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Boulder Place Directory 07
Page 03
If the Japanese are a conspicuously emotional race, as is commonly believed, we should naturally expect this characteristic to manifest itself in a marked degree in the relation of the sexes. Curiously enough, however, such does not seem to be the case. So slight a place does the emotion of sexual love have in Japanese family life that some have gone to the extreme of denying it altogether. In his brilliant but fallacious volume, entitled "The Soul of the Far East," Mr. Percival Lowell states that the Japanese do not "fall in love." The correctness of this statement we shall consider in connection with the argument for Japanese impersonality. That "falling in love" is not a recognized part of the family system, and that marriage is arranged regardless not only of love, but even of mutual acquaintance, are indisputable facts.
The Norman kings and nobles displayed their taste for magnificence in the most remarkable manner at their coronations, tournaments, and their celebrations of Christmas, Easter, and Whitsuntide. The great councils of the Norman reigns which assembled at Christmas and the other great festivals, were in appearance a continuation of the Witenagemots, but the power of the barons became very formal in the presence of such despotic monarchs as William the Conqueror and his sons. At the Christmas festival all the prelates and nobles of the kingdom were, by their tenures, obliged to attend their sovereign to assist in the administration of justice and in deliberation on the great affairs of the kingdom. On these occasions the King wore his crown, and feasted his nobles in the great hall of his palace, and made them presents as marks of his royal favour, after which they proceeded to the consideration of State affairs. Wherever the Court happened to be, there was usually a large assemblage of gleemen, who were jugglers and pantomimists as well as minstrels, and were accustomed to associate themselves in companies, and amuse the spectators with feats of strength and agility, dancing, tumbling, and sleight-of-hand tricks, as well as musical performances. Among the minstrels who came into England with William the Conqueror was one named Taillefer, who was present at the battle of Hastings, and rode in front of the Norman army, inspiriting the soldiers by his songs. He sang of Roland, the heroic captain of Charlemagne, tossing his sword in the air and catching it again as he approached the English line. He was the first to strike a blow at the English, but after mortally wounding one or two of King Harold's warriors, he was himself struck down.
Taken singly, I suppose that none of the figures in the chapel, except the Virgin's grandmother, should be rated very highly. The under-nurse is the next best figure, and might very well be Tabachetti's, for neither Giovanni d'Enrico nor Giacomo Ferro was successful with his female characters. There is not a single really comfortable woman in any chapel by either of them on the Sacro Monte at Varallo. Tabachetti, on the other hand, delighted in women; if they were young he made them comely and engaging, if they were old he gave them dignity and individual character, and the under-nurse is much more in accordance with Tabachetti's habitual mental attitude than with D'Enrico's or Giacomo Ferro's. Still there are only four figures out of the eleven that are mere otiose supers, and taking the work as a whole it leaves a pleasant impression as being throughout naive and homely, and sometimes, which is of less importance, technically excellent.
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