The Riddle

Euripides

King Midas

Scissors

Ivanhoe

Richard the Lionheart

Samson Agonistes

The Riddle

 

 

Judges 14:5-8

"Then went Samson down, and his father and his mother, to Timnath, and came to the vineyards of Timnath: and, behold, a young lion roared against him...

And after a time he returned to take her, and he turned aside to see the carcase of the lion: and, behold, there was a swarm of bees and honey in the carcase of the lion."

1Peter 5:8

"Be sober, be vigilant; because your adversary the devil, as a roaring lion, walketh about, seeking whom he may devour:"

 "The Apostle Paul himself thought it not unworthy to insert a verse of Euripides into the Text of Holy Scripture, I Cor. 15.33,"~~~Milton: Introduction to Samson Agonistes 

 

 

 

 

Chess: "The Riddle" "King Midas" "Scissors" "Ivanhoe"

 

 

INTERESANTE!!!

"The Apostle Paul himself thought it not unworthy to insert a verse of Euripides into the Text of Holy Scripture, I Cor. 15.33"~~~ John Milton

BingChat me dice:

-John Milton, in the introduction to his work “Samson Agonistes”, suggests that the Apostle Paul incorporated a verse from Euripides into the text of the Holy Scripture, specifically 1 Corinthians 15:33. This is a point of scholarly debate.

-The line “Be not deceived: evil communications corrupt good manners” is found in 1 Corinthians 15:33. While this line is often attributed to the Bible, some believe that Paul may have been quoting a popular saying of the time, or even a line from a play by Euripides, a renowned playwright of ancient Greece.

-However, it’s important to note that there isn’t a consensus among scholars about this. Some agree with Milton’s assertion, while others maintain that the line is original to Paul’s letter. Without further historical context or evidence, it’s difficult to definitively say whether this line originated from Euripides or was original to the Bible.

-This is a fascinating example of how literature, history, and religious texts can intersect and influence each other. It’s also a reminder of the rich, complex layers of meaning that can be found in such texts, and the ongoing debates among scholars about their origins and interpretation

Milton escribe en su Introducción a Samson Agonistes:

Of that sort of Dramatic Poem which is call'd Tragedy
Tragedy, as it was antiently compos'd, hath been ever held the gravest, moralest, and most profitable of all other Poems: therefore said by Aristotle to be of power by raising pity and fear, or terror, to purge the mind of those and such like passions, that is to temper and reduce them to just measure with a kind of delight, stirr'd up by reading or seeing those passions well imitated. Nor is Nature wanting in her own effects to make good his assertion: for so in Physic things of melancholic hue and quality are us'd against melancholy, sowr against sowr, salt to remove salt humours. Hence Philosophers and other gravest Writers, as Cicero, Plutarch and others, frequently cite out of Tragic Poets, both to adorn and illustrate thir discourse. The Apostle Paul himself thought it not unworthy to insert a verse of Euripides into the Text of Holy Scripture, I Cor. 15.33, and Paræus commenting on the Revelation, divides the whole Book as a Tragedy, into Acts distinguisht each by a Chorus of Heavenly Harpings and Song b'tween. Heretofore Men in highest dignity have labour'd not a little to be thought able to compose a Tragedy. Of that honour Dionysius the elder was no less ambitious, then before of his attaining to the Tyranny. Augustus Cæsar also had begun his Ajax, but unable to please his own judgment with what he had begun, left it unfinisht. Seneca the Philosopher is by some thought the Author of those Tragedies (at lest the best of them) that go under that name. Gregory Nazianzen a Father of the Church, thought it not unbeseeming the sanctity of his person to write a Tragedy, which he entitl'd, Christ suffering. This is mention'd to vindicate Tragedy from the small esteem, or rather infamy, which in the account of many it undergoes at this day with other common Interludes; hap'ning through the Poets error of intermixing Comic stuff with Tragic sadness and gravity; or introducing trivial and vulgar persons, which by all judicious hath bin counted absurd; and brought in without discretion, corruptly to gratifie the people. And though antient Tragedy use no Prologue, yet using sometimes, in case of self defence, or explanation, that which Martial calls an Epistle; in behalf of this Tragedy coming forth after the antient manner, much different from what among us passes for best, thus much before-hand may be Epistl'd; that Chorus is here introduc'd after the Greek manner, not antient only but modern, and still in use among the Italians. In the modelling therefore of this Poem, with good reason, the Antients and Italians are rather follow'd, as of much more authority and fame. The measure of Verse us'd in the Chorus is of all sorts, call'd by the Greeks Monostrophic, or rather Apolelymenon, without regard had to Strophe, Antistrophe or Epod, which were a kind of Stanza's fram'd only for the Music, then us'd with the Chorus that sung; not essential to the Poem, and therefore not material; or being divided into Stanza's or Pauses, they may be call'd Allæostropha. Division into Act and Scene referring chiefly to the Stage (to which this work never was intended) is here omitted.

It suffices if the whole Drama be found not produc't beyond the fift Act, Of the style and uniformitie, and that commonly call'd the Plot, whether intricate or explicit, which is nothing indeed but such œconomy, or disposition of the fable as may stand best with verisimilitude and decorum; they only will best judge who are not unacquainted with Æschylus, Sophocles, and Euripides, the three Tragic Poets unequall'd yet by any, and the best rule to all who endeavour to write Tragedy. The circumscription of time wherein the whole Drama begins and ends, is according to antient rule, and best example, within the space of 24 hours

Euripides

Euripides

King Midas

Scissors

Ivanhoe

Richard the Lionheart

Samson Agonistes

The Riddle

 

Judges 14:5-8

"Then went Samson down, and his father and his mother, to Timnath, and came to the vineyards of Timnath: and, behold, a young lion roared against him...

And after a time he returned to take her, and he turned aside to see the carcase of the lion: and, behold, there was a swarm of bees and honey in the carcase of the lion."

1Peter 5:8

"Be sober, be vigilant; because your adversary the devil, as a roaring lion, walketh about, seeking whom he may devour:"

 "The Apostle Paul himself thought it not unworthy to insert a verse of Euripides into the Text of Holy Scripture, I Cor. 15.33,"~~~Milton: Introduction to Samson Agonistes

 

 

Chess: "Euripides" "King Midas" "Scissors" "Ivanhoe" "Richard the Lionheart" "Samson Agonistes" "The Riddle"

 

La Cava

La Cava

La Prueba

The Proof 

 

Matt.7:7

"Ask, and it shall be given you; seek, and ye shall find; knock, and it shall be opened unto you:"

 

Prov.18:10

"The name of the LORD is a strong tower: the righteous runneth into it, and is safe."

"Luchresi cannot tell Amontillado from Sherry." ~~~Edgar Allan Poe: The Cask of Amontillado

 

 

 

Chess: "La Cava" "La Prueba" "The Proof" 

 

 

 

 

 

The Cask of Amontillado

by Edgar Allan Poe
(published 1846)

  

THE thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged; this was a point definitely, settled --but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.

It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation.

He had a weak point -- this Fortunato -- although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; --I was skillful in the Italian vintages myself, and bought largely whenever I could.

It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand.

I said to him --"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipe of what passes for Amontillado, and I have my doubts."

"How?" said he. "Amontillado, A pipe? Impossible! And in the middle of the carnival!"

"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain."

"Amontillado!"

"I have my doubts."

"Amontillado!"

"And I must satisfy them."

"Amontillado!"

"As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me --"

"Luchresi cannot tell Amontillado from Sherry."

"And yet some fools will have it that his taste is a match for your own.

"Come, let us go."

"Whither?"

"To your vaults."

"My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi--"

"I have no engagement; --come."

"My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are encrusted with nitre."

"Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been imposed upon. And as for Luchresi, he cannot distinguish Sherry from Amontillado."

Thus speaking, Fortunato possessed himself of my arm; and putting on a mask of black silk and drawing a roquelaire closely about my person, I suffered him to hurry me to my palazzo.

There were no attendants at home; they had absconded to make merry in honour of the time. I had told them that I should not return until the morning, and had given them explicit orders not to stir from the house. These orders were sufficient, I well knew, to insure their immediate disappearance, one and all, as soon as my back was turned.

I took from their sconces two flambeaux, and giving one to Fortunato, bowed him through several suites of rooms to the archway that led into the vaults. I passed down a long and winding staircase, requesting him to be cautious as he followed. We came at length to the foot of the descent, and stood together upon the damp ground of the catacombs of the Montresors.

The gait of my friend was unsteady, and the bells upon his cap jingled as he strode.

"The pipe," he said.

"It is farther on," said I; "but observe the white web-work which gleams from these cavern walls."

He turned towards me, and looked into my eyes with two filmy orbs that distilled the rheum of intoxication.

"Nitre?" he asked, at length.

"Nitre," I replied. "How long have you had that cough?"

"Ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh!"

My poor friend found it impossible to reply for many minutes.

"It is nothing," he said, at last.

"Come," I said, with decision, "we will go back; your health is precious. You are rich, respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter. We will go back; you will be ill, and I cannot be responsible. Besides, there is Luchresi --"

"Enough," he said; "the cough's a mere nothing; it will not kill me. I shall not die of a cough."

"True --true," I replied; "and, indeed, I had no intention of alarming you unnecessarily --but you should use all proper caution. A draught of this Medoc will defend us from the damps.

Here I knocked off the neck of a bottle which I drew from a long row of its fellows that lay upon the mould.

"Drink," I said, presenting him the wine.

He raised it to his lips with a leer. He paused and nodded to me familiarly, while his bells jingled.

"I drink," he said, "to the buried that repose around us."

"And I to your long life."

He again took my arm, and we proceeded.

"These vaults," he said, "are extensive."

"The Montresors," I replied, "were a great and numerous family."

"I forget your arms."

"A huge human foot d'or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel."

"And the motto?"

"Nemo me impune lacessit."

"Good!" he said.

The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc. We had passed through long walls of piled skeletons, with casks and puncheons intermingling, into the inmost recesses of the catacombs. I paused again, and this time I made bold to seize Fortunato by an arm above the elbow.

"The nitre!" I said; "see, it increases. It hangs like moss upon the vaults. We are below the river's bed. The drops of moisture trickle among the bones. Come, we will go back ere it is too late. Your cough --"

"It is nothing," he said; "let us go on. But first, another draught of the Medoc."

I broke and reached him a flagon of De Grave. He emptied it at a breath. His eyes flashed with a fierce light. He laughed and threw the bottle upwards with a gesticulation I did not understand.

I looked at him in surprise. He repeated the movement --a grotesque one.

"You do not comprehend?" he said.

"Not I," I replied.

"Then you are not of the brotherhood."

"How?"

"You are not of the masons."

"Yes, yes," I said; "yes, yes."

"You? Impossible! A mason?"

"A mason," I replied.

"A sign," he said, "a sign."

"It is this," I answered, producing from beneath the folds of my roquelaire a trowel.

"You jest," he exclaimed, recoiling a few paces. "But let us proceed to the Amontillado."

"Be it so," I said, replacing the tool beneath the cloak and again offering him my arm. He leaned upon it heavily. We continued our route in search of the Amontillado. We passed through a range of low arches, descended, passed on, and descending again, arrived at a deep crypt, in which the foulness of the air caused our flambeaux rather to glow than flame.

At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner. From the fourth side the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior crypt or recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use within itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite.

It was in vain that Fortunato, uplifting his dull torch, endeavoured to pry into the depth of the recess. Its termination the feeble light did not enable us to see.

"Proceed," I said; "herein is the Amontillado. As for Luchresi --"

"He is an ignoramus," interrupted my friend, as he stepped unsteadily forward, while I followed immediately at his heels. In an instant he had reached the extremity of the niche, and finding his progress arrested by the rock, stood stupidly bewildered. A moment more and I had fettered him to the granite. In its surface were two iron staples, distant from each other about two feet, horizontally. From one of these depended a short chain, from the other a padlock. Throwing the links about his waist, it was but the work of a few seconds to secure it. He was too much astounded to resist. Withdrawing the key I stepped back from the recess.

"Pass your hand," I said, "over the wall; you cannot help feeling the nitre. Indeed, it is very damp. Once more let me implore you to return. No? Then I must positively leave you. But I must first render you all the little attentions in my power."

"The Amontillado!" ejaculated my friend, not yet recovered from his astonishment.

"True," I replied; "the Amontillado."

As I said these words I busied myself among the pile of bones of which I have before spoken. Throwing them aside, I soon uncovered a quantity of building stone and mortar. With these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the niche.

I had scarcely laid the first tier of the masonry when I discovered that the intoxication of Fortunato had in a great measure worn off. The earliest indication I had of this was a low moaning cry from the depth of the recess. It was not the cry of a drunken man. There was then a long and obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious vibrations of the chain. The noise lasted for several minutes, during which, that I might hearken to it with the more satisfaction, I ceased my labours and sat down upon the bones. When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding the flambeaux over the mason-work, threw a few feeble rays upon the figure within.

A succession of loud and shrill screams, bursting suddenly from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated, I trembled. Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. I placed my hand upon the solid fabric of the catacombs, and felt satisfied. I reapproached the wall; I replied to the yells of him who clamoured. I re-echoed, I aided, I surpassed them in volume and in strength. I did this, and the clamourer grew still.

It was now midnight, and my task was drawing to a close. I had completed the eighth, the ninth and the tenth tier. I had finished a portion of the last and the eleventh; there remained but a single stone to be fitted and plastered in. I struggled with its weight; I placed it partially in its destined position. But now there came from out the niche a low laugh that erected the hairs upon my head. It was succeeded by a sad voice, which I had difficulty in recognizing as that of the noble Fortunato. The voice said--

"Ha! ha! ha! --he! he! he! --a very good joke, indeed --an excellent jest. We will have many a rich laugh about it at the palazzo --he! he! he! --over our wine --he! he! he!"

"The Amontillado!" I said.

"He! he! he! --he! he! he! --yes, the Amontillado. But is it not getting late? Will not they be awaiting us at the palazzo, the Lady Fortunato and the rest? Let us be gone."

"Yes," I said, "let us be gone."

"For the love of God, Montresor!"

"Yes," I said, "for the love of God!"

But to these words I hearkened in vain for a reply. I grew impatient. I called aloud --

"Fortunato!"

No answer. I called again --

"Fortunato!"

No answer still. I thrust a torch through the remaining aperture and let it fall within. There came forth in return only a jingling of the bells. My heart grew sick; it was the dampness of the catacombs that made it so. I hastened to make an end of my labour. I forced the last stone into its position; I plastered it up. Against the new masonry I re-erected the old rampart of bones. For the half of a century no mortal has disturbed them. In pace requiescat!

Japan

Japan

Rio de Janeiro

Bread

Bruce Jenner and the Blowfish

Samurai

Himeji Castle

Jeff Bezos (Jeffrey Preston né Jorgensen) and Amazon

Ridley Scott

Gladiator

 

Psalm 118:24 

"This is the day which the LORD hath made; we will rejoice and be glad in it."

 

 

 

Himeji Castle, Japan

 

 

 

 

 "the picturesque craggy shores which make the entrance to Japan so memorable"~~~Pearl Buck

 

 

 

Bruce Jenner and the Blowfish

 

 

 Bruce Jenner

 

 

 

 Jeff Bezos and Amazon

 

 

 

 

 

 

 

Gladiator, Ridley Scott

 

 

 

 

 

 

 

 

 

Chess:   "Japan" "Bread" "Rio de Janeiro" "Bruce Jenner and the Blowfish" "Samurai" "Himeji Castle" "Jeff Bezos (Jeffrey Preston né Jorgensen) and Amazon" "Sir Ridley Scott" "Gladiator"

 

 

The Compact

The Compact

Communion

Copacabana

The Beach

La Playa

Player

 

Eph.5:2

" And walk in love, as Christ also hath loved us, and hath given himself for us an offering and a sacrifice to God for a sweetsmelling savour."

 

 

 

 

 

 

 

"This verse encourages believers to continually act out of love, following the example of Christ’s selfless love. The Greek expression “peropateite en agape” refers to “continuing in selfless love,” suggesting a consistent, purposeful practice.

In a spiritual context, “the compact” could be interpreted as a mutual agreement or covenant among believers to live according to the principles of their faith. This concept is similar to the Mayflower Compact, which was a covenant among the Pilgrims to enact just and equal laws for the general good of their colony. This compact served them well and became an important precedent for the idea of a written constitution.

Connecting these concepts, “the compact” could symbolize a spiritual commitment among believers to “walk in love” as instructed in Ephesians 5:2. This involves living in a way that reflects Christ’s selfless love, making sacrifices for the good of others, and maintaining a consistent, purposeful practice of these principles. This interpretation aligns with the idea of a compact as a mutual agreement to live according to shared values and principles."~~~Bing ChatBot

 

 

 

Chess: "The Compact" "Copacabana" "The Beach" "La Playa" "Player" "Communion"

 

Eggs Benedict

Eggs Benedict

Breakfast

Breakthrough

James Bond

Breastplate

 

Is.26:3  

"Thou wilt keep him in perfect peace, whose mind is stayed on thee: because he trusteth in thee."

James Bond

"For a hero loves the world till it breaks him"~~~Yeats

James Bond

Breastplate

Steel breastplate sixteenth century

"Waves of tiny soldiers breasted the small hills."~~~Ross Lockridge

Eggs Benedict

Chess: "Eggs Benedict" "Breakfast" "Breakthrough" "James Bond" "Breastplate"

Winter Wonderland Pyramid

DANIEL

Winter Wonderland Pyramid

Tres Tristes Tigres

Ortega

Laura

The Book of Daniel

 

 

1John 5:7

"For there are three that bear record in heaven, the Father, the Word, and the Holy Ghost: and these three are one."

 

 

 

WINTER WONDERLAND PYRAMID

Le dice HILLARY a Laura ORTEGA:

-Mirá Laura, DANIEL no come TRIGO!

 

En un plato de trigo, tres tristes tigres, trigo comieron.

 

 

 

 "The operation of shaving, dressing, and coffee-imbibing was soon performed."~~~Dickens

 

 

 

Chess: "Daniel" "Winter Wonderland Pyramid" "Laura" "Ortega" "The Book of Daniel"

 

Pathfinder

Pathfinder

 

Gal.6:10

"As we have therefore opportunity, let us do good unto all men, especially unto them who are of the household of faith."

 

 

 

Mountain Landscape with Rainbow (1809-10), is an oil painting and like the Riesengebirge Landscape (1810) this painting was inspired by Friedrich's 1809 travels through Germany and along the shores of the Baltic Sea. The observation of nature in his travels allowed Friedrich to compose a universal, idyllic landscape that is visionary rather than literal, one of the main features of Friedrich's style. He was famously quote to have said:

"The artist should not only paint what he sees before him, but also what he sees in himself."

Content

In the foreground a wayfarer has stopped to rest. He turns his gaze to the background, where a black abyss opens up. In those depths a few mountains can be glimpsed. Above the landscape, a moonbow forms in the waning light.

Hold up, tf is a "Moonbow"?

A moonbow (also known as a lunar rainbow or white rainbow), is a rainbow produced by moonlight rather than sunlight. Other than the difference in light source, its formation is exactly the same as for a solar rainbow: It is caused by the refraction of light in many water droplets, such as a rain shower or a waterfall, and is always positioned in the opposite part of the sky from the moon relative to the observer.

Moonbows are much fainter than solar rainbows, due to the smaller amount of light reflected from the surface of the moon. Because the light is usually too faint to excite the cone color receptors in human eyes, it is difficult for the human eye to discern colors in a moonbow. As a result, a moonbow often appears to be white. However, the colors in a moonbow do appear in long exposure photographs.

"Planes of existence"

In Friedrich's oeuvre, paintings with a sharp contrast between the foreground and background are common, a separation symbolizing the spiritual and physical planes of existence. So it is in this painting: in the foreground the sun illuminates the foliage and the clothes of the traveller, and in contrast the darkness of night fills the rest of the image. The opposites of day and night, and of spirit and matter, are unified by a rainbow, which in the Genesis account of Noah's ark symbolized the covenant between God and humanity.

Friedrich had a strict Lutheran upbringing permeating through to his paintings which frequently showed religious landscapes and carried notions of salvation through religion amongst other themes.

 

Excerpt from Ch. 11The Worship of Nature, Civilisation by Kenneth Clark:

Although the worship of nature had its dangers, the prophets of the new religion were earnest and even pious men whose whole aim was to prove that their goddess was respectable, and even moral. They achieved this curious intellectual feat by approximating nature and truth. Far the greatest man to apply his mind to this exercise was Goethe. The word 'nature' appears throughout his work - on almost every page of his theoretical and critical writings - and is claimed as the ultimate sanction for all his judgements. It is true that Goethe's Nature is slightly different from Rousseau's Nature. He meant by it not how things seem, but how things work if they are not interfered with. He saw all living things - and he was a distinguished botanist who made his own drawings of the plants that he observed  - as striving for fuller development through an infinitely long process of adaptation. I might almost say that he believed in the gradual civilisation of plants and animals. It was the point of view that was later to lead to Darwin and the theory of evolution. But this analytic and philosophic approach to nature had less immediate effect on people's minds than the purely inspirational approach of the English Romantic poets, Coleridge and Wordsworth.

Coleridge looked at nature in the high mystical manner. This is how he addressed the Swiss mountains in his 'Hymn Before Sun-rise, in the Vale of Chamouni' :

O dread and silent mount ! I gazed upon thee.

Till thou, still present to the bodily sense,

Didst vanish from my thought : entranced in prayer 

I worshipped the Invisible alone.

Very Germanic, and best illustrated by a German landscape painter, Caspar David Friedrich. I have often wondered if this great artist was known to Coleridge, their outlooks are so similar.

Wordsworth's approach to nature was religious in the moral Anglican manner. 

'Accuse me not,' he said, 'of arrogance'

If having walk'd with Nature

And offered, as far as frailty would allow.

My heart a daily sacrifice to truth I now affirm of Nature and of Truth That their Divinity Revolts offended at the ways of men.

That nature should be shocked by human behaviour does seem to me rather nonsense. But one mustn't lightly accuse Wordsworth of arrogance or silliness. By the time he wrote those lines he had lived through a great deal. As a young man he went to France, lived with a spirited French girl and had a daughter

 

 

Gerhard von Kügelgen portrait of Friedrich

 

Caspar David Friedrich (5 September 1774 – 7 May 1840) was a German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his allegorical landscapes, which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension"

 

Chess: "Pathfinder"