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Corpasenti Webulance Directory 05
Page 08
Then too Walt Whitman claims to be the poet, not of the past or even only of the present, but the singer of the future. He says in The Backward Glance, which I have already quoted, and which must be carefully read by anyone who wishes to understand his work--at least in so far as he understood it himself,--"Isolated advantages in any rank or grace or fortune--the direct or indirect threads of all the poetry of the past--are in my opinion distasteful to the republican genius. . . . Established poems, I know, have the very great advantage of chanting the already performed, so full of glories, reminiscences dear to the minds of men." And he says too that, "The educated world seems to have been growing more and more ennuied for ages, leaving to our time the inheritance of it all." And he further says: "The ranges of heroism and loftiness with which Greek and feudal poets endow'd their godlike or lordly born characters, I was to endow the democratic averages of America. I was to show that we, here and to-day, are eligible to the grandest and the best--more eligible now than any times of old were."
As to secrecy; princes are not bound to communicate all matters, with all counsellors; but may extract and select. Neither is it necessary, that he that consulteth what he should do, should declare what he will do. But let princes beware, that the unsecreting of their affairs, comes not from themselves. And as for cabinet counsels, it may be their motto, plenus rimarum sum: one futile person, that maketh it his glory to tell, will do more hurt than many, that know it their duty to conceal. It is true there be some affairs, which require extreme secrecy, which will hardly go beyond one or two persons, besides the king: neither are those counsels unprosperous; for, besides the secrecy, they conunonly go on constantly, in one spirit of direction, without distraction. But then it must be a prudent king, such as is able to grind with a handmill; and those inward counsellors had need also be wise men, and especially true and trusty to the king's ends; as it was with King Henry the Seventh of England, who, in his great business, imparted himself to none, except it were to Morton and Fox.
The fifth chapel represents the birth of the Virgin. Having obtained permission to go inside it, I found the date 1715 cut large and deep on the back of one figure before baking, and I imagine that this date covers the whole. There is a Queen Anne feeling throughout the composition, and if we were told that the sculptor and Francis Bird, sculptor of the statue in front of St. Paul's Cathedral, had studied under the same master, we could very well believe it. The apartment in which the Virgin was born is spacious, and in striking contrast to the one in which she herself gave birth to the Redeemer. St. Anne occupies the centre of the composition, in an enormous bed; on her right there is a lady of the George Cruikshank style of beauty, and on the left an older person. Both are gesticulating and impressing upon St. Anne the enormous obligation she has just conferred upon mankind; they seem also to be imploring her not to overtax her strength, but, strange to say, they are giving her neither flowers nor anything to eat and drink. I know no other birth of the Virgin in which St. Anne wants so little keeping up.
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