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Thus, when he wishes to describe the moral excellences of Stilicho, he can do so only by telling us that in Stilicho the virtues have defeated the vices: He puts to flight the spirits importunate That hell sends from her monster-teeming gate.
We do not suspect in him any great depth of moral experience; he is in this merely symptomatic and follows, as a court poet must, the fashions of the moment.
But this same lightness and shallowness in Claudian enables him to be- come, in another respect, a herald and pioneer.
In Rufinunty i. The first comes in the Consulship of StilichoJ We have been long immersed in the virtues and the vices of the hero, and in the rhetoric of the personified nations ; then suddenly, at the end of the book, the scene changes.
On the floor the serpent of eternity lies sleeping with his tail in his mouth. To the threshold of this cave comes Sol; as he alights. Nature rises to greet him.
No words are spoken, and we see the two turn back together through the adamantine doors that open unbidden, and pass into the recesses of the cave where the ages of gold, of silver, and of brass lie piled.
Those of gold are selected to grace the consulship of Stilicho, and Sol returns with them to his own garden where dews of fire bathe the turf, and his horses, unyoked, clip the grass wet with liquid flame.
The allegory here is trite. But for that very reason, because he is merely decorating, he is free to rest from the serious purpose of his poem, and to luxuriate in description.
The drowsy cavern and the silent figures meeting at its threshold exist, for a moment, in their own right. The allegory is only the pretext.
The second passage comes in the Epithalamium for MonoriusJ- In poems of this type it is natural to invoke Venus and Hymen, but Claudian is not content with invocation.
Turning his back on the nominal subject of his poem, he carries us away to a moun- tain in Cyprus which the frosts never whiten and the winds never beat.
On the mountain head is a meadow guarded by a hedge of gold, and all within it blooms un- sown, zephyr 0 content a colono.
Palms nodding from above Exchange their vows and poplar sighs for love Of poplar, plane for plane, and whispers low Of love along the alder thickets go.
Juven- tas also is there and he has shut Senium out from the garden. But it is not for this reason only that I have cited the passage. It is because I would willingly begin to show as soon as possible that the decline of the gods, from deity to hypostasis and from hypostasis to decoration, was not, for them nor for us, a history of sheer loss.
For decoration may let romance in. The poet is free to invent, beyond the limits of the possible, regions of strangeness and beauty for their own sake.
I do not mean, necessarily, that Claudian is a romantic. The question is not so much what these things meant to him as hq, wrote, but what they meant to later generations, and what they paved the way to.
Under the pretext of allegory something else has slipped in, and something so important that the garden in the Romance of the Rose itself is only one of its temporary embodiments — something which, under many names, lurks at the back of most romantic poetry.
Here again we find the luxuriance in mythological descrip- tion for its own sake ; and here again the pretext — without which the mythology could hardly gain admission — is alle- gorical.
In many ways Sidonius is far more medieval than Claudian. The first is described in terms that might have been used by Lydgate : Here sit the Seven Wise Men, the source and fount Of more philosophies than I can count ;.
Luetjohann, Mon, Germamae Hist. There are exactly 20 lines of it. But Epicurus Virtue keeps afar. It is strange and bright places that he wishes to describe, not moral realities.
His best work — sniggling, exotic, miniature work it is — is ex- pended on the trappings of the allegory; on the effect of light and water in the E'pithalamium Ruricio et Iheriae and on the Triton a few lines farther.
This is rather startlingly illustrated in the work of Ennodius, who lived at the turn of the fifth and sixth centuries. Ennodius was a bishop like Sidonius , the author of a devotional autobiography and some hymns ; but when he comes to write an epitha- lamium he follows the example of Claudian and Sidonius, in preference to the chaster model of Paulinus Nolensis.
He goes, however, beyond his masters, and allegorizes with a boldness and gusto that are somewhat surprising. He begins by striking the genuine May morning note of the later poets: When young blades shoot and Nature in her bower.
Sits at her work, the world grows warm the while. And when the sun paints earth with many a flower. Love, beauty, bravery, aU are in ids smile.
Excluai prope iam Cynid. Kb, i, iv. Hartel in Corp, Script. Pingitur et vario mundus discrimine florum; Una soK facies; gratia, cultus, amor. Cold virginity possesses the world.
Shake off your sleep. Let the nations learn that a goddess grows in power when no one thinks of her. No comment can add anything to the startling significance of this little poem.
I do not mean that it was his intention to put it at all. He had probably in his allegory no purpose but to decorate an occasional copy of verses according to the best models.
Yet in so doing he stumbles upon free- dom, He is free to wander in fairyland, and he is also free to anticipate the eleventh-century reaction against ascetic- ism.
It is to the same class of mythological allegory that I would assign the work of another writer, if I felt sure that any classification could hold him ; for this universe, which has produced the bee-orchid and the giraffe, has produced nothing stranger than Martianus Capella.
Characteristic- ally, we know little of the man. Eyssen- hardt, Teubner, pp. ALLEGORY 79 such men do not have beliefs. I have heard the scholar defined as one who has a propensity to collect useless infor- mation, and in this sense Martianus is the very type of the scholar.
The philosophies of others, the religions of others — back even to the twilight of pre-republican Rome — have all gone into the curiosity shop of his mind.
It is not his business to believe or disbelieve them ; the wicked old pedant knows a trick worth two of that. He piles them up all round him till there is hardly room for him to sit among them in the middle darkness of the shop ; and there he gloats and catalogues, but never dusts them, for even their dust is precious in his eyes.
On the contrary, it was for himself that the fable was a necessary outlet — a receptacle into which he could work every scrap of erudite lumber and every excruciating quirk of his euphuism which was left over from the seven arts.
It enables him, in fact, to lead us wherever he will; and lead us he does, through a chaos beside which the work of Rabelais has unity and that of Mandeville probability.
We see Mer- cury and Virtue visiting the Cirrhaean cave where they find the Fortunes in a melodious grove. Hence, having first met Apollo with his vessels of iron, of silver, of lead, and of glass, they ascend to heaven like Scipio, Dante, and Chaucer and are speeded in their flight by the universal rejoicing of nature — consficeres totius mundi gaudia convenireJ- This passage may have helped Alanus to one of his best scenes.
Her fears and hesitations about the proposed match allow the author to display his curious knowledge of the various obscurer kinds of augury, until Philology is interrupted by the arrival of the Muses, the Virtues, and Athanasia.
The latter compels her to vomit books like Error in the Faerie Queene before allowing her to taste the cup of immortality. A little later we are watching the solar ship, with its cat, its crocodile, and its lion, and its crew of seven sailors.
At media ratis per annexa succentibus duplis ac sesquialteris nec non etiam sesquitertiis, sesquioctavis ctiam sine discretione iuncturis, Kcet intervenirent limmata, concinebant.
Ita fiebat nt nemus illud harmoniam, totam superumque carmen modulationnra congruentia personaret. Spenser, F. Its encyclopaedic character made it invaluable for men who aimed at a universality in know- ledge without being able, or perhaps willing, to return to the higher authorities.
He established a disastrous precedent for endlessness and form- lessness in literary work. Yet I cannot persuade myself that the Middle Ages were entirely unhappy in their choice of a master.
Martianus may have been a bad fairy; but I think he had the fairy blood in him. His building is a palace without design; the passages are tortuous, the rooms disfigured with senseless gilding, ill-ventilated, and horribly crowded with knick-knacks.
But the knick-knacks are very curious, very strange; and who will say at what point strangeness begins to turn into beauty?
At every moment we are reminded of something in the far past or something still to come. What is at hand may be dull; but we never lose faith in the richness of the collection as a whole.
Anything may come next. I have an idea that if Lamb had known Latin enough to read itj this book might stand higher to-day in our estimation.
But the lasting consequence of all these writers, for the history of imagination, is far more certain than any assess- ment of their individual merits.
In all of them alike, as I hinted above, we see the beginnings of that free creation of the marvellous which first slips in under the cloak of allegory.
It is difficult for the modern man of letters to value this quiet revolution as it deseiwes. We are apt to take it for granted that a poet has at his command, besides the actual world and the world of his own religion, a third world of myth and fancy.
The probable, the marvellous- taken-as-fact,the marveUous-known-to-be-fiction — such is the triple equipment of the post-Renaissance poet.
Such were the three worlds which Spenser, Shakespeare, and Milton were born to. But this triple heritage is a late conquest.
Go back to the beginnings of any litera- ture and you will not find it. At the beginning the only marvels are the marvels which are taken for fact. The poet has only two of these three worlds.
In the fullness of time the third world crept in, but only by a sort of accident. The old gods, when they ceased to be taken as gods, might so easily have been suppressed as devils that, we know, is what happened to our incalculable loss in the history of Anglo-Saxon poetry.
And when they rose they were changed and gave to poetry that which poetry had scarcely had before. Let us be quite certain of this change.
ALLEGORY 83 In classical poetry we hear plenty of them as objects of wor- ship, of fear, of hatred; even as comic characters. But pure aesthetic contemplation of their eternity, their remote- ness, and their peace, for its own sake, is curiously rare.
There is, I think, only the one passage in all Homer; and it is echoed only by Lucretius. For he himself, in another place, has laid his finger on the secret : it is religio that hides them.
To this day you cannot make poetry of that sort out of the Christian heaven and hell. The gods must be, as it were, disinfected of belief; the last taint of the sacrifice, and of the urgent practical interest, the selfish prayer, must be washed away from them, before that other divinity can come to light in the imagination.
For poetry to spread its wings fully, there must be, besides the believed religion, a marvellous that knows itself as myth. For this to come about, the old marvellous, which once was taken as fact, must be stored up somewhere, not wholly dead, but in a winter sleep, waiting its time.
If it is not so stored up, if it is allowed to perish, then the imagination is impoverished. Such a sleeping-place was provided for the gods by allegory.
AUegory may seem, at first, to have killed them; but it killed only as the sower kills, for gods, like other creatures, must die to live.
No doubt a good classical scholar will be able to produce more passages, but the rarity, on the whole, of this note in ancient literature will hardly be disputed.
Of course the numbers of such passages can be increased to any extent by skilful verse-translation in the romantic style.
It is not my purpose to follow in detail the history of that legacy from Martianus Capella to the Romance of the Rose, Some understanding of the seed was necessary for the apprecia- tion of the flower, but we need not follow every winding of the stem.
The unexperienced reader, must,- however, be saved from a misapprehension which our discussion naturally invites. He must not suppose that in passing over the centuries between the sixth and the twelfth we are leaving on one side a series of lengthy allegorical poems in which it would be possible to trace the continuous de- velopment of the Psychomachia or the De Nuptiis into the romantic allegory of the Middle Ages.
The later allegory with its free, and often ingenious, plot, and its luxuriant poetry, is a genuinely new creation.
It owes to antiquity and to the Dark Ages not so much its procedure as the preservation of that atmosphere in which allegory was a natural method.
The Dark Ages produced few original allegorical poems on the large scale ; but they kept alive the mood which was later to beget such poems, they read and admired the older allegorists, and they constantly employed allegory in the parts, if not in the structure, of their works.
Thus it would be odd to class Boethius as an allegorist. On the other hand, his use of personification in the figure of Philosophia raises personification to a new dignity and is worthy to stand beside the Wisdom-literature of the Jews.
He himself does not greatly allegorize; he leaves something, and something potent, ready to the hand of later writers. In the same way, his contemporary Fulgen- tius writes no new allegorical poem, but he does what is per- haps of more importance.
In his famous — or notorious — Continentia V ergiliana we see for the first time the method of allegorical explanation applied in thoroughgoing fashion by a Christian grammarian to a pagan poet.
The whole story of the Aeneid is interpreted as an allegory of the life of man. Sometimes Fulgentius does little more than harden and render explicit that which is dimly present to the mind of every reader of Virgil in every age.
When ALLEGORY 85 Aeneas meeting Dido in the shades is made to typify the converted and corrected soul remembering the passions of dead youth, few of us will quarrel with the commentator.
We are less pleased when the whole of the first book is treated as a picture of babyhood, and the song of lopas is equated with the lullaby of our nurse.
When once the ancients are read in this way, then to imitate the ancients means to write allegory. Without himself allegorizing Fulgentius creates models for the later allegorist; by a sort of retro- spective magic he creates models who lived centuries before his own time.
It is true, no doubt, that the Dark Ages sometimes offer us a fully-fledged allegory. Fortu- natus in the sixth century continues in his Efithalamium for Brunchild the erotic- mythical allegory of Claudian, Sidonius, and Ennodius.
What is of more consequence than these to the medievalist is the beginning of the floral symbolism and of the allegorical debate both of which count for much in later poetry.
They are to be found united in the very pleasant Contention of the Lily and the Rose by Sedulius Scotus ninth century.
Benecke London, , pt. Leo, Mon. IZ5 et seq. But while it is natural to draw attention to such things, they do not very directly concern our subject.
They do not constitute transitional works midway between the ancient and the medieval allegory. In this matter, as I have said, the Dark Ages held a waiting brief.
It is not their complete allegories that count: it is the reiterated, though incidental, use of allegory in sermon and treatise, the repeated appearance of the virtues and vices in art, which steeped the mind of Europe in this mood and so prepared the way for Alanus de Insulis and Guillaume de Lorris.
With the decay of civilization the subtleties of St. Augustine were lost: the vivid interest in the inner world, stimulated by the horrors and hopes of Christian eschatology, remained, and drove men, as always, to personification.
The Seven or Eight Deadly Sins, imagined as persons, became so familiar that at last the believer seems to have lost all power of distinguishing between his allegory and his pneumatology.
The Virtues and Vices become as real as the angels and the fiends. Such, at least, is the inference I draw from the vision of an Eng- lish monk, in the seventh or eighth century — and dreams, in such a matter, are not the worst evidence.
This monk — one of a hundred successors of Er and predecessors of Dante — could see all round him, as he left the body, the demons and angels contending for his soul.
Duemmler, tom. ALLEGORY 87 to offer him their aid. The twilight of classical antiquity and the Dark Ages, then, had prepared in diverse ways for the great age of allegory.
Antiquity had first created the demand and partly supplied it. The Dark Ages, while not adding very remarkably to the supply, had kept alive, and even ren- dered chronic, the demand.
But the poets of courtly love were not the pioneers of the medieval allegory. It came to their hands already revivified by authors of a different stamp, who yet had something in common with them.
They are in themselves sufficiently remarkable ; and I can at least promise the reader that they constitute the last digression which still divides us from our main theme.
VI These writers may be described as the poets of the school of Chartres. For the reader, and still more for the writer, who is not learned in medieval philosophy, a very brief characterization of this school must suffice.
In dealing with the Middle Ages we are often tricked by our imagina- tion. We think of plate armour and Aristotelianism.
But the end of the Middle Ages is already in sight when these attractive things appear. Merowingici et KaroUni Aesoi, tom. Aristotle is, before all, the philosopher of divisions.
His efFect on his greatest disciple, as M. Gilson has traced it, was to dig new chasms between God and the world, between human knowledge and reality, between faith and reason.
Heaven began, under this dispensation, to seem farther off. The danger of Pantheism grew less : the danger of mechanical Deism came a step nearer.
Certainly, something fresh and adventurous, which belonged to the earlier movement, has disappeared. Of that earlier movement the school of Chartres, in the first half of the twelfth century, may per- haps be regarded as the culminating point.
It was humane, in both senses of the word. It was a school of naturalism, and this again in the double sense of studying and of reverencing nature.
But if I endeavour to rise to any absolute stan- dard of criticism I become aware that the epithet cannot be maintained.
Their literary position is, indeed, a pecu- liar one. If it were ever legitimate to speak of genius hampered by lack — or misdirection — of talent, it would be legitimate in the case of Bernard and his successors.
Such a description is nearly meaningless; but even a bad shot may sometimes give us a rough indication of where the target lies. For these poets, in their intention, in the originality of their point of view, above all in their fresh and revelling appreciation of natural beauty, have merits which almost deserve the name of genius.
But alas! But writing, as they did, in quantitative verse and consciously artistic prose, they in- evitably followed the approved models in those forms.
The great model was Martianus Capella. I have called him a bad fairy; but in respect of style, it is his badness alone, not his fairyhood, that is evident.
EGORY tlier periods, and merciless to it in our own, is the first itep we can make out of the prison of the Xeitgeist? Its sub- ject is the creation of the world and of man.
It is the story of creation told from the point of view of the created : the female longing of matter to receive the form, not the creative impulse of the Deity, is the moving pas- sion of the work, which thus becomes a curious pendant to the Miltonic handling of the same theme.
In adopting such a standpoint it is clear that the author incurs cer- tain dangers. Of necessity he comes perilously near to representing non-existents as petitioners for their own existence.
Yet, as a philosopher, he may reply that he is dealing with processes that are not in time at all, and that such a presentation is therefore not more inadequate than another: from the purely literary point of view we may plead in his defence that we, after all, belong to the created ourselves and that the re- sponse of the work to the workman is precisely that aspect of creation which comes, by remote analogy, within our experience and is therefore a proper object for the imagination.
REVIEW US. SAY HELLO. My Movies: Share this Rating Title: Mothers' Instinct 6. Use the HTML below. You must be a registered user to use the IMDb rating plugin.
Show HTML View more styles. Edit Cast Credited cast: Veerle Baetens Alice Brunelle Anne Coesens Simon Brunelle Arieh Worthalter Damien Geniot Jules Lefebvre Theo as Jules Lefebvres Luan Adam Maxime Rest of cast listed alphabetically: Annick Blancheteau Doctor Laurent Van Wetter Edit Storyline When a sudden tragedy uproots the lives of two women and their families, they begin to question the relationships they once held so dear, in this psychological thriller from Olivier Masset-Depass.
Lucia Bozzola writes in her review at AllMovie: "In Sergio Leone's epic Western, shot partly in Monument Valley, a revenge story becomes an epic contemplation of the Western past.
As in his 'Dollars' trilogy, Leone transforms the standard Western plot through the visual impact of widescreen landscapes and the figures therein.
At its full length, Once Upon a Time in the West is Leone's operatic masterwork, worthy of its legend-making title. In the following decades, Claudia Cardinale remained mainly active in the European cinema.
An international arthouse hit was Fitzcarraldo Werner Herzog, , the story of an obsessed impresario Klaus Kinski whose foremost desire in life is to bring both Enrico Caruso and an opera house to the deepest jungles of South America.
In his diary of the making of Fitzcarraldo, Werner Herzog writes: "Claudia Cardinale is great help because she is such a good sport, a real trouper, and has a special radiance before the camera.
In her presence, [Klaus Kinski] usually acts like a gentleman. Ladies and Gentlemen Claude Lelouch, starring Jeremy Irons. Claudia Cardinale is a liberal with strong political convictions.
She has managed to combine her acting work with a role of goodwill ambassador for UNICEF, and advocate for the work of Luchino Visconti with whom she made four films.
She wrote an autobiography, Moi Claudia, Toi Claudia Me Claudia, You Claudia. In , she also published a French-language book, Mes Etoiles My Stars , about her personal and professional relationships with many of her directors and co-stars through her nearly 50 years in show-business.
In , she won an honorary Golden Bear award of the Berlin Film Festival, and previously in she was awarded an honorary Golden Lion at the Venice Film Festival.
Cardinale works steadily on and in recent years she has also worked in the theatre. Claudia Cardinale currently lives in Paris.
She has made over films in the past 60 years, and still does two or three a year. And, please check out our blog European Film Star Postcards.
Explored : Jun 2, 69, Jun 3, and US Yahoo! Editorial www. Please help contribute to this ongoing project by sending me the names of female filmmakers not yet included on this list.
Seductive Italian actress Virna Lisi appeared in more than film and TV productions and was internationally best known as a tempting blue-eyed blonde in Hollywood productions of the s.
But she proved to be more than a pretty face. Later she had a career Renaissance with three-dimensional character parts in a wide variety of Italian and French.
Virna Lisi was born as Virna Lisa Pieralisi in Ancona, Italy in Her brother, Ubaldo, later became a talent agent.
Her sister was actress Esperia Pieralisi. Virna began her film career as a teenager. She was discovered by two Neapolitan producers Antonio Ferrigno and Ettore Pesce in Paris.
In the late s, Lisi played on stage at the Piccolo Teatro di Milano, and appeared in I giacobini by Federico Zardi, under the direction of Giorgio Strehler.
During the s, Lisi played in stage comedies and she also participated in some very popular dramatic television productions. In the s, Hollywood producers were looking for a successor to Marilyn Monroe and so Virna Lisi made a dent in Hollywood comedies as a tempting blue-eyed blonde.
She is a natural mixing it up with Lemmon, Claire Trevor and the other veterans like she had been making movies for years.
I have watched many movies in my day and I must say that Virna Lisi is right at the top, not only in beauty and sexuality but in carrying her role as good as anyone else could have.
Lisi, my hat is off to you. The following year she appeared in another comedy, Not with My Wife, You Don't! Norman Panama, , now with Tony Curtis.
She also starred with Frank Sinatra in Assault on a Queen Jack Donohue. The film centers on three stories exposing the sexual secrets of the Italian town of Treviso.
Signore e Signori won the Best Film award at the Cannes Film Festival. In the early s, Virna Lisi decided to focus on her family, husband Franco Pesci and her son Corrado, born in A Brazilian rock band, Virna Lisi, is even named after her.
Isabelle Adjani stars as Marguerite de Valois, better known as Margot, daughter of scheming Catholic power player Catherine de Medici Virna Lisi.
In , she passed away in Rome at the age of Virna Lisi was married to architect Franco Pesci and they had three grandchildren: Franco, Federico and Riccardo.
Sources: Hal Erickson AllMovie , Gary Brumburgh IMDb , Glamour Girls of the Silver Screen, Wikipedia and IMDb.
LONDON, ENGLAND - JANUARY Rob Holding of Arsenal challenged by Edison Cavani of Man United during the Premier League match between Arsenal and Manchester United at Emirates Stadium on January 30, in London, England.
Sporting stadiums around the UK remain under strict restrictions due to the Coronavirus Pandemic as Government social distancing laws prohibit fans inside venues resulting in games being played behind closed doors.
Spanish collectors card by Tarjetas Florita, no. The cards were included with the magazine Revista Florita. E Cordik of sa route assalt taunt egrement, Ke Cordik est pris, e mort par jugement, E li remenant tuz tuez nettement.
Translation : When they are at sea, they soon change their minds, Say that they will not cease, for truce nor hostages, From destroying Arthur, and all his people.
They return, and take land, town, and wood, From Totness to the great shore Of Severn towards the sea; at Bath they make a halt, And slay the labourers who are following agriculture.
When Arthur heard tell of it, he causes their hostages to be hanged; And said, "Those misbelievers are of very false lineage, They break their covenants with me, and do me much damage.
Now, Britons, fight, and let us undertake the battle; The Saxons are ours, they will leave their heads for pledges. Dubricius, bishop of Caerleon. Arthur takes the shield, the image of Mary Was pourtrayed within it, that Arthur might not forget her.
He girds himself with Caliburn, the best sword That ever was forged or furbished in Britain. He attacks the Saxons, who do not fly at all, They combat till night, when the combatants are separated.
The pagans are all gone asleep on a hill; Arthur falls upon them at daybreak with great craft, Devoutly he worships the mother of God, and prays In all his battles her counsel and aid.
He alone with Caliburn has put to death and shame Seventy men of the infidel army.