-8. [FaFi-BrannE530; SJC Digital Archives: Energeia Collection] "[Women's Soccer Kick-Off]." The Gadfly 14, no. 1 (September 9, 1992): 6. [FaFi-BrannE001; SJC Digital Archives: The Gadfly Collection] "[Women's Soccer Kick-Off]." The Gadfly 15, no. 3 (October 26, 1993): 6. [FaFi-BrannE194; SJC Digital Archives: The Gadfly Collection] "[Women's Soccer Kick-Off]." The Gadfly 16, no. 1 (September 13, 1994): 5. [FaFi-BrannE401; SJC Digital Archives: The Gadfly Collection] "[Women's Soccer Kick-Off]." The Gadfly 17, no. 2 (September 19, 1995): 7, 9. [FaFi-BrannE401; SJC Digital Archives: The Gadfly Collection] 22 �"[Women's Soccer Kick-Off]." The Gadfly 18, no. 1 (September 10, 1996): 5. [FaFi-BrannE167; SJC Digital Archives: The Gadfly Collection] "World Without Time." [See Lectures] "πρωτοαττικα αγγεια της αρχαιας αγορας ευρεθησαν τεμαχισμενα μεσα εισ αποξηραμενα πηγαδια [Protoattic Pots from the Athenian Marketplace: Fragments Found in Dried Wells]." To Vima [The Tribune], Sunday, June 21, 1959. [FaFi-BrannE299] Articles: Drafts "A Moment's Musing on the Time of Our Lives." Draft, June 23, 1992, typescript. [FaFi-BrannE196] "[Concerning the criteria for professors' tenure]." Draft, May 13, 1992, typescript. [FaFi-BrannE019] "Letter to a Young Essayist." Draft, Fall 2002, typescript. [FaFi-BrannE173] "Letter to the Editor [of The Gadfly]." Draft, October 23, 1995, typescript. [FaFi-BrannE177] "Lincoln for a Refugee." Draft, April 15, 2009, manuscript. [FaFi-BrannE476] "Mere Reading." Draft, March 1996, typescript. [FaFi-BrannE191] "One American Curriculum: St. John's College." Draft, Winter 1992, typescript. [FaFi-BrannE225] "Paradoxes of Eternal Verities." Draft, December 2002, typescript. [FaFi-BrannE235] "Post-modern-ism." Draft, 1992, typescript. [FaFi-BrannE260] "Question: Are Human Beings Ultimately Affective?" Draft, [before May 17], 2007, typescript. [FaFi-BrannE266] "Straight Talk About the Small Independent Liberal Arts Colleges." Draft, March 1995, typescript. [FaFi-BrannE324] 23 �"The Imagery Debate at the Turn of the Bimillennium." Draft, September 1996, typescript. [FaFi-BrannE143] "The Imagery Debate in the Beginning of the Third Millennium." Draft, [2003], typescript, and galley proof, 2003. [FaFi-BrannE144] "The Program of St. John's College in Annapolis and Santa Fe." Draft, June 3, 1996, typescript. [FaFi-BrannE011] "To the Editor [of the New Oxford Review]." Draft, December 12, 2014, manuscript. [FaFi-BrannE525] Book Contributions "A Portrait of a Lady." Introduction to His Monkey Wife: Or, Married to a Chimp, by John Collier, vii-xviii. Philadelphia, PA: Paul Dry Books, 2000. [FaFi-BrannE262] "For Aryeh Motzkin." Preface to Philosophy and the Jewish Tradition: Lectures and Essays, by Aryeh Leo Motzkin. Draft, 2009. [FaFi-BrannE444] Foreword to Abraham Lincoln: A Constitutional Biography (Paperback Edition), by George Anastaplo. Draft, 2001. [FaFi-BrannE120] Foreword to Space & Place: Mapmaking East and West: Four Hundred Years of Western and Chinese Cartography from the Library of Congress, Geography and Map Division, and the Collection of Leonard & Juliet Rothman, by Cordell D. K. Yee. Annapolis, MD: St. John's College, 1996. [FaFi-BrannE121] Foreword to The Art of Persuasion: Aristotle's Rhetoric for Everybody, by Scott F. Crider, 5-10. Berkeley, CA: Zaytuna College in conjunction with Sandala, 2019. [P301.5.P47 C75 2019; draft: FaFi-BrannE551] "Glimpses of Leo Strauss, Jacob Klein, and St. John's College (2009)." Chapter in The Christian Heritage: Problems and Prospects, by George Anastaplo, 361-370. Lanham, MD: Lexington Books, 2010. [FaFi-BrannE415] "Introduction: The St. John's Program." Introduction to chapter in The Liberal Arts Tradition: A Documentary History, by Bruce A. Kimball. Draft, 2000. [FaFi-BrannE153] Introduction to chapter in The Liberal Arts Tradition: A Documentary History, by Bruce A. Kimball, 455-456. Lanham, MD: University Press of America, 2010. [LA205.K5 2010 (Oversize); FaFi-BrannE474] Introduction to The Republic, by Plato, translated by Raymond Larson, xxiii-xlvi. Arlington Heights, IL: AHM Publishing, 1979. [ JC71.P35 1979; FaFi-BrannE154] 24 �Preface to Philosophy and the Jewish Tradition: Lectures and Essays, by Aryeh Leo Motzkin, edited by Yehuda Halper, ix-x. Boston, MA: Brill Academic Publishers, 2012. [FaFi-BrannE443] Preface to The Origin of the Logic of Symbolic Mathematics: Edmund Husserl and Jacob Klein, by Burt C. Hopkins, xxiii-xxviii. Bloomington and Indianapolis, IN: Indiana University Press, 2008. [FaFi-BrannE425] "St. John's Next Century." Epilogue to "A Complete and Generous Education": 300 Years of Liberal Arts: St. John's College, Annapolis, by Emily A. Murphy, 185-186. Annapolis, MD: St. John's College Press, 1996. [LD4811.S22 M8 (Reference); FaFi-BrannE322] Books Doublethink/Doubletalk: Naturalizing Second Thoughts and Twofold Speech. Philadelphia, PA: Paul Dry Books, 2016. [B105.T54 B73 2016] Essays in Honor of Jacob Klein [co-editor; Samuel S. Kutler, editorial board chair]. Annapolis, MD: St. John's College Press, 1976. [B29.E82 (Oversize)] Feeling Our Feelings: What Philosophers Think and People Know. Philadelphia, PA: Paul Dry Books, 2008. [B105.E46 B73 2008] Feigning: On the Originals of Fictive Images. Philadelphia, PA: Paul Dry Books, 2021. [BH301.I53 B73 2021] Homage to Americans: Mile-High Meditations, Close Readings, and Time-Spanning Speculations. Philadelphia, PA: Paul Dry Books, 2010. [E183.B8] Homeric Moments: Clues to Delight in Reading the Odyssey and the Iliad. Philadelphia, PA: Paul Dry Books, 2002. [PB2037.B64 2002] How to Constitute a World: Outside In, Inside Out. Philadelphia, PA: Paul Dry Books, 2017. [B29.B72 H68 2017] Iron Filings or Scribblings: Thinking Things Out. Philadelphia, PA: Paul Dry Books, 2019. [BD431.B736 2019] Is Equality an Absolute Good? Philadelphia, PA: Paul Dry Books, 2022. [JC575.B72 I74 2022] Liberated Characters: The Letters of Melissa Zink and Eva Brann. Taos, NM: Parks Gallery, 2011. [N6537.Z56 A3 2011 (Rare Books)] Open Secrets/Inward Prospects: Reflections on World and Soul. Philadelphia, PA: Paul Dry Books, 2004. [BD431.B746 2004] 25 �Paradoxes of Education in a Republic. Chicago, IL: University of Chicago Press, 1979. [LA209.2.B73] Pursuits of Happiness: On Being Interested. Philadelphia, PA: Paul Dry Books, 2020. [LB1060.B73 2020] The Athenian Agora: Results of Excavations Conducted by the American School of Classical Studies at Athens: Late Geometric and Protoattic Pottery, Mid 8th to Late 7th Century B.C. Princeton, NJ: American School of Classical Studies at Athens, 1962. [NK4647.B73 v. 8 (Oversize)] The Logos of Heraclitus: The First Philosopher of the West on Its Most Interesting Term. Philadelphia, PA: Paul Dry Books, 2011. [B224.L6 B73] The Music of the Republic: Essays on Socrates' Conversations and Plato's Writings. Philadelphia, PA: Paul Dry Books, 2004. [B395.B749 2004] The Past-Present: Selected Writing of Eva Brann. Annapolis, MD: St. John's College Press, 1997. [B29.B7 1997] The Study of Time: Philosophical Truths and Human Consequences. Eugene, OR: University of Oregon Books and the University of Oregon Humanities Center, 1999. [BD638.B727 1999] The Ways of Naysaying: No, Not, Nothing, and Nonbeing. Lanham, MD: Rowman & Littlefield Publishers, 2001. [BC199.N4 B73 2001] The World of the Imagination: Sum and Substance. Savage, MD: Rowman & Littlefield Publishers, 1991. [B105.I49 B72 1991] The World of the Imagination: Sum and Substance: 25th Anniversary Edition. Lanham, MD: Rowman & Littlefield Publishers, 2017. [B105.I49 B72 2017] Then and Now: The World's Center and the Soul's Demesne. Philadelphia, PA: Paul Dry Books, 2015. [PB2004.B727 2015] Un-Willing: An Inquiry into the Rise of Will's Power and an Attempt to Undo It. Philadelphia, PA: Paul Dry Books, 2014. [BJ1461.B686 2014] What, Then, Is Time? Lanham, MD: Rowman & Littlefield Publishers, 1999. [BD638.B733 1999] Chapters "A Reading of the Gettysburg Address." [See Lectures] 26 �"A Tiny Essay on Taking Offense." In Falling Dog Anthology, [editor unknown], 12-13. [s.l.]: [s.n.], 1992. [FaFi-BrannE345] "A Way to Philosophy." In Thinking Children and Education, edited by Matthew Lipman, 481-490. Dubuque, IA: Kendall/Hunt Publishing, 1993. [FaFi-BrannE374] "About the Greatness of Great Books." In Liberal Learning and the Great Books: Twelve Presentations at a Conference Held April 4-5, 2001, Celebrating the Fiftieth Anniversary of the Founding of the Program of Liberal Studies, the Great Books Program of the University of Notre Dame, edited by Nicholas Ayo and Michael J. Crowe, 6-11. Notre Dame, IN: University of Notre Dame, 2002. [FaFi-BrannE004] "An Appreciation of Kant's Critique of Pure Reason: An Introduction for Students." [See Lectures] "Augustine as Phenomenologist: A Time Diagram." Two galley proofs for Phenomenology: Japanese and American, edited by Burt C. Hopkins, 213-222 (1997), 243-252 (1998). Dordrecht, Netherlands: Kluwer Academic Publishers, 1997/98. [FaFi-BrannE014] "Critical Reasoning and the Second Power of Questions: Toward First Questions and First Philosophy." In Critical Reasoning in Contemporary Culture, edited by Richard A. Talaska, 299-331. Albany, NY: State University of New York Press, 1992. [FaFi-BrannE051] "Cui Bono?" In Minutes of the Lead Pencil Club: Pulling the Plug on the Electronic Revolution, edited by Bill Henderson, 142-160. Wainscott, NY: Pushcart Press, 1996. [FaFi-BrannE054] "Depth and Desire." [See Lectures] "Education, the Supreme Court, and the Constitution." In Is the Supreme Court the Guardian of the Constitution?, edited by Robert A. Licht, 9-80. Washington, DC: AEI Press, 1993. [FaFi-BrannE079] "Extraterrestrial Reflection." In The Philosophical Implications of Establishing Permanent Human Presence in Space, [editor not listed], 3-13. Washington, DC: Congress of the United States, 1984. [FaFi-BrannE094] "[For Chaninah Maschler]." In Memorial Tributes for Chaninah Maschler: Tutor, St. John's College, 1976-1998, [editor not listed], 2-3. Annapolis, MD: St. John's College, 2014. [FaFi-BrannE521] "Four Appreciative Queries." In The Condition of American Liberal Education: Pragmatism and a Changing Tradition, edited by Robert Orrill, 170-175. New York, NY: College Entrance Examination Board, 1995. [LC1011.K553 1995; FaFi-BrannE123] 27 �"In Memory of Ted Stinchecum." In The Habitual Vision of Excellence: A Tribute to St. John's College and Our Tutors from the Class of 1961 on the Occasion of Its 50th Reunion, Annapolis, Maryland, September, 2011, edited by Harrison Sheppard, 49-50. Scotts Valley, CA: OnDemand Publishing, 2011. [FaFi-BrannE408] "Jeffersonian Ambivalences." In Philosophers on Education: Historical Perspectives, edited by Amélie Oksenberg Rorty, 273-283. New York, NY: Routledge, 1998. [FaFi-BrannE158] "Kant's Philosophical Use of Mathematics: Negative Magnitudes." In Logos and Eros: Essays Honoring Stanley Rosen, edited by Nalin Ranasinghe, 160-175. South Bend, IN: St. Augustine's Press, 2006. [FaFi-BrannE166] "Learning to Deliberate." In Deliberation in Education and Society, edited by J. T. Dillon, 249-258. Norwood, NJ: Ablex Publishing, 1994. [FaFi-BrannE170] "Leo Strauss at St. John's College (Annapolis)." In Leo Strauss, the Straussians, and the American Regime, edited by Kenneth Deutsch and John Murley, 31-37. Lanham, MD: Rowman & Littlefield Publishers, 1999. [FaFi-BrannE172] "Mental Images in Cognitive Psychology." In The Great Ideas Today - 1990, edited by Mortimer J. Adler, 94-137. Chicago, IL: Encyclopaedia Britannica, 1990. [AY59.G7 1990; FaFi-BrannE190] "On Translating Plato." [See Lectures] "Paul Scott's Raj Quintet: Real Politics in Imagined Gardens." In Poets, Princes, and Private Citizens: Literary Alternatives to Postmodern Politics, edited by Joseph M. Knippenberg and Peter A. Lawler, 191-209. Lanham, MD: Rowman & Littlefield Publishers, 1996. [FaFi-BrannE230] "Pictures in Poetry: Keats' 'Ode on a Grecian Urn.'" In Contexts for Criticism: 2nd Ed., edited by Donald Keesey, 236-240. Mountain View, CA: Mayfield Publishing Company, 1994. [FaFi-BrannE250] "Reflections on Academic Freedom and Our Program." In Essays in Honor of Robert Bart, edited by St. John's College, 39-47. Santa Fe, NM: St. John's College, 1993. [PB1521.E77 1993 (Oversize, Rare Books); FaFi-BrannE304] "Response." In What is Humanistic Education?: Report of a Conference of the Dilthey Society of George Washington University, edited by George Washington University, 20-23. Washington, DC: George Washington University, 1973. [FaFi-BrannE384] 28 �"Take No Thought for the Morrow." In What Is It to Educate Liberally?: Essays by Faculty and Friends of Saint Mary's College, edited by S. A. Cortright, 128-133. Moraga, CA: Saint Mary's College of California, 1996. [LC1011.W5 1996 (Oversize, Rare Books, Reference); FaFi-BrannE331] "The Perfections of Jane Austen." [See Lectures] "The Program of Annapolis, MD, and Santa Fe, New Mexico." In Toward the Restoration of the Liberal Arts Curriculum: A Rockefeller Foundation Conference, September 28th, 1978, edited by the Rockefeller Foundation, 25p. New York, NY: Rockefeller Foundation, 1979. [FaFi-BrannE296] "The Role of Higher Education in a Young Jewish Republic." In Fruits of Friendship: Seven Essays in Honor of Laurence Berns, edited by Joseph P. Cohen, 25-33. Annapolis, MD: Free State Press, 2011. [FaFi-BrannE410] "The Roots of the Enlightenment." In The Ambiguous Legacy of the Enlightenment, edited by William A. Rusher, 1-21. Lanham, MD: University Press of America, 1995. [FaFi-BrannE281] "The Six Silences of a Grecian Urn." In Philosophical Imagination and Cultural Memory: Appropriating Historical Traditions, edited by Patricia Cook, 167-175. Durham, NC: Duke University Press, 1993. [D16.9.P416 1993; FaFi-BrannE292] "'The Spirit Lives in the Sticks.' Review of The Closing of the American Mind, by Allan Bloom." In Essays on The Closing of the American Mind, edited by Robert L. Stone, 181-187. Chicago, IL: Chicago Review Press, 1989. [LA227.3.E85 1989; FaFi-BrannE312] "The Student's Problem." In What Is It to Educate Liberally?: Essays by Faculty and Friends of Saint Mary's College, edited by S. A. Cortright, 128-133. Moraga, CA: Saint Mary's College of California, 1996. [LC1011.W5 1996 (Oversize)] "Through Phantasia to Philosophy: Review with Reminiscences." In Thinking Children and Education, edited by Matthew Lipman, 287-297. Dubuque, IA: Kendall/Hunt Publishing, 1993. [FaFi-BrannE343] "Uniting Students' Learning." In Uniting the Liberal Arts: Core and Context: Selected Essays from the Fifth Annual Conference of the Association for Core Texts and Courses, edited by Bainard Cowan and Scott Lee, 1-9. Lanham, MD: Association for Core Texts and Courses and University Press of America, 2002. [FaFi-BrannE360] "Was Jefferson a Philosopher?" In Law and Philosophy: The Practice of Theory: Essays in Honor of George Anastaplo, Volume II, edited by John A. Murley, Robert L. Stone, and William T. Braithwaite, 654-670. Athens, OH: Ohio University Press, 1992. [KF380.L297 1991 v.2; FaFi-BrannE370] 29 �Chapters: Drafts "A Tiny Essay on Taking Offense." Draft, [1992], typescript. [LC1011.W5 1996 (Oversize)] "Augustine as Phenomenologist: A Time Diagram." Draft, March 1997, typescript. [FaFi-BrannE384] "Effie Briest: A Personal Note." Draft, November 2017, typescript. [FaFi-BrannE360] "Jeffersonian Ambivalences." Draft, [1996-8], typescript. [FaFi-BrannE296] "Learning to Deliberate." Draft, June 1991, typescript. [FaFi-BrannE374] "Leo Strauss at St. John's College." Draft, [1998/99], typescript. [FaFi-BrannE343] "Madison's 'Memorial' Concerning Religious Freedom." Draft, February 1984, typescript. [FaFi-BrannE094] "On the Timelessness of the Tradition." Draft, October 6, 2016, typescript. [FaFi-BrannE408] "Papyrus and Beech." Draft, 1995, typescript. [AY59.G7 1990; FaFi-BrannE190] "Parmenides: 'For It Is the Same Thing to Think and to Be.'" Draft, August 2017, typescript. [LC1011.K553 1995; FaFi-BrannE123] "Paul Scott's Raj Quintet: Real Politics in Imagined Gardens." Draft, January 1994, typescript. [FaFi-BrannE281] "Pursuits of Happiness: On Being Interested." Draft, 2018, typescript. [FaFi-BrannE224] "Response to Bruce Kimball's 'Toward Pragmatic Liberal Education.'" Draft, November 1994, typescript. [FaFi-BrannE230] "Seminar Questions: What Works?" Draft, February 2018, typescript. [D16.9.P416 1993; FaFi-BrannE292] "Teachers and Students: Intimate Distance." Draft, March 2013, typescript. [FaFi-BrannE158] 30 �"The Fourth Brother Karamazov: Or, 'Pavel and His Brothers.'" Draft, [2016-20], typescript. [FaFi-BrannE014] "The Idea of the Good: Plato, Republic, Books VI, VII, X." Draft, June 2018, typescript. [FaFi-BrannE054] "'The Most Beautiful of Her Works': Jane Austen's Persuasion." Draft, August 2017, typescript. [LC1011.W5 1996 (Oversize, Rare Books, Reference); FaFi-BrannE331] "The Six Silences of a Grecian Urn." Draft, [n.d.], typescript. [FaFi-BrannE521] "Thing-Love: Or, Do Cars Die?" Draft, February 2018, typescript. [FaFi-BrannE166] "Three Platonic Places—Better, Spots." Draft, [2016-20], typescript. [FaFi-BrannE004] Draft and Unpublished Essays "A College Unique and Universal." [2006], booklet. [SJC Digital Archives: Promotional Publications Collection] "Comprehended by Herodotus: How the Greek Center is Defined by Barbarian Periphery." Fall 2013, typescript. [FaFi-BrannE489] "Deaning." 1994, typescript. [FaFi-BrannE060] "Education and the Constitution." 1991, typescript. [FaFi-BrannE077] "Extraterrestrial Reflection." February 1984, typescript. [FaFi-BrannE092] "Form Numbers (Arithmoi Eidetikoi)." August 2018, typescript. [FaFi-BrannE553] "Gone West." Spring 1997, typescript. [FaFi-BrannE125] "Hegel on Time." February 8, 1993, typescript. [FaFi-BrannE132] "Higher Education: The Media and the Market." November 4, 2000, typescript. [FaFi-BrannE135] 31 �"Jeffersonian Contradictions." 1978, typescript. [FaFi-BrannE159] "Kant's Philosophical Use of Mathematics: Negative Magnitudes." 2003, typescript. [FaFi-BrannE163; corrected version: FaFi-BrannE164] "Lady Macbeth: The Tyrant's Wife." May 2016, typescript. [FaFi-BrannE512] "Liberal Education." 2017, typescript. [FaFi-BrannE546] "Mile-High Meditation: My Take on How to Think and How to Be." July 1, 2008, typescript. [FaFi-BrannE447] "Postmodern Don Quijote." [Before Spring 2014], typescript. [FaFi-BrannE487] "Res Tene, Verba Sequentur: A Reflection on Two Questions Concerning the Re-telling of Sacred Stories and of Myths." August 2014, typescript. [FaFi-BrannE566] "The Eumenides of Aeschylus: Whole-Hearted Patriotism and Moderated Modernity." [See Lectures] "The Heroine of Jane Austen's Persuasion." [Before Fall 2006], typescript. [FaFi-BrannE134] "The Tin Star at High Noon." [1994], typescript. [FaFi-BrannE344] "The Unexpurgated Robinson Crusoe." [See Lectures] "Thomas More Against His Utopia." January 1995, typescript. [FaFi-BrannE340] "What Are the Beliefs and Teachings of St. John's College?" April 1975, typescript. [FaFi-BrannE382] 32 �Lectures "A Reading of the Gettysburg Address [Expanded Version]." Lecture delivered at St. John's College, Annapolis, MD, October 1968. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection] Published as an article in Palaestra, Supplement, 1968: 1-40. [FaFi-BrannE301] Revised for publication as a chapter in Abraham Lincoln, The Gettysburg Address, and American Constitutionalism, edited by Leo P. S. de Alvarez, 15-53. Irving, TX: University of Dallas Press, 1976. [E475.55.A27; FaFi-BrannE302] "Against Time." Two-part lecture delivered at St. John's College, Annapolis, MD, February 18 & 25, 1983. [print: SJC Digital Archives: St. John's College Formal Lecture Series – Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series – Annapolis Collection: part 1; part 2] Published as an article in The St. John's Review 34, no. 3 (Summer 1983): 65-104. [BRA (Lectures); FaFi-BrannE007; SJC Digital Archives: The St. John's Review Collection] "An Appreciation of Kant's Critique of Pure Reason: An Introduction for Students." Lecture delivered at St. John's College, Annapolis, MD, May 1972. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] Revised for publication as a chapter in Essays in Honor of Jacob Klein, [editor not listed], 3753. Annapolis, MD: St. John's College Press, 1976. [B29.E82 (Oversize); FaFi-BrannE013] "Declaration of Independence." Lecture delivered at St. John's College, Annapolis, MD, April 30, 1976. [audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] Published as an article entitled "Concerning the Declaration of Independence" in The College (1969-80) 28, no. 2 (July 1976): "Bicentennial Issue": 1-17. [FaFi-BrannE049; SJC Digital Archives: The College (1969-80) Collection] "Depth and Desire." Lecture delivered at St. John's College, Annapolis, MD, August 31, 1990. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] 33 �Published as an article in The St. John's Review 29, no. 3 (1989-90): 83-92. [FaFi-BrannE068; SJC Digital Archives: The St. John's Review Collection] Published as a chapter in Everyone a Teacher, edited by Mark Schwen, 369-377. Notre Dame, IN: University of Notre Dame Press, 2000. [FaFi-BrannE070] "For the First Time." Lecture delivered at St. John's College, Annapolis, MD, [September 1], 1995. [print: BRA (Lectures); print: SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection] "Imitative Poetry: Book X of Plato's Republic." Lecture delivered at Saint Mary's College of California, Moraga, CA, March 22, 2003. [FaFi-BrannE146] "Mental Imagery: The College and Contemporary Cognitive Science." Lecture delivered at St. John's College, Annapolis, MD, September 27, 1985. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection] Published as an article in The St. John's Review 36, no. 3 (Summer 1985): 71-79. [FaFi-BrannE189; SJC Digital Archives: The St. John's Review Collection] "Momentary Morality and Extended Ethics: For the "Windows on the Good Life" Course at Carleton College, April 23, 2014." Lecture delivered at Carleton College, Northfield, MN, April 23, 2014. [FaFi-BrannE481] Published as an article entitled "Momentary Morality and Extended Ethics" in The St. John's Review 56, no. 2 (Spring 2015): 1-13. [FaFi-BrannE497; SJC Digital Archives: The St. John's Review Collection] "Music: The Representative Liberal Art." Lecture delivered at St. John's College, Annapolis, MD, September 2, 1988. [print: FaFi-BrannE203; SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] "On Problems and Questions." Lecture delivered at Rosary College, [River Forest, IL, or Greenville, SC], April 27, 1967. [FaFi-BrannE219] "On the Imagination." Lecture delivered at St. John's College, Annapolis, MD, November 18, 1977. [print: FaFi-BrannE220; audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] "On the Originals of Fictive Mental Images." Lecture delivered at St. John's College, Annapolis, MD, September 3, 2021. [video: SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection] 34 �"On Thomas More's Utopia." Lecture delivered at St. John's College, Annapolis, MD, May 5, 1972. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection] "On Translating Plato." Lecture delivered at Pennsylvania State University, College Township, PA, March [20-22], 1997. [BRA (Lectures); SJC Digital Archives: Speeches, Presentations, and Other Lectures Collection] Published as a chapter in Retracing the Platonic Text, edited by John Russon and John Sallis, 175-188. Evanston, IL: Northwestern University Press, 2000. [FaFi-BrannE224] "Our Mortal Coil." Lecture delivered at St. John's College, Annapolis, MD, February 27, 1991. [FaFi-BrannE226; revised version: FaFi-BrannE227] Published as an article in The Collegian 2, no. 6 (Friday, April 19, 1991): 1-4. [FaFi-BrannE226; SJC Digital Archives: The Collegian Collection] "Philosophical Paganism and Its Bearing on Ethics." Lecture delivered at Earlham College, Richmond, IN, September 1995. [FaFi-BrannE247] "Plato's Theory of Ideas." Lecture delivered at St. John's College, Annapolis, MD, September 14, 1979. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] Revised for publication as an article in The St. John's Review 32, no. 1 (July 1980): 29-37. [FaFi-BrannE256; SJC Digital Archives: The St. John's Review Collection] "Socrates' Legacy: Plato's Phaedo." Lecture delivered at St. John's College, Annapolis, MD, [200[?]]. [FaFi-BrannE316] "Socrates' Legacy." Lecture delivered at St. John's College, Annapolis, MD, [January] 2009. [FaFi-BrannE452] "Talking, Reading, Writing, Listening." Lecture delivered at St. John's College, Annapolis, MD, November 4, 2011. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] "Telling Lies." Lecture delivered at St. John's College, Annapolis, MD, August 27, 1993. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series - 35 �Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] Published as an article in The St. John's Review 42, no. 3 (1994): 1-15. [FaFi-BrannE337; SJC Digital Archives: The St. John's Review Collection] "The Derivatives of Reason." Lecture delivered at St. John's College, Santa Fe, NM, January 18, 1991. [FaFi-BrannE071; revised version: FaFi-BrannE072] "The Empires of the Sun and the West." Lecture delivered at St. John's College, Annapolis, MD, October 4, 2002. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] Published as an article in The St. John's Review 47, no. 1 (2003): 83-136. [FaFi-BrannE082; SJC Digital Archives: The St. John's Review Collection] "The Eumenides of Aeschylus: Whole-Hearted Patriotism and Moderated Modernity." Essay dated April 2007, typescript. [FaFi-BrannE086] Significantly revised for delivery as a lecture; delivered at [s.l.], [n.d.]. [FaFi-BrannE085] "The Human Consequences of Thinking About Time." Lecture delivered at University of Oregon, Eugene, OR, March 1998. [FaFi-BrannE140] "The Mutuality of Imagining and Thinking: On Dennis Sepper's Understanding Imagination: The Reason of Images." Lecture delivered at [s.l.], [2013/14]. [FaFi-BrannE485] Published as an article entitled "The Mutuality of Imagining and Thinking [review of Understanding Imagination: The Reason of Images, by Dennis Sepper]" in The St. John's Review 55, no. 2 (Spring 2014): 1-16. [FaFi-BrannE494; SJC Digital Archives: The St. John’s Review Collection] "The Offense of Socrates: A Re-Reading of Plato's Apology." Lecture delivered at American Political Science Association, San Francisco, CA, September 1975. [BRA (Lectures); SJC Digital Archives: Speeches, Presentations, and Other Lectures Collection] Revised for publication as an article in Interpretation: A Journal of Political Philosophy 7, no. 2 (May 1978): 1-21. [FaFi-BrannE216] "The Paradox of Obedience." Lecture delivered at United States Air Force Academy, Air Force Academy, CO, November 18, 2004. [FaFi-BrannE237] 36 �"The Past-Present." Lecture delivered at St. John's College, Annapolis, MD, September 2, 1994. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection] "The Perfections of Jane Austen." Lecture delivered at St. John's College, Annapolis, MD, January 31, 1975. [print: BRA (Lectures); audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] Revised for publication as an article in The College (1969-80) 27, no. 1 (April 1975): 1-14. [FaFi-BrannE242; SJC Digital Archives: The College (1969-80) Collection] Significantly revised for publication as a chapter in A Truth Universally Acknowledged: 33 Great Authors on Why We Read Jane Austen, edited by Susannah Carson, 200-212. New York, NY: Random House, 2009. [PO4037.T78 2009; FaFi-BrannE490] "The Poet of the Odyssey." Lecture delivered at St. John's College, Annapolis, MD, October 6, 1972. [print: BRA (Lectures); audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] Revised for publication as an article in The College (1969-80) 26, no. 1 (April 1974): 5-12. [FaFi-BrannE258; SJC Digital Archives: The College (1969-80) Collection] "The Relationship Between Public Ethics and Education." Lecture delivered at Southern Oregon University, Ashland, OR, October 30, 1997. [FaFi-BrannE306] "The Seal with Seven Books." Lecture delivered at St. John's College, Annapolis, MD, August 28, 1992. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] "The Unexpurgated Robinson Crusoe." Lecture delivered at Glendale Preparatory Academy and Mesa Preparatory Academy, Kansas City, MO, October 13, 2010. [FaFi-BrannE416] Essay dated October 13, 2010, typescript. [FaFi-BrannE417] Published as an article in American Dialectic 1, no. 1 (January 2011): 90-111. [FaFi-BrannE418] "The World of the Imagination." Lecture delivered at University of Dallas, Irving, TX, March [2-6], 1992. [FaFi-BrannE397] "Virtue in Two Versions." Lecture delivered at Earlham College, Richmond, IN, [September/October] 1995. [FaFi-BrannE367] 37 �"Ways of Naysaying." Lecture delivered at St. John's College, Annapolis, MD, November 2, 2001. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection] "What Does It Mean to Have Feelings?: Spinoza's Answer." Lecture delivered at Vassar College, Poughkeepsie, NY, October 26, 2005. [FaFi-BrannE383] "What is a Body in Kant's System?" Lecture delivered at St. John's College, Annapolis, MD, 1974. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] Revised for publication as an article in The Independent Journal for Philosophy 3 (1979): 91-100. [FaFi-BrannE380] "What is a Book?" Lecture delivered at St. John's College, Annapolis, MD, August 30, 1991. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] Published as an article in The St. John's Review 41, no. 1 (1991-92): 75-88. [FaFi-BrannE378; SJC Digital Archives: The St. John's Review Collection] "What is Philosophy?" Lecture delivered at Southeastern Louisiana University, Hammond, LA, September 1989. [FaFi-BrannE386] Published as an article in Energeia, Winter 1990: 32-35. [FaFi-BrannE385; SJC Digital Archives: Energeia Collection] "What, Then, Is Time?" Lecture delivered at St. John's College, Annapolis, MD, September 4, 1998. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series - Annapolis Collection] Revised for publication as an article in The St. John's Review 45, no. 3 (2000): 47-65. [FaFi-BrannE391; SJC Digital Archives: The St. John's Review Collection] "WHERE, Then, Is Time?" Lecture delivered at the U.S. Naval Observatory, Washington, DC, December 11, 2015. [FaFi-BrannE569] Published as an article in The St. John's Review 57, no. 2 (Spring 2016): 12-24. [FaFi-BrannE492; SJC Digital Archives: The St. John's Review Collection] 38 �"Why Read Books?" Lecture delivered at St. John's College, Annapolis, MD, August 30, 1996. [print: BRA (Lectures); SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection; audio: SJC Digital Archives: St. John's College Formal Lecture Series Annapolis Collection] "World Without Time." Lecture delivered at Belmont University, Nashville, TN, September 23, 2014. [FaFi-BrannE534] Revised for publication as an article in The St. John's Review 57, no. 1 (Fall 2015): 1-14. [FaFi-BrannE496; SJC Digital Archives: The St. John's Review Collection] Reviews "A Portrait of a Lady: His Monkey Wife." Review of His Monkey Wife: Or, Married to a Chimp, by John Collier. New England Review 21, no. 2 (Spring): 83-89. [FaFi-BrannE263] "Aristotle and Diversity." Review of Fear of Diversity: The Birth of Political Science in Ancient Greek Thought, by Arlene W. Saxonhouse. The Review of Politics 55, no. 2 (Spring 1993): 345-347. [FaFi-BrannE017; JSTOR] "Aristotle from a Woman's Perspective." Review of The Pleasures of Virtue: Political Thought in the Novels of Jane Austen, by Anne C. Ruderman. The Review of Politics 58, no. 4 (Fall 1996): 817819. [FaFi-BrannE018; JSTOR] "Book Report." Review of Ransom, by David Malouf, The Lost Books of the Odyssey, by Zachary Maso, and Taking Her Seriously: Penelope and the Plot of Homer's Odyssey, by Richard Heitman. The Gadfly 32, no. 6 (March 2010): 4-5. [FaFi-BrannE468; SJC Digital Archives: The Gadfly Collection] "Book Review: Two New Books by Alumni." Review of The Harmony of the Soul: Mental Health and Moral Virtue Reconsidered, by Neal O. Weiner and Assessing Student Performance: Exploring the Purpose and Limits of Testing, by Grant P. Wiggins. The St. John's Review 42, no. 3 (1994): 67-74. [FaFi-BrannE034; SJC Digital Archives: The St. John’s Review Collection] "Commentary." Review of The World of the Imagination: Sum and Substance, by Eva Brann. The St. John's Reporter 17, no. 3 (March 1991): 8, 11. [FaFi-BrannE046; SJC Digital Archives: The St. John’s Reporter Collection] "Euclid in a Nutshell." Review of The King of Infinite Space: Euclid and His Elements, by David Berlinski. Claremont Review of Books, Special Editions (Winter 2012/13): 1-4. [FaFi-BrannE522; Claremont Review of Books] 39 �"George Anastaplo on Abraham Lincoln." Review of Abraham Lincoln: A Constitutional Biography (Hardcover Edition), by George Anastaplo. George Anastaplo's Blog, March 16, 2010. https://anastaplo.wordpress.com/2010/03/16/george-anastaplo-on-abraham-lincoln/. [FaFi-BrannE470] "Great Books at Berkeley in the Sixties." Review of The Beleaguered College: Essays on Educational Reform, by Joseph Tussman, and Habits of Mind: The Experimental College Program at Berkeley, by Katherine B. Trow. Academic Questions 14, no. 1 (Winter 2000-01): 66-75. [FaFi-BrannE129; National Association of Scholars] "Josh and Jordan." Review of The Crossover, by Kwame Alexander. The Gadfly 36, no. 15 (April 28, 2015): 4. [FaFi-BrannE535; SJC Digital Archives: The Gadfly Collection] "Kant's Afterlife." Review of Opus Postumum, by Immanuel Kant and "Kant's Final Synthesis: An Essay on the Opus Postumum," by Eckart Förster. The St. John's Review 47, no. 3 (2004): 5986. [FaFi-BrannE161; SJC Digital Archives: The St. John’s Review Collection] "Liberalism and Liberal Education." Review of Not for Profit: Why Democracy Needs the Humanities, by Martha C. Nussbaum. Claremont Review of Books 11, no. 3 (Summer 2011): 76-77. [FaFi-BrannE423; Claremont Review of Books] "Mo and Mao." Review of Sour Sweet, by Timothy Mo and Shenfan, by William Hinton. The St. John's Review 40, no. 3 (1990-91): 81-86. [FaFi-BrannE195; SJC Digital Archives: The St. John’s Review Collection] "Novelist and Calvinist." Review of The Givenness of Things: Essays, by Marilynne Robinson. Claremont Review of Books 16, no. 3 (Summer 2016): 55-57. [FaFi-BrannE501; Claremont Review of Books] "Olivia by 'Olivia' (1949)." Review of Olivia, by Dorothy "Olivia" Bussy. The Gadfly 14, no. 20 (April 20, 1993): 5-6. [FaFi-BrannE217; SJC Digital Archives: The Gadfly Collection] "On Daniel James Brown's The Boys in the Boat." Review of The Boys in the Boat: Nine Americans and Their Quest for Gold at the 1936 Berlin Olympics, by Daniel James Brown. The Gadfly 36, no. 13 (April 7, 2015): 6. [FaFi-BrannE524; SJC Digital Archives: The Gadfly Collection] "Philosophy Revived." Review of Complexity and Analysis, by Stewart Umphrey. The St. John's Review 46, no. 3 (2002): 85-93. [FaFi-BrannE248; SJC Digital Archives: The St. John’s Review Collection] "Plato's Impossible Polity." Review of Plato's Republic: A Study, by Stanley Rosen. Claremont Review of Books 6, no. 3 (Summer 2006): 52-53. [FaFi-BrannE253; Claremont Review of Books] 40 �"Portraits of the Impassioned Concept." Review of The Logic of Desire: An Introduction to Hegel's Phenomenology of Spirit, by Peter Kalkavage. The St. John's Review 52, no. 1 (Fall 2010): 123132. [FaFi-BrannE422; SJC Digital Archives: The St. John’s Review Collection] "Recollection and Composure." Review of See Naples: A Memoir, by Douglas Allenbrook. The St. John's Review 43, no. 3 (1996): 81-88. [FaFi-BrannE028; SJC Digital Archives: The St. John’s Review Collection] Review of Abraham Lincoln: A Constitutional Biography, by George Anastaplo. South Dakota Law Review 46, no. 2 (2000): 666-669. [FaFi-BrannE439] Review of Antigones, by George Steiner. The St. John's Review 39, no. 3 (1989-90): 61-65. [FaFi-BrannE271; SJC Digital Archives: The St. John’s Review Collection] Review of Are We in Time? And Other Essays on Time and Temporality, by Charles M. Sherover. The Review of Metaphysics 59, no. 2, iss. 234 (December 2005): 450-451. [FaFi-BrannE026; JSTOR] Review of Arendt, Augustine, and the New Beginning: The Action Theory and Moral Thought of Hannah Arendt in the Light of Her Dissertation on Augustine, by Stephan Kampowski. The Review of Metaphysics 63, no. 1 (September 2009): 194-196. [FaFi-BrannE454; JSTOR] Review of As If Learning Mattered: Reforming Higher Education, by Richard E. Miller. The St. John's Reporter 25, no. 1 (Fall 1998) [corrected from "vol. 24, no. 4" marked on periodical]: 12. [FaFi-BrannE279; SJC Digital Archives: The St. John’s Reporter Collection] Review of In the Light of What We Know, by Zia Haider Rahman. The Gadfly 36, no. 7 (November 18, 2014): 3. [FaFi-BrannE533; SJC Digital Archives: The Gadfly Collection] Review of Kerameikos: Ergebnisse der Ausgrabungen: Band 6, Teil 1, Die Nekropole des späten 8. bis frühen 6. Jahrhunderts [Kerameikos: Results of the Excavations: Vol. 6, Pt. 1, The Necropolis of the Late 8th to Early 6th Centuries], by Karl Kübler. American Journal of Archaeology 60, no. 1 (January 1956): 73-74. [FaFi-BrannE278; Chicago Journals] Review of Logicomix: An Epic Search for Truth, by Annie Di Donna, Apostolos K. Doxiadēs, Alekos Papadatos, and Christos H. Papadimitriou. The Gadfly [32] (January 19, 2010): 2. [FaFiBrannE459] Review of Metaphorically Speaking, by Patti Nogales. The St. John's Reporter 26, no. 4 (Summer 2000): 8. [FaFi-BrannE029; SJC Digital Archives: The St. John’s Reporter Collection] Review of Self-Knowledge in the Age of Theory, by Ann Hartle. New Vico Studies 16 (1998): 101-104. [FaFi-BrannE024] 41 �Review of The Closing of the American Mind, by Allan Bloom. The St. John's Review 38, no. 1 (1988 1): 71-79. [FaFi-BrannE268; SJC Digital Archives: The St. John’s Review Collection] Review of The Human Condition, by John Kekes. The Review of Metaphysics 64, no. 4 (June 2011): 867-868. [FaFi-BrannE424; JSTOR] Review of The Kantian Subject: Eunsus Communis, Mimesis, Work of Mourning, by Tamar Japaridze. The Review of Metaphysics 56, no. 2, iss. 222 (December 2002): 431-433. [FaFi-BrannE329; JSTOR] Review of The Tenants of Time, by Thomas Flanagan. The St. John's Review 38, no. 2 (1988): 87-91. [FaFi-BrannE032; SJC Digital Archives: The St. John’s Review Collection] Review of Time, Conflict, and Human Values, by J. T. Fraser. Isis 92, no. 4 (2001): 774-775. [FaFi-BrannE033; Chicago Journals] Review of Zetetic Skepticism, by Stewart Umphrey. The St. John's Reporter 17, no. 4 (June 1991): 1213. [FaFi-BrannE031; SJC Digital Archives: The St. John’s Reporter Collection] "Roots of Our Program." Review of The Intellectual Life of the British Working Classes, by Jonathan Rose. The College (2001-17) 28, no. 2 (Winter/Spring 2002): 17, 20. [FaFi-BrannE275; SJC Digital Archives: The College (2001-17) Collection] "Summer Reading." Review of The G String Murders, by Gypsy Rose Lee, The Human Comedy, by William Saroyan, Tender is the Night, by F. Scott Fitzgerald, and Shop Class as Soulcraft, by Matthew B. Crawford. G: A Supplement [to The Gadfly], [September 13], 2010: 2. [FaFiBrannE407] "Tapestry with Images: Paul Scott's Raj Novels." Review of The Raj Quartet, University of Chicago Press, by Paul Scott. Philosophy and Literature 23, no. 1 (April 1999): 181-196. [FaFiBrannE289] "The Appreciative Mode." Review of The Moral Imagination: From Edmund Burke to Lionel Trilling, by Gertrude Himmelfar. Claremont Review of Books 7, no. 1 (Winter 2006/07): 4546. [FaFi-BrannE016; Claremont Review of Books] "The Barbaric Days When Thinking Was Like a Splash of Color Landing on the Page." Review of Barbarian Days: A Surfing Life, by William Finnegan. The Gadfly 37, no. 14 (April 26, 2016): 4. [FaFi-BrannE511; SJC Digital Archives: The Gadfly Collection] "The English War and Peace: Paul Scott's Raj Quartet." Review of The Raj Quartet, by Paul Scott. The St. John's Review 38, no. 3 (1988-89): 75-87. [FaFi-BrannE083; SJC Digital Archives: The St. John’s Review Collection] 42 �"The Feasting of Socrates." Review of Plato's Timaeus, translated by Peter Kalkavage. The St. John's Review 46, no. 2 (2002): 117-121. [FaFi-BrannE098; SJC Digital Archives: The St. John’s Review Collection] "The Mutuality of Imagining and Thinking." [See Lectures] "The Wonders of the 'Odyssey.'" Review of The Odyssey by Homer, translated by Joe Sachs. The Imaginative Conservative, May 28, 2015. https://theimaginativeconservative.org/2015/05/wonder-the-odyssey-by-homer-joesachs.html. [FaFi-BrannE565] "To Save the Ideas." Review of Soul, World, and Idea: An Interpretation of Plato's Republic and Phaedo, by Daniel Sherman. The St. John's Review 55, no. 2 (Spring 2014): 89-109. [FaFi-BrannE493; SJC Digital Archives: The St. John’s Review Collection] "Too Much for Our Own Good: The Consumeritis Epidemic." Review of Too Much for Our Own Good: The Consumeritis Epidemic and Good Movies, by Alex Aris and Harrison Sheppard. The College (2001-17) 33, no. 1 (Winter 2007): 37. [FaFi-BrannE309; SJC Digital Archives: The College (2001-17) Collection] "Two Reviews." Review of Master and Commander, by Patrick O'Brian, and The Ionian Mission, by Patrick O'Brian, and The Pagan Rabbi and Other Stories, by Cynthia Ozick. The St. John's Review 42, no. 1 (1993): 107-109. [FaFi-BrannE355; SJC Digital Archives: The St. John’s Review Collection] "You Are How You Eat." Review of The Hungry Soul: Eating and the Perfecting of Our Nature, by Leon R. Kass. Crisis, February 1995: 51. [FaFi-BrannE400] Reviews: Drafts "A Historian's Praise of the Imagination." Review of The Moral Imagination: From Edmund Burke to Lionel Trilling, by Gertrude Himmelfarb. Draft, [2006], typescript. [FaFi-BrannE136] "Book Report on Summer Reading: August, 2010." Review of The G String Murders, by Gypsy Rose Lee, The Human Comedy, by William Saroyan, Tender is the Night, by F. Scott Fitzgerald, and Shop Class as Soulcraft, by Matthew B. Crawford. Draft, August 2010, typescript. [FaFi-BrannE446] "Euclid in a Nutshell." Review of The King of Infinite Space: Euclid and His Elements, by David Berlinski. Draft, April 2013, typescript. [FaFi-BrannE440] "Fat Wednesday." Review of Fat Wednesday: Wittgenstein on Aspects, by John Verdi. Draft, 2010, typescript. [FaFi-BrannE403] 43 �"Kant's Afterlife." Review of both Opus Postumum, by Immanuel Kant and "Kant's Final Synthesis: An Essay on the Opus Postumum," by Eckart Förster. Draft, [2004], typescript. [FaFi-BrannE160] "Philosophy Revived." Review of Complexity and Analysis, by Stewart Umphrey. Draft, 2002, typescript. [FaFi-BrannE248] "Pride and Prejudice: Updated and Upended." Review of Eligible: A Novel, by Curtis Sittenfeld. Draft, 2016, typescript. [FaFi-BrannE503] Review of A Suitable Boy: A Novel, by Vikram Seth. Draft, 1993, typescript. [FaFi-BrannE328] Review of Antigones, by George Steiner. Draft, [1986-1990], typescript. [FaFi-BrannE271] Review of Are We in Time? And Other Essays on Time and Temporality, by Charles M. Sherover. Draft, 2005, typescript. [FaFi-BrannE025] Review of Arendt, Augustine, and the New Beginning: The Action Theory and Moral Thought of Hannah Arendt in the Light of Her Dissertation on Augustine, by Stephan Kampowski. Draft, [2008/09], typescript. [FaFi-BrannE454] Review of As If Learning Mattered: Reforming Higher Education, by Richard E. Miller. Draft, 1998, typescript. [FaFi-BrannE279] Review of Fear of Diversity: The Birth of Political Science in Ancient Greek Thought, by Arlene W. Saxonhouse. Draft, [before Spring 1993], typescript. [FaFi-BrannE269] Review of Fides et Ratio, On the Relationship Between Faith and Reason, by Pope John Paul II. Draft, 1998, typescript. [FaFi-BrannE218] Review of Kant's Theory of Mind: An Analysis of the Paralogisms of Pure Reason, by Karl Ameriks. Draft, [2000], typescript. [FaFi-BrannE274] Review of Master and Commander, by Patrick O'Brian, The Ionian Mission, by Patrick O'Brian, and The Pagan Rabbi and Other Stories, by Cynthia Ozick. Draft, [1992/93], typescript. [FaFi-BrannE355] Review of Profound Ignorance: Plato's Charmides and the Saving of Wisdom, by David Lawrence Levine. Draft, [2016], typescript. [FaFi-BrannE529] Review of See Naples: A Memoir, by Douglas Allenbrook. Draft, [1995/96], typescript. [FaFi-BrannE028] 44 �Review of The Boys in the Boat: Nine Americans and Their Quest for Gold at the 1936 Berlin Olympics, by Daniel James Brown. Draft, [2013-2015], typescript. [FaFi-BrannE488] Review of The Givenness of Things: Essays, by Marilynne Robinson. Draft, [2015/16], typescript. [FaFi-BrannE504] Review of The Hungry Soul: Eating and the Perfecting of Our Nature, by Leon R. Kass. Draft, 1995, typescript. [FaFi-BrannE273] Review of The Insufficiency of Virtue: Macbeth and the Natural Order, by Jan H. Blits. Draft, [1996], typescript. [FaFi-BrannE272] Review of The Kantian Subject: Eunsus Communis, Mimesis, Work of Mourning, by Tamar Japaridze. Draft, 2004, typescript. [FaFi-BrannE027] Review of The Odyssey, translated by Joe Sachs. Draft, June 15, 2015, typescript. [FaFi-BrannE536] Review of Time, Conflict, and Human Values, by J. T. Fraser. Draft, November 2000, typescript. [FaFi-BrannE277] Review of Zetetic Skepticism, by Stewart Umphrey. Draft, [1990/91], typescript. [FaFi-BrannE031] "Sophocles Plain and Simple." Review of The Theban Plays of Sophocles, translated by David Slavitt. Draft, [August 6, 2006-May 18, 2007], typescript. [FaFi-BrannE318] "Tapestry with Images: Paul Scott's Raj Novels." Review of The Raj Quartet, by Paul Scott. Draft, [1998/99], typescript. [FaFi-BrannE335] "The Barbaric Days When Thinking Was Like a Splash of Color Landing on the Page." Review of Barbarian Days: A Surfing Life, by William Finnegan. Draft, 2015, typescript. [FaFi-BrannE567] "The Feasting of Socrates." Review of Plato's Timaeus, translated by Peter Kalkavage. Draft, [2001/02], typescript. [FaFi-BrannE097] "The Rehabilitation of Spiritedness." Review of Willing Dogs and Reluctant Masters: On Friendship and Dogs, by Gary Borjesson. Draft, February 2013, typescript. [FaFi-BrannE434] "To Save the Ideas." Review of Soul, World, and Idea: An Interpretation of Plato's Republic and Phaedo, by Daniel Sherman. Draft, [2013/14], typescript. [FaFi-BrannE482] "Visions of a Botanist." Review of One River: Explorations and Discoveries in the Amazon Rain Forest, by Wade Davis. Draft, [n.d.], typescript. [FaFi-BrannE368] 45 �Translated Works Books Heidegger, Martin. Martin Heidegger: What is That—Philosophy? Translated by Eva Brann. Annapolis, MD: St. John's College, 1991. [B53.H3513 1991] Klein, Jacob. Greek Mathematical Thought and the Origin of Algebra. Translated by Eva Brann. Cambridge, MA: M.I.T. Press, 1968. [QA22.K513] Plato. Plato: Meno. Translated by Eva Brann, Peter Kalkavage, and Eric Salem. Indianapolis, IN: Focus, 2021. [B377.A5 B73 2021] Plato. Plato: Statesman: Translation, with Glossary, Essay, and Appendices. Translated by Eva Brann, Peter Kalkavage, and Eric Salem. Newburyport, MA: Focus Publishing/R. Pullins, 2012. [JC71.P3132 2012] Plato. Plato's Phaedo. Translated by Eva Brann, Peter Kalkavage, and Eric Salem. Newburyport, MA: Focus Publishing/R. Pullins, 1998. [B379.A5 B73 1998] Plato. Plato's Sophist: Or, The Professor of Wisdom. Translated by Eva Brann, Peter Kalkavage, and Eric Salem. Newburyport, MA: Focus Publishing/R. Pullins, 1996. [B384.A5 B72 1996] Plato. Symposium, or Drinking Party. Translated by Eva Brann, Peter Kalkavage, and Eric Salem. Indianapolis, IN: Focus, 2017. [B385.A5 B73 2017] Translated Works: Articles Hesse, Herman. "An Evening at Home with Doctor Faustus." Translated by Eva Brann. Energeia, Spring 1996: 17-19. [FaFi-BrannE351; SJC Digital Archives: Energeia Collection] Klein, Jacob. "Left and Right." Translated by Eva Brann and Beate Ruhm von Oppen. The St. John's Review 35, no. 2 (Spring 1984): 60-63. [FaFi-BrannE171; SJC Digital Archives: The St. John's Review Collection] Morgenstern, Christian. "The Two Parallels." Translated by Eva Brann. The Gadfly 17, no. 1 (September 12, 1995): 11. [FaFi-BrannE350; SJC Digital Archives: The Gadfly Collection] Nietzsche, Friedrich. "On the Relation of the Speech of Alcibiades to the Other Speeches of the Platonic Symposium." Translated by Eva Brann. Energeia, Spring 1993: 61-62. [FaFi-BrannE221; SJC Digital Archives: Energeia Collection] Unknown [possibly Euclid]. "The Cutting of the Canon." Translated by Eva Brann. The Collegian, Supplement, November 1962: 1-63. [FaFi-BrannE056; SJC Digital Archives: The Collegian Collection] 46 �Translated Works: Drafts Hesse, Herman. "An Evening at Home with Doctor Faustus." Translated by Eva Brann. Draft, [1995], typescript. [FaFi-BrannE351] Morgenstern, Christian. "The Two Parallels." Translated by Eva Brann. Draft, 1995, typescript. [FaFi-BrannE350] Nietzsche, Friedrich. "On the Relation of the Speech of Alcibiades to the Other Speeches of the Platonic Symposium." Translated by Eva Brann. Draft, [1992], typescript. [FaFi-BrannE221] Plato. "[Phaedrus excerpt]." Translated by Eva Brann. Draft, February 1997, typescript. [FaFi-BrannE352] Other "A Note on Apollonius' Parameter." 1993, typescript. [FaFi-BrannE228] "A Post-Proposal for a Book Entitled: The Logos of Heraclitus: The First Philosopher of the West on Its Most Interesting Term." January 9, 2010, typescript. [FaFi-BrannE464] "A Proto-Proposal for a Book Entitled: Against My Will." February 8, 2010, typescript. [FaFi-BrannE463] "An Impressionistic Study of the Intellectual Life of Students at Hobart and William Smith Colleges [named author: Paul Mininger]." 1975, typescript. [FaFi-BrannE147] "Conversing with a National Treasure: Wisdom and Wit with Eva Brann." Conversation with Hamza Yusuf. The Renovatio Podcast. Podcast audio. April 24, 2019. https://renovatio.zaytuna.edu/media/conversing-with-a-national-treasure-wisdom-and-witwith-eva-brann. "[Correspondence with Joe Sachs about translating the first line of Antigone]." November 2, 2007March 18, 2008, manuscripts. [FaFi-BrannE466] Dean's Report to the Alumni Association. Annapolis, MD: St. John's College, 1992. [FaFi-BrannE062] Dean's Report to the Alumni Association. Annapolis, MD: St. John's College, 1993. [FaFi-BrannE062] Dean's Report to the Alumni Association. Annapolis, MD: St. John's College, 1995. [FaFi-BrannE062] 47 �Dean's Report to the Alumni Association. Annapolis, MD: St. John's College, 1996. [FaFi-BrannE062] Declaration: What the Declaration of Independence Really Means. Chicago, IL: Nightingale-Conant Corporation, 1975. [FaFi-BrannE064] "Farewell from the Dean." In St. John's College Yearbook - 1996, 5. Annapolis, MD: St. John's College, 1996. [FaFi-BrannE096; SJC Digital Archives: Yearbooks Collection] "For February 27, 2010." [To the attendees of Eric Salem's book release celebration], February 27, 2010. [FaFi-BrannE465] "For the Time Capsule." September 21, 1996. [FaFi-BrannE310] "In Memoriam: Alice E. Kober: Professor of Classics, Brooklyn College 1935-1950, b. 1906, d. May 16 1950." February 2005, typescript. [FaFi-BrannE149] "Letters Between Melissa Zink and Eva Brann." Draft, 2010, typescript. [FaFi-BrannE475] Liberal Arts College, Concordia University: Report to the University Appraisal Committee. Montreal, Canada: Concordia University, 1995. [FaFi-BrannE307] Memorandum to the Long Range Planning Committee of the Board of Visitors and Governors [coauthor; John Agresto, Christopher B. Nelson, and Stephen R. "Steve" Van Luchene, coauthors]. 1993. "The Unity of St. John's College." September. [FaFi-BrannE361] "Note on the 'Report of the Task Force on Alumni Relations.'" [After 2007], typescript. [FaFi-BrannE453] "Note to My Will: December, 2008." December 2008, manuscript. [FaFi-BrannE552] "On How to Manage Economics." To the Dean and the Instruction Committee [St. John's College, Annapolis], December 11, 2017. [FaFi-BrannE558] "[Prefatory note to an essay by William Kelly]." St. John's College (website), 2004. [FaFi-BrannE155] "Preliminary Dialogue of an Internally Divided Lover of Mansfield Park and Jane Eyre: (A Jeu d'Esprit, in Which, It Being Interior and All Mine by Reason of Cooption, Nothing Has Attributing Quotation Marks Around It)." [2005?], typescript. [FaFi-BrannE264] "Review of the Program of Liberal Studies in the College of Arts and Letters of the University of Notre Dame: October 26-29, 2003." October 2003, typescript. [FaFi-BrannE276] 48 �"St. John's College Design for a Self-Study: In Preparation of the Reaccreditation Team Visit in Fall of 1993." [1993], typescript. [FaFi-BrannE320] "St. John's College: Profile Questionnaires, January 27, 2010." January 27, 2010, manuscript. [FaFi-BrannE462] Statement of Educational Policy. Annapolis, MD: St. John's College, 1991. [FaFi-BrannE323] "Testimony for the Task Force on Assessing the National Goal Relating to Postsecondary Education (Report 92-07): Chicago, May 19, 1993." Draft, April 5, 1993, typescript. [FaFi-BrannE339] "Theoretical Underpinnings of Free Will: (2011-12)." [2010/11], typescript. [FaFi-BrannE477] "['Tis Three Score Years Plus Four, No More, No Less]." Monday, March 21, 2007, typescript. [FaFi-BrannE346] To the St. John's Class of 1997 [Annapolis], April 18, 1999. [FaFi-BrannE176] Unknown "The Appearance of Athens." [Unknown publication], 1960: 12-14. [FaFi-BrannE012] Unknown: Drafts "[Richard Russo's Straight Man and] First Person Narration in With-It Fiction." Draft, March 25, 2010, manuscript. [FaFi-BrannE469] "A Slanting Light on Pride and Prejudice." Draft, August 2006, typescript. [FaFi-BrannE311] "A Way to Philosophy." Draft, May 1973, typescript. [FaFi-BrannE372] "Against the Imputation of Esotericism in Platonic Dialogues." Draft, August 2007, manuscript. [FaFi-BrannE419] "Authorial Evasions." Draft, March 2011, manuscript. [FaFi-BrannE575] 49 �"In Behalf of the Small Independent Liberal Arts Colleges." Draft, January 1995, typescript. [FaFi-BrannE148] "Mann, Joseph and His Brothers: Ironic Philosophizing." Draft, Summer 2009, manuscript. [FaFi-BrannE455] "Mathematics and Natural Science Segment." Draft, [c. 1999], typescript. [FaFi-BrannE188] "The Great Books of the West and Our Common Bonds." Draft, November 1991, typescript. [FaFi-BrannE130] "The Logos of Heraclitus." Draft, [n.d.], typescript. [FaFi-BrannE461] 50 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eva Brann Collection Description An account of the resource Please contact the library staff for more information about the collection. Creator An entity primarily responsible for making the resource Brann, Eva T. H. Rights Information about rights held in and over the resource St. John's College holds the rights to this material. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data pdf Page numeration Number of pages in the original item. 50 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bibliography of Eva T. H. Brann, St. John's College Tutor 1957-2023, Dean 1990-1997: Titles in the Collections at Greenfield Library Description An account of the resource Bibliography of the work of Eva T. H. Brann, including her addresses, articles, book contributions, books, book chapters, drafts, unpublished essays, lectures, reviews, translated works, and more. The bibliography was created by Luke Klassen, Student Assistant in the Greenfield Library and member of the Graduate Institute Class of 2025. It was published in 2024. Creator An entity primarily responsible for making the resource Klassen, Luke St. John's College (Annapolis, Md.). Greenfield Library Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2024 Rights Information about rights held in and over the resource St. John's College holds the rights to this publication. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Brann, Eva T. H. Language A language of the resource English Deans Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/ca0c0092830bbc067f90a9397fd21726.pdf 2554e8fe3a761ef9bea1ea89e7ea440c PDF Text Text ���������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource President's Reports Description An account of the resource Reports of the President of St. John's College. The reports published in the late 19th century were written by the College's Principal and presented to the General Assembly of Maryland. <br /><br />The 19th-century reports were issued annually or biennially. The Library's collection from this period includes only 1876, 1878, and 1894 reports. Reports from additional years are available through the Internet Archive (<a href="https://archive.org/details/annualreportofst1868stjo/page/8/mode/2up">1868</a>, <a href="https://archive.org/details/annualreportofst1872stjo/page/n1/mode/2up">1872</a>, <a href="https://archive.org/details/biennialreportof1874garn">1874</a>, <a href="https://archive.org/details/biennialreportof1880garn/page/n3/mode/2up">1880</a>).<br /><br />From 1933 to 1968, the reports were published annually as supplements to or issues of, <em>The Bulletin of St. John's College </em>(also called <em>The Bulletin of St. John's College in Annapolis</em>).<br /><br />From 1969 to 1980, the reports were published in issues of <em>The</em> <em>College. <br /></em><br />Beginning with 1980-1981, the reports were again published separately from other College publications. These reports and those from the 19th century are available in this collection. <br /><br /><a href="https://digitalarchives.sjc.edu/items/browse?tags=Preside">Click here to view all President's Reports</a> across collections. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, Md. Santa Fe, N.M. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context PresidentsReports Creator An entity primarily responsible for making the resource St. John's College Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 14 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Biennial Report of St. John's College, Annapolis, MD., to the General Assembly of Maryland, 1876 Description An account of the resource Biennial Report of St. John's College, Annapolis, MD., to the General Assembly of Maryland, January Session 1876. By James M. Garnett, Principal. Creator An entity primarily responsible for making the resource St. John's College Publisher An entity responsible for making the resource available John F. Wiley State of Maryland Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 1876 Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource St. John's College (Annapolis, Md.) Language A language of the resource English Identifier An unambiguous reference to the resource within a given context PresidentsReport_1876_January President's Report Presidents https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/a362f5bdca9b8fa2593da76316cca765.pdf 1e1c5a2a33b5c983a2591fb6478493de PDF Text Text ����������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches, presentations, and other lectures Description An account of the resource Speeches, presentations, and other lectures given at St. John's College. These include convocation addresses delivered in both Annapolis, MD and Santa Fe, NM.<br /><br />Click on <strong><a title="Speeches, presentations, and other lectures" href="http://digitalarchives.sjc.edu/items/browse?collection=15">Items in the Speeches, presentations, and other lectures Collection</a></strong> to <span>view and sort all items in the collection.</span> Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context speechespresentationsotherlectures Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 17 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Biographical sketch of Hector Humphreys Description An account of the resource Photocopy of Biographical Notice of the Rev. Hector Humphreys, D.D. Late Principal of St. John's College; "True Freedom the Gift of God the Son," a Baccalaureate Sermon; and the Register of St. John's College, for the Year MDCCCLVIII. The Greenfield Library does not own an original copy of the publication. Creator An entity primarily responsible for making the resource Proud, J. G. (John Greene), -1883 Publisher An entity responsible for making the resource available Thomas J. Wilson Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 1857 Rights Information about rights held in and over the resource Copyright undetermined. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource English Identifier An unambiguous reference to the resource within a given context COM_Proud_John_Greene_1857 Subject The topic of the resource Humphreys, Hector, 1797-1857 Commencement https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/3442acd392591761ba3f62b62561ee8d.pdf 4609f28c8a20d729613b2f498485e92d PDF Text Text C.G. Bell Symbolic History SYMBOLIC HISTORY Through Sight and Sound 28. Blake: Fire-Fugue of Delight 1) Blake, c. 1790 (inscribed 1780), "Glad Day" engraving, British Museum, London Blake's Albion as rebel Orc (dated 1780, but engraved ten years later) announces a threefold prophecy: One: Innocence: In the "Glad Day" of free desire "everything that lives is holy": (America 6) Let the slave grinding at the mill run out into the field: Let him look up into the heavens & laugh in the bright air; ...his chains are loose, his dungeon doors are open... For Empire is no more, and now the Lion & Wolf shall cease. 2) Blake, 1794 (1818), Urizen, pl. 17, The Fall, Library of Congress (Rosenwald) Two: Experience: In the material world that proclamation of hope enters an Orccycle, an eternal Fall, as from Lucifer to Satan: "serpent form'd... Lover of wild rebellion, and transgressor of God's Law" (America 7). Where ''Rintrah roars and shakes his fires," Freedom, Equality and Brotherhood can only shade into terror: "The Winepress of Los is call'd War on Earth." 3) Blake, 1804-20, Jerusalem, pl. 76, Albion Worshipping Christ, Mellon Three: Regeneration: In this plate from Blake's last prophetic book, Jerusalem, the Orc-Albion of his rebel youth turns the cruciform joy toward Christ self-sacrificed on the tree of prohibition. June 1996 Blake: Fire-Fugue of Delight 1 �C.G. Bell Symbolic History These are not (and that is the crux of Blake's prophecy) Hegelian sequences of time, but simultaneous states of every clarified vision. For 2nd 2) Detail of The Fall Thus the arm-spread gesture is preserved through the snake-wrapped fall into our cramped Ulro of imbruted sense and mind's repression — a complicity of Blake-Orc, Satan and Christ — "Luvah, King of Love, thou art the King of Rage and Death" (Four Zoas, v, 42); and "The Lamb of God clothed in Luvah's Robes" (Four Zoas viii, 62) — For 2nd 1) Glad Day, detail, worm, moth, etc.; video then shows the whole 2nd 1a) Leonardo da Vinci, c. 1492, Canon of Proportions, Academy of Fine Arts, Venice 2nd 1b) Glad Day, center detail; + V detail of head already shown in the "Glad Day," under which Blake would write (after 1800): "Albion arose from where he labour'd at the Mill with slaves. Giving himself for the Nations he danced the dance of Eternal Death." In his break with the Venetian oil shadowing of his own time — "Go send your Children to the Slobbering School" — Blake claimed the clarity and defining line of Renaissance, Michelangelo and Raphael, the canons of intellectual form: "A tear is an intellectual thing." Here he turns the proportions of anatomy as formulated by Vitruvius and drawn by Leonardo and Dürer, into a leap of freedom. Music: Joseph Haydn, 1772, 4th movement (middle), F Minor Quartet, Op.20, #5, Qualiton SLFX 1133a Similarly in the Revolutionary fugue, baroque discipline heightens the defiance of release. First Haydn's Opus 20 makes the old order spirit's battleground. (fade Haydn) 3rd 2) Again, detail of The Fall; first, video close detail Sixteen years later, Mozart took off in his fiercest fugue, the C Minor of 1788: June 1996 Blake: Fire-Fugue of Delight 2 �C.G. Bell Music: 2nd 3) Symbolic History Mozart, 1788, close, fugue of Adagio and Fugue K. 546, G DB 3391 (end) Again, Albion Worshipping Christ, detail of Christ; first, video detail of Albion Beethoven climaxed the sequence in the Grosse Fuge of 1825. Music: 4) 5) Beethoven, 1825, from the Grosse Fuge, through) Col. M5L-277 (c. l/3 Blake, 1823-4, Job, (watercolor) pl. 14, upper detail, Angels as "The Morning Stars," New Zealand Same, pl. 15, above, God and Job, below, Behemoth and Leviathan, New Zealand (video: lower detail only) (fade Grosse Fuge) That fugal energy presupposes the inwrought joy of conflict. a2nd 4) 2nd 4) 2nd 4a) Again, Job, pl. 14, central and lower sections: God, with Job group beneath Same, whole; + V closer detail of angel-stars Blake, 1825, Same, lower section, from the Engraved Design, Leviathan beneath, British Museum, London At the height of the illustrations for Job, the outcast of Uz, with whom Blake increasingly identified — that I cannot live without doing my duty to lay up treasures in heaven... I have long made up my mind, & why this should be made an objection to Me, while Drunkenness, Lewdness, Gluttony & even Idleness itself, does not hurt other men, let Satan himself Explain — Job sees his cloud-cave of misery and false friends, embraced in the cruciform likeness of his Divine Imagination, with sun-reason and passion-moon, and above, the eternal singing of the morning stars. Such the vision of which Blake wrote to Butts, the patron who, as Palmer would testify, ''for years stood between the geatest designer in England and the workhouse": Till the Jewels of Light, June 1996 Blake: Fire-Fugue of Delight 3 �C.G. Bell Symbolic History Heavenly Men beaming bright, Appear'd as One Man. Who complacent began My limbs to infold In his beams of bright gold... In the engraved plate, Leviathan coils in the margin below; 2nd 5) Again, Job, (watercolor) pl. 15, whole, God shows Job Behemoth, and Leviathan while the next design shifts the threefold scheme downward. Job's God, above, points through this cloud-hollow, to the depths of our subconscious Egypt, the time-and-space sea of war and repression: "Behold now Behemoth" (and Leviathan) "which I made with thee." 6) Blake, 1808, Last Judgment, watercolor, Petworth House, Sussex (video: a sequence of details only: cf. V6a, b, and c) For Blake Judgment is the ecstasy which subsumes all that. It is not, as with the orthodox (even Michelangelo), a post-temporal reward or punishment. whenever any Individual Rejects Error and Embraces Truth a Last Judgment passes upon that Individual… His whole rejection of materialism and jealous condemnation, of "Bad Art and Science" and the emergence of energy as Eternal Delight, swirls, as within a symbolic skull, around the forgiveness of the redeemed Humanity: Mental things alone are Real... Error, or Creation, will be Burned up & then & not till then Truth or Eternity will appear. It is Burnt up the Moment men cease to behold it... Those thrown down on Christ's left are not vicious persons, ''but States Signified by those Names" — stations, through which individuals pass. 7) 7a) Last Judgment (1808) superimposed on life-mask of Blake (by J. S. Deville, 1823); with video details of forehead and features) Life-Mask, 1823, (J. S. Deville), profile, National Portrait Gallery, London June 1996 Blake: Fire-Fugue of Delight 4 �C.G. Bell Symbolic History V7b) Blake, c. 1805, watercolor, God Writing Upon the Tables of the Covenant, National Gallery, Edinburgh V7c) Again, Deville Life-Mask, full face 7d) Blake, Double: [A] Songs of Innocence, 1789, pl. 25; and [B] Songs of Experience, 1794, pl. 39; both (Rosenwald) copy of 1825-26, Library of Congress, Washington D.C.; + V details The whirling of that Judgment within that deep-browed head set Blake further from the life (for him the death) of his time than any other creator has ever been. I am laid by in a corner as if I did not Exist... Profit never ventures upon my Threshold, tho' every other man's doorstone is worn down into the very Earth by the footsteps of the fiends of commerce. There elation — I have Conquer'd, and shall Go on Conquering. Nothing can withstand the fury of my Course among the Stars of God & in the Abysses of the Accuser — and loss — Tuesday, Janry. 20, 1807, between Two & Seven in the Evening — Despair — with cheerful work — in Palmer's words "practically sane, steady, frugal and industrious''; and in Blake's letters: I go on Merrily with my Greek & Latin... am now learning my Hebrew... I read Greek as fluently as an Oxford scholar... I live by Miracle. I am Painting small Pictures from the Bible... The Ruins of Time builds Mansions in Eternity — sustained those "enjoyments of Genius'' which, in The Marriage of Heaven and Hell, look "like torment and insanity." So Leigh Hunt of the 1809 Exhibition: William Blake, an unfortunate lunatic, whose personal inoffensiveness secures him from confinement... fancies himself a great master, and has painted a few wretched pictures... unintelligible allegory... very badly drawn... of which he has published a Catalogue... the wild effusions of a distempered brain... June 1996 Blake: Fire-Fugue of Delight 5 �C.G. Bell Symbolic History So Wordsworth (shown the Songs of Innocence and of Experience thirty-five years after their appearance — Blake still producing in always more divine obscurity): There is no doubt this poor man was mad, but there is something in the madness of this man which interests me more than the sanity of Lord Byron and Walter Scott! a8) 8) Blake, 1804-18, Jerusalem (Rinder copy), pl. 76, Christ on the Cross, detail (video: closer detail only) Bernini, 1669, Terra-Cotta model, Equestrian Louis XIV, Gallery Borghese, Rome; + V details The price, in that Augustan extension of Baroque and Enlightenment, of Blake's personal reshaping of radical Christianity. Music: Händel, 1742, Messiah, Overture, allegro (close), Philips C 71 AX 300 (side 1) Since what had come to dominance in Christendom was the secular antithesis: the rational, realist and assertive pomp of Bernini's Louis XIV: in thought "this Newtonian Phantasm/ This Voltaire & Rousseau: this Hume & Gibbon & Bolingbroke/ This Natural Religion," "Covering Cherubs... of the... Tabernacle of Bacon, Newton & Locke." We cannot know if Blake, who sang his lyrics to his own tunes, would have specified also the music which Europe was vaulting to the keystone of Händel's Messiah, though he implies as much: "Music as it exists in old tunes or melodies... is Inspiration"; "Demonstration, Similitude & Harmony are Objects of Reasoning..." (fading the Overture) 9) 9a) John Closterman, c. 1711, Duke of Marlborough, Royal Hospital, Chelsea (video detail only, then whole after Blenheim Palace) Sir John Vanbrugh, 1705-22, Blenheim Palace, North Court over Ha-ha (CGB '84) A grandeur the great Duke of Marlborough turned on its origins in the Battle of Blenheim — as, in the monstrous palace so named, he outflanked the vaunts of Louis. (having skipped to the close of the Overture) 10) David, 1800, Napoleon on Horseback, Kunsthistoriches Museum, Vienna; + V detail June 1996 Blake: Fire-Fugue of Delight 6 �C.G. Bell Music: Symbolic History Cherubini, 1815, Symphony in D (close), RCA-LSC 3048 In the hundred year shift from Baroque through Neo-classic to Revolutionary, what David's mounted Napoleon charges with romantic impulse is the old assertion — still for Blake, Urizen's conquest of the space-plotted material earth: "Let each choose one habitation/...One curse, one weight, one measure/ One King, one God, one Law." In Cherubini, whom Napoleon asked why his music was so Germanic, complex, and noisy, the crescendo of Haydn and Mozart swells toward Beethoven. (end Cherubini) Yet the very fugues we earlier compared with Blake coil in that plot we have called his antithesis. As he himself wrote: "I must invent a system or be enslaved by another man's". How roundly our Western equestrians converge in formulable consciousness, 11) 11a) South Indian Hindu, late 16th cent., Mounted Warrior, Horse Court, Spirangam Blake, 1793 (1825 copy), Marriage of Heaven and Hell, pl. 27, detail of leaping horses, Fitzwilliam Museum, Cambridge a contrast will reveal: this mounted warrior from South India about fifty years before the Bernini Louis XIV. Its huge energies are mythopoetic. Of course it exists in space and time, but not as determined there. Its battle is of another realm than Marlborough's at Blenheim or Napoleon's crossing the Alps. With Blake, Western temporality seeks such a realm. Music: 12) V12a) Beethoven, 1807-8, 3rd Rasumovsky Quartet, last movement, fugue, Col. ML 5587 Blake, 1809, The Spiritual Form of Nelson Guiding Leviathan, Tate Gallery, London (here, video details only) Blake, 1805(?), The Spiritual Form of Pitt Guiding Behemoth, Tate Gallery, London (video then returns to Nelson Guiding Leviathan, detail and whole) Though leaping eternal horses illuminate his pages, it is hard to think Blake could have mounted monumental Pegasus — even had he been commissioned, as he proposed, June 1996 Blake: Fire-Fugue of Delight 7 �C.G. Bell Symbolic History to fresco the halls of England (Beethoven commissioned by Count Rasumovsky). (fade Quartet) Blake's most public designs were this Nelson guiding Leviathan and Pitt guiding Behemoth, inspired, the Descriptive Catalogue tells us, by Asiatic and Biblical originals seen in vision — source of all Greece and Rome owed to the Muse of Memory. Here, as in "those wonderful originals'', ''more is meant than meets the eye." Nelson is Hero in the ambivalent mode of Urizen, sterile delimiter: ''Father of Jealousy, be thou accursed from the earth." He stands on the serpent of rational and material power, which Job would see in the abyss; it wreathes and swallows the nations, reined by the haloed British angel of Establishment: (Europe 10) June 1996 Blake: Fire-Fugue of Delight 8 �C.G. Bell Symbolic History Then was the serpent temple form'd, image of infinite Shut up in finite revolutions, and man became an Angel, Heaven a mighty circle turning; God a tyrant crown'd. a13) b13) 13) 13b) Blake, 1827, Dante Engravings, Whirlwind of Lovers, detail, lower left, Brit. Mus., London; with video details (cf. Va13 and views of the whole) Blake, 1793, Marriage of Heaven and Hell, pl. 20, Snake-Leviathan, Fitzwilliam Museum, Cambridge Again, Whirlwind of Lovers, whole (video adds details of Paolo and Francesca, Dante and Virgil, cf. V13a) Same, detail of the englobed kiss The French have submitted to paradox only in their broken, Pascalian phase. English empiricists and Newtonians eschew it, Berkeley as rationally as any: ''Impossible even for an infinite mind to reconcile contradictions." But the Italo-Germans, from Bruno through Leibniz to Schelling, burn in the flame of mating opposites. Where they systematize paradox, Blake intuitively rides it: "Without Contraries is no progression". In his moony Beulah "Contrarieties are equally true" — far more in "the great Wars of Eternity, in fury of Poetic Inspiration." At the Judgment close of Jerusalem, with the eternal forms of nature and life (even Bacon, Newton, Locke, fourfold clarified) awaking to immortality, Blake sees ''the all wondrous Serpent clothed in gems & rich array Humanize." So in the Dante engraving of Paolo and Francesca (at the end of Blake's life), it is as the coiled suppressed snake of The Marriage of Heaven and Hell ("advancing toward us with all the fury of a spiritual existence'') that the whirlwind sucks up lovers from stormy Ulro, a fugal flame of bondage tilted skyward like a vine. Music: Beethoven, 1807-8. 3rd Rasumovsky Quartet, last movement, close, Col. ML 5587 While Dante swoons under the radiant kiss to the ground of repressive thorns. 14) Blake, 1793 (1825 copy), Marriage of Heaven and Hell, pl. 3, Fitzwilliam Museum, Cambridge (now two slides, A: detail above, and B: detail below; to which the video adds the whole, V14, and closer details) (end Beethoven) June 1996 Blake: Fire-Fugue of Delight 9 �C.G. Bell Symbolic History Blake was 33 when he began The Marriage of Heaven and Hell: "As a new heaven is begun, and it is now thirty-three years since its advent: the Eternal Hell revives," taking his own birth for the fulfillment of a Swedenborgian prophecy — Blake stretched at the top of the page in the delight of creative fire; and below: "Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to human existence." The page epitomizes Blake, both accepting and at war with the poised antinomies, Innocence and Experience, the kiss of joy, the birth in pain. Music: 15) Again, Mozart, 1788, Fugue from the Adagio and Fugue in C Minor, opening, G DB 3391 Blake, 1794 (copy of 1818), Urizen, pl. 24, The Four Elements, Rosenwald, Library of Congress, Washington D.C.; first, video details From his earliest years Blake was compelled to frame existence in recurrent wheels of two, three and four; and yet to give himself in impassioned identification to a freedom that defies them. Of these elements: Water, Earth, Air, Fire, prototypes of his later Life-powers the Zoas, it is Blake's destiny to be Fire, yet linked with the others in vital strife — (as in Mozart's C Minor Fugue) a frenzy almost intolerable to Hegelian programmers. Such in Urizen is the petrifaction of Body through seven ages of dismal woe: A roof, shaggy, wild inclos'd In an orb his fountain of thought; or in ''The Mental Traveller'' the reciprocating historical gyres, from burning Babe and Woman Old, through freezing Age and Female Babe, back to frowning Babe and Woman Old: She nails him down upon the Rock And all is done as I have told. June 1996 Blake: Fire-Fugue of Delight (fade Mozart Fugue) 10 �C.G. Bell 16) Symbolic History Blake, 1824-27, Dante Drawings, #4, Hell Gate, Tate Gallery, London; + V detail This is the material world created in one sense by demonic Elohim, but more deeply by Los and Jesus as an act of Mercy, to stay the fall toward Eternal Death, weaving for the fallen a protective garment of generation. It is the hell to which Dante in Luvah's red robe must be led by Virgil in the blue of Los. Its four continents appear through flame, and under the sea of Time and Space the lost Atlantis of our unity, "infinite mountains of light now barr'd out by the atlantic sea'' (Marriage of Heaven and Hell, 25:8), ''when the five senses whelm'd in deluge o'er the earth-born man." (Europe 10:10) 17) V17a) 17b) 17c) Same, Dante Drawings, #60, Primeval Giants Blake, 1793 (1799 copy), America, plate 14, detail, Snake from woman's loins, Mellon Same, America, plate 17, detail, Blake as Los-Orc, Mellon Blake, 1793 (1825 copy), The Marriage of Heaven and Hell, plate 16, Ugolino and his Sons, Fitzwilliam Museum, Cambridge Dante's Giants deep in hell become for Blake those five earth-sunk senses, ''giant beauty and perfection fallen into dust" (Jerusalem 19:8), when man …closed himself up, till he sees all things thro' narrow chinks of his cavern'' (Marriage of Heaven and Hell 14). Only touch (hardly differentiated here) opening through the entire body into the ecstasy of sex (''The lust of the goat is the bounty of God"), yet smitten, like Job, with boils (Tiriel's fifth daughter, left alive, but with her hair turned to snakes) — only touch affords a model for cleansing the rest: the whole creation will be consumed and appear infinite and holy whereas it now appears finite & corrupt. This will come to pass by an improvement of sensual enjoyment. (Marriage of Heaven and Hell 14) Yet the giants brood, whelmed in hell, like pot-bellied Hume, Concerning Human Understanding: "there appears not, throughout all nature, any one instance of connection which is conceivable by us." And Blake: "Doubt, doubt, & don't believe without experiment." June 1996 Blake: Fire-Fugue of Delight 11 �C.G. Bell 18) Symbolic History P. G. Batoni, 1776, Marshal Cyril G. Razumowski, Razumowski Collection, Vienna (with various video details) Blake's Hell was just the Enlightenment court painters of the 18th century were celebrating; as Battoni did this earlier Razumowski, with his classics and copies of classics — (Blake) the silly Greek & Latin slaves of the sword... We do not want either Greek or Roman models if we are but just & true to our own imaginations — the displayed medals for royal intrigue — (Lord Chesterfield to his son) I reccmmended to you in my last an innocent piece of art, that of flattering people behind their backs, in presence of those who... will not fail to repeat, and even amplify, the praise to the party concerned — Chesterfield, who as Johnson observed, taught the morals of a whore in the style of a dancing master: your dancing-master (he wrote that son) is at this time the most useful and necessary of all the masters you have or can have. While the Earl of Shaftesbury extended the decorum of dress to literature: I hold it very indecent that a man should publish his meditations or solitary thoughts. These are the froth & scum of writing which should be unburdened in private and consigned to oblivion, before the writer come before the world as good company. 19) J. Reynolds, 1787, Lord Heathfield, Governor of Gibralter, National Gallery, London; + V details June 1996 Blake: Fire-Fugue of Delight 12 �C.G. Bell Symbolic History Against that Old Regime of Form, this Reynolds 1787 defender of Gibralter seems to herald the new republic of Humanity — as if Lord Heathfield were George Washington, roused by the strains of Lallan Burns: ''Scots, wha hae wi' Wallace bled": Lay the proud usurper low! Tyrants fall in every foe! Liberty's in every blow! Let us do or die! Yet Reynolds was Blake's despised priest of establishment: This man was Hired to Depress Art... A Pretence of Art: To Destroy Art. Reynolds or Chesterfield, Whig or Tory, all shared the Enlightened fabric Blake had pursued from childhood with "contempt and abhorrence" — Montesquieu: of the necessary tie between laws and the constitution of each government, of its manners, climate, religion, commerce... 20) Blake, 1794 (copy of 1818), Urizen, plate 3, Los striding in flames, Library of Congress, Washington D.C.; + V detail While Blake, Los-Orc striding in flame, cries what his cry almost makes true: ''Ages are All Equal, But Genius is Always Above the Age." Music: a21) 21) 21a) Beethoven, 1807, Fugal bit from lst movement, lst Rasumovsky Quartet, HS Q-41, or other (Quartet fades for Hammerklavier) Blake, 1794 (1815 copy), Urizen, plate 18, Los in Flames, Rosenwald, Library of Congress, Washington D.C. (video: detail only) Blake, 1804-18, Jerusalem (Rinder), plate 26, Hand and Jerusalem, Rinder Collection Blake, 1793, "Fire," from the Gates of Paradise (3rd State), Miss Carthew Collection June 1996 Blake: Fire-Fugue of Delight 13 �C.G. Bell Music: Symbolic History Beethoven, 1818-19, Sonata in B Flat (Hammerklavier), opening of fugue, Seraphim IC/ 6066 Yet in what sense above the age, where the cruciform gesture of delight hardens to the vulture oppression of Hand — Jerusalem's news of freedom script for a Reign of Terror: Rebellion struck the tyrant dead, Became a tyrant in his stead. Thus the fugal play of the lst Rasumovsky turns to the time-tangle of the Hammerklavier — of all late Beethoven fugues: as when Schindler visited in l819 and heard from the next room the hammerings and howlings of the Missa Solemnis Creed, ''the door opened & Beethoven stood before us with distorted features... as if he had been in mortal combat with the whole host of contrapuntists, his everlasting enemies." 22) Goya, 1815-24, Proverbs 7, Matrimonial Folly, etching (Dover); + V detail (fade Hammerklavier) The rational mode of that crisis had been satire, the acid of Swift, which spills into the new century most fiercely in Goya — this Matrimonial Folly from the Proverbs. Blake too had begun with satire, in An Island in the Moon: Hail Matrimony made of Love To thy wide gates how great a drove On purpose to be yok'd do come; Widows & maids & Youths also That lightly trip on beauty's toe Or sit on beauty's bum. For 2nd 21) Blake, 1795, "Good" and "Evil" Angels struggling for a Child, Tate Gallery, London (video: detail of "Evil" only) No doubt all Blake's Ulro pictures have that cutting edge; and in The Marriage of Heaven and Hell, the seven church houses of brick in which ''monkeys, baboons, & all of that species" June 1996 Blake: Fire-Fugue of Delight 14 �C.G. Bell 2nd 22) Symbolic History Again, Goya, Matrimonial Folly, detail are ''grinning and snatching at one another... the weak... caught by the strong, and with a grinning aspect, first coupled with, & then devour'd," as recklessly envenoms Swift, 23) Chardin, c. 1736(?), Monkey Antiquary, Chartres (other versions, Louvre, etc., are variously dated) as Swift's lacerated heart had soured the prevailing monkey-play — this pensive antiquary by Chardin. With Storm and Stress, such irony is everywhere possessed by alienating furies, personal, demonic, political. So Blake to the Reverend Trusler, who had contemned his pictures: I really am sorry that you are fallen out with the Spiritual World... you ought to know that what is Grand is necessarily obscure to weak men... 24) Rowlandson, c. 1802, Blood Royal: the detested Duke of Cumberland, British Museum, London; + V detail Blake, 1825-27, Dante, plate 27, Hell 14, Capaneus the Blasphemer (as rebel hero), British Museum, London Blake, c. 1826, The body of Abel found by Adam and Eve, Tate Gallery, London V24a) a25) I perceive that your Eye is perverted by Caricature Prints, which ought not to abound so much as they do... The caricaturist was Rowlandson, whose caustic pen had etched every phase of Georgian excess, as in this 1802 depiction of the hated Duke of Cumberland. But to Blake (though republican friend of Tom Paine) the satiric, stripped of prophecy, seemed trivial. Again to Trusler: I know that This World is a World of Imagination & vision. I see Every thing I paint in This World but Every body does not see alike. To the Eyes of a Miser a Guinea is more beautiful than the Sun... Music: b25) Beethoven, 1818-9, Hammerklavier, closing fugue, conclusion, Seraphim IC 6066 Caspar David Friedrich, c. 1810, Landscape with Rainbow, formerly Staatliche Kunstsammlung, Weimar, now lost June 1996 Blake: Fire-Fugue of Delight 15 �C.G. Bell c25) 25) Symbolic History Goya, 1825-28, Milkmaid, Prado, Madrid (video: detail only) Blake, 1804-18 (printed 1820), Jerusalem, plate 37, Albion sustained by Christ etc., Mellon Collection, Washington D.C.; + V details, as V25a If the giants of 1800 share a prophetic reforging of the Enlightened and sophistic heritage, Blake has this Pascalian distinction: In the others, when, as in Beethoven's Hammerklavier, the demonic battle eases, (Hammerklavier, sempre dolce cantabile) it is into the irradiated "calm that nature breathes among the hills and groves" (even Goya's last Milkmaid takes that gleam); whereas in Blake, any such respite hangs between Ulro and the flaming wars of Eternity, a sleep of dreams in moony Beulah: It is not nature but Christ who sustains this fainting Albion ("between the Palm tree and the Oak of weeping"), Albion's left foot planted on the winged red sun of chaos, his knee as in false prayer to that Druid oak of sacrifice, while below Urizen's starry sky, his Emanation, Jerusalem, vegetates on an arc-bier in the sea of time and space, ravened over by the vulture specter of possessive jealousy (caricature indeed, but far from Rowlandson). As the Reverend Dibdin said: "The sublime and grotesque seemed...forever amalgamated in his imagination." (fade Hammerklavier) 26) 26a) 26b) Blake, 1804-1818 (printed 1820), Jerusalem (Census copy E, "Stirling"), plate 99, Reunion of Soul and God, Mellon Collection, Washington D.C. (video: details only) Same, Jerusalem, Title page August Klöber, c. 1812(?), portrait of Beethoven (video returns to a detail of 26a, Spectre of Jerusalem) At the close of Jerusalem, in the union of soul and God, it is ambiguous (because complementary) whether the dark-haloed brooding God is drawn down by the "eternal womanly" into hell flames of generation, or she upward into the ecstasy where those "furnaces of affliction" are the fountains of life. The text reads: June 1996 Blake: Fire-Fugue of Delight 16 �C.G. Bell Symbolic History All Human Forms identified even Tree Metal Earth & Stone, all Human Forms identified, living going forth & returning wearied Into the Planetary lives of Years Months Days & Hours reposing And then Awaking into his Bosom in the Life of Immortality. And I heard the Name of their Emanations they are named Jerusalem. No wonder vegetated Southey fled from that visit when Blake showed him "a perfectly mad poem called Jerusalem": his madness was too evident, too fearful. It gave his eyes an expression such as you would expect to see in one who was possessed. What fear, in Christian England, of divine possession! Beethoven had it better in Faustian Germany. (here the Hammerklavier comes in again for the closing bars) 27) Hogarth, 1758, The Bench, Fitzwilliam Museum, Cambridge; + V detail The curse of satire, the blessing of heart, embrace the comic reality Fielding admired in Hogarth. These 1758 judges on the bench are just such as bear the brunt in Amelia, Tom Jones, Joseph Andrews: (the bribed justice of Joseph and Fanny) ''I have only ordered them to Bridewell for a month." — ''But what is their crime?"..."A kind of felonious larcenous thing. I believe I must order them a little correction too, a little stripping and whipping"...''Still,'' said the squire, "I am ignorant of the crime — the fact I mean." "Why, there it is in peaper,'' answered the justice... (showing the deposition about the breaking of a twig) ''Jesu!" said the squire, ''would you commit two persons to Bridewell for a twig?" — "Yes," said the lawyer, ''and with great lenity too; for if we had called it a young tree, they would have been both hanged." 28) Hogarth, 1757, Garrick and his Wife, Royal Collection, Windsor; + V detail At the same, time, Hogarth painted this portrait of Garrick working late, his wife teasing him to bed. Here is the impulsive humanity which — limbed round with the scalpel of wit — makes Fielding promise his heroes and heroines a lifetime of actual good: June 1996 Blake: Fire-Fugue of Delight 17 �C.G. Bell Symbolic History Mr. Jones appears to be the happiest of all humankind; for what happiness this world affords equal to the possession of such a woman as Sophia, I sincerely own I have never yet discovered. a29) 29) Blake, 1800, The Infant Jesus riding on a Lamb, formerly Stirling Collection; + V detail Hogarth, c. 1735-40, Satan, Sin, and Death, Tate Gallery, London Fielding had still to wrestle with the Christian calling, from Parson Adams to Amelia's benefactor: "If one of my cloth should begin a discourse of heaven in the scenes of business or pleasure... would he not... be thought by all men worthy of Bedlam?" Even Hogarth, beyond the enlightened field where Voltaire and Rousseau traffic in reason's irony and heart's worth, felt a weird stirring (through Milton, Dante, and the Bible: as in this Satan, Sin, and Death at the gate of hell) toward the evidence of things not seen — yet so whelmed in the Cartesian bulk of operatic Baroque, as almost to have lost the revelation it gropes for; though even this picture became for Blake a point of departure. 30) V30a) June 1996 Double: [A] Bosch, 1506-8, Fragment of a Judgment, detail, Alte Pinakothek, Munich (CGB '59); and [B] Rubens, c. 1620 (copy), Fall of the Damned, detail, Aachen Gallery (CGB '74) Titian, c. 1550-60(?), Martyrdom of St. Lawrence, lower detail, Jesuit Church, Venice (video returns to the double, 30, and then shows a detail of the Bosch, from V30A, CGB '59) Blake: Fire-Fugue of Delight 18 �C.G. Bell Symbolic History If spirit cannot speak without body, there remains a graded stair from stripped symbol to spatial representation. Blake's continual rage against the post-Venetian — labouring to destroy Imaginative power, by means of that infernal machine, called Chiaro Oscuro... The spirit of Titian was particularly active in raising doubts... Rubens is a most outrageous Demon — springs from an absolute clarity: that in all the 17th- and 18th-century schools, the life of Gothic invention (as in this Bosch detail) had been buried under the brown-shadowing earth-laws of codified matter. As Bosch had fleshed out Medieval symbol with Renaissance techniques, 31) Blake, 1823-24, Job, plate 11, Thou affrightest me with Dreams, New Zealand Blake had to shear Newtonian fulness into prophetic reality, though like his radical contemporaries, he sweeps the world heritage with him — in storm. Job in the 11th design, "Thou affrightest me with visions," lies on the mat of penitence under the cloven-hoofed and snake-wrapped God of his own jealous making: And is there not eternal fire and eternal chains To bind the phantoms of existence from eternal life? a32) 32) Joseph Vernet, 1773, Seaport by Moonlight, Louvre, Paris Winchester, end of the 10th cent., Pentecost, Pontifical of Archbishop Robert, Municipal Library, Rouen In the Leviathan depths of reason's limitation, of which Eliot in our time would write — Because I know that time is always time And place is always and only place — what hungers must have mounted to break through again into the realm of vision (this Winchester miniature from before 1000, where the Holy Ghost spills like molten metal to a spaceless and selfless whirl of Apostles flattened on the rainbow arch of that upper June 1996 Blake: Fire-Fugue of Delight 19 �C.G. Bell Symbolic History room). What was Blake's madness but to heed some apostolic cry of modern consciousness? Va33) b33) 33) Blake, 1794 (copy of 1818), Urizen, plate 11, Urizen fettered weeps, Rosenwald, Library of Congress, Washington D.C. Blake, c. 1804, Milton (Census copy D), plate 16, Milton advancing disrobed, Rosenwald, Library of Congress, Washington D.C. Blake, 1804-20, Jerusalem, plate 53, detail, Vala Throned on a Sunflower, British Museum, London At Felpham false-friend Hayley (in Byron's quip, "For ever feeble and for ever tame'') tried to wean Blake from such "Abstract folly," to chain his ''feet to the world of Duty and Reality." And as Blake wrote Butts, his own return to London was that I may converse with my friends in Eternity. See Visions, Dream Dreams, & prophecy & speak Parables unobserv'd & at liberty from the Doubts of other Mortals... — to see this Vala, beauty of nature, materialize into the Female Will, throned on the sunflower of sexual desire (an ellipse of projective geometry): (Ah, Sunflower! weary of time): They took their Mother Vala & they crown'd her with gold; They named her Rahab & gave her power over the Earth, ...to destroy the Lamb & Usurp the Throne of God Drawing their Ulro Voidness round the Four-fold Humanity. (Jerusalem 78: 15-20) June 1996 Blake: Fire-Fugue of Delight 20 �C.G. Bell 34) Symbolic History Roman Baroque, 1595 ff., Santa Trinita de' Monti with the Spanish Stair, 1723-26 (CGB '47) Music: Händel, 1742, Messiah #9, chorus: "0 thou that tellest" Philips C71 AX300 In the assertive rationalization of Christianity, Händel's Messiah, warhorse of oratorios, stands at a Urizenic limit of opacity, culmination of a century and a half of Baroque: — Rome: Santa Trinita de' Monti over the Spanish Stair; 35) Piazza Navona, Rome: Bernini, 1647-52, Fountain; Rainaldi & Borromini 1652-57, St. Agnese, etc. [slide show CGB '48; video CGB '86 with detail from CGB '48] or the Piazza Navona with Bernini's Fountain and Borromini's Church, from which, they used to say, the statue of the Nile veils his face. (close Messiah #9) 36) Claudio Coello, c. 1690, Charles II adoring the relics, Sacristy, Escorial (video: details only, above and below) Music: Messiah #12. close of chorus: "unto us a Child". Philips C71 AX300 By 1690 in Spain, Coello had opened within a frame of florid marble and bronze this extraordinary pomp of space. 37) Mexican Baroque, early 18th cent.(?), Façade and Towers, Cathedral Taxco (CGB '70) (video: upper detail only) Mexican Baroque, finished 1752, façade detail, Cathedral, Zacatecas (CGB '70) V37a) A grandeur which by the time of Handel had gathered native workmen and the remains of Indian style, as at Taxco, into the sacred conquests of the New.World. (close Messiah #12) 38) Mansart, Coypel, etc., 1661-1722, interior, columned apse, Chapel at Versailles (CGB '59); + V detail of painting Music: June 1996 Messiah #18, opening "He shall feed his flock" Philips C71 AX300 Blake: Fire-Fugue of Delight 21 �C.G. Bell Symbolic History Nor had the style-restraint of France held the Corinthian chapel of Versailles from as flagrant a proclamation of Cartesian victory. 39) Straub (with Günther?), c. 1767, Gabriel, High Altar, Berg-am-Laim, München (CGB '59); + V detail In Bavaria the currents from Italy and France fructify, as at Berg-am-Laim, in the richest outpouring of all Baroque; yet its sensuous passions but complement the underlay of heroic formulation and proud rationality. (fade Messiah #18) 40) Sabastiani Ricci, c. 1712-16, Resurrection, sketch for Chelsea Hospital, Dulwich College, London; + V detail Music: Messiah, #42. Halleluja, opening, Philips C71 AX300 About the time of Händel's coming to London, Ricci imported the festive Venetian Baroque. (fade Halleluja) 41) 41a) 41b) V41c) Thomas Archer, 1725, West Tower, Cathedral of Birmingham (CGB '74) Borromini, 1650-59, Sant' Ivo, from the Courtyard, Rome (CGB '86) Sir Christopher Wren, 1673-1711, St. Paul's Cathedral, London (CGB '77) Same, another view of the dome (CGB '77) Music: Händel, Messiah, #52, Amen, close, Philips 671 AX300 While Thomas Archer, trained in Rome, gave the tower of Birmingham a wonderful sweep of counterpointed curves. If the grandiose display of earthly religion is a Blakean antithesis, it is an antithesis which contains the fugue, already in creative struggle (like the 3-body problem in Newton) stretching the rationale it exemplifies. (close Messiah) 42) Double: [A] Bramante, 1499-1502, Tempietto, and [B] Borromini, 1642-60, Sant' Ivo; both, Rome (CGB '86); + V single of St. Ivo (from 41a) 42a) Double: [A] Raphael, 1510-11, detail of Homer, Parnassus, Vatican, and [B] Rembrandt, 1662-63, Homer dictating, fragment, Mauritzhuis, The Hague June 1996 Blake: Fire-Fugue of Delight 22 �C.G. Bell 42b) Symbolic History Double: [A] Bramente, Tempietto, Trastevere, Rome; and [B] Raphael, 1504, Temple in La Sposalizio, Brera, Milan In Rome two courtyard chapels oppose Bramante's High-Renaissance island of calm, 1500 (left), to the Miltonic and Pascalian implosion of Borromini (right) 1650, that wagered marriage of passion and method. From its first tactile declaration, the Baroque was revolutionary, fantastically overpushing its always heroic might — to contain Blake's heaven in the laws of earth. Through what maze of paradox genius searhes its style-affinities — Blake extolling Renaissance Raphael against Baroque Rembrandt, while Milton's dark Baroque remained his creative center. "Grecian," he said, "is Mathematical Form: Gothic is Living Form." What is implied for Bramante's Temple, so linked to Raphael's in the Sposalizio? 43) Double: [A] Borromini, 1650-59, Lantern of Sant' Ivo, Rome; and [B] Borromini, 1649-52, sketch for the same, Albertina, Vienna (video uses Berlin sketch for A; see V43) What revealed of Borromini's spire-tribute to the heraldic Barberini bee? Surely its Baroque incorporates, beyond Renaissance, the soul-leap of Gothic — how transparently if, as in one of Borromini's drawings, we might experience at once its outward flaming gyre and (right) the lanterned vault within. 44) Double: [A] English Gothic, 1286-1325, Wells, Chapter House (CGB '84); and [B] Borromini, 1650-59, St. Ivo Dome, within, Rome; + V singles Here the teaching of Greece and Rome is caught up in a soaring as radical, as (three centuries before) in the Gothic groining (left) of Wells Chapter House. The music which most designedly challenges the possible is of the string tradition Bach climaxed, where an essentially one-voiced instrument delivers itself of the polyphonic and fugal. Thus Casals chose Bach's Sixth Cello Suite as the vehicle of ultimate modern reach. Music: June 1996 Bach, c. 1720, Prelude, Cello Suite No. 6 in D Major, last part, (Casals) Angel COLH 18 Blake: Fire-Fugue of Delight 23 �C.G. Bell a45) b45) Vc45) Vd45) 45) Symbolic History Borromini, 1666-76, Façade detail, San Carlo alle Quattro Fontane, Rome Same, Façade, another view (CGB '86) Same, Façade, detail over the main door (CGB '86) Same, Interior, vault with organ (CGB '86); video: detail only Same, Interior, vault (CGB '86); video: detail only Again Borromini: San Carlo of the Four Fountains. V45a) a46) Guarini, 1667, Sidona Chapel dome, Duomo, Turin (CGB '84) Narcisco Tomé, 1721-32, The Transparente Altar, in the Apse of Toledo Cathedral. Where the slide sequence opens with the central tower of carved figures only, the video draws first from the lower spread of slide 46 the same structure against clerestory windows of the choir. Middle-height of the same carved tower: a gold-rayed marble whirl of Mary and Angels From the base of the same structure, an altar with Mary and the infant Christ Vertical slide of the same: the altar tower in the window-lighted cathedral, from a glory-dome opened in the vault, down the pillar of saints and angels, to the Madonna below; here the video shows a middle-spread of the whole, and last a detail of the radiant heaven above. Vb46) Vc46) 46) (end Casals Bach) In Spain, Baroque daring peaks in the Transparente, where Tomé lifted the apse of Toledo Cathedral for a carved and painted spill of angels from Heaven's vault above, to an altar of the Virgin below. Here, as at the same time in Bach, what would seem the Blakean opposite of pyrotechnic display, swells with conscious prophecy. So Blake, to Butts, from Felpham: I have written this Poem from immediate Dictation twelve or sometimes twenty or thirty lines without Premeditation and even against my will… & an immense Poem exists which seems to be the labour of a long life… My heart is full of futurity. 47) Double: [A] Roman Christian, c. 420, Crucifixion, from Ivory Pyxis, British Museum, London; and [B] Irish, late 7th cent., Bronze, Crucifixion Plaque, National Museum, Dublin (with video details of singles, A before, B after) June 1996 Blake: Fire-Fugue of Delight 24 �C.G. Bell Music: Symbolic History Gregorian, Libera me (Burial Service), closing chorus, MHS OP 349 In Blake's merger of flesh and spirit, time and eternity, self and Christ ("Mine has a snub nose like to mine") the pendulum of Incarnation has swung all the way from ritual abstraction of God's humanity — these Crucifixions from 5th-century Rome to 700 Ireland: the spaceless distance of Gregorian Chant (with its Celtic and other irrecoverable offshoots) — to all of which Blake, in the arm-flung immediacy of Albion-Christ might say, "thou readst black where I read white." (fade with "saeculum") 48) 48a) 48b) Grünewald, c. 1512-15, Crucifixion from Isenheim Altar, Museum, Colmar; + V details of John the Baptist and Christ Same, closer detail of Christ Same, detail of the group on the left Music: Morales, published 1543, Lamentabatur Jacob, (Turner) ARC ST2533 321 From the anguished Plague Crucifixes of 14th-century Germany, to this Grünewald ordeal of sacred body, painted about 1515 for the abbey church and hospital of the Anthonites in Alsatian Isenheim, we feel the build-up of Incarnate identification — in music, the harmonic pain Morales learned from Josquin. (fade Morales, after "Heume") 49) Feichtmayr and Christian, 1747-58, Christ on the Cross, Pulpit, Zwiefalten (video details only: above, below, and Christ's head) June 1996 Blake: Fire-Fugue of Delight 25 �C.G. Bell Symbolic History Such passion, grappled into form, mediates the Baroque. In Bach's great Chaconne from the Second Partita, the Caesarian extraction of so much glory from scraped gut, adumbrates, in divine cat-fight, spirit's war on itself — as if Feichtmayr's God had "pitched his mansion in the place of excrement." Music: Bach, 1717-23(?), from Chaconne, Partita #2, Odnoposov (or better: H. Szeryng, DGG 2709-028) By the end of Bach's life, Baroque was the matrix of pre-romantic, like that Arcana Cœlestia, in which Swedenborg pours Divine Love and Wisdom through a universe of nebular astronomy, fashioning salvation, as soul fashions body. 50) 50a) Blake, c. 1799-1800, Agony in the Garden, Tate Gallery, London; + V detail Blake, 1807-08, First Temptation, watercolor, from Paradise Regained, T.H. Riches, Esq. (video: detail only) The Blake of this Agony in the Garden was reared in the Swedenborg circle of London. And though he left the prophet behind like the linen clothes folded at the tomb: Any man of mechanical talents may from the writings of Paracelsus or Jacob Behmen, produce ten thousand volumes of equal value with Swedenborg's, and from those of Dante or Shakespear, an infinite number — he and his art consummate the personal transcendence of Northern Baroque — in his case, of Milton. (fade Chaconne) How would Jane Austen's clergyman Pharisee — nothing to do but be slovenly and selfish… his curate does all the work, and the business of his life is to dine — have seen this mystic heir to embodiment as anything but mad?: Now the sneaking serpent walks In mild humility And the just man rages in the wilds Where lions roam. June 1996 Blake: Fire-Fugue of Delight 26 �C.G. Bell a51) Symbolic History Sir Joshua Reynolds, 1776-77, Lady Caroline Scott as "Winter," Duke of Buccleugh, Bowhill, Selkirk Reynolds, 1788-89, Master Hare, Louvre, Paris Reynolds, 1777-80, Lady Elizabeth Delme and her Children, National Gallery of Art, Washington, D.C.; + V detail Blake, 1793 (copy of 1799), America (Census copy M), plate 11, below, Nude Children Riding a Snake, Mellon Same, upper detail, Boy riding a Swan Blake, 1794 (copy of 1818), Urizen (Census copy G), plate 21, Chain of Jealousy (Los, Enitharmon, Orc), Rosenwald, Library of Congress, Washington, D.C. (video: detail only) Vb51) 51) 51a) V51b) V51c) Music: Thomas Arne, c. 1751, Andante from Overture #1, Argo 2RG-577 "Active Evil, " said Blake, "is better than Passive Good." He must have shared more with the great Baroque, as with Milton, than with the social sweetness of his time: — easy Thomas Arne (through Christian Bach a likely influence on Mozart); this Sir Joshua Reynolds — no contrary, but a negation. "Reynolds & Gainsborough" (Blake wrote) "Blotted & Blurred one against the other & Divided all the English World between them. Fuseli indignant almost hid himself — I am hid." It was not just that the youthful Blake had shown Reynolds some designs and been told to correct his drawing. Nor was it envy of what was beyond him. Blake could have been successful. In his most productive period, he had taught the children of the wealthy, and, as Tatham tells, so pleased patrons of rank that he had been offered the post of tutor to the Royal family. Aghast, he surrendered his pupils, preferring want and his own art to betrayal of principle. As Southey allowed in his caustic 1809 review: "Nothing but madness had prevented him from being the sublimest painter of this or any other country. (close Arne) 52) 52a) Gainsborough, c. 1759, Painter's Daughters Chasing a Butterfly, National Gallery, London Gainsborough, c. 1762, The Painter's Daughters, Victoria and Albert Museum, London (video returns to details from Painter's Daughters Chasing a Butterfly, then to left detail from Painter's Daughters) June 1996 Blake: Fire-Fugue of Delight 27 �C.G. Bell Symbolic History Like every admired artist of the time, Gainsborough was on the social rack — as between the lacy brilliance of Lady So-and-so and the unfeed sensibility of his own daughters chasing a butterfly, or tousling each other. It was more and more the century of youth: Rousseau's Emile, Pestalozzi's invention of progressive education, leading toward Wordsworth's "Intimations of Immortality": Thou little child, yet glorious in the might Of heaven-born freedom on thy Being's height… Mozart was freer than Gainsborough, and paid the price; but even in him there is a spread between social performance and, as in the Romanza from the D Minor Concerto, its inspired surpassing. Music: 53) Mozart, 1785, from Piano Concerto #20, K 466, Romanza, Piano entrance ff., (Fisher) V. LCT 6013 (or Richter, Murray Hill S2957) J.A. Houdon, c. 1777, Bust of Alexandre Brogniart as a child, Louvre, Paris (cf. his Daughter Sabine, Huntington, San Marino, California); first, V detail (fade Mozart Romanza) Houdon, too, most delights in his salon skills when he models children, especially his sylphid daughter Sabine. a54) 54) 54a) 54b) George Romney, c. 1780(?), Lady Arabella Ward, National Gallery of Art, Washington, D.C. Romney, c. 1781-83, Miss Willoughby, National Gallery of Art, Washington, D.C. Blake, 1805, "The Dog" (for Hayley's Ballad), British Museum, London Jean Baptiste Isabey, 1812, Fürsten Katharina Bagration Skawronska, collection Fürst Franz Auersperg (video returns to a detail of Romney's Miss Willoughby, from 54) And Romney, who had wanted to paint Allegory and History, seems happiest when his bombast ladies freshen in the fountain of youth toward Burns' Highland Mary, or Wordsworth's Lucy, of whom Nature would say: This Child I to myself will take; She shall be mine, and I will make A lady of my own… June 1996 Blake: Fire-Fugue of Delight 28 �C.G. Bell Symbolic History Blake, after refusing the Royal Children Copley had lately painted, was saved from destitution by Hayley, given a cottage in Felpham, and, of course, set to pick-thank tasks, engraving after minor artists, decorating Hayley's Library, portraying the gentry in miniature. Miniature [he writes] is become a Goddess in my Eyes, & my Friends in Sussex say that I Excel in the pursuit. I have a great many orders, & they multiply. Until the break his poem Milton treats in symbols, with the return to poverty in London: Hayley… thinks to turn me into a Portrait Painter as he did poor Romney, but this he nor all the devils in hell will never do… 55) Blake, 1793 (copy of 1799), America, plate 7, Children Sleeping with a Ram, Paul Mellon; + V lower detail Perhaps Blake too is at his happiest with children, but his are of the Imagination, out of Georgian context altogether: Piping down the valleys wild Piping songs of pleasant glee, On a cloud I saw a child, And he laughing said to me: "Pipe a song about a lamb!" So I piped with merry cheer, "Piper, pipe that song again"; So I piped: he wept to hear. Or: Little Lamb, who made thee? Dost thou know who made thee?… He is meek, & he is mild; He became a little child… 56) English MS, early 14th cent., Angel leads St. John to Heaven, MS Roy. 19B, XII, 5v., British Museum, London; + V detail Music: June 1996 French, c. 1260(?), Codex Bamberg, Hoquetus VII, d'Amiens longum/ In seculum (4th phrase); from (Munrow) Archiv 2723 045 Blake: Fire-Fugue of Delight 29 �C.G. Bell Symbolic History Blake's pastoral Beulah reaches far back to the living innocence of the Gothic, which he copied as a boy in Westminster Abbey — this 1300 John, led up the symbolic ladder, above what Blake would have recognized as the Vegetative world. But the prepersonal suspension in creed attested by the formal faces or the bare-fifths of the music, could not have been the element of revolutionary Blake. (close Hoquetus) 57) 57a) Albrecht Dürer, 1496-98, Apocalypse Woodcuts, #14, Angel Locks Dragon in Abyss (with a view of New Jerusalem); video: details only Dürer, 1522, Self as Man of Sorrows, Kunsthalle, Bremen; first, video detail Music: Mouton, 1515, 8-voice motet, "Exsultet," 1st half, SAWT 9561-B That City, which the Angel showed John from a spirit mountain, has come to earth in Dürer, 1498, to spread over the plain by a river, like any of the Renaissance towns of Germany — as the 8-voice "Exsultet" of Mouton incorporates soul's victory. So where was Blake to look for renewal but in man's incarnate imagination: "Energy is the only life, and is from the Body"; or as he said to Robinson: "Yes, Jesus is the only God… and so am I, and so are you." His appeal was not to the Middle Ages, but to the corporeal powers of Renaissance: Dürer, Raphael, June 1996 Blake: Fire-Fugue of Delight 30 �C.G. Bell 58) 58a) Symbolic History Double, Two Expulsions: [A] Jacobo della Quercia, 1425-38, door panel, San Petronio, Bologna; and [B] Michelangelo, 1508-18, Sistine Ceiling, Vatican; + V singles John Flaxman, 1778, Plaque from Vase of the Apotheosis of Homer, British Museum, London Michelangelo (right), with a prototype Blake could hardly have known, this 1430 della Quercia. Yet surely the physical conglobing of symbol, exhibited in this sequence, was what Blake had to reverse; as he says: "Thus is the heaven a vortex pass'd already, and the earth a vortex not yet pass'd by the traveller thro' Eternity." (end Mouton, 1st half) Though Michelangelo's fresco line, against the fog Blake scorned in Titian and Correggio, is such a carrier of force as that process of relief-etching brother Robert, dead, showed William in vision: melting apparent surfaces away, and displaying the infinite which was hid. If Blake had known Florentine art before Michelangelo, could he have called Flaxman "Dear Sculptor of Eternity"? 59) Blake, 1795, Elohim Creating Adam, Tate Gallery, London; + V details Yet he caught enough from doubtful prints (the 10-year-old boy at art auctions, Langford's "little connoisseur": "from my earliest childhood… I knew the difference between Raffaele and Rubens") to rival the ceilings of Catholic Rome — though shrunk to the illuminated privacy of a page: this 1795 Creation and Fall crushed into one. In Albion's "Chaotic State of Sleep, Satan & Adam & the whole World was Created by the Elohim" (third of the seven eyes of God, creator and judge) "a very Cruel Being." Such the dæmon who shapes, under cloud and by setting sun, this Adam stretched on the thorn bank over the Sea of Time and Space, already wrapped in the snake-spire of sin and doubt. How was Christian art to regain its ancient might but by such appropriation of heretical power? a60) 60) Blake, 1825, Job, plate 13, God Appearing in a Whirlwind, British Museum, London English, late 13th cent., St. Peter from a Retable, Westminster Abbey, London; + V detail June 1996 Blake: Fire-Fugue of Delight 31 �C.G. Bell Symbolic History For all Blake's "Gothic is living form," his art had no backward road. With the personal fury of Goya and Beethoven, he had to launch Pascal into Revolutionary transcendence. There is none of the anonymous refinement of cloister mysticism — Westminster 1300 — with Richard Rolle of Hampole: But fleschly lufe sal fare as dose the flowre in May, And lastand be na mare than ane houre of a day, And sythen syghe ful sare thar lust, thar pryde, thar play, When thai er casten in kare til pyne that lastes ay… Jesu es lufe that lastes ay, til Hym es owre langing; Jesu the nyght turnes to the day, the dawying intil spryng. Jesu, thynk on us now and ay, for The we halde our keyng; Jesu, gyf us grace, as Thou wel may, to luf The withowten endyng. 61) 61a) Raphael and School, 1518-19, Jacob's Dream, Loggia, Vatican Blake, 1800-03, Jacob's Ladder, British Museum, London (video returns to the Jacob's Dream of 61) We can even understand Blake's admitting Giulio Romano, Raphael's chief helper in the scenes of the Loggia, as his fourth art hero. These forms are still incised; the famous capture of nature looks symbolic now; and what the scene shows is what Blake was sure of: that the sleeper in moony Beulah is offered visions of the eternal stair. We say "if Blake could have seen Giotto, Angelico, Botticelli"; but this Jacob's Dream gave him what he required. Raphael chanced on symbols, painting the Bible; 62) Blake, 1827, Queen Katharine's Dream, National Gallery of Art, Washington, D.C.; + V details Blake searched all literature for images of his own symbolic themes. Here Shakespeare's Queen Katharine, dying in detention, sees a blessed Troupe Invite me to a Banquet, whose bright faces Cast a thousand beams upon me, like the sun… It is not with but through the eye, as Los in Jerusalem June 1996 Blake: Fire-Fugue of Delight 32 �C.G. Bell Symbolic History …beheld the Divine Vision among the flames of the Furnaces; Therefore he lived and breathed in hope… (Jerusalem 62: 35-6) So Blake, when his brother Robert died, saw the spirit rise from the body "clapping his hands for joy." And thus his own death was described by Richmond: Just before he died His countenance became fair — His eyes Brighten'd and He burst out in singing of the things he saw in Heaven. In truth He Died like a Saint. 63) 63a) Fuseli, 1786-89, Titania and Bottom, Tate Gallery, London Fuseli, 1793-94, Titania and Bottom, Kunsthaus, Zurich; first, video detail Fuseli treats Shakespeare in another mode. His are illustrations, picturesque or dramatic. It is a measure of Blake's isolation that in his life-search for co-workers he found none nearer than this Swiss-English explorer of the grotesque and fanciful: The only Man that e'er I knew Who did not make me almost spew Was Fuseli, he was both Turk and Jew. And so, dear Christian friends, how do you do? The artist who could say "Blake is damned good to steal from" had perception and humor; and there is that story of the old Blake's joining the students at the Royal Academy to sketch from the cast of the Laocoön, and Fuseli's saying: "What! you here, Meesther Blake? We ought to come and learn of you, not you from us!" But what could that irony have made of the Prophetic Books? 64) 64a) 64b) Fuseli, 1780, Thetis Mourning over Achylles, Art Institute, Chicago; + V detail George Romney, c. 1792, Witches Cave, Fitzwilliam Museum, Cambridge Blake, c. 1808, Satan Calling his Legions, detail, formerly Lord Leaconsfield If we go back to a Fuseli drawing, Achilles mourned by Thetis, of 1780, the date Blake engraved on his "Glad Day" (though ten years after), there is no doubt that the older Swiss immigrant, already the stir of London and to influence David and Goya, helped Blake to a whole vocabulary of Mannerist gestures. But such Storm-and-Stress abstractions (with the related ink washes by Romney) end where Blake begins — their theater, his Halls of Los in Golgonooza. June 1996 Blake: Fire-Fugue of Delight 33 �C.G. Bell Symbolic History It is hard to credit the obscurity of England's greatest living poet and artist. There is the evening at Lady Caroline Lamb's, 1820, when Blake was invited 65) 65a) 65b) 65c) Sir Thomas Lawrence, 1810, Viscount Castlereagh, National Portrait Gallery, London Blake, 1794, separate print from Urizen, plate 2, Enitharmon Floating at Dawn with Infant Orc, British Museum, London; + video return to 62, Blake, Queen Katharine's Dream, detail of Katharine Again, Viscount Castlereagh, detail Lawrence, 1819, Portrait of George IV, detail, Vatican Museum, Rome with the courtly Sir Thomas Lawrence, who painted this portrait of Viscount Castlereagh, English Foreign Secretary. Lady Charlotte Bury records: Blake… an eccentric little artist… not a regular professional painter… full of beautiful imaginations… one of those whose feelings are far superior to his situation in life… I could not help contrasting this humble artist with the great and powerful Sir Thomas Lawrence… [Lawrence] looked at me several times whilst I was talking with Mr. B., and I saw his lips curl with a sneer, as if he despised me for conversing with so insignificant a person… Later, at Linnell's urging, Lawrence bought and apparently treasured, among other Blake, Queen Katharine's Dream. Who was truly powerful? The man who lived for his vision, or the portrait flatterer of Castlereagh, of whom Byron had just written: The intellectual eunuch Castlereagh Cold-blooded, smooth-faced, placid miscreant! Dabbling its sleek young hands in Erin's gore, And thus for wider carnage taught to pant, Transferr'd to gorge upon a sister shore, The vulgarest tool that Tyranny could want… Cobbling at manacles for all mankind… As Blake had commented on Sir Joshua: The Enquiry in England is not whether a man has Talents & Genius? But whether he is Passive & Polite & a Virtuous Ass: & Obedient to Noblemens Opinions in Art & Science. If he is; he is a Good Man: If Not he must be Starved. June 1996 Blake: Fire-Fugue of Delight 34 �C.G. Bell 66) V66a) 66b) 66c) 66d) Symbolic History Samuel Palmer, c. 1826, A Hilly Scene, Tate Gallery, London Palmer, 1830, Coming from Evening Church, detail, Tate Gallery, London Palmer, c. 1826, Self-Portrait, Ashmolean Museum, Oxford Palmer, 1835, A Pastoral Scene, Ashmolean Museum, Oxford Blake, c. 1790-93, Marriage of Heaven and Hell (copy of 1794-5), Title Page, Library of Congress, Washington, D.C. (video: detail only) Blake, c. 1794 (copy c. 1818), Urizen, Title Page, detail, Book of Laws, Library of Congress, Washington, D.C. V66e) In Blake's age, a group of young artists gathered around him. Palmer was the genius among them, and the most possessed by Blake's vision. The little pictures he painted at Shoreham before Blake's death change the phenomenal into imagination. As Palmer quoted Blake on the vastness of space: "It is false, I walked the other evening to the end of the earth, and touched the sky with my fingers." But Palmer, too, had to suffer neglect, and he was not as strong as Blake, nor was his wife Blake's selfless Kate. His career is a pathos of compromise. Perhaps the God-tie gives the clue. Palmer's modernism is of art; Blake's of soul. It is typical that Palmer, who, seeing Blake in his plain black suit among the swells at the Royal Academy, thought "How little you know who is among you!" — that even Palmer prefaces his praise of Blake's sanity, genius, and industry, with the proviso: "Without alluding to his writings, which are here not in question." Palmer could not face the prophetic books without quaking at Blake's heresies: "Misled by erroneous spirits… he suffered fancy to trespass within sacred precincts." And Linnell, who commissioned Blake for the Dante drawings and engravings, wrote: "With all admiration… it must be confessed that he said many things tending to the corruption of Christian morals…" a67) 67) 67a) Blake, 1820, Woodcut # 11 for Virgil's First Eclogue (Thornton), British Museum, London Blake, 1820, Same, #3, proof of 1st state, British Museum Constable, 1813-14, Page from a sketch book, #1, Victoria and Albert Museum, London Among Blake's works, those that most inspired Palmer (or Linnell and Calvert, for that matter) were the 1820 woodcuts for Thornton's Virgil, (another commercial disaster), June 1996 Blake: Fire-Fugue of Delight 35 �C.G. Bell Symbolic History and surely, their alchemizing of nature is more than magical. For Palmer, they were pictures only, freed of the apostolic; though old Thenot, glad under the boughs of fruitfulness against young Colinet, mournful under the oak of error, is, like all Blake, mystically personal. Yet how romantically full, the nature through which his threefold vision looks — like a Constable, of which he said: "Why this is not drawing, but inspiration." To which Constable: "I meant it for drawing." 68) Giovanni di Paolo, 1455-60, St. Nicholas of Tolentino Saving a Ship, Museum of Art (Johnson Collection), Philadelphia; first, video detail When Blake rebelled from the visual as model — "Natural objects always did and do weaken, deaded, and obliterate imagination in me" — he quoted Milton, preferring "devout prayer for the hallowed fire" to "Memory and her Siren Daughters." The historical shift Vasari had praised, from Gothic sharpness, as in this Giovanni di Paolo storm at sea, 69) 69a) Giorgione, Palma Vecchio, etc., c. 1510, Storm Miracle, Scuola di San Marco, Venice (video: detail only) Blake, c. 1824-26, Dante, plate 2 (Hell ii, 140), Dante and Virgil enter an oak forest, Tate Gallery, London to the cloudy bondage of the phenomenal net Blake ascribed to the malice of the Venetians — and indeed this miracle of Venice saved from a ship of demons on a stormy night, which Giorgione left for Palma and others to finish, is the first of its kind — Blake saw that shift as tied to the deceits which, from the infernal trinity of Bacon, Newton, and Locke, had spread oak groves and Druid temples over the Earth, mocking God [he writes] & Eternal Life, & in Public Collusion calling themselves Deists, Worshipping the Maternal Humanity, calling it Nature and Natural Religion… 70) Blake, 1804-05 (1815 copy), Milton, plate 42, Albion and Jerusalem on the Rock of Ages, Library of Congress, Washington, D.C.; with video details Music: Haydn, 1796-98, The Creation, opening, Vanguard VRS 471/2 Yet we are struck again how awesomely Blake carries natural bodies, rock, sea, and sky, across into symbol; what earth-life fills this eagle of prey transformed to the June 1996 Blake: Fire-Fugue of Delight 36 �C.G. Bell Symbolic History Eagle of Genius ("lift up thy head!") as he wakes Albion and Jerusalem from their sleep on the Rock of Ages (the actual sleep of History); and how the long slip of light on the Sea of Time and Space unfolds space itself, with all its mood and longing: — 71) Schinkel, 1803, View of Trieste, formerly Kronprinzenpalais, Berlin; + V detail almost as in this Schinkel, or later in Courbet and Böcklin — or in the musical chaos shot through with searching rays which Haydn's Creation bequeathed to Beethoven and Wagner. (fade Creation) Once Cartesian reason had precipitated Pascalian paradox, there seemed two directions mind could take: One: to forge a dialectic which, like calculus, might embrace the exhibited antinomies in organic reaffirmation (Leibniz, Hegel, Whitehead). It was for being of this camp that Wordsworth, Blake's "only poet of the age," was also called by him "a landscape painter": "I see in Wordsworth the Natural Man rising up against the Spiritual Man." a2nd 70) Blake, 1794, Europe, A Prophecy, Frontispiece, The Ancient of Days (with compasses), Sir Geoffrey Keynes For 2nd 70) Blake, c. 1804, Milton (Rinder uncolored), plate 38, detail of Albion and Jerusalem on the Rock of Ages The second, the Pascalian way — reverting to our disproportion and incapacity — must strip the temporal for saving miracle: Kierkegaard's Christ in the moment now. Yet no sooner are the possibilities formulated than they prove inadequate — any polar field admitting of infinite life-solutions. Thus Blake, who abandons nature and Cartesian reason, fires personal Christianity with more than Transcendental daring. In this, he leaps at once backward and forward from the landscape men: …in your own Bosom you bear your Heaven And Earth, & all you behold, though it appears Without it is Within In your Imagination of which this World of Mortality is but a Shadow. For 2nd 71) Schinkel, 1815, Gothic Church on a Rock by the Sea, National Gallery, Berlin; video: detail only June 1996 Blake: Fire-Fugue of Delight 37 �C.G. Bell Symbolic History 2nd 71a) Blake, 1804-20, Jerusalem (copy E), plate 28, detail, Vala and Jerusalem in the Lily, Mellon Collection, Yale Center No doubt the Faustian Germany of Hegel, Beethoven, Hölderlin and the rest became the center of the landscape rapture — of the romantic irradiation of time. Even Goethe's break with Newton was to rear a science of organic interplay, salvaging what Blake would discard. As with Spinoza and Leibniz against Pascal, we cannot tell which was the forward motion. At least Germany for a while seemed kinder to the creative. It is curious that the strongest recognition of the old Blake came from a traveling German, Götzenberger. He had seen many men of talent in England, he said, "but only three of Genius, Coleridge, Flaxman, and Blake, and of these Blake was the greatest." Va72) 72) 72a) V72b) Thomas Girtin, c. 1797, The Rocking Stone, Tate, London; video: detail only Girtin, c. 1802, Fells Near Bolton, watercolor, T. Girtin, Esq. John Varley, c. 1810(?), Mountain Lake: Afterglow, watercolor, Victoria and Albert Museum, London Blake, 1797-1807, Vala (later, The Four Zoas), MS., plate 86, pencil and crayon of Vala as a nude, British Museum, London Of English painters, perhaps Girtin, in his early watercolors, best suggests the solemn affinity of soul with a nature of "huge and mighty forms" which Wordsworth enshrined in The Prelude and in "Tintern Abbey": Until the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things… And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns And the round ocean and the living air, And the blue sky, and in the mind of man; A motion and a spirit, that impels June 1996 Blake: Fire-Fugue of Delight 38 �C.G. Bell Symbolic History All thinking things, all objects of all thought, And rolls through all things… Blake would not have overlooked that both passages close with the word "things"; both seat godhead in nature; Va73) John Constable, c. 1825, Clouds over Branch Hill Pond, Hampstead Heath, with a boy sitting on a bank, Tate Gallery, London Constable, 1821-22, Streaming sun over Branch Hill Pond, Hampstead Heath, Victoria and Albert Museum, London Blake, 1821, from Taylor's De Antro Nympherum, Odysseus Throwing the Girdle, National Trust, Arlington Court Detail of 73, Sunlit Branch Hill Pond Blake, c. 1805, God Blessing the Day, Private Collection, Great Britain; video: was detail, now revised to whole Blake, 1804-18, Rinder Jerusalem, plate 25: Dominion of Vala, Rahab, and Tirzah over the fallen Man; video first returns to 33, detail of Vala Throned on a Sunflower [so revised. 1995] Again, Branch Hill Pond, the sun-rayed central section; which video prefaces with a cloud-detail and closer cloud-detail of Va73) 73) 73a) 73b) 73c) 73d) 73e) as Whitehead would say of The Prelude (and it is true of this Constable as well), show nature "as exhibiting entwined prehensive unities, each suffused with modal presences of others…" Thus Coleridge: Ah! slowly sink Behind the western ridge, thou glorious sun! Shine in the slant beams of the sinking orb Ye purple heath-flowers! richlier burn, ye clouds! Live in the yellow light, ye distant groves! And kindle, thou blue Ocean! But when Blake sees "the real and eternal World of which this Vegetable Universe is but a faint shadow," he sees all objects as human forms. Where Constable shows the sun "as a round Disk of fire somewhat like a Guinea," Blake cries: O no no I see an Innumerable company of the Heavenly host crying Holy Holy Holy is the Lord God Almighty. June 1996 Blake: Fire-Fugue of Delight 39 �C.G. Bell Symbolic History To paint landscape as real is Deism for Blake, enthrones Vala, emanation of Emotion (Luvah) — A creation that groans, living on Death, Where Fish & Bird & Beast & Man & Tree & Metal & Stone Live by Devouring — Wordsworth: "Knowing that Nature never did betray/ The heart that loved her"; and Coleridge: "I shall know/ That Nature ne'er deserts the wise and pure." As if Chaos itself, in Haydn's Creation, has summoned from its depths the musical ecstasy of Light: Music: a74) b74) Vc74) 74) Haydn's Creation, continued, the phrase: "Und es war Licht" (fade) C.D. Friedrich, 1808, Morning Mist in the Mountains, Museum, Rudolstadt; where videos have previewed 74: Mist in the Riesengebirge [revised 1995] Constable, 1821, Cloud Study, Horizon of Trees, London, Royal Academy; where video has previewed b76, Cirrus Clouds, Victoria and Albert Museum, London [revised 1995] Friedrich, 1823, Lone Tree, Staatliche Museen, Berlin Friedrich, Mist in the Riesengebirge, Neue Pinakothek, München The paradox of the Romantic landscape is that where the old dimensional absolute becomes in one sense merely a veil, it is a veil of working power — the huge sea of mist Wordsworth saw from Snowdon, The perfect image of a mighty Mind, Of one that feeds upon infinity, June 1996 Blake: Fire-Fugue of Delight 40 �C.G. Bell Symbolic History Which Wordsworth, in orthodox revisions, would later tone down. misread The Recluse — Blake had not All strength, all terror, single or in bands. That ever was put forth in personal Form — Jehovah — with his thunder & the choir Of shouting Angels & the empyreal thrones — I pass them unalarm'd — to cry out: "Does Mr. Wordsworth think his mind can surpass Jehovah?" For the depiction of nature as living spirit, Caspar David Friedrich, north German contemporary of Beethoven, looms over the century. So at the close of Beethoven's last sonata, the solid soars into light and air. Music: 75) Beethoven, 1822, Sonata #32, Opus 111, near close, Seraphim IC6066 C.D. Friedrich, c. 1823, Drifting Clouds and Pool, Kunsthalle, Hamburg — Friedrich's Pool under rising mist, such a reminder as Wordsworth's in The Prelude, where "the hiding-places of [our] power seem open." V75a) Va76) b76) 76) Friedrich, 1825-30, Bohemian Landscape, Gemäldegalerie, Stuttgart Friedrich, c. 1835, Twilight, Riesengebirge, National Gallery, Berlin Constable, c. 1821-22, Study of Cirrus Clouds, Victoria and Albert Museum, London [originally other Friedrichs; revised, as here, 1996] Friedrich, 1824, Evening Sky, Kunsthalle, Mannheim Constable and Turner painted views of nothing but sky; but their clouds are actual, those of Friedrich, God-signs. As his wife said: "On the day he is painting air, he may not be spoken to." (close of Beethoven) 77) V77a) June 1996 Blake, 1795, Newton, Tate Gallery, London Blake, 1825-27, Dante, plate 96, Paradise XXV: Saints Peter, James, and John the Evangelist with Dante and Beatrice, British Museum, London Blake: Fire-Fugue of Delight 41 �C.G. Bell Symbolic History As Plotinus said: "Cut away everything." And Christ: "If thy right hand offend against thee, cut it off." In conceiving Newton as sterile Urizen seated by the vegetative polyp under the Sea of Time and Space to compass the abstract ratio of the five senses, Blake turned from the art of irradiated Space. The synthesis most of the 19th century aspired to became for him a delusion. "The natural world must be consumed" — one of Blake's convictions which Crabb Robinson (as if he had never heard of the Bible) called "unintelligible." a78) Blake, 1825-27, Dante, plate 1, Inferno I: Dante, Virgil, Beasts, National Gallery of Victoria, Melbourne Blake, 1825-27, Dante, plate 9, Inferno V: Minos and the Lustful, National Gallery of Victoria, Melbourne Blake, 1825-27, Dante, plate 35, Inferno XIX: The Simoniac Pope, Tate Gallery, London (video: upper detail only) Vb78) 78) Blake's universe was more perilous. As he had written Butts in 1802: Temptations are on the right hand & left; behind, the sea of time and space roars & follows swiftly; he who keeps not right onward is lost, & if our footsteps slide in clay how can we do otherwise than fear and tremble. That Ulro was ever present — not the orthodox Hell of a punitive Nobodaddy he reclaimed from Dante the last two years of his life. Who knows, if Mozart had lived, he might have paralleled that realm. As for Beethoven, only in the Grosse Fuge did he pierce radiant nature to the fission of such a flaming core. Music: 79) Beethoven, 1825, Grosse Fuge, fierce theme in coda, Columbia M5L-277 (with softer succession to slide 79) Blake, 1825-27, Dante, plate 77, Purgatory ix: Lucia Carries Dante in his Sleep, Fogg Museum, Harvard; + V detail June 1996 Blake: Fire-Fugue of Delight 42 �C.G. Bell Symbolic History Gleaming through Purgatory, Blake sees Beulah: a soft Moony Universe, feminine, lovely, Pure, mild & Gentle, given in mercy to those who sleep… 80) (Four Zoas I) Blake, 1825-27, Dante, plate 90, Paradise xiv: Dante Adores the Flaming Christ, National Gallery of Victoria, Melbourne; first, video details, below and above In Paradise, the fire image of Christ becomes for Blake the ecstatic sacrifice in every moment of simultaneous vision: Soon all around the Heavens burnt with flaming fires, And Urizen and Luvah and Tharmas and Urthona arose into Albion's Bosom. Then Albion stood before Jesus in the Clouds Of Heaven, Fourfold among the Visions of God in Eternity. 80+1) Blake, c. 1795, Glad Day, color print, British Museum, London Shakespeare: Night candles are burnt out, and Jocund Day Stands tiptoe on the misty mountain tops. Blake: For… Rivers & Mountains Are also Men; every thing is Human, mighty! sublime! In every bosom a Universe expands, as wings Let down at will around, and call'd the Universal Tent. (Jerusalem 38) Christian history telescoped to that eternal coming: And suddenly there was with the angels a multitude of the heavenly host praising God and saying: Arise and drink your bliss, for every thing that lives is holy! June 1996 Blake: Fire-Fugue of Delight 43 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charles G. Bell's Symbolic History: Through Sight and Sound Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Description An account of the resource Scripts of Mr. Charles G. Bell's Symbolic History series. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 43 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Blake : Fire-Fugue of Delight, Symbolic History, Part 28 Description An account of the resource Script of Part 28 of the Symbolic History series by Charles G. Bell. Creator An entity primarily responsible for making the resource Bell, Charles G. (Charles Greenleaf), 1916-2010 Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource [1988-1990] Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_BellC_Symbolic_History_Script_28_Blake--Fire-Fugue_of_Delight Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/d05ba5bcf0e7c429f3ff0264b96bbfc9.jpg 9739b4a5587f8ce1cc9191434d0562cb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 14 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0464 Title A name given to the resource Blueprint for the New Heating Plant, St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1950-1951 [circa] Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Heating Plant (St. Johns' College, Annapolis, MD) 1950-1960. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/1ca61bf0d30206d2e44a76a3270b1927.mp3 33cc38b90b37072b88496888fbfa4dcc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data wav Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 55:38 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Books of Nature Description An account of the resource Audio recording of a lecture delivered on February 24, 2017, by Elizabeth Yale as part of the Formal Lecture Series. Creator An entity primarily responsible for making the resource Yale, Elizabeth Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2017-02-24 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission: To make an audio recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. To make an audio recording of my lecture available on the St. John's College web site." Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context LEC_Yale_Elizabeth_2017-02-24_ac Subject The topic of the resource Galilei, Galileo, 1564-1642. Saggiatore. Natural history Books--History--1450-1600 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/a7536e940d4589ea40709e1a1f95cc01.pdf e73ecc8b4c78be056e5a86a3b5c81e40 PDF Text Text ������������������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Transcripts—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College at the Santa Fe, NM campus. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 22 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Books, a balance and the tongues of men and angels Description An account of the resource Transcript of a lecture given on August 25, 1995 by Stephen Van Luchene as part of the Dean's Lecture and Concert Series. Creator An entity primarily responsible for making the resource Van Luchene, Stephen R. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 1995-08-25 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Education, Humanistic Language A language of the resource English Identifier An unambiguous reference to the resource within a given context 25051889 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/2d0e166f6f68f39d7cbf9df370b74322.jpg 69f7ec66d10437f40c929c8201fd51e6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0965 Title A name given to the resource Bow-Tie Waiter Serves Male Students in Randall Hall Dining Hall Description An account of the resource 1 photographic print : b&w Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource St. John's College (Annapolis, Md.). -- Students. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Dining Hall Randall Hall https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/42cb20f6cce1b03b438c1338394d3572.pdf 60d838cd9412c050c6fe07dab631ef1d PDF Text Text $ 2.00 ADMISSION S)[p)[E(C 0rnJ[L [ID[E~[E[F FOR ST. JOHN'S COLLEGE TO BE REPRESENTED IN THE COLLEGIATE BOXING NATIONAL CHAMPIONSHIP TIME: 10:30 pm 01J �st. john's PUGILIST SOCIETY t ' OVTUCpu 1 xpoo. 'f"E r '~ Pfl~W 1 auv .,. t r ,. OUTE t '~ apa,w. ILIAD, XXIII. 673 BOXING CLUB St. John's College, Annapolis, MD 21404 �Toward a National Championship: The Metaphysics of Boxing • ' 411T11Cpu , xpoa. T« ',~ , PlJfiW auv T • f 'e. apa..,w. ,•• OCJT4! ILIAD, XXIII. 673 A mighty ugly boast that the Homeric boxer throws down to his challenger in the Funeral Games ("I shall rend his flesh and crush his bones"), and seemingly a far cry from the emphasisonout-pointingone'sopponentwhichcharacterizes the point-system of inter-collegiate amateur boxing. That system emphasizes safety and serves to distinguish the amateurs from the more violent ranks of professional boxing. However there is a line of truth that runs through the boxing tradition, from Homeric warriors through such modem-day giants like Dempsey, Robinson, Ali and Tyson, and remains infused in the Olympic and inter-collegiate amateurs as well: that truth involves the metaphysical aspect, the Will and Oneness. The two-thousand year connection is held within the intangibles-the commitment, desire and intensity necessary to win despite the Fear. This challenge, both physical and metaphysica~ is fmally being answered at St. John's College. The small liberal arts community in Annapolis is more noted for croquet and books than physical rigor, yet fmally has returned to its Homeric roots with a commitment to boxing. The art of pugilism, first touted in Homer's Diad and Vergil's Aeneid, has a long tradition, only recently resurrected at St. John's. Last year, January 1990, a few freshmen got together and started a boxing program on campus. The emphasis was on physical conditioning and training in basic techniques. A group of twelve students worked throughout the spring and closed out the semester with a banquet featuring special guest Mr. Emerson Smith, who coached Navy boxing for 25 years, and Mr. Stewart Unphrey from St. John's, who, before embracing the intellectual life, boxed for eleven years. �During the summer a handful of boxers stayed in Annapolis and took the opportunity to do some sparring in a gym. In September there was a program shift, taking into account that half the club members rowed crew and that season lasted through November. Conditioning continued for students, staff and alumni in the early morning, the afternoon workouts were for those two students, B. Good ('93) and J. Yulo ('93), who remained commited to inter-collegiate competition. B. Good was first introduced to the USNA boxing program when he met Coach Smith and Charlie Holloway at the 1984 NCBA Championships. Following Coach Smith's retiremnt , B.Good trained under Dr. Tom Virgets, President of the NCBA and current trainer of professional heavyweight Tommy Morrison. When Dr. Virgets was replaced by the current Navy Head Coach, Jim McNally, both he and the assistant coach Ron Stutzman remained generous and encouraging of the St. John's program. Coach Stutzman was especially helpful in guiding B.Good in an exhibition bout last November, which he won with a 3rd round TKO. The stage is now set for the Eastern Regionals at VMI this March and then on to the NCBA National Championships in Reno, Nevada. Training is right on schedule with roadwork and gym time. Coach Stutzman, who keeps on eye on overall progress and fine-tuning, is now being assisted by former St. John's student Pete Maillet. Pete handles the day-to-day task of directing merciless bag drills. And along with the increased physical strength and skill, the real edge is manifested psychologicgically: "I have complete faith in myself and my trainers. Both Coach Stutzman and Pete are perfect. I am inspired each and every day that I leave that gym because they work me so hard. They take me to the edge. I get to a point where I feel I am going to collapse and then they turn it up a �notch and force me to a higher level. I become more energized, more powerful. Inspired. You know what I like about boxing?That it is about indomitable Spirit. It is about Will. That in the final face-off it is the man with the stronger will who shall prevail. And it is about punishment. I know that Coach Smith, who is on the Safety Committee will disagree with me, especially about amatuer boxing- so I'm just speaking for myself, but as far as I am concerned boxing is about punishment. I love dishing it out and I don't mind taking it. I'm a work-horse, not a race-horse. I will out-work my opponent. I will punish my opponent. I'm not flashy, I'm strong and hostile. Sure there is a metaphysical angle, and I appreciate this: the fighter must transcend his instinct because the initial instinct is to run and hide- but real success is in channeling that fear into a ferocious, forward motion. A passion that is simultaneously detatched. Detatched enough to be calm and focused, yet paradoxically impassioned enough to be relentless. I create my own openings. H the opponent protects his head then I hammer his body, when he drops his arms then I hammer his head. Hit 'em high, hit 'em low. Create the openings. This success demands all aspects: focused intelligence to remain calm and read the opponent, physical prowess to dominate him and the spiritual fortitude to follow through all the way. Woven together there is the Oneness, the transcendent moment, and that is the way that I probably experience the fight on an abstract level. But the real level, the level that engages me, is all about punishment. I will simply out-work and out-punish my opponent. That is how I will defeat him. That is how I will win. Wll...L TO WIN ALL THE WAY! � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 5 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boxing Club Program Date A point or period of time associated with an event in the lifecycle of the resource 1991-04-05 Identifier An unambiguous reference to the resource within a given context Bx2-27 Description An account of the resource St. John's Pubilist Society Boxing Club Program and Flyer Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf