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Lift not the painted veil which those who live
Call Life: though unreal shapes be pictured there,
And it but mimic all we would believe
With colours idly spread, – behind, lurk Fear
And Hope, twin Destinies; who ever weave
Their shadows, o'er the chasm, sightless and drear.
I knew one who had lifted it – he sought,
For his lost heart was tender, things to love,
But found them not, alas! nor was there aught
The world contains, the which he could approve.
Through the unheeding many he did move,
A splendour among shadows, a bright blot
Upon this gloomy scene, a Spirit that strove
For truth, and like the Preacher found it not.
I suppose every family has a black sheep. Tom had been a sore trial to his for twenty years. He had begun life decently enough: he went into business, married and had two children. The Ramsays were perfectly respectable people and there was every reason to suppose that Tom Ramsay would have a useful and honourable career. But one day, without warning, he announced that he didn't like work and that he wasn’t suited for marriage. He wanted to enjoy himself. He would listen to no expostulations. He left his wife and his office. He had a little money and he spent two happy years in the various capitals of Europe. Rumours or his doings reached his relations from time to time and they were profoundly shocked. He certainly had a very good time. They shook their heads and asked what would happen when his money was spent. They soon found out: he borrowed. He was charming and unscrupulous. I have never met anyone to whom it was more difficult to refuse a loan. He made a steady income from his friends and he made friends easily. But he always said that the money you spent on necessities was boring: the money that was amusing to spend was the money you spent on luxuries. For this he depended on his brother George. He did not waste his charm on him, George was a serious man and insensible to such enticements. George was respectable. Once or twice he fell to Tom’s promises of amendment and gave him considerable sums in order that he might make a fresh start. On these Tom bought a motorcar and some very nice jewellery. But when circumstances forced George to realise that his brother would never settle down and he washed his hands on him, Tom, without a qualm, began to blackmail him. It was not very nice for a respectable lawyer to find his brother shaking cocktails behind the bar of his favourite restaurant or to see him waiting on the box-seat of a taxi outside his club. Tom said that to serve in a bar or to drive a taxi was a perfectly decent occupation, but if George could oblige him with a couple of hundred pounds he didn’t mind for the honour of the family giving it up. George paid.
Once Tom nearly went to prison. George was terribly upset. He went into the whole discreditable affair. Really Tom had gone too far. He had been wild, thoughtless and selfish, but he had never before done anything dishonest, by which George meant illegal; and if he were prosecuted he would assuredly be convicted. But you I cannot allow your only brother to go to gaol. The man Torn had cheated, a man called Cronshaw, was vindictive. He was determined to take the matter into court; he said Tom was a scoundrel and should be punished. It cost George an infinite deal of trouble and five hundred pounds to settle the affair. I have never seen him in such a rage as when he heard that Tom and Cronshaw had gone off together to Monte Carlo the moment they cashed the cheque. They spent a happy month there.
The daffodils were in bloom, stirring in the evening breeze, golden heads cupped upon lean stalks, and however many you might pick there would be no thinning of ranks, they were massed like an army, shoulder to shoulder. On a bank below the lawns, the crocuses were planted, golden, pink, and mouve, but by this time they would be past their best, dropping and fading, like the pollid snowdrops. The primrose was more vulgar, a homely pleasant creature who appeared in every cranny like a weed. Too early yet for bluebells, their heads were still hidden beneath last year’s leaves, but when they came, dwarfing the more humble violet, they choked the very bracken in the woods, and with their colour made a challenge to the sky.
As I knelt by the window 1ooking down on the rose-garden where the flowers themselves drooped upon their stalks, the petals brown and dragging after last night rain, the happenings of the day before seemed remote and unreal. ... a new day was starting. A blackbird ran across the rose-garden to the lawns in swift, short rushes, stopping now and again to stab at the earth with his yellow beak. A thrush, too, went about his business, and two stout little waytails, following one another, and a little cluster of twittering sparrows. A gull poised himself high in the air, silent and alone, and then spread his wings wide and swooped beyond the lawns to the woods and the Happy Valley.
One of the early associates of The Firm, as Morris’ decorating company became known, was Walter Crane. He went to the Great Exhibition in 1851, at the time vaunted as the acme of artistry, and came away with same impression of English taste as Morris:
“The last stages of decomposition had been reached, and a period perhaps, unexampled hideousness in furniture, dress and decoration set in which lasted the life of the second empire, and fitly perished with it. Relics of the period I believe are still to be discovered in the cold shade of remote drawing-rooms, and ‘apartments to let’, which take the form of big looking-glasses, and machine-lace curtains, and where the furniture is afflicted with curvature of the spine, and dreary lumps of bronze and ormolu repose on marble slabs at every opportunity, where monstrosities of every kind are encouraged under glass shades, while every species of design-debauchery is indulged in upon carpets, curtains, chintzes and wallpapers, and where the antimacassar is made to cover a multitude of sins. When such ideas of decoration prevailed, having their origin or prototypes in the vapid splendours of imperial saloons, and had to be reduced to the scale of the ordinary citizen’s home and pocket, the thing became absurd as well as hideous. Besides, the cheap curly legs of the uneasy chairs couches came off, and the stuffed seats, with a specious show of padded comfort, were delusions or snares.”
Morris’ desire to sweep clean the parlours of their machine-stitched antimacassars, their pictures of parrots done in Berlin wool-work and their bead mats, became axiomatic. The Morris’ chair (designed, in fact by Philip Webb) is still in production. Its ebonized beech wood frame, with rush seating, turned legs and straight back, was based on a traditional Sussex chair and today its clean looks have become something of a basic commodity in Habitat-orientated homes. This is the problem with Morris. His designs, while they cleared away much of the confusion regarding the proper use of materials and the functional purpose of objects, led to a somewhat uniform concern with pure taste.
“Poetry is more philosophical and of higher value than history.”
(Aristotle, 384-322 B.C.)
“A man that studieth revenge keeps his own wounds green.”
(Francis Bacon, 1561-1626)
“Variety is the soul of pleasure.”
(Aphra Behn, 1640-1689)
“Education makes people easy to lead, but difficult to drive; easy to govern but impossible to enslave.”
(Lord Brougham, 1778-1868)
“I would rather be right than be President!”
(Henry Clay, 1777-1852)
“Tact consists in knowing how far we may go too far.”
(Jean Cocteau, 1891-1963)
“A man’s house is his castle.”
(Sir Edward Coke, 1552-1634)
“A man is as old as he’s feeling. A woman as old as she looks.”
(Mortimer Collins, 1827-1876)
“Mad dogs and Englishmen go out in the midday sun.”
(Noel Coward, 1899-?)
“Travelling is almost like talking with men of other centuries.”
(Rene Descartes, 1596-1650)
“Imagination is more important than knowledge.”
(Albert Einstein, 1870-1955)
“I will make you shorter by a head.”
(Queen Elizabeth, I, 1533-1603)
“A friend is a person with whom I may be sincere. Before him I may think aloud.”
(Ralph Waldo Emerson, 1803-1882)
“I slept and dreamed that life was Beauty, I woke, and found that life was Duty.”
(Ellen Hooper, 1816-1841)
“This will never be a civilized country until we expend more money for books than we do for chewing-gum.”
(Elbert Hubbard, 1859-1915)
“There is always room at the top.”
(Daniel Webster, 1782-1852)
DAVID CADDICK (Musical Supervision and Direction) was music director for the Royal Shakespeare Company and the London productions of Jesus Christ Superstar and Evita. As executive music director for the Really Useful Group, he supervised all productions of Cats, Starlight Express and The Phantom of the Opera. He now lives in America and supervises all productions of Cats, The Phantom of the Opera and Miss Saigon. He was the musical supervisor of all productions of Sunset Boulevard. He co-produced the Canadian cast album of The Phantom of the Opera, produced the Complete Symphonic Recording of Les Miserables (for which he won a Grammy award), and produced the London cast albums of Oliver!, Martin Guerre and a new Complete Symphonic Recording of Miss Saigon. He was music director for the film Evita starring Madonna.
DAVID CULLEN (Co-Orchestrator) has worked for Andrew Lloyd Webber on the orchestrations of Cats, Song & Dance, Starlight Express, The Phantom of the Opera, Aspects of Love and Sunset Boulevard. Other shows which he has orchestrated include the London revivals of Can-Can, Carmen Jones and The Baker's Wife. On record he has arranged music for Sheena Easton, Tina Turner Barbara Streisand, Kin Te Kanawa (Christmas Songs), Shirley Bassey, The King’s Singers, Cantabile and Julian Lloyd Webber.
DENNY BERRY (Production Dance Supervisor), a graduate of the University of Texas Department of Theatre and Dance, is currently at work on the fantasy adventure musical Lord of the Rings, which will have its world premiere in Berlin in the fall. Most recently, in Austin, she has directed and choreographed A Soul Waiting in Darkness for the Austin Contemporary Ballet. Her other credits include Street Scene for the Houston Grand Opera and Theatre des Westens in Berlin, where she was also choreographic assistant to Juerg Burth, responsible for Jesus Christ Superstar, Guys and Dolls and the European premiere of La Cage aux Folles. At home in opera, operetta, musicals and ballet, she has created work in all three mediums from Vienna to Zurich to London.
MHC (immunology) major histocompatibility complex
MHCIMA Member of the Hotel Catering and Institutional Management Association
MHD (physics) magnetohydrodynamics
MHE Master of Home Economics
Mheb Middle Hebrew I
MHG Middle High German
MHK Member of the House of Keys (In Isle of Man)
MHLG Ministry of Housing and Local Government
M Hon. Most Honourable
MHR (USA, Australia) Member of the House of Representatives
MNRA Modern Humanities Research Association
MHRF Mental Health Research Fund
MHS medical history sheet, Member of the Historical Society; (computing) message-handling service (or system)
MHum Master of Humanities
MHW mean high water (1evel of tide)
MHy Master of Hygiene
Mi Minor; Mississippi
mi mile; (currency) mill (thousandth of dollar); minute
Ivan the Terrible
This emperor uses great familiarity, as well unto all his nobles and subjects, as also unto strangers who serve him either in his wars or in occupations: for his pleasure is that they shall dine oftentimes in the year in his presence, and besides that he is oftentimes abroad, either at one church or another, and walking with his noble men abroad. And by this means he is not only beloved by his nobles and commons, but also had in great dread and fear through all his dominions, so that I think no prince in Christendom is more feared by his own [people] than he is, nor yet better beloved. For if he bids any of his dukes go, they will run; if he gives any evil or angry word to any of them, the party will not come into his majesty’s presence again for a long time if he be not sent for, but will fain ... to be very sick, will let the hair of his head grow very long, without either cutting or shaving, which is an evident token that he is in the emperor’s displeasure: for when they be in their prosperity, they account it a shame to wear long hair, in consideration whereof they used to have their heads shaven. ...
He delights not greatly in hawking, hunting, or any other pastime, nor in hearing instruments or music, but sets ... his whole delight upon two things: first, to serve God, as undoubtedly he is very devout in his religion, and the second, how to subdue and conquer his enemies.
in Roman mythology, an ancient god (possibly the god of agriculture, also identified with the Greek god Kronos). He was dethroned by his sons Jupiter, Neptune and Pluto. At his festival in Dec. gifts were exchanged, and slaves were briefly treated as their masters’ equals.
in Greek mythology, a cross between a man and a goat.
in Greek mythology, the goddess of the moon; in later times identified with Artemis.
in Roman mythology, a priestess of Apollo, especially the Cumaean Sibyl living in a cave near Naples, Italy. She offered to sell Tarquinius nine collections of prophecies, the Sibylline Books, but the price was too high. When she had destroyed all but three, he bought those for the identical price, and these were kept for consultation in emergency at Rome.
in Greek mythology, a sea nymph who lured sailors on to rocks by her singing. Odysseus, in order to hear the Sirens safely, tied himself to the mast and stuffed his crews' ears with wax; the Argonauts escaped them because the singing of Orpheus surpassed that of the sirens.
in Greek mythology, the river surrounding the underworld.
In Hindu mythology, the personification of the Sun.
Plato’s doubts about men who act on the basis of right opinion alone (instinctively, we might say) are shared by Kant for reasons quite similar to Plato’s. The naive man, since he has no love for knowledge, cannot anchor his actions or his beliefs in anything permanent. What this means for Plato is clear. The naive man can be talked out of his beliefs by sophists. He is therefore at the mercy of the tides of public opinion, ultimately does damage to his own soul, and can look forward (according to the myth of Er) to a future life of tyranny.
Similarly, Kant believes that the man of good nature acting instinctively (or because of external coercion) is condemned to a life oscillating feverishly between two amoral extremes. He is both fascinated and repelled by each of the two powers competing for his attention. Since he has not “taken the step into philosophy” he never manages to purify the springs of his own conscience, and he can either be talked out of what he knows dimly to be right, or he can too easily represent to himself the callings of the inclinations in the guise of morality The natural man is always, therefore, in the position of being able to pervert his own good will by lying to himself. His life, like that of Plato’s man of correct opinion, is, if good, the result of good fortune rather than of good will. The luxury of fortunate circumstances is to be credited with what goodness there is in his life, while he is to be blamed himself for the failure to free himself from the chains of natural habit, chains which may (and often do) lead him from the path of goodness.
It can be said that men of good nature, according to Kant, live quite similar to those of the prisoners inhabiting Plato’s cave. And it can be said as well that the problem confronting each of them – the problem of how to free themselves – is addressed by Kant in a way quite similar to that of Plato.
MIKE IN TROUBLE
Mike: Excuse me, Dad, could you spare a few minutes?
Mr. Innes: Of course. Well, now what can I do for you?
Mike: I'm afraid I’m in trouble.
Mr. Innes: Sorry to hear that, what’ve you been up to?
Mike: I’ve failed in maths.
Mr. Innes: Too bad! What happened? So far as I know you’re rather good at maths.
Mike: That’s just it. You see, I was so sure of myself I didn’t bother to review anything.
Mr. Innes: What a shame! No wonder you failed and now you must face the music.
Mike: But you see. I’m scared stiff of Mr. Williams, he must be mad at me.
Mr. Innes: Now, Mike, pull yourself together. No use getting cold feet. Go see Mr Williams, as soon as possible, apologize and promise you’ll do better next term.
Mike: Right you are, Dad, I'll do it tomorrow and thanks a lot.
Mr. Innes: Better luck next time.
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