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Nor can we question that these were the all controlling motives, when we consider that after acquiring their language, by the aid of a young Pequot, he translated the entire Bible into their tongue, besides a Psalter, primers, grammars, a and other useful books; and all this in addition to faithfully fulfilling the duties of minister of the First Church in Roxbury for fifty-eight years, a record of devotion, diligence, and scholarship almost unequaled.
Moreover, the units of this caste are too thoroughly convinced that their own scholarship is the ripest and most perfect fruit of the age in fact, of all ages to see any necessity for a care of German culture in general; since, in so far as they and the legion of their brethren are concerned, preoccupations of this order have everywhere been, so to speak, surpassed.
The things, therefore, that Cooper said incidentally are even now the only ones that make any deep impression upon the mind. It led him to say twice, but both times very quietly, that in spite of loud profession there was little genuine sympathy in this country with art, or scholarship, or letters.
Vacation after vacation passed without the desired news that Pen had sat for any scholarship or won any honour, and Pen grew rebellious and unhappy, and there was a tacit feud between Dr. Portman, who was disappointed in Arthur, and the lad himself. Mrs. Pendennis, hearing Dr.
To separate the man and the philosopher to fly out upon the man, to throw him overboard with every expression of animosity and disgust, to make him out as bad as possible, to collect diligently every scrap of evidence against him, and set it forth with every conceivable aggravation this has been the resource of an indignant scholarship in this case, bent on uttering its protest in some form; this has been the defence of learning, cast down from its excellency, and debased in all men's eyes, as it seemed for ever, in the person of its high-priest.
But if the hunchback student was quite content to let his companions be, and to find his pleasures in scholarship of a kind, it came about that one of his companions, in a misguided moment, found himself less content to leave the hunchback student undisturbed.
I can play on the piano to imitate any birds that ever sung at home, and father loves that. I can play all the dead-marches to make mother cry, and I can play oh, such dance music for Aunt Katie O'Flynn! It doesn't matter that I should know more, does it?" "I can't agree with you. It would be a very great pleasure to me if I saw you presented with a musical scholarship."
We can never hope to revive Greek architecture, nor should we attempt to do so. There was once a well-known Scotch architect who held that the column and the lintel was the only permissible form of construction, and with this limitation and ill-selected Greek details he produced some fantastically ugly buildings. Following a similar line of thought a famous critic of the last century condemned methods of construction not sanctioned by the Old Testament. Both were wide of the mark; because, above and beyond all technical details of architecture is the spirit in which it is approached, the intellectual outlook of the artist on his art, and this may express itself in widely differing forms. In Greek architecture of the Golden period, that outlook was definite and distinctive, and it was one that has a very urgent lesson for us to-day. The aim and ideal of the Greek was beauty of form, and this beauty, which he sought in the first instance as the expression of his religion, ultimately became almost a religion in itself. To the realization of this ideal he devoted all his powers, sparing himself no pains in chastening his work till it had attained the utmost perfection possible. He merged himself in this work, without thought of the expression of himself in his vision of a divine and immutable beauty. It hardly occurred to him that his individual emotions were worth preserving. (In the sculpture of the great period the expression of the face is usually one of unruffled calm.) Although religious emotion was the source and inspiration of his work, his work was impersonal. He was aloof from that feverish anxiety for self-revelation which has made much modern art so interesting pathologically, and so detestable otherwise. Nor again had he anything of the virtuoso about him. To him technique was not an end in itself. In Hellenistic art it became so, but not in the Golden Age. Indeed, he was sometimes almost careless of exact modelling, and in architecture he did not use the order as a mere exhibition of scholarship. In his search for beautiful form, he stood upon the ancient ways, patient and serene, moving steadily to his appointed end. 'Ainsi procède le génie grec, moins soucieux du nouveau que du mieux, il reporte vers l'épuration des formes l'activité que d'autres dépensent en innovations souvent stériles, jusqu'
And doubtless the Mummy's dress might be managed, and but what about Aunt Susan? Would Aunt Susan ever forgive her? She dared not run the risk of her displeasure; too much depended on keeping her in a good humor. "I should like my aunt to come," she said, in a steady voice; "she is very kind to me and specially interested in the result of the Scholarship." "I know; I have heard from Mrs.
Their greatness in thought and scholarship, in industrial and aesthetic art, will doubtless continue unabated.
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