Submit your work, meet writers and drop the ads. Become a member
RAJ NANDY Nov 2015
GREAT ARTISTS & THEIR IMMORTAL WORKS :
CONCLUDING ITALIAN RENAISSANCE IN
VERSE.  -  By Raj Nandy, New Delhi.

Dear Readers, continuing my Story of Western Art in Verse chronologically, I had covered an Introduction to the Italian Renaissance previously. That background story was necessary to appreciate Renaissance Art fully. Now, I cover the Art of that period in a summarized form, mentioning mainly the salient features to curb the length. The cream here lies in the 'Art of the High Renaissance Period'! Hope you like it. Thanks, - Raj.

                          INTRODUCTION
“Painting is poetry that is seen rather than felt, &
  Poetry is painting that is felt rather than seen.”
                                                        – Leonardo Da Vinci
In the domain of Renaissance Art, we notice the
enduring influence of the Classical touch!
Ancient Greek statues and Roman architectures,
Inspired the Renaissance artists in their innovative
ventures!
The pervasive spirit of Humanism influenced
creation of life-like human forms;
Adding ****** expressions and depth, deviating
from the earlier stiff Medieval norms.
While religious subjects continued to get depicted
in three-dimensional Renaissance Art;
Portraits, **** figures, and secular subjects, also
began to appear during this great ‘Re-birth’!
The artists of the Early and High Renaissance Era
are many who deserve our adoration and artistic
due.
Yet for the sake of brevity, I mention only the
Great Masters, who are handful and few.

EARLY RENAISSANCE ARTISTS & THEIR ART

GITTO THE PIONEER:
During early 13th Century we find, Dante’s
contemporary Gitto di Bondone the Florentine,
Painting human figures in all its beauty and form
for the first time!
His masterwork being the 40 fresco cycle in the
Arena Chapel in Padua, depicting the life of the
****** and Christ, completed in 1305.
Giotto made the symbolic Medieval spiritual art
appear more natural and realistic,
By depicting human emotion, depth with an
artistic perspective!
Art Scholars consider him to be the trailblazer
inspiring the later painters of the Renaissance;
They also refer to Giorgio Vasari’s “Lives Of
The Eminent Artists,” - as their main source.
Giotto had dared to break the shackles of earlier
Medieval two-dimensional art style,
By drawing lines which head towards a certain
focal point behind;
Like an illusionary vanishing point in space,
- opening up a 3-D ‘window into space’!
This ‘window technique’ got adopted by the
later artists with grace.
(
Giorgio Vasari, a 16th Century painter, architect & Art
historian, was born in 1511 in Arezzy, a city under the
Florentine Republic, and painted during the High
Renaissance Period.)

VASARI’s book published in 1550 in Florence
was dedicated to Cosimo de Medici.
Forms an important document of Italian Art
History.
This valuable book covers a 250 year’s span.
Commencing with Cimabue the tutor of Giotto,
right up to Tizian, - better known as Titan!
Vasari also mentions four lesser known Female
Renaissance Artists; Sister Plantilla, Madonna
Lucrezia, Sofonista Anguissola, and Properzia
de Rossi;
And Rossi’s painting “Joseph and Potiphar’s
Wife”,
An impressive panel art which parallels the
unrequited love Rossi experienced in her own
life !
(
Joseph the elder son of Jacob, taken captive by Potiphar
the Captain of Pharaoh’s guard, was desired by Potiphar’s
wife, whose advances Joseph repulsed. Rossi’s painting
of 1520s inspired later artists to paint their own versions
of this same Old Testament Story.)

Next I briefly mention architects Brunelleschi
and Ghiberti, and the sculptor Donatello;
Not forgetting the painters like Masaccio,
Verrocchio and Botticelli;
Those Early Renaissance Artists are known to
us today thanks to the Art historian Giorgio
Vasari .

BRUNELLESCHI has been mentioned in Section
One of my Renaissance Story.
His 114 meter high dome of Florence Cathedral
created artistic history!
This dome was constructed without supporting
buttresses with a double egg shaped structure;
Stands out as an unique feat of Florentine
Architecture!
The dome is larger than St Paul’s in London,
the Capitol Building of Washington DC, and
also the St Peters in the Vatican City!

GILBERTI is remembered for his massive
15 feet high gilded bronze doors for the
Baptistery of Florence,
Containing twenty carved panels with themes
from the Old Testament.
Which took a quarter century to complete,
working at his own convenience.
His exquisite naturalistic carved figures in the
true spirit of the Renaissance won him a prize;
And his gilded doors were renamed by Michel
Angelo as ‘The Gates of Paradise’!
(
At the age of 23 yrs Lorenzo Ghiberti had won the
competition beating other Architects for craving the
doors of the Baptistery of Florence!)

DONATELLO’S full size bronze David was
commissioned by its patron Cosimo de’ Medici.
With its sensual contrapposto stance in the
classical Greek style with its torso bent slightly.
Is known as the first free standing **** statue
since the days of Classical Art history!
The Old Testament relates the story of David
the shepherd boy, who killed the giant Goliath
with a single sling shot;
Cutting off his head with Goliath’s own sword!
Thus saving the Israelites from Philistine’s wrath.
This unique statue inspired all later sculptors to
strive for similar artistic excellence;
Culminating in Michael Angelo’s **** statue of
David, known for its sculptured brilliance!

MASSACCIO (1401- 1428) joined Florentine
Artist’s Guild at the age of 21 years.
A talented artist who abandoned the old Gothic
Style, experimenting without fears!
Influenced by Giotto, he mastered the use of
perspective in art.
Introduced the vanishing point and the horizon
line, - while planning his artistic works.
In his paintings ‘The Expulsion from Eden’
and ‘The Temptation’,
He introduced the initial **** figures in Italian
Art without any inhibition!
Though up North in Flanders, Van Eyck the
painter had already made an artistic innovation,
By painting ‘Adam and Eve’ displaying their
****** in his artistic creation;
Thereby creating the first **** painting in Art
History!
But such figures greatly annoyed the Church,
Since nudes formed a part of pagan art!
So these Northern artists to pacify the Church
and pass its censorship,
Cleverly under a fig leaf cover made their art to
appear moralistic!
Van Eyck was also the innovator of oil-based paints,
Which later replaced the Medieval tempera, used to
paint angles and saints.

Masaccio’s fresco ‘The Tribute Money’ requires
here a special mention,
For his use of perspective with light and shade,
Where the blithe figure of the Roman tax collector
is artistically made.
Christ is painted with stern nobility, Peter in angry
majesty;
And every Apostle with individualized features,
attire, and pose;
With light coming from a single identifiable source!
“Render unto Caesar the things that are Caesar’s,
and unto God things that are God’s”, said Christ;
Narrated in Mathew chapter 22 verse 21, which
cannot be denied.
Unfortunately, Masaccio died at an early age of
27 years.
Said to have been killed by a jealous rival artist,
who had shed no tears!

BOTTICELLI the Florentine was born half a
century after the Dutch Van Eyck;
Remembered even to this day for his painting
the ‘Birth of Venus’, an icon of Art History
making him famous.
This painting depicts goddess Venus rising out
of the sea on a conch shell,
And the glorious path of female **** painting
commenced in Italy, - casting a spell!
His full scale **** Venus shattered the Medieval
taboo on ******.
With a subject shift from religious art to Classical
Mythology;
Removing the ‘fig-leaf cover’ over Art permanently!

I end this Early Period with VERROCCHIO, born
in Florence in fourteen hundred and thirty five.
A trained goldsmith proficient in the skills of both
painting and sculpture;
Who under the patronage of the Medici family
had thrived.
He had set up his workshop in Florence were he
trained Leonardo Da Vinci, Botticelli, and other
famous Renaissance artists alike!

FOUR CANONICAL PAINTING MODES OF
THE RENAISSANCE:
During the Renaissance the four canonical painting
modes we get to see;
Are Chiaroscuro, Sfumato, Cangiante and Unione.
‘Chiaroscuro’ comes from an Italian word meaning
‘light and dark’, a painting technique of Leonardo,
Creating a three dimensional dramatic effect to
steal the show.
Later also used with great excellence by Rubens
and the Dutch Rembrandt as we know.
‘Sfumato’ from Italian ‘sfumare’, meaning to tone
down or evaporate like a smoke;
As seen in Leonardo’s ‘Mona Lisa’ where the
colors blend seamlessly like smoke!
‘Cangiante’ means to ‘change’, where a painter
changed to a lighter or a darker hue, when the
original hue could not be made light enough;
As seen in the transformation from green to
yellow in Prophet Daniel’s robe,
On the ceiling of Sistine Chapel in Rome.
‘Unione’ followed the ‘sfumato’ quality, but
maintained vibrant colors as we get to see;
In Raphael’s ‘Alba Madonna’ in Washington’s
National Gallery.

ART OF HIGH RENAISSANCE ERA - THE
GOLDEN AGE.

“Where the spirit does not work with the
hand there is no art.”- Leonardo

With Giotto during the Trecento period of the
14th century,
Painting dominated sculpture in the artistic
endeavor of Italy.
During the 15th century the Quattrocento, with
Donetello and Giberti,
Sculpture certainly dominated painting as we get to
see!
But during the 16th century or the Cinquecento,
Painting again took the lead commencing with
the great Leonardo!
This Era was cut short by the death of Lorenzo the
Magnificent to less than half a century; (Died in 1493)
But gifted great masterpieces to the world enriching
the world of Art tremendously!
The Medieval ‘halo’ was now replaced by a fresh
naturalness;
And both Madonna and Christ acquired a more
human likeness!
Portrait paintings began to be commissioned by
many rich patrons.
While artists acquired both recognition and a status
of their own.
But the artistic focus during this Era had shifted from
Florence,  - to Venice and Rome!
In the Vatican City, Pope Julius-II was followed by
Pope Leo the Tenth,
He commissioned many works of art which are
still cherished and maintained!
Now cutting short my story let me mention the
famous Italian Renaissance Superstar Trio;
Leonardo, Raphael, and Michael Angelo.

LEONARDO DA VINCI was born in 1452 in
the village of Vinci near the City of Florence,
Was deprived of a formal education being born
illegitimate!
He was left-handed, and wrote from right to left!
He soon excelled his teacher Varrocchio, by
introduced oil based paints into Italy;
Whose translucent colors with his innovative
techniques, enhanced his painting artistically.
Sigmund Freud had said, “Leonardo was like a
man who awoke too early in the darkness while
others were all still asleep,” - he was awake!
Leonardo’s  historic ‘Note Book’ has sketches of a
battle tank, a flying machine, a parachute, and many
other anatomical and technical sketches and designs;
Reflecting the ever probing mind of this versatile
genius who was far ahead of his time!
His ‘Vituvian Man’, ‘The Last Supper’, and ‘Mona Lisa’,
Remain as his enduring works of art and more popular
than the Leaning Tower of Pisa!
Pen and ink sketch of the ‘Vitruvian Man’ with arms
and leg apart inside a square and a circle, also known
as the ‘Proportion of Man’;
Where his height correspondence to the length
of his outstretched hands;
Became symbolic of the true Renaissance spirit
of Man.
‘The Last Supper’ a 15ft by 29ft fresco work on
the refectory wall of Santa Maria, commissioned
by Duke of Milan Ludovic,
Is the most reproduced religious painting which
took three years to complete!
Leonardo searched the streets of Milan before
painting Judas’ face;
And individualized each figure with competence!
‘Mona Lisa’ with her enigmatic smile continues
to inspire artists, poets, and her viewers alike,
since its creation;
Which Leonardo took four years to complete
with utmost devotion.
Leonardo used oil on poplar wood panel, unique
during those days,
With ‘sfumato’ blending of translucent colors with
light and shade;
Creating depth, volume, and form, with a timeless
expression on Mona Lisa’s countenance!
Art Historian George Varasi says that it is the face
of one Lisa Gherardini,
Wife of a wealthy Florentine merchant of Italy.
Insurance Companies failed to make any estimation
of this portrait, declaring its value as priceless!
Today it remains housed inside an air-conditioned,
de-humidified chamber, within a triple bullet-proof
glass, in Louvre France.
“It is the ultimate symbol of human civilization”,
- exclaimed President Kennedy;
And with this I pay my humble tribute to our
Leonardo da Vinci!

MICHEL ANGELO BUONARROTI (1475-1564):
This Tuscan born sculptor, painter, architect, and
poet, was a versatile man,
Worthy to be called the archetype of the true
‘Renaissance Man’!
At the age of twelve was placed under the famous
painter Ghirlandio,
Where his inclination for sculpting began to show.
Under the liberal patronage of Lorenzo de Medici,
He developed his talent as a sculptor as we get
to see.
In the Medici Palace, he was struck by his rival
Torregiano on the nose with a mallet;
Disfiguring permanently his handsome face!
His statue of ‘Bacchus’ of 1497 and the very
beauty of the figure,
Earned him the commission for the ‘PIETA’ in
St Peter’s Basilica;
Where from a single piece of Carrara marble he
carved out the figure of ****** Mary grieving
over the dead body of Christ;
This iconic piece of sculpture which along with
his ‘David’ earned him the ‘Superstar rights’!

Michel Angelo’s **** ‘DAVID’ weighed 6.4 tons
and stood 17 feet in height;
Unlike the bronze David of Donatello, which
shows him victorious after the fight!
Michel’s David an epitome of strength and
youthful vigour with a Classical Greek touch;
Displayed an uncircumcised ***** which had
shocked the viewers very much!
But it was consistent with the Mannerism in Art,
in keeping with the Renaissance spirit as such!
David displays an attitude of placid calm with
his knitted eyebrows and sidelong glance;
With his left hand over the left shoulder
holding a sling,
Coolly surveys the giant Goliath before his
single sling shot fatally stings!
This iconic sculpture has a timeless appeal even
after 500 years, depicting the ‘Renaissance Man’
at his best;
Vigorous, healthy, beautiful, rational and fully
competent!
Finally we come to the Ceiling of the Sistine
Chapel of Rome,
Where Pope Julius-II’s persistence resulted in the
creation of world’s greatest single fresco that was
ever known!
Covering some 5000 square feet, took five years
to complete.
Special scaffoldings had to be erected for painting
scenes from ‘The Creation’ till the ‘Day of Judgment’
on a 20 meter’s high ceiling;
Where the Central portion had nine scenes from
the ‘Book of Genesis’,
With ‘Creation of Adam’ having an iconic significance!
Like Leonardo, Michel Angelo was left-handed and died
a bachelor - pursuing his art with devotion;
A man with caustic wit, proud reserve, and sublimity
of imagination!

RAFFAELLO SANZIO (1483-1520):
This last of the famous High Renaissance trio was
born in 1483 in Urbino,
Some eight years after Michel Angelo.
His Madonna series and decorative frescos
glorified the Library of Pope Julius the Second;
Who was impressed by his fresco ‘The School
of Athens’;
And commissioned Raphael to decorate his
Study in the Vatican.
Raphael painted this large fresco between 1510
and 1511, initially named as the ‘Knowledge of
Causes’,
But the 17th century guide books referred to it
as ‘The School of Athens’.
Here Plato and Aristotle are the central figures
surrounded by a host of ancient Greek scholars
and philosophers.
The bare footed Plato is seen pointing skywards,
In his left hand holds his book ‘Timaeus’;
His upward hand gesture indicating his ‘World
of Forms’ and transcendental ideas!
Aristotle is seen pointing downwards, his left
hand holds his famous book the ‘Ethics’;
His blue dress symbolizes water and earth
with an earthly fix.
The painting illustrates the historic continuance
of Platonic thoughts,
In keeping with the spirit of the Renaissance!
Raphael’s last masterpiece ‘Transfiguration’
depicts the resurrected Christ,
Flanked by prophets
Many a green isle needs must be
In the deep wide sea of Misery,
Or the mariner, worn and wan,
Never thus could voyage on—
Day and night, and night and day,
Drifting on his dreary way,
With the solid darkness black
Closing round his vessel’s track:
Whilst above the sunless sky,
Big with clouds, hangs heavily,
And behind the tempest fleet
Hurries on with lightning feet,

He is ever drifted on
O’er the unreposing wave
To the haven of the grave.
What, if there no friends will greet;
What, if there no heart will meet
His with love’s impatient beat;
Wander wheresoe’er he may,
Can he dream before that day
To find refuge from distress
In friendship’s smile, in love’s caress?
Then ’twill wreak him little woe
Whether such there be or no:
Senseless is the breast, and cold,
Which relenting love would fold;
Bloodless are the veins and chill
Which the pulse of pain did fill;
Every little living nerve
That from bitter words did swerve
Round the tortured lips and brow,
Are like sapless leaflets now
Frozen upon December’s bough.

On the beach of a northern sea
Which tempests shake eternally,
As once the wretch there lay to sleep,
Lies a solitary heap,
One white skull and seven dry bones,
On the margin of the stones,
Where a few grey rushes stand,
Boundaries of the sea and land:
Nor is heard one voice of wail
But the sea-mews, as they sail
O’er the billows of the gale;
Or the whirlwind up and down
Howling, like a slaughtered town,
When a king in glory rides
Through the pomp and fratricides:
Those unburied bones around
There is many a mournful sound;
There is no lament for him,
Like a sunless vapour, dim,
Who once clothed with life and thought
What now moves nor murmurs not.

Ay, many flowering islands lie
In the waters of wide Agony:
To such a one this morn was led,
My bark by soft winds piloted:
’Mid the mountains Euganean
I stood listening to the paean
With which the legioned rooks did hail
The sun’s uprise majestical;
Gathering round with wings all ****,
Through the dewy mist they soar
Like gray shades, till the eastern heaven
Bursts, and then, as clouds of even,
Flecked with fire and azure, lie
In the unfathomable sky,
So their plumes of purple grain,
Starred with drops of golden rain,
Gleam above the sunlight woods,
As in silent multitudes
On the morning’s fitful gale
Through the broken mist they sail,
And the vapours cloven and gleaming
Follow, down the dark steep streaming,
Till all is bright, and clear, and still,
Round the solitary hill.

Beneath is spread like a green sea
The waveless plain of Lombardy,
Bounded by the vaporous air,
Islanded by cities fair;
Underneath Day’s azure eyes
Ocean’s nursling, Venice, lies,
A peopled labyrinth of walls,
Amphitrite’s destined halls,
Which her hoary sire now paves
With his blue and beaming waves.
Lo! the sun upsprings behind,
Broad, red, radiant, half-reclined
On the level quivering line
Of the waters crystalline;
And before that chasm of light,
As within a furnace bright,
Column, tower, and dome, and spire,
Shine like obelisks of fire,
Pointing with inconstant motion
From the altar of dark ocean
To the sapphire-tinted skies;
As the flames of sacrifice
From the marble shrines did rise,
As to pierce the dome of gold
Where Apollo spoke of old.

Sea-girt City, thou hast been
Ocean’s child, and then his queen;
Now is come a darker day,
And thou soon must be his prey,
If the power that raised thee here
Hallow so thy watery bier.
A less drear ruin then than now,
With thy conquest-branded brow
Stooping to the slave of slaves
From thy throne, among the waves
Wilt thou be, when the sea-mew
Flies, as once before it flew,
O’er thine isles depopulate,
And all is in its ancient state,
Save where many a palace gate
With green sea-flowers overgrown
Like a rock of Ocean’s own,
Topples o’er the abandoned sea
As the tides change sullenly.
The fisher on his watery way,
Wandering at the close of day,
Will spread his sail and seize his oar
Till he pass the gloomy shore,
Lest thy dead should, from their sleep
Bursting o’er the starlight deep,
Lead a rapid masque of death
O’er the waters of his path.

Those who alone thy towers behold
Quivering through aereal gold,
As I now behold them here,
Would imagine not they were
Sepulchres, where human forms,
Like pollution-nourished worms,
To the corpse of greatness cling,
Murdered, and now mouldering:
But if Freedom should awake
In her omnipotence and shake
From the Celtic Anarch’s hold
All the keys of dungeons cold,
Where a hundred cities lie
Chained like thee, ingloriously,
Thou and all thy sister band
Might adorn this sunny land,
Twining memories of old time
With new virtues more sublime;
If not, perish thou ldering:
But if Freedom should awake
In her omnipotence and shake
From the Celtic Anarch’s hold
All the keys of dungeons cold,
Where a hundred cities lie
Chained like thee, ingloriously,
Thou and all thy sister band
Might adorn this sunny land,
Twining memories of old time
With new virtues more sublime;
If not, perish thou and they!—
Clouds which stain truth’s rising day
By her sun consumed away—
Earth can spare ye; while like flowers,
In the waste of years and hours,
From your dust new nations spring
With more kindly blossoming.

Perish—let there only be
Floating o’er thy heartless sea
As the garment of thy sky
Clothes the world immortally,
One remembrance, more sublime
Than the tattered pall of time,
Which scarce hides thy visage wan;—
That a tempest-cleaving Swan
Of the sons of Albion,
Driven from his ancestral streams
By the might of evil dreams,
Found a nest in thee; and Ocean
Welcomed him with such emotion
That its joy grew his, and sprung
From his lips like music flung
O’er a mighty thunder-fit,
Chastening terror:—what though yet
Poesy’s unfailing River,
Which through Albion winds forever
Lashing with melodious wave
Many a sacred Poet’s grave,
Mourn its latest nursling fled?
What though thou with all thy dead
Scarce can for this fame repay
Aught thine own? oh, rather say
Though thy sins and slaveries foul
Overcloud a sunlike soul?
As the ghost of Homer clings
Round Scamander’s wasting springs;
As divinest Shakespeare’s might
Fills Avon and the world with light
Like omniscient power which he
Imaged ’mid mortality;
As the love from Petrarch’s urn,
Yet amid yon hills doth burn,
A quenchless lamp by which the heart
Sees things unearthly;—so thou art,
Mighty spirit—so shall be
The City that did refuge thee.

Lo, the sun floats up the sky
Like thought-winged Liberty,
Till the universal light
Seems to level plain and height;
From the sea a mist has spread,
And the beams of morn lie dead
On the towers of Venice now,
Like its glory long ago.
By the skirts of that gray cloud
Many-domed Padua proud
Stands, a peopled solitude,
’Mid the harvest-shining plain,
Where the peasant heaps his grain
In the garner of his foe,
And the milk-white oxen slow
With the purple vintage strain,
Heaped upon the creaking wain,
That the brutal Celt may swill
Drunken sleep with savage will;
And the sickle to the sword
Lies unchanged, though many a lord,
Like a **** whose shade is poison,
Overgrows this region’s foison,
Sheaves of whom are ripe to come
To destruction’s harvest-home:
Men must reap the things they sow,
Force from force must ever flow,
Or worse; but ’tis a bitter woe
That love or reason cannot change
The despot’s rage, the slave’s revenge.

Padua, thou within whose walls
Those mute guests at festivals,
Son and Mother, Death and Sin,
Played at dice for Ezzelin,
Till Death cried, “I win, I win!”
And Sin cursed to lose the wager,
But Death promised, to assuage her,
That he would petition for
Her to be made Vice-Emperor,
When the destined years were o’er,
Over all between the Po
And the eastern Alpine snow,
Under the mighty Austrian.
She smiled so as Sin only can,
And since that time, ay, long before,
Both have ruled from shore to shore,—
That incestuous pair, who follow
Tyrants as the sun the swallow,
As Repentance follows Crime,
And as changes follow Time.

In thine halls the lamp of learning,
Padua, now no more is burning;
Like a meteor, whose wild way
Is lost over the grave of day,
It gleams betrayed and to betray:
Once remotest nations came
To adore that sacred flame,
When it lit not many a hearth
On this cold and gloomy earth:
Now new fires from antique light
Spring beneath the wide world’s might;
But their spark lies dead in thee,
Trampled out by Tyranny.
As the Norway woodman quells,
In the depth of piny dells,
One light flame among the brakes,
While the boundless forest shakes,
And its mighty trunks are torn
By the fire thus lowly born:
The spark beneath his feet is dead,
He starts to see the flames it fed
Howling through the darkened sky
With a myriad tongues victoriously,
And sinks down in fear: so thou,
O Tyranny, beholdest now
Light around thee, and thou hearest
The loud flames ascend, and fearest:
Grovel on the earth; ay, hide
In the dust thy purple pride!

Noon descends around me now:
’Tis the noon of autumn’s glow,
When a soft and purple mist
Like a vapourous amethyst,
Or an air-dissolved star
Mingling light and fragrance, far
From the curved horizon’s bound
To the point of Heaven’s profound,
Fills the overflowing sky;
And the plains that silent lie
Underneath the leaves unsodden
Where the infant Frost has trodden
With his morning-winged feet,
Whose bright print is gleaming yet;
And the red and golden vines,
Piercing with their trellised lines
The rough, dark-skirted wilderness;
The dun and bladed grass no less,
Pointing from this hoary tower
In the windless air; the flower
Glimmering at my feet; the line
Of the olive-sandalled Apennine
In the south dimly islanded;
And the Alps, whose snows are spread
High between the clouds and sun;
And of living things each one;
And my spirit which so long
Darkened this swift stream of song,—
Interpenetrated lie
By the glory of the sky:
Be it love, light, harmony,
Odour, or the soul of all
Which from Heaven like dew doth fall,
Or the mind which feeds this verse
Peopling the lone universe.

Noon descends, and after noon
Autumn’s evening meets me soon,
Leading the infantine moon,
And that one star, which to her
Almost seems to minister
Half the crimson light she brings
From the sunset’s radiant springs:
And the soft dreams of the morn
(Which like winged winds had borne
To that silent isle, which lies
Mid remembered agonies,
The frail bark of this lone being)
Pass, to other sufferers fleeing,
And its ancient pilot, Pain,
Sits beside the helm again.

Other flowering isles must be
In the sea of Life and Agony:
Other spirits float and flee
O’er that gulf: even now, perhaps,
On some rock the wild wave wraps,
With folded wings they waiting sit
For my bark, to pilot it
To some calm and blooming cove,
Where for me, and those I love,
May a windless bower be built,
Far from passion, pain, and guilt,
In a dell mid lawny hills,
Which the wild sea-murmur fills,
And soft sunshine, and the sound
Of old forests echoing round,
And the light and smell divine
Of all flowers that breathe and shine:
We may live so happy there,
That the Spirits of the Air,
Envying us, may even entice
To our healing Paradise
The polluting multitude;
But their rage would be subdued
By that clime divine and calm,
And the winds whose wings rain balm
On the uplifted soul, and leaves
Under which the bright sea heaves;
While each breathless interval
In their whisperings musical
The inspired soul supplies
With its own deep melodies;
And the love which heals all strife
Circling, like the breath of life,
All things in that sweet abode
With its own mild brotherhood:
They, not it, would change; and soon
Every sprite beneath the moon
Would repent its envy vain,
And the earth grow young again.
RAJ NANDY Nov 2014
Friends, in the Introductory portion we have seen how Herodotus
gave birth to the subject of 'History'. Now I conclude this true story
by quoting a poem by the English poet Edgar O' Shaughnessy, which
is very appropriate for my Story! Please take your time to read, there is no hurry! Thanks, -Raj Nandy.

        HISTORIANS  AFTER  HERODOTUS
Herodotus became the trail blazer with his narration
of History,
Inspiring several Greek and Roman chroniclers as  
we subsequently get to see!
There was Thucydides, Livy, Sallust, Xenophon, and
Polybius,
Not forgetting chroniclers like Julius Caesar, Tacitus,
and the oft quoted Plutarch!
The Roman scholar Cicero had called Herodotus the
‘Father of History’;
But later the Greek historian Plutarch criticized him
for his many hearsay inaccuracies!
Even though Herodotus had cautioned his readers in
his Historical narrations, -
About those hearsay accounts and doubtful portions!
Greek historian Thucydides, who was a junior and a
contemporary of Herodotus,
For his accurate historical rendering of ‘The
Peloponnesian War’ between Athens and Sparta, -
Was praised by later scholars very much!

CYCLIC AND LINEAR PATTERNS OF HISTORY:
Herodotus believed in Nemesis and a repetitive
pattern of History.
While Thucydides with his strict investigation drew
a line between myth and reality!
Thucydides viewed history as a political struggle
based on the nature of man;
And felt that since human nature does not change
often, -
The past events would reoccur once again !
The Greeks believed in this cyclic notion of History,
Also developed a prose style to narrate their stories!
Unlike the Greeks, Roman History did not begin in an
oral Homeric tradition,
But they had a ready-made Greek model for their
historical narrations!
Roman historiography began after the Second Punic
War against Hannibal of Carthage,
When Quintus Flavius Pictor wrote Rome’s History
in Greek, instead of Latin!     (around 200BC)
Cato the Elder, was the first to write in Latin Rome’s
History,
While the Roman Livy born in Padua in 59 BC, was
praised for introducing a ‘milky richness’ of style  
for narrating these true stories !
From Julius Caesar’s accounts we learn about the
Gallic Wars and events of those ancient days;
But he Romans had used History for propaganda
and self-praise !
Also to make the conquered world to look up to them
with wonder and admiration;
For the Romans were creating History with their
conquests in a steady progression!

CYCLIC VIEW OF TIME AND HISTORY
Perhaps the cyclic view of Time has influenced the
cyclic concept of History to a great extent,
Since this cyclic view was held by many of those
Ancients !
Ancient doctrine of 'eternal return' like the seasons
of Summer, Autumn, Winter and Spring, existed
in old Egypt, and the Hindu religion;
Also with the Greek Pythagoreans and Stoic
conceptions;
As well as in the Mayans and the Aztec Civilizations!
In the East, cyclic theory of History as succession of
dynastic rule developed in China,
While the Vedic Hindus developed their theory of
Cycles of Yugas!    (epoch or era)
Writing of Indian History had commenced with
the Colonial British initially,
Who had criticized India for its lack of a sense of
History and Historiography!
The ancient Hindus were more concerned with
religious philosophy, and the essence of existence,
Rather than getting absorbed with historical details!
The Hindus divide cosmic time into cyclic eras of
Satya, Tretra, Dwapara, and Kali Yugas;
With each era covering many thousands of our
human eras!
These Yugas or Cyclic segments of time is said to
repeat itself in a cyclic motion, -
Which had perhaps mystified their early views
of a clear Historical perception.
However, later Indian historians have corrected
the earlier British interpretations, -
By dividing Indian History into Ancient, Medieval
and Modern Periods,
Replacing the earlier Hindu, Muslim, and British
Periods as Colonial segregation!
And also by correcting the British Aryan Invasion
Theory as Aryan Migration;
Based on more accurate historical research and
better perception!

CHRISTIAN AND LATER VIEWS OF HISTORY:
St. Augustine during the 4th century AD, systematized
the Christian view of History, -
As a struggle between the City of God and the City
of Man, where the City of God gains victory, -
Establishing peace and prosperity!
The Christian view is therefore Linear with a
positive beginning and an end;
A providential view from the Creation of Adam
till the Day of Last Judgment!

THE RENAISSANCE: (14TH - 17TH CENTURIES):
During this period the theological view gradually
begun to fade, giving rise to the Cyclic concept of
History,
As illustrated by the decline and fall of the mighty
Roman Empire, immortalized by Edward Gibbons
in his narrated story!
This cyclic view was also maintained by Oswald
Spengler, Nikolai Danilevsky, and Paul Kennedy,
during the 19th and the 20th Centuries.

AGE OF ENLIGHTENMENT : THE 18TH CENTURY
This period advocated the use of reason to obtain
objective truth, when human beings made all the
difference freed from superstition and bigotry;
Which led to favoring a Linear and a progressive
view of History.
Voltaire symbolizing the spirit of this age had
supported human wit and education, -
Since only enlightened people could give History
a positive direction !
For Karl Marx Feudalism was followed by Capitalism,
and Capitalism by Communism.
History of existing Society as the History of Class
Struggle - was Karl Marx’s new concept!
For social material forces drove History, and this
‘historical materialism’ as a revolutionary view, -
many later Scholars did accept!

SOME MODERN CONCEPTS ABOUT HISTORY
Now I share the views of three of our renowned
Historians; the German Oswald Spengler, the
British Arnold Toynbee, and the American
Carroll Quigley,
To provide you with three different concepts
of History.
Oswald Spengler (1880-1936):
Spengler’s reputation rests on his work titled
‘Decline of the West’, considered as a major
contribution to social theory;
Where he rejects the ‘Linear’ view in favor of
definite, observable, and unrelated cycles of
History!
Rejecting the Eurocentric view of History and its
Linear division into ‘Ancient-Medieval-Modern’
Eras,
Spengler recognizes eight ‘high cultures’ which
evolve as organism, following the cycles of
growth, development, and decline;
And his views astonished the Western mind!
These high cultures were the Babylonian,
Egyptian, Chinese, Indian, Mexican ( Mayan&
Aztec), Classical (Greece& Rome), Arabian,
and Western or Euro-American!
Cultures have a life span of about a thousand
years each,
So the Western Civilization too shall decline one
day, - Spengler did teach!

Arnold Toynbee (1889-1975):
Toynbee’s 12 volumes on ‘A Study of History’
covers a wider spectrum of 23 Civilizations,
Where he rejects Spengler’s cynical theory of
growth and decline of Western Nations!
“Civilization is a movement and not a condition,
a voyage not a harbor”, Arnold said;
Like human beings Civilizations were free to chart
their own course with the capacity to ‘consciously’
choose its destiny, he had felt!
Arnold moves on to formulate his Theory of
‘Challenge and Response’, since by responding to
such challenges Civilizations could move on !
These challenges could be social or environmental
he had said;
The Greeks responded to their growing population
by taking to the seas and maritime trade,
And also prospered as their overseas colonies had
begun to spread!
Toynbee’s Civilization start to decay when they lose
their moral fiber,
He perhaps over emphasized the religious and
cultural aspects, ignoring those economic factors!
But his views were certainly more popular than
the cynical Spengler!

Carroll Quigley (1910-1977):
Quigley’s scientific trained mind could not accept
either of the above views,
So he created a synthesis of Spengler and Toynbee,
while paying History its dues!
Quigley laid down seven stages for the evolution
of Civilization;
Commencing with Mixture, Gestation, Expansion,
Conflict, Universal Empire, Decay, and Invasion!
His Civilizations are neither groups nor individuals,
But each is a system which share some common
traits.
In Quigley’s model each system come into being
adapted to their environment;
But since environment always changes, Quigley
states with some relish, -
Systems which cannot adapt themselves, must
necessarily perish!

WE ARE ALL LIVING PARTICIPANTS IN THE
  LONG UNFOLDING HUMAN STORY!
“Know Thy Self” said Socrates, and the Delphic
Oracle had pronounced that he was wisest of
the Greeks!
To know ourselves truly we must know about
our past,
For this evolutionary process shall continue as
long as the Human species last!
Today we remain as a living monument to the
past,
We continue to make History as long as humans
on this planet shall last!
Our planet earth is around 4.5 billion years old;
While the first ****-erectus emerged around
two million years hence - we are told!
By walking ***** the two hands became free to
develop,
With flexible fingers and the rotating thumb;
Which was crucial for shaping the destiny of
the Human species on earth!
Our Civilization proper dates back to about
five thousand BC,
Thus an emerging pattern we can easily see!
With the development of human consciousness
we have learned to delve inwards, -
To discovered within a vast macro world!
Now, I would love to conclude this narration by
quoting from the English poet Arthur William
Edgar O’Shaughnessy’s book ‘Music and
Moonlight’;       (1874)
Do try to follow the philosophical content relevant
to the Cyclic History of Mankind!

“We are the music makers,
And we are the dreamers of dreams,
Wandering by lone sea-brakers,
And sitting by desolate streams;
World losers and world forsakers,
On whom the pale moon gleams;
Yet we are the movers and shakers
Of the world for ever, it seems.

With wonderful deathless ditties,
We build up the world’s great cities,
And out of a fabulous story
We fashion an empire’s glory.
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And there with a new song’s measure
Can trample an empire down.

We, in the ages lying
In the buried past of the earth,
Built Nineveh with our sighing,
And Babel itself with our mirth;
And overthrew them with prophesying
To the old of the new world’s worth;
For Each Age Is a Dream That’s Dying,
Or One That Is Coming To Birth.”

Thanks my readers and poet friends,
Sincerely hope you will now appreciate
History better, and love its contents!
**ALL COPYRIGHTS ARE WITH THE AUTHOR
RAJ NANDY OF NEW DELHI
Friends, those who have read part one will find the concluding portion in this narration of mine, which I tried my best to simplify! Mentioned the two basic views of History, the Linear & the Cyclic views in my narrated Story! Hope you liked the poem quoted at the end by me ! Thanks, -Raj
That second time they hunted me
From hill to plain, from shore to sea,
And Austria, hounding far and wide
Her blood-hounds through the countryside,
Breathed hot and instant on my trace,—
I made six days a hiding-place
Of that dry green old aqueduct
Where I and Charles, when boys, have plucked
The fire-flies from the roof above,
Bright creeping throuoh the moss they love.
—How long it seems since Charles was lost!
Six days the soldiers crossed and crossed
The country in my very sight;
And when that peril ceased at night,
The sky broke out in red dismay
With signal-fires; well, there I lay
Close covered o’er in my recess,
Up to the neck in ferns and cress,
Thinking on Metternich our friend,
And Charles’s miserable end,
And much beside, two days; the third,
Hunger o’ercame me when I heard
The peasants from the village go
To work among the maize; you know,
With us, in Lombardy, they bring
Provisions packed on mules, a string
With little bells that cheer their task,
And casks, and boughs on every cask
To keep the sun’s heat from the wine;
These I let pass in jingling line,
And, close on them, dear noisy crew,
The peasants from the village too;
For at the very rear would troop
Their wives and sisters in a group
To help, I knew; when these had passed,
I threw my glove to strike the last,
Taking the chance: she did not start,
Much less cry out, but stooped apart
One instant, rapidly glanced round,
And saw me beckon from the ground;
A wild bush grows and hides my crypt,
She picked my glove up while she stripped
A branch off, then rejoined the rest
With that; my glove lay in her breast:
Then I drew breath: they disappeared;
It was for Italy I feared.

An hour, and she returned alone
Exactly where my glove was thrown.
Meanwhile come many thoughts; on me
Rested the hopes of Italy;
I had devised a certain tale
Which, when ’twas told her, could not fail
Persuade a peasant of its truth;
I meant to call a freak of youth
This hiding, and give hopes of pay,
And no temptation to betray.
But when I saw that woman’s face,
Its calm simplicity of grace,
Our Italy’s own attitude
In which she walked thus far, and stood,
Planting each naked foot so firm,
To crush the snake and spare the worm—
At first sight of her eyes, I said,
“I am that man upon whose head
They fix the price, because I hate
The Austrians over us: the State
Will give you gold—oh, gold so much,
If you betray me to their clutch!
And be your death, for aught I know,
If once they find you saved their foe.
Now, you must bring me food and drink,
And also paper, pen, and ink,
And carry safe what I shall write
To Padua, which you’ll reach at night
Before the Duomo shuts; go in,
And wait till Tenebrae begin;
Walk to the Third Confessional,
Between the pillar and the wall,
And Kneeling whisper whence comes peace?
Say it a second time; then cease;
And if the voice inside returns,
From Christ and Freedom: what concerns
The cause of Peace?—for answer, slip
My letter where you placed your lip;
Then come back happy we have done
Our mother service—I, the son,
As you daughter of our land!”

Three mornings more, she took her stand
In the same place, with the same eyes:
I was no surer of sunrise
Than of her coming: we conferred
Of her own prospects, and I heard
She had a lover—stout and tall,
She said—then let her eyelids fall,
“He could do much”—as if some doubt
Entered her heart,—then, passing out,
“She could not speak for others—who
Had other thoughts; herself she knew:”
And so she brought me drink and food.
After four days, the scouts pursued
Another path: at last arrived
The help my Paduan friends contrived
To furnish me: she brought the news:
For the first time I could not choose
But kiss her hand and lay my own
Upon her head—”This faith was shown
To Italy, our mother;—she
Uses my hand and blesses thee!”
She followed down to the seashore;
I left and never saw her more.

How very long since I have thought
Concerning—much less wished for—aught
Beside the good of Italy,
For which I live and mean to die!
I never was in love; and since
Charles proved false, nothing could convince
My inmost heart I had a friend;
However, if I pleased to spend
Real wishes on myself—say, Three—
I know at least what one should be;
I would grasp Metternich until
I felt his red wet throat distil
In blood through these two hands; and next,
—Nor much for that am I perplexed—
Charles, perjured traitor, for his part,
Should die slow of a broken heart
Under his new employers; last
—Ah, there, what should I wish? For fast
Do I grow old and out of strength.—
If I resolved to seek at length
My father’s house again, how scared
They all would look, and unprepared!
My brothers live in Austria’s pay
—Disowned me long ago, men say;
And all my early mates who used
To praise me so—perhaps induced
More than one early step of mine—
Are turning wise; while some opine
“Freedom grows License,” some suspect
“Haste breeds Delay,” and recollect
They always said, such premature
Beginnings never could endure!
So, with a sullen “All’s for best,”
The land seems settling to its rest.
I think, then, I should wish to stand
This evening in that dear, lost land,
Over the sea the thousand miles,
And know if yet that woman smiles
With the calm smile; some little farm
She lives in there, no doubt; what harm
If I sate on the door-side bench,
And, while her spindle made a trench
Fantastically in the dust,
Inquired of all her fortunes—just
Her children’s ages and their names,
And what may be the husband’s aims
For each of them—I’d talk this out,
And sit there, for and hour about,
Then kiss her hand once more, and lay
Mine on her head, and go my way.

So much for idle wishing—how
It steals the time! To business now.
Anais Vionet Feb 2023
A governess, a guardian of the young, so known and dear as to be called “Mother” and a noblewoman, just barely 12 by age, named Portia, sit talking as the sun sets the stage for a cool, cloudless night.

“Mother, who invented candlelight and the slow, delicate brush of lips?”
“Some rakish boy, pawning his experience for present pleasure, no doubt.”
“Say true, Mother. If you were a man, would you find this common body worthy of love?”
“You show no blemish child, and display a certain bony voluptuousness - I should think.”
The governess begins to comb and braid Portia’s hair for sleep.
“I saw Portincio this morning, in the courtyard.”
“The boy from Padua?”
“He’s a man Mother, and his cast portents a passion so sweet - it shakes my very frame.”
Mother chuckles, “Even hopeless birds sing in cages.”
“I am not hopeless!” Portia writhes angrily, like a snake about to strike but mother calms her.
“Shoo, shoo, now,” Mother purrs, brushing all the more gently, “I meant nothing of it.” After a moment, she continues, “Love is more than coquetry, little one, and it soon passes - like a parade, or a rash. For now, be happy, you are like the chaste stars - unreachable.”
BLT Marriam Webster word of the day challenge: Coquetry: “flirtatious acts”
Meggie Gultiano Nov 2019
For the earthquake stricken people in Mindanao
×A collaboration with Maia Padua..another published author and poet..

As the wrath of the earth
Swipes us off-guard
Our own works knelled down
Its debris scattered all around
Roars from beneath unearthed
Deafening the already deaf ones
Once so numb by her cry
and her lullaby

In the midst of rustling winds
and roaring sounds so frightening
Cries of men rippling
Wondering why such wrath
whipped us all
the rage we cannot fathom why
Had led us back to what we are
from nothing...nothing

We light this candle of hope
Praying that your tears will be gone
Your broken heart will be whole
Faith and faith alone withstand
Like a flame of lighted candle
Flew to where the breeze would go
May it bring hope to everyone
Lifting and bring their hearts afire

If only we can sing a song for you
A song to keep you going
A song of hope not fear
A song of faith to bear
Keeping the faith burning..burning

GOD WILL SEE YOU THROUGH.. Agape

— The End —