The private life of one man shall be a more illustrious monarchy,--more formidable to its enemy, more sweet and serene in its influence to its friend, than any kingdom in history. For a man, rightly viewed, comprehendeth the particular natures of all men.
In my beginning is my end. In succession Houses rise and fall, crumble, are extended, Are removed, destroyed, restored, or in their place Is an open field, or a factory, or a by-pass. Old stone to new building, old timber to new fires, Old fires to ashes, and ashes to the earth Which is already flesh, fur and faeces, Bone of man and beast, cornstalk and leaf.
Chain me with roaring bears;
Or shut me nightly in a charnel-house,
O'er-covered quite with dead men's rattling bones,
With reeky shanks and yellow chapless skulls;
Or bid me go into a new-made grave,
And hide me with a dead man in his shroud;
Things that, to hear them told, have made me tremble;
And I will do it without Fear or Doubt,
To live an unstain'd Wife of my sweet Love.
Of all bad listeners, the worst and most terrible to encounter is the man who is so fond of listening that he wishes to hear, not only your conversation, but that of every other person in the room.
It's probably hard for anyone looking at my landscapes today to realize that I was once regarded as a rebel, a dangerous influence; that I've been told I was on the verge of insanity, that my painting was nothing but meaningless daubs. Lawren Harris, the man most responsible for drawing the Group of Seven together, was accused of something perilously close to treason - his paintings, said his severest critics, were discouraging immigration.
Culture is the suggestion, from certain best thoughts, that a man has a range of affinities through which he can modulate the violence of any master-tones that have a droning preponderance in his scale, and succor him against himself. Culture redresses this imbalance, puts him among equals and superiors, revives the delicious sense of sympathy, and warns him of the dangers of solitude and repulsion.
Folklore and mythology, as well as man's catastrophic disregard for nature, are the meat of Joseph D'Lacey's horror. But the prime cuts are always compassion and surprise.