DOCUMENT RESUME

ED 403 577 CS 215 700

AUTHOR McCue, FrancesTITLE The Poet in the Warehouse. Creative Writing as

Inquiry: Using Imaginative Writing To Explore OtherDisciplines.

PUB DATE [97]

NOTE 216p.; Ed.M. Project, Columbia University.Photographs may not reproduce clearly.

PUB TYPE Dissertations/Theses Undetermined (040)

EDRS PRICE MF01/PC09 Plus Postage.DESCRIPTORS *Creative Writing; Fiction; Films; Higher Education;

High Schools; *Inquiry; *Interdisciplinary Approach;*Learning Processes; Models; *Poetry; Story Telling;Teaching Methods; *Writing Across the Curriculum;Writing Exercises

IDENTIFIERS *Writing Contexts

ABSTRACTThis master's project contains two essays and a long

poem, examining the possibilities of creative writing as a tool ofinquiry in mathematics, history, science, film, art, andarchitecture. The project's first essay, "The Poet in the Warehouse,"introduces a brief history of imaginative writing and an argument forits inclusion in multi-disciplinary high school and undergraduateprograms. It is noted that since the piece strives to spotlight theimportance of creative writing in learning, it alternates between theessay and a story which mirrors the issues in the essay, thus lettingthe form echo the function of the enterprise itself. In the project'ssecond essay, "Space, Structure, Storage," a curriculum model ispresented, pivoting on an essential question--architecture becomes afrontier for creative writing to thrive, though any subject might bechosen for the exploration (the model is flexible and expansive). Theproject's third selection, "The Glass Passage," is a long poem andcommentary in which a way to understand more about architecture isassembled as an example of creative writing as inquiry. The project,as a whole, draws on psychologists, learning theorists, poets andfiction writers, creativity specialists, composition and readingtheorists, poets and fiction writers, creativity specialists,composition and reading theorists, linguists and educationalphilosophers. (Contains 60 references and 4 appendixes of researchmaterial, much with illustrations.) (TB)

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Reproductions supplied by EDRS are the best that can be madefrom the original document.

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THE POET IN THE WAREHOUSE

CREATIVE WRITING AS INQUIRY: USING IMAGINATIVEWRITING TO EXPLORE OTHER DISCIPLINES

U.S. DEPARTMENT OF EDUCATIONOffice of Educational Research and Improvement

EDUCATIONAL RESOURCES INFORMATIONCENTER (ERIC)

O This document has been reproduced asreceived from the person or organizationoriginating it

0 Minor changes have been made to improvereproduction Quality.

Points of view or opinions stated in this docu-ment do not necessarily represent officialOERI position or policy.

PERMISSION TO REPRODUCE ANDDISSEMINATE THIS MATERIAL

HAS BEEN GRANTED BY

TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)

A Project Submitted in partial fulfillment of the requirements forThe Ed.M degree in Interdisciplinary Studies andThe Klingenstein Fellows Program

BEST COPY AVAILABLE 2

By:Frances McCueTeachers CollegeColumbia University

(.S

FOR FRED DUST AND MATTHEW STADLER

Thank you: Professors Clifford Hill, Ruth Vinz, Pearl Kane; my Klingenstein colleagues;the Klingenstein Fellowship; and to Professor Joan Ockman for encouraging me toexplore architecture through poetry.

CONTENTS

The Poet In The Warehouse ...... ..............................2

Space Structure Storage........................................41

The Glass Passage...............................................68

83

4

Frances McCue I

OVERVIEW

PROJECT PROPOSAL:

To research the uses of creative writing in academic inquiry and to write a manual/thesisentitled creative Process as Inquiry: Using Imaginative Writing to Explore OtherDisciplines. The text will give a critical history of pedagogy in Creative Writing, and willoffer writing exercises and heuristic activities to explore mathematics, history, science,film, art and architecture.

THE PROJECT:

Creative writing has long been neglected, along with the other arts, as a serious form ofinquiry into other disciplines. The three sections of this project explore creative writing asa viable research method.

The first essay, "The Poet in the Warehouse," introduces a brief history of imaginativewriting and an argument for its inclusion in multi-disciplinary high school andundergraduate programs. Since the piece strives to spotlight the importance of creativewriting in learning, it alternates between the essay and a story which mirrors the issues inthe essay, thus letting the form echo the finction of the enterprise itself.

In the second section, "Space, Structure, Storage," a curriculum model is presented,pivoting on an essential question. Here, architecture becomes a frontier for creative writingto thrive, though any subject might be chosen for the exploration. The model is flexibleand expansive.

"The Glass Passage," the third section, is a long poem and commentary which Iassembled as an example of creative writing as inquiry, a way to understand more aboutarchitecture.

As I worked on the various sections, the importance of all of the arts became more clear. Idrew from psychologists, learning theorists, poets and fiction writers, creativity specialists,composition and reading theorists, linguists and educational philosophers. I found that theuse of proverbs as cross-cultural structures, the development of constructivist curriculum,the role of memory, and the desire to write stories and poems engineered and illuminatedmy own inquiry and the resonance of the project. In the hope that this work will inspire theuse of creative writing in a variety of settings, I also want this endeavor to be implemented,showing the necessity of all the arts as essential undertakings in the synthesis of reallearning.

Frances McCue 2

THE POET IN THE WAREHOUSE

There is something antic about creatingthough the enterprise he serious.

Jerome Bruner

At first, the warehouse is a steamer trunk. Perhaps your own grandmother pressed

her belongings into one like it, snapped the latches fatefully, and not knowing where she

would next unspring them, loaded her trunk into a deep hull. The ship's ribs scratched

against it, and water bled into blotches, spreading from the seams as the trunk rumbled

beneath her on the long sail across a dark, never flattening sea. Inside: room enough for

frocks, a shelf for books, and the vanity of a mirror when the cabinet stands upright. This is

how the warehouse begins. Later, it is wedged into the tight rooms of a city, a city where

the horizon pulls in like a hem, and the buildings stumble, inadequately, upward.

It is here where the girl first faces her storehouse, small as it is, but promising. She

unclamps the latches and thinks of her grandmother, whom she never knew. From the

trunk, she hopes, her heritage will spin open.

Under the umbrella of Creative Writing gather the genres of fiction, poetry, drama

and creative non-fiction. In high schools and colleges, the personal essay (imaginative non-

fiction) and the "research" or term paper are the most solicited forms of student writing.

The skills of personal expression and data presentation become the focus for thinking

critically about knowledge and experience. The personal essay is a predictable heirloom in

the ancestry of rhetoric at nineteenth century British and American colleges. Philologists

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Frances McCue 3

used oratory and rhetorical models for students to imitate in their quest for educated

expression. The personal essay and the term paper are derivative counterparts of these,

unfolding argumentation into more contemporary styleS. Until the late nineteenth century,

literature was not typically studied as a subject unto itself within the university; it was

considered entertainment rather than a serious area of scholarship. Until the university

developed its modern structure of departmentalization in the late 1800's, literature was

studied through "the Greek and Latin languages and... rhetoric, oratory and forensics"

(Graff 19). Young lyricists worked as apprentices while the master poets centered their

pedagogy on mimesis, instructing the aspiring writers to imitate the great poets, following

traditional models of form. Even today, in Harold Bloom's ideal, young writers should

learn the craft of poetry, fiction and plays by imitating literary giants rather than

immersing themselves in the revelations of their own experiences. Bloom centers on the

"canon" as a pedagogical wellspring. He perceives the role of the writing teacher as a

provider of worthwhile models to students; this makes evaluation an easier task and it

assures the continuity of a particular western literary tradition since "...poetry always lives

under the shadow of poetry. The caveman who traced the outline of an animal upon a rock

always retraced a precursor's outline" (Bloom 4).

The trunk, once opened, grows too small for its keepsakes. The frocks call to

feathered hats and fur wraps; the books, fatigued by their Victorian relevance, long for

others, more modern volumes, to nestle alongside. The little museum grows impatient,

referring to objects outside itself, things it cannot hold. The girl collects more artifacts, in

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Frances McCue 4

reverence for her grandmother. Roaming the bazaars and curbside shops, she fills her bags

with dresser linens, silver handled combs. She is trying to crawl inside a life far behind her

own. The trunk, as if in empathy, holds what it can, letting the dresses fold over the hinges.

The girl needs more space for her belongings. Her rooms fill. She wants to store

her grandmother's relics; at the same time she wants to be among them, running her

fingers over the stiffened linens. What brings her to the warehouse is a desire for order.

What if she were to die while the trunk was locked away? Would anyone come to claim it?

These thoughts drive the girl into a dark mood, the one her mother calls resentment, the

one the girl suspects is brought on by helplessness. A warehouse, really, is dead space. It

becomes the home for artifacts, some of which are never recovered. The girl knows that

her trunk can't survive her protection; it longs for a twin, or a larger box to fill. She must

find a new place for the chest, one that will display as much as it stores.

* * *

Certainly any particular creative process thriVes on work in its discipline for

inspiration, form and context. One cannot be a good writer without being a good reader,

just as a dancer must learn choreography and traditional movements that evolve from

dance's rich history as an art form. Mimesis is, however, only one window onto the

possibilities that the arts offer novices; true immersion instills a sense of inquiry that

reaches beyond imitation or facile reference. The ability to refer to past models is essential

in any artist's development but as Elliot Eisner points out, "we possess another ability that

goes beyond the ability to recall. It is the ability to manipulate imaginatively the images or

Frances McCue 5

concepts that we are able to recall. It is through the process of imaginative transformation

that human beings are able to conceive what is not, but what might be" (Discipline 8).

Using literature as a referent in learning to write is crucial to any writer's development.

Reading other work nudges one's own muse. The key is to be able to manipulate the

medium of language in new ways, twisting and revising what has gone before. This

revision, or re-seeing, is what post-modern writers fixate upon, since myth and allegory are

buried within us through the work of our culture. Jane Smiley's A Thousand Acres, for

instance, is the retelling of King Lear, re-staged on an Iowa farm.

Still, the personal essay is the medium for most writing in high schools and

colleges. Other forms of creative writingpoetry, fiction and dramaare rarely required,

except in specialized courses that isolate issues of craft. This essay, and the ones which

follow, voices a plea for bringing poems, stories and plays into the repertoire of student

research, and into creative strategies for synthesizing knowledge. All college students take

compositio. n courses, and all high school students must_produce expository essays which

evidence their learning. Yet, this is a limited focus. The forms and subtleties of the other

imaginative genres offer great possibilities in scholaiship.

In a sense, creative writing itself might represent all arts and their creative

processes. Instead of neglecting a variety of writing styles and genres in the learning

process, writers and teachers could benefit from placing creative writing, along with a

diversity of arts, at the center of our curricula as a potent method of gathering material and

assembling imaginative inquiries.

Frances McCue 6

As she thumbs through directories and scans the streets, the girl settles upon a few

options. She will find a warehouse nearby where she can leave her grandmother's trunk. It

will be a place she can visit, a place where she can bring other momentos or retrieve her

grandmother's things. There is no loneliness like-the one she feels when she thinks about

this. She looks at her rooms. A small hat stand blooms with coats and scarves; her tiny

kitchen overflows with spice jars and copper pans. Above the bed, clothes spill from

shelves, and books caught half tumble, lean their stacks into her. Her trunk is overtaking

her rooms. She brings home more trinkets: souvenir spoons from worlds fairs, tiny crystal

vases, doilies ironed into the texture of cardboard, vintage shoesall these things remind

her of her grandmother, a woman lost soon after her voyage.

How did the trunk reach our heroine? When she moved to her little apartment, her

mother sent it to her. Inside, a note instructed her to care for the belongings, and to watch

for dampness. "Don't let these things get wet," her mother's scrawl insisted. "They are old

and they can't take much more." The girl, feeling the weight of heritage and the pinch of

her own life wanting to push open, tries to be reasonable. She stirs her tea, and vows to fill

the trunk with her grandmother's little collection, and the heirlooms that she herself has

gathered from the city. "Any collection needs new additions for it to thrive," she thinks.

* * *

10

Frances McCue 7

To some educators and parents, storytelling, playwriting and poetry feel frivolous:

creative writing, along with the arts in general, bears the tinge of therapy. As Elliot Eisner

claims, "there is a long tradition in Western culture that regards the arts as matters of

emotional catharsis rather than matters of mind" (Discipline 11). Most people think of

writing poems as an adolescent activity in which one records dramatic emotional surges.

Though poets and fiction writers hold teaching positions at every major university,

imaginative writing is still viewed as a passing fancy or folly of extended childhood.

"Serious" books have either been written in the distant past, or by working writers who

have created hermitages far from academia. Because creative writing aspires to make-

believe accounts over factual ones, the truths of novels, poems and plays are easily

dismissed. The demands for writing after college do not typically involve fiction or poetry.

And in most professions, managers want their employees to write clear and concise prose,

a skill not typically attributed to the poet or novelist.

But how do students learn to write lucid, thoughtful prose which describes,

recounts or argues for a particular point of view? Doesn't imagination play a role in

.stretching one's ability to perceive a variety of perspectives, and to articulate them?

Where, in the end, might we learn the most varied elements of style? From imaginative

writing. When students learn to write dialogue, for instance, they are learning to capture

how a character speaks. In doing so, writers have to listen more carefully to those around

them. By listening carefully, writers develop a heightened sense of the surrounding spaces

in which they circulate. Quoting people is a valuable device for the toolbox of stylistic

strategies, and learning how to listen, and how to record, or imagine, the words of others

has a powerful effect in all kinds of writing. Or, in another realm, learning to condense an

Frances McCue 8

image or impression is one gift the poet can give to the prose writer. Patricia Hampl calls

poetry "the richest form of language because it is the most concentrated utterance" (197),

and this concentration helps writers learn to edit, and to essentialize at the same time they

infer a wealth of new information from the utterance itself. Poetry is, as Hampl continues,

"both immediate and ancient" (197); it looks for the unpredicted truth, the surprise within

the obvious. Poetry can help all writers look more closely and articulate more deeply, more

succinctly into history, memory and as well as into matters of the human heart.

Personal essays do offer many similar attributes, and, in form, they closely imitate

the kinds of writing one might engage in over a lifetime. The autobiographical texture of

personal essays, though submerged in the plainness of a non-fiction format, is as close to

"creative" as many teachers or students want to relate. Since personal essays are based

upon rendering detail from memory, and linking thine details as closely as possible to a

personal truth, they relay factual events through a narrative.In the end, the narrator of a

personal essay usually aspires to witnessing events, but is implicated, by her own nosiness,

in the evolution of a fiction. This is wonderful material, and quite similar to the effects a

poem, story or play might have. In the long run, creative writing may, unlike personal

essays, reach further into the terrain of invention, provoking the narrative into new forms.

Loren Eisley's non-fiction essays, for instance, transcend the personal; the narrators

become witnesses to an inquiry, even as they are immersed within it. In Night Country,

Eisley's narrator rehearses possible outcomes as he explores caves and negotiates

archeological digs. The narrator's choices map his creative process as both a scientist and

as a writer. Though he is steeped in scientific inquiry, Eisley's investigations are

essentially artistic. Like Lewis Thomas' Lives of the Cell, this genre of prose is more

12

Frances McCue 9

holistic than personally expressive or sentimental: these essays explore unknown terrain at

the same time they explore the inner workings of the narrators themselves.

Creative writing, despite our impressions, does not have to emerge through

therapeutic confession. But the essay, as a medium, feels useful, industrial. Directly, it can

address issues, stylize arguments, and present facts. Essays comprise the most "readable"

forms of writing in our culture. With the advent of Wolfe's "new journalism" and the

memoir as emerging forms of creative inquiry, the bulk of creative non-fiction has grown

tremendously in the last twenty years. Annie Dillard, Toni Morrison, Jamaica Kincaid,

Henry Louis Gates, and Susan Sontag all employ creative techniques in their rich layers of

narrative account. Each of these writers is also gifted in more than one genre. Becoming a

flexible, strong writer demands testing out forms, and generating more associative links

than a wide readership typically employs. Students need a variety of reading material to

learn deeply, and they need to participate in the construction of a wider range of genres to

become more flexible, capable writers and readers.

Even if an essay becomes a final product of a bulk of research, imaginative writing

may ignite the process itself, thus enriching the journey. At the end of some investigations,

a novel may be the most appropriate form to synthesize an inquiry. In other cases, a poem

may mesh imagery and rumination into a deeply philosophical expression of relevance. In

plays, dialogue carries the plot along with complex psychological turns. As John Guare's

play "Six Degrees of Separation" illustrates, drama can explore a real life incident, while

language thrives on innuendo to reach beyond simple conversation. Or, think of the first

lines of Marianne Moore's "The Steeple Jack," in which the speaker translates the

apocalyptic landscapes of Durer into a small, more familiar town:

Frances McCue 10

Durer would have seen a reason for livingin a town like this, with eight stranded whales

to look at; with the sweet air coming into your houseon a fine day, from water etched

with waves as formal as the scaleson a fish. (5).

Moore's poetry focuses on the minimalist, treasuring details. Her poems feel like animated

museum exhibits: accurate in their placement, but lively and investigative. Nobel Laureate

Seamus Heaney says that poetry "is the imagination pressing back against the pressure of

reality" (1). It is through Plato that Western civilization first uses poetry as a counter-

argument to the rationality of existing political conditions. Here, in the imagined visions,

we begin to see what is possible. As Heaney notes, poets are "concerned to conjure with

their own and their readers' sense of what is possible or desirable or, indeed, imaginable"

( I ). The challenge is to read well as one creates, and this means reading the outer world

along with the inner one, testing the appropriateness of ideas and provocations within the

imagined space.

The girl's wanderings draw her to closed doors, soot-dusted windows and the worn

bieath of machinery. At first, the girl simply wants to store her grandmother's trunk, her

little museum of heritage. But the warehouse is submerged in a part of the city she has

never visited. These streets are unfamiliar, though not far from her walk-up. Her feet

quicken on the cobbles. Overhead, steam filters through the seams of boarded windows.

Frances McCue 11

A man points to the next block. "Storage is down there," he says. Though she

craves to know the building before she reaches it, the girl tries to be patient. The wind

wraps her back, and the lost storefronts frame a corridor of eye-level vacancy. The

numbers fade, and she arches forward, heading though the abandoned intersection, looking

for signs.

What the girl sees: how objects retain their edges, how they flow from one to the

other, how they all help her understand her own past, even the ones that her grandmother

did not collect. In her apartment, books rub against her hands; her eyes follow the patterns

of pedestrians below her window. She learns to walk with anticipation instead of fear, and

she counts the blocks, notes the places she might explore later.

And, she brings the scent of wind into the warehouse with her.

To be imaginative.is to be resourceful, to create opportunities. Imaginative people

see spaces in the impossible; they pry open the inconceivable. Social workers find homes

for neglected children. Agile business people turn broken deals into assets. Firemen enter

burning buildings and rescue victims. Faced with the overwhelming task of educating

children, teachers work day by day, problem by problem, to help students learn skills while

at the same time introducing them to the complexity of our cultures. On the surface, such

undertakings seem monumental, but little by little, imagination repairs the world. The

splinters of experience build the whole of our lives. Making use of innovation and

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Frances McCue 12

inventiveness is crucial to the resources of thought and action. As Bronowski, the social

anthropologist, notes: "The act of the imagination is the opening of {a) system so that it

shows new connections" (109).

Creative writing is by nature resourceful, inspiring new connections: it draws on

intuitive, cognitive and technical abilities, and it opens spaces for alternate visions to exist.

With imaginative writing, we can create what Maxine Greene calls "as-if worlds,"

landscapes where perspective becomes a lens to isolate and magnify what we cannot see in

our own surroundings. Not only do writers create frameworks for ideas, but language itself

enriches the material they collect. In the context of an exploration into science, math,

history, film or architecture, a young writer has material beside herself to draw from, thus

pulling her away from writing only about her feelings. Writing fiction, poetry or plays

offers a unique version of research, inquiry by imagining possibilitiesnot research in the

ordinary sense of answers sought and answers found. By inventing an imaginary context in

which to place a science experiment or geometry problem, a student can see new

possibilities in the course of study and in the world itself. She can understand the evolution

of a problem or experiment more completely when if becomes part of her own creative

process. Along this spiraling, overlapping journey, a Kantian vision of perception emerges:

it is intellectual, emotional and physical, and the choice of apparatus is crucial to the state

of the world one constructs, and to the fate of the common world we all try to create.

Jerome Bruner, psychologist and educator, puts it this way: "Education must also

seek to develop the processes of intelligence so that the individual is capable of going

beyond the cultural ways of his social world, able to innovate in however modest a way so

that he can create an interior culture of his own" (Knowing 116) A poem or story, too,_

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Frances McCue 13

constructs an interior culture of its own, and by inventing one, novice writers learn the

intricacies and craft of the architecture at hand. The invented space on the page becomes a

blueprint, of sorts, for a particular mental activity: an inquiry and the simultaneous

construction of knowledge. As we write, paint, dance or play music, we create knowledge;

in a phenomenological world, claiming knowledge becomes increasingly based upon

image, the building blocks for any art form. New kinds of understanding become more

accessible when we are forced into new spaces. Imaginative activities provoke these

spaces to open, urging us inside.

Each of the arts provides a "way we have to articulate our internal world to

ourselves," as philosopher Michael Parsons asserts (51). To build a world and fill it is a

complex task. Since the outer world "is not transparent to us, not self-interpreting... we

must interpret it, five it some articulate shapes; and if these shapes are to remain faithful to

the inner life they represent, they must be continually reexamined and adjusted" (Bruner,

Knowing 119). In this negotiation, the skills of writing and reading merge. By producing a

text, we are reading in a new way and writing a new world into our interior landscapes.

This dialogue between the interior and the exterior cieates profound results: the writer's

inner landscape of thinking shifts, changing the poem or story in process, and the vision of

the outer world shifts, in response to the new image or artifact.

Of course, she had imagined neat rows of trunks like hers, with little round tags

hanging from the leather strapping, all aligned with the regularity ofa morgue's cabinets.

1?

Frances McCue 14

Instead, the girl finds herself in an anteroom, facing a plastic-sealed wall. She notices a .

smattering of little holes in the plastic, about waist high. "I want to store something," she

says, bending to the little airway, as if it were a target, shot at so many times, and missed.

A man, blurred there behind the smudges, says, "Well what kind of storage do you

want? Locker? Three by five, seven by nine, nine by twelve? Open shelving? Garage

space?"

Suddenly, she is not sure. "Can I look at the space?"

"Which one?" the man demands.

Such negotiation transforms her trunk into something she can no longer imagine.

The girl has to go home and rest. She will think this over.

One day, she returns, p,-opelled into the building. She wants to explore. The guard

again asks her what she wants to see. She asks, "Well, what is there to see?"

The guard laughs. "What you see."

"Well then," she says. "I want to see it."

Down dark rows, the guard guides her with a flashlight. Heavy wooden ladders

straddle the aisles. The girl catches glimpses of old paintings, photographs, stacks of

papers, two old dolls, tumbled sideways in chin-to-chest nods, flags and snow globes, a

ripped kite, a croquet set with a cracked stand and only three balls. "What is this section?"

she asks.

"Family memorabilia." The guard pauses, and looks to the girl. "Perhaps your

items belong here."

Frances McCue 15

Perhaps.

"Education must, then," Bruner continues, "be not only a process that transmits

culture but also one that provides alternative views of the world and strengthens the will to

explore them"(Knowing. 117). If one were to funnel down this process of transmitting

culture and exploring possibilities, its essence would be in the power of the creative

process to uncover choices. "In the arts," Eisner suggests, we "must rely on that most

exquisite of human intellectual abilitiesjudgment" (Discipline 10). Writing demands

making a set of context-driven judgments, and good teachers help their students negotiate

strategies for building narratives.

Teachers make choices, just like writers do. In a course that explores urban

archeology, for example, a teacher may have to guide a student away from physically

digging holes upon public property, opting instead to create an imagined "dig" based on

available artifacts and information. Along similar lines, when one investigates

homelessness, it may not be in the best judgment to send students out to interview

transients. Instead, the young writers might assemble information from service agencies,

books, maps, city recordssources which do not endanger the dignity of the people

involved. In writing, one makes choices about how to use material and how to credit it

accordingly. These are all opportunities for pedagogical judgment, and for the

development of an ethos in the process of writing and researching. In the machines of

curriculum that develop, teaching priorities are institutionalized.

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Frances McCue 16

But many high school and undergraduate teachers have neglected the power of

creative writing; after middle school, it typically becomes an "elective." According to the

course offerings of most high schools, we must, it seems, outgrow imaginative writing. Yet

working writers don't transcend imaginative writing; why should emerging writers?

Colleges and universities, too, tend to isolate creative writing into "programs" or into

small annexes of their English Departments. Yet, creative writing is where one finds the

best writing available in our culture. Why do we leave it behind as a vibrant method of

learning or as a serious form of inquiry.

For many teachers and students, creative writing is expressive writing, a vehicle to

unload one's feelings. Creative writing can also become a method of research, a way of

using perceptions and intuitions to find out more about ideas and events outside our

interior cultures. Like all engaging, sustained research, creative writing is not a linear

process. It is an circuitous, overlapping, irrational route, as Merleau-Ponty notes:

The idea of going straight to the essence of things isan inconsistent idea if one thinks about it. What is given is aroute, an experience which gradually clarifies itself, whichgradually rectifies itself and proceeds by dialogue with itselfand with others. Thus what we tear away from the dispersionof instants is not an already-made reason; it is, as has alwaysbeen said, a natural light, our openness to something (21).

The webs of imaginative space and real space are complex, and choices within these zones

are based on judgment and inquiry. There are value systems that drive decisions. Teachers,

as working writers, are crucial in addressing such dilemmas. It takes some time with

language for a writer to encourage and support the revelations it offers, and then to apply it

to her present. A good teacher helps to sustain the inquiry.

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Frances McCue 17

How would she have known that the anteroom would bloom into openness, that the

shelves would tip their wares to her?

"Let's stick to the facts," she thinks. "I am here to place my trunk in the care of this

warehouse, yet each time l return, the warehouse has changed. The more I learn about my

grandmother, the more I learn about the compleXities of storage, the less sure I am. Each

time I come here, the items shift. They become more familiar. Deep in the recesses of the

aisles, though, I find new things. I need to know what my items will be next to. I need to

know where they will fit."

As she turns a corner, at the end of one of the aisles, our heroine sees another

young woman, perhaps her own age. The stranger tilts her head, as if she were looking into

a mirror. "Hello," she says.

"Hi," says the girl. "Are you storing something here?"

I'm just looking at some stuff that belonged to my parents."

The girl squints and looks at the stranger's rough trousers and half-tucked blouse.

She looks like a girl who is no longer under her mother's influence. On a clouded winter

day, this new visitor had chosen to browse the warehouse, just as the girl had.

"I know where there are some amazing statues," says the stranger. "Want to see

them? They look like they should be in a big fancy garden or something."

"Well, okay." The girl follows her new storage companion into the aisles, turning

into ones she has not ventured down before. At the end of a row lined with lawn mowers

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Frances McCue 18

and power tools stand a group of life-sized cement figures. Pushed together as they are, the

'statues look alive, huddled in the shadows over some mysterious transaction.

"Where do you think they came from?" asks the stranger.

The girl pulls nearer. As if fearing to be overheard, she whispers. "Are they old?"

For the rest of the afternoon, the two move through the warehouse, looking and

jotting notes. They admire each other's belongings. They ask answerless questions and

peruse the storehouse. Later, they leave arm in arm.

When a young writer suspends intent, her language reveals. By putting aside the

internal editor, the voice who demands immediate coherence, she can use heuristic

procedures to create an initial bulk of writing through observation and intuition. If she

generates enough prewriting, enough loose verbiage in response to something, she can sort

through it, make choices, and develop it into a working piece. Seeing peripherally, keeping

the process open to useful distraction, helps the writing become more varied and animated.

By collecting details, as Donald Murray suggests, a writer can synthesize generalizations

by analyzing the details themselves, letting the writing process unfurl a wealth of

possibility. This opens the opportunity for the writer to make more sophisticated

assumptions through the process of writing itself, instead of collecting data to support a

pre-conceived agenda. In fact, finding support for one's initial intent may explain why

confessional writing is often so abstract. It conceals specificity by generalizing too soon,

without adequate detail. It wants to shroud its hodgepodge of unnegotiated feeling. The

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outpouring remains fixed in the "collecting" stage, paralyzing its opportunities for

expansion, clarity and relevance to an outside readership.

One of the common ha7ards that inexperienced creative writers face is the

tendency to rely on abstraction and melodrama. Imagination should outweigh pure

emotion in the pursuit of effective writing. To invent, rather than to confess, means that a

writer has to create clear imagery, construct provocative metaphors and imagine an

alternate reality. As a result, students' writing grows less abstract and more animated.

Invention opens up stiff syntactic constructions because, as William Stafford says, "a

writer is no much someone who has something to say as he is someone who has found a

process that will bring about new things he would not have thought of if he had not started

to say them" (17). Language, like paint, encourages a dabble in the medium, and from this

some of the finest writing is born. Many useful writing exercises reduce words to building

blocks from which innuendo accumulates. Language is a life-long medium; it is a source

of discovery and insight into oneself and one's culture. When students learn how to

generate and sustain their own work in a variety of situations, their relation to the world

becomes more intimate, and their imaginary worlds more lively and available to the

complexities of reflective reading.

However, after middle school, most American students engage in very little

creative writing. Poems and stories are read and "interpreted," but few are created. In

search of scope and rigor, most curriculum pushes imaginative work to the outskirts.

Arthur Applebee's nationwide research on writing in American high schools found that

only 8.2% of ninth graders and 7.2% of eleventh graders do work that involves writing

stories or poems (Moxley 28). This is a dramatic decrease from the imaginative writing

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undertaken in most elementary and middle school classrooms. James Britton, perhaps our

most influential contemporary language theorist, found that creative enterprises

significantly diminish as students proceed through school (Moxley 29). Essays and term

papers are the norm for academic writing in high schools and in liberal arts programs.

Ironically, at the graduate level, M.F.A. programs in Creative Writing are growing at

unbelievable rates. The Associated Writing Programs claims thousands of members, and

lists hundreds of college and university programs in creative writing. This kind of attention

to creative writing is filtering through the culture, but high school and college programs

are not preparing students to become strong imaginative readers or writers, nor are they

using the possibilities of creative writing as a discipline of inquiry. Imagination, as a

guiding force into other areas of study, withers within the tension between context-less

issues of craft and personal experience.

The girl feels torn. Her visits to the warehouse grow more frequent, and she has

less time to collect new relics and to arrange her apartment. Some days it seems as though

she spends more time in the storage place than in her own rooms. What draws her there is

the stories that she hears; her friend tells stories about her parents, how they met, and lived

in a little room above a pharmacy.

"The funny thing about some of this junk is that it helps you remember stuff that

happened when you weren't even born," her friend said one afternoon. "It's like you look

at all of these things and they start to feel like someone's life."

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When the girl looks through her own little figurines and tableware, she gets a

glimpse of her grandmother. It is possible that she, another woman in another time, like to

arrange things, and set up little luncheons for two, all in the hopes that she would share it

with someone. The more she makes up, the more real her grandmother appears.

To sweep creative writing back into the.center of curriculum after middle school

acknowledges language as the imaginative force that ultimately. .shapes education. Placing

an artistic endeavor in the midst of other, more traditionally "academic" explorations

serves as a model for all of the arts to inspire multiple perspectives in learning. Still, what

about those who do not feel linguistically talented, or, in the case of other arts, those who

do not feel creative in general? Many people do not feel artistically gifted. However,

Eisner describes education "as a process aimed at converting potentiality to actuality"

(Discipline 14). Skills in the arts are developed just as they are in other fields, as Eisner

points out: "complex and subtle skills are seldom acquired in single settings. They require

time, repetition, exploration, and continuity of effort and practice"(DiscIpline 14). For

teachers to help students develop the abilities inherent in all learners demands attention,

time, and multiple viewpoints. Developing the creative process through collaboration and

personalization is an ongoing pursuit of inquiry. Imaginative writing can open whole

passages to learning, as it inspires confidence and flexibility. In a dialogic curriculum, for

instance, students can gather the knowledge and viewpoints of others while pursuing the

exploration at hand. Receiving assistance from classmates becomes essential. It is

Frances McCue 22

analogous to making a map that is appropriate for a particular use. The terrain itself may

not change, but we learn through the suggestions and needs of others what aspects of the

mapping might be emphasized. Should the topography be highlighted? The road system?

The waterways? What should the scale represent? Collaboration provides support, and the

gateway reduces the anxiety of writing a piece on one's own. From a social, interpretive

community, writing blooms into a democratic act. The piece is not "written" by all, but a

group has the power to influence its "writtenness." In other words, bashful writers can be

encouraged; they can learn generative approaches and find the bravado to pursue them.

Howard Gardner's "Theory of Multiple Intelligences" assures us that there are

fewer distinct, closed portions of knowledge, and that our abilities are interconnected.

Placing words on a page can be a form of linguistic intelligence just as it can be one of

spatial intelligence. Linguists tell us that meaning is ultimately derived from one's

perception of space. Words can operate like the complex parts of a model, or like the

mystic's dream-spun articulation. "The creation of powerful and sensitive images is a

matter of mind," according to Eisner, "a matter that requires inventive problem solving

capacities, analytic and synthetic forms of thinking and the exercise of judgment"

(Discipline 11). Good teaching follows this artistic model of creation. Teaching helps to

integrate diverse intelligences while honing issues of craft and ethical choice. A classroom,

really, is a gathering of intelligences. To consult, support and interrogate different kinds of

work takes different talents, and under these talents prosper different inquiries. It may take

multiple teachers, with different talents to encourage students in the multi-faceted

dimensions of their work.

Frances McCue 23

Though much research has been conducted on the teaching of composition, little

has been conducted on the teaching of creative writing (many books offer exercises

without theoretical frameworks), and very little attention has been given to how

imaginative writing can be used to explore other disciplines in high school and

undergraduate classes. Though many math and science courses now use journal writing as

part of the process learning wave, very few look to poems and stories as ways to gain

insight into technical matters. In Einstein's Dreams, a novel by Alan Lightman, for

example, the theory of relativity is built through fictional slices. Some students work well

with this narrative approach to understanding physics. By generating their own fictional

accounts based on Einstein's work, they would be even better equipped to understand the

theory of relativity and the human dilemmas surrounding Einstein's own creative process.

A student who understands physics can use her spatial intelligence about the subject and

bring that into language. Language, like a model, can become a three dimensional exercise

in form.

Wendy Bishop, Arthur Applebee and Joseph Moxley have all conducted excellent

research in the teaching of creative writing, and offeied outstanding insights into the

teacher's role as instigator and collaborator. Bishop, Moxley and Applebee research the

need for specific attention to the teaching of creative writing. They all consider the

effectiveness of creative writing's most common pedagogy: the writing workshop, a

structure that dates back to the last century. The University of Iowa institutionalized the

workshop in 1936 with the introduction of its graduate Writing Workshop, a core of

programs in Creative Writing. The pedagogical techniques of the workshop have changed

little over the years, as Katharine Haake describes in "Teaching Creative Writing if the

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Frances McCue 24

Shoe Fits".(77). The workshop is centered on a mentor writer who offers critical feedback

'to repair poems or stories. Instead of embracing the choices of a creative process, typically

the writer-teacher isolates issues of craft. Though this may be valuable at the graduate

level, other difficulties arise with less experienced writers. In fact, the lack of attention to

the intricacies of teaching imaginative writing establishes deficits in the literature

classroom, since literary terms and applications are more difficult to learn when one does

not try the techniques that established writers use. Hands-on, experiential learning is

essential to understanding science, and it should be given similar attention in the

discussion of novels, plays and poems. By learning to ask "How did this writercreate this

effect?" or "How might he or she have chosen this particular strategy?", students can see

how literature is structured, how it forms rich myriads of imagined worlds. In M.F.A.

workshops, the goal is publication, and this pressure often shuts down dialogue about

possible choices within the creative process, opting, instead, to critique choices already

made. Workshops tend to produce "stars" along the way. Instead of telescoping attention

to particular stars, or to the teacher at the center of this activity, the endeavor of learning to

write ought to be directed to the entirety of the heavens. All of the dilemmas of a particular

writer's collecting, forming, problem-solving, ruminating and revisiting need to surface as

a viable topic in our classrooms, and all students need to be valued for their writing as well

as their collaborative practices.

The workshop is a false model of democracy. Instinctively it says, "All of the

participants are valuable. We all collaborate to improve each other's work." Yet, with the

mentor writer at the center, most workshops end up writing to the middle, and trying to

please the leader. Each student is like a spoke to this hub. But there is no outer rim, no

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Frances McCue 25

sense of larger inquiry to connect these spokes. This wheel, ultimately, cannot roll. Of

course there are successful workshops, and teachers who are agile enough to step out of

the way and encourage the sparks and cries of the working process itself The dialogic

curriculum foregrounds collaboration, and the constructivist model instigates research

through essential questions, generating exploration. In many cases, however, the workshop

implodes, draining personal needs to the center instead of moving outward into

imaginative concerns. Without treating the writing classroom as a studio, a place with a

variety of tools and activities, students turn inward with their work. Again, this brings them

to personal expression instead of to inquiry into other realms. How students learn to

generate, sustain and wrangle with the dilemmas of the process is rarely discussed. Most

workshops are the homes of clever mechanics. We may never fully learn the secrets of the

masters: they fix the problems without showing their proteges the brilliance in the flaws,

the possibilities for further exploration, and new webs of choices.

Will she fall in love? Will she be pleased by what she finds there? Like her

grandmother, the girl has come to a new place, hoping for companionship. Her visits with

the stranger have brought her into these wonderings. In the dark warehouse, she sees the

light rooms of her grandmother, and the loveseat where couple above the drug store sit

each evening. Their lives burn with nostalgia.

The girl is dizzy with the shelves, the jumble of rulers, stethoscopes, barometers,

loose pens, measuring cups, electrical cords, shoe horns. Nothing, in this part of the

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warehouse, is labeled. Her legs thicken and her eyes slip. She curls in a long abandoned

chair, her notebook sliding from her knees, and she sleeps.

Creative Writing offers the best stylistic and technical examples of strong, varied

writing. When students turn to fiction, creative non-fiction, poetry and drama, they find a

range of techniques with which to construct and sustain essays, letters, lab reports and

personal reflections. Imaginative writing informs historical and theoretical writing, and

when students practice their own versions, they learn how good writing is put together,

how the architecture of their work can be improved.

Investigating other disciplines can too often be a closed series of encounters. The

post-modern channel-flipping of student lives, rushing from math-to-science-to-history-to-

art-to-English, needs some common thread of inquiry. We've all heard about writing

across the disciplines, but what this research proposes is to write through the disciplines.

To use poems, stories and plays as models to discover more about math, science, history

and the arts means putting these disciplines into creative contexts, contexts created by the

students theinselves. This process is as important as the creative products it will generate.

Through the collision of imagery and idea, the revelations are spaces opened, new

possibilities of learning and discovery. For a synthesis of complex ideas to occur,

engaging, ruminating and problem solving must play a role. Though stories, poems and

plays open possibilities, they still have imposed structures. It is the dialogue between the

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structure and the interior issues of research that tip the ideas to us, and allow us to

rummage through them..

In a media-driven world, the basics of academic inquiry are shifting. Educators,

legislators, parents and presidential candidates all argue over what students in America

should know. They pay little attention to how students should come to know what they

know, and many have little respect for developing holistic research techniques over the

memorization of facts and isolated visits to the library. Research inspires images of dried

paste, yellowing pages, and hours spent in musty rooms. Though we now have more

methods of research available than ever, "standards" circle the target to which legislators

and reformers aim. The standards movement bears the language of suffering: students

should "conform" to standards; standards should be "rigorous" (rigor inspires the image of

metal spines snappi upright in the bodies of children); standards "must be 'met," and

-American children must have a jump on standards," as if with the luck of a passing train.

It is promising to see smaller schools proliferating, ones which focus on "habits of

mind" rather than upon factual mastery as evidence of student learning. Deborah Meier's

Ceritral Park East in East Harlem and Ted Sizer's Coalition of Essential Schools are

inspiring models of student inquiry. For these schools, learning is less about rigor and more

about persistence. In the working world and in the world of academic study, people have to

"walk around" a problem until they see an opening, a sliver to pry through. Real inquiry is

more about what the Japanese term gambura implies (coined for use in education by Fred

Dust, Head of the Bush School): a persistence that involves the whole self, rather than

mere memorization and linear logic."

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A man rolls the trunk from its resting place, heading into another part of the

warehouse. As she walks along side the trolley, the girl holds the trunk's open lid and

points to the aisles. "Turn here," she says, tilting her head in the direction of a row of

heirlooms and spilled flea market trifles. "It can rest here, in this space."

The trunk stands upright, and the girl opens its latches. She imagines her

grandmother checking her things, standing the trunk on the docks, with the breeze of a new

land catching her skirts. The girl lays the dresses and trinkets over the lid, and looks

through the heirlooms. Next to her trunk are the shallow boxes of her friend's keepsakes: a

flattened uniform of her father, the lackluster pearls of her mother. Somehow, these

treasures glow with adjacency, as her own belongings and her friend's should mingle there.

In a way, the girl thinks, all of the keepsakes belong together. Through the stories

they tell each other, the girl and her new friend have made a new family out of their

isolated ancestries. The girl vows to visit the trunk and boxes, adding and retrieving'

whatever she needs. Already, her grandmother's life becomes more lucid, emerging from

the haze of the past. She is bringing them back to life, this time back to her own.

* * *

Neil Postman's and Charles Weingartner's book, Teaching as a Subversive

Activity, published over twenty five years ago, re-ignited John Dewey's notion that "in

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every integral experience there is form because there is dynamic organization... The

organization is dynamic because it takes time to complete it, because it is a growth" (55).

For P6stman and Weingartner, the growth of dynamic organization in learning is through

"the inquiry method." Growth, in this version of learning, does not come from teacher-

imposed "rigor" but from the student herself. To explore a web of ideas "activates

different senses; attitudes and perceptions; it generates a different, bolder, and more potent

kind of intelligence" (27). When one becomes deeply immersed in the process, the inquiry

itself mixes with the subject explored. As Postman and Weingartner describe it, "learning

is a happening in itself' that helps "increase the competence of learners"(29). Dewey,

perhaps Postman's greatest influence, described the process this way:

"Material is ingested and digested through interactionwith that vital organization of the results of prior experiencethat constitutes the mind of the worker... Experience, likebreathing, is a rhythm of intakings and outgivings. Theirsuccession is punctuated and made a rhythm by the existenceof intervals, periods in which one phase is ceasing and theother is inchoate and preparing....The form of the whole istherefore present in every .member. Fulfilling,consummating, and continuous functions, not merely ends,located at one place only. An engraver, printer or writer is inprocess of completing at every stage of this work. He must ateach point retain and sum up what has gone before as awhole and with reference to a whole to come (55-57).

But the creative process is not as clean as the "completing at every stage" that

Dewey describes. Postman and Weingartner point to "question asking, defining, observing,

classifying, generalizing, verifying and theorizing" as components of the process, noting

that "the inseparability of language and inquiry is obvious" (37, 115). What seems to be a

Frances McCue 30

dilemma of language may be a dilemma of the inquiry itself. In turn, a dilemma in the

inquiry may be partially resolved through language.

Research, by its nature, is full of dilemmas. Within these live the possibilities for

the alchemy of true learning. But there are hazards of research that require a teacher's

profound ability to help students make good choices. Wholesome research offers a

repertoire of strategies to enter unfamiliar material. Research is active contemplation. The

composition theorists, particularly.Donald Murray and Peter Elbow, offer insights into the

early stages if collecting. They break down some of the mystery inherent in the creative

process. Students themselves offer fresh perceptions, visions of what it means to live in a

particular present. Students produce their own language. And, at the risk of factory

metaphors taking over and thrusting us back into an industrial model of schooling, let us

say that students also produce meaning, and collaboratively, they produce a stronger

meaning. It is not an assembly line, but a room of experts all fiddling with the product at

hand. This is not Dewey's model of progressivism which directly serves an industrial

society; rather it is a model of developing Postman's and Weingartner's "condition of

mind" and Deborah Meier's "habits of mind," qualities which serve a culture of thinkers

and questionersnot workers who imitate the tasks of machines.

Postman and Weingartner embrace inquiry as a series of uncoverings, unravelings,

and choices. "Most human problems require us to make choices," they claim, and "this is a

much more rigorous process than making a decision. We have to include more, recognize

more, consider more, and provide for moreof everything....Anything different from

what was expected is 'admitted' into the system"(117). Piaget's notion of learning as a

process of assimilation and accommodation points to the "system" Postman and

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Weingartner describe. Learners, as part of their process, must admit the information into

their frameworks of inquiry, thus revising the frameworks, and what Dewey labels the

"dynamic organization." The best initial frameworks are, for learners, plastic and flexible.

One morning, the girl finds a book and brings it to the warehouse. It has pictures of

cut glass vases, tiny lamps, china figures, and other collectables one might find in an old

house. The girl thinks the pictures are beautiful. "Look," she instructs her friend. "These

are just like some of the things we have seen."

Her friend nods. "Are they worth anything?"

"I just like them.- The girl points to a crystal candy dish. "Mine is sort of like that

onedon't vou think?"

"Yeah. it is." Hey, look at these dates. Is that when your grandmother was living?"

From the pictures, the two girls imagined a wealth of furnishings, a place where her

grandmother dusted and lived to be old. But life, they knew, was not quite like that.

Somehow the girl's grandmother had managed to give birth, and then to disappear almost

as quickly as she had arrived, leaving her trunk and her young child.

* * *

Just as the house and the living cannot be separated, language, as a route, can

. hardly be separated from its discoveries. To suspend judgment and to write into new

Frances McCue 32

contexts means unlearning fixed paradigms and shuffling them for the benefit of both

vision and truth. This makes language more organic, arising from the exploration, and it

inspires the exploration to bend to the language at hand. Revision of one may unravel and

remodel the other. The inquiry and the language used to pursue it are response-driven,

ongoing, and headed spiraling toward product. When a student is persistent in thinking,

engaging, reconsidering and problem solving, she opens up possible strategies to

dilemmas, both narrative and poetic as well as ethical. This is an important series of stages

in generating synthesis. The project at hand must relate back to its guide, and the guide

must see a place in the social framework for the project.

But how does creative writing as a form of inquiry find relevance in a larger social

context? First, by writing poems and stories, students are connecting to literature of the

past, and in many ways, letting their own creations-be influenced by work that they have

already read. This gives nascent writers some insight into the complex issues of craft, and

anchors them in a present that affects their research in marked ways.

Second, young writers can benefit from writing commentaries about their stories

and poems. A reflective commentary should accomp.any all creative endeavors, not to

privilege linguistic intelligence over others, but to offer the student and her viewers other

kinds of access to the project, and to account for choices made within it. These

commentaries should outline not simply the dilemmas that the creative process has posed,

but how the decisions the writer has made are reflected in the craft of the final piece. The

dialogue between the artistic piece and the commentary provides a metaphoric construct of

two things compared, and can inspire critical thinking and reflection on the work. It has

these following possibilities:

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Frances McCue 33

to separate the student from her work by giving an aerial, critical view of it;

to create a meta-awareness of the choices she has made in the process;

to use the vocabulary of the craft at hand and the language of expertise within the field

of inquiry;

to identify mastery and spaces for more inquiry;

to place revision within the fabric of creating itself;

to learn more deeply about literature (or any medium that is the subject of the inquiry);

to establish the arts as a varied and complek arena, suited to a variety of purposes;

to constitute research as an art, thus inspiring art-like techniques;

to increase the "competence of learners" (Postman 31).

Postman and Weingartner summarize the opportunities in the inquiry method by

claiming that learners "are more persistent in examining their own assumptions; the use of

definitions and metaphors {become} instruments of their thinking and are rarely trapped

by their own language" (32). A writer or painter can gain confidence as a thinker by

utilizing two structures of expression.

The third way to find relevance is to connect these poems and stories to other

poems and stories within the community. Exhibitions, presentations, dialogues and

submissions are all vehicles to connect the stories and poems to the larger machinery of

study and of relevance. Theodore Sizer's Coalition of Essential Schools provides a

working model of presenting material to larger communities, as well as within one's own.

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"You may look at the collections from other cultures, but you may not try on the

costumes," the security guard tells the girl. "Those items are sacred, not to be.woni."

The girl wants to don the masks and parade through the warehouse. She wants to

feel what it would be like to have a heritage different from her own. Instead, she stands

behind the red ropes strung in front of the shelves and peers into the rows of items. The

more she looks into her own trunk, the more she desires to look into the trunks and shelves

of others.

"Vanity does not become you," says the guard. "These things are not yours."

The girl becomes curious enough to look, but not rude enough to wear the

belongings of others.

Language works powerfully: it unites whole governments and dispenses opinions

from its citizenry. One must navigate through the disciplines, creating one's own sense of

cultural heritage, while respecting the various heritages of others. The arts provide a'

profound pivot for any investigation; yet there are ethical issues which any artist or writer

must confront. How easy it might seem for a young American writer to create a story from

the perspective of a !Kung Bushwoman. With the right articles and photographs, her life

might seem easy to render by connecting "facts", photographs, cultural icons. But the

imagination cannot hold up under certain presumptions. A writer always has to check the

authenticity of her voice, and work against the desire to appropriate the lives of others.

When she places herself in an honest proximity to the material, she must acknowledge

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what is within her rights to claim as a narrator. Wise teachers can guide students through

such choices, helping young writers and artists understand that context is crucial to the

rendering, and that one's narration conjures up ethical dilemmas.

To create new verbal structures that counteract bias, to reveal past frames of

reference that are no longer revealing, and to revive the dead language of research while

igiving it new perspectives, all negotiates ethical and social terrain. If writers are to put

their work to use in the social fabric of the culture, they must see the power of the word.

Paulo Freire is quite articulate about this: "Within the word we find two dimensions,

reflection and action, in such radical interaction that if one is sacrificedeven in partthe

other immediately suffers. There is no true word that is not at the same time a praxis.

Thus, to speak a true word is to transform the world" (75).

If the word has to be "true", doesn't that say something about content? Aren't there

facts and trends which need to be recorded by students? How does creative writing allow

for such content to thrive? Creative writing acknowledges distortion immediately. It says,

"These facts are accurate, but I will use theM in a context that will make them true." Truth,

really, is about alignment:Imaginative writing offers'a structure for ideas and factual

accounts to be actively stored. After all, the historic ballad kept the memories of wars and

royal lineages alive. Hemingway's stories bring realistic accounts of the Spanish Civil War

into our living rooms, just as Jamaica Kincaid's novels underscore many of the "facts" of

life in Antigua. A poem or a story is a salient structure that can uphold the demands of

content, while placing them into the particularity that imagined contexts demand. Many

contemporary poets, including Jorie Graham, Allison Deming and Alice Fulton have

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ruminated issues of science in their work, with an attention to the intricate nature of facts

and hypotheses.

Like Dewey, Jerome Bruner describes the nature of knowledge as a dynamic

structure: "Knowledge is a model we construct to give meaning and structure to

regularities in experience....For it is structure, the great conceptual inventions that bring

order to the congeries of disconnected observations that gives meaning to what we may

learn and makes possible the opening up of new realms of experience" (Knowing 120).

Negotiating a structure is part of the creative process; others call it revision. Students are

often resistant to "revising" their writing. Actually, this is quite understandable. Essays

burdened with red marks come back to them, and any writer must have a flicker of

embarrassment and a desire to "fix" the errors and put the whole piece to rest. But

embarking on a longer creative process, one which is not corrected but encouraged, one in

which choices are faced with bravado and reason, demands more than tinkering with

mechanical problems. It involves looking at the whole system of the exploration and the

poem or story as representative of that, as well as a separate piece of art.

The unconscious has always been romanticized as a powerful force in creativity,

perhaps because it has less of the mortar and glue of structural dilemmas. All writers turn

to the damp ferment of the mind's dirk spaces, hoping their work will draw out surprises,

unfamiliar truths. Many writers say that they write poems to discover what is true, and

record it in a new way. Any writing, really, is creative. A legal brief, for instance, shifts

through facts, seeking places to open them into arguments. Research ushers lawyers

through imaginative opportunities: they build solid cases by sifting through case books,

warping their findings to the facts, and connecting them with the language of conviction or

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defense. In the end, perhaps lawyers too are surprised by their own interactions with a

process of investigation.

When the girl sifts through the aisles and finds other items that remind her of her

own, she has a clearer picture of her grandmother. The linens are hand-sewn, the silver

sachet boxeS wrapped in felt. Across the aisle, she sees an old photograph yellowing in a

frame. Inside: a man seated at the head of a milk wagon, his horse looking askance,

beyond the frame. The silver frame matches her grandmother's sachet box, her silver

handled comb. For the girl, this marks an era, a time when linens were worn for weddings

only, and milk was chilled in holes beneath the floorboards. Her grandmother, unmarried

when she crossed the sea, must have come to the new country in anticipation of a wedding.

The dress, pressed into the trunk, had been unworn. The girl thinks now of men in milk

trucks, the flicks of mud against her grandmother's shoes as she stepped from the

gangway. It was here that she searched for her new husband. Could he have come to her in

the starched seams of a war uniform? The story unfolds, much like the dresses released

from the box, battered now by the decay of relics, and bolstered by the girl's own visits to

the warehouse.

* * *

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Surprise is what Bache lard calls "novelty," the unpredictable alchemy of

metaphors. By bringing two formerly unlike ideas, objects, or events together, the collision

can create new and unexpected truths, an escape from cliché into some new insight.

Bruner says that "all forms of effective surprise grow out of combinational activity, of

placing things in new perspectives" (Knowing 20). Such "fruitful combinations" (20)

instigate learning, and are the provocation in searching for new truths. Because writing

rebels against fixity, as Bahktin noted, intent cannot remain cemented to the utterance

(272-76). Intent and slippage, as a polarity, develops a creative tension which opens

possibility. Language uncovers deeper intents looming in the subconscious, and thriving

upon cultural cues, it shifts and exposes new insights. The resistance of language to the

individual's utterances (293-4) may, at first, frustrate those in the midst of imaginative

tasks; they want to say what they mean and having-said it, they want it to stay put. Who

can blame them? Writing, in our society, is often heralded as a direct transcription of

thinking, as if we all, like Bartleby, are scriveners, taking down precisely what the mind

dictates. But writing is less a dictation from the mind, and more a collage of ideas, moving

and banging against each other, organized into a particular representation. Writing is more

map than transcript; it renders complex terrain and pieces it into a whole. Some areas we,

as readers, visit more than others as we scoot across the topography of the piece. In the

process, the mind fumbles along, and the pen picks up scraps in its wake. Later, the mind

and the writing tools make compromises; they negotiate deals with each other. Form

evolves in the synaptic snaps of internal wrangles and external physical actions.

Teaching, too, is like this. No one expects her students to clearly recite all of the

profundities of presented material; instead, teachers help students move around the mass

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Frances McCue 39

of material, guiding them to their own revelations and complicated patterns of discovery.

Along the way, good teachers, like good writers, are surprised by the originality and

synthesis of thoughtful reflection and engagement. They are masters of compromise and

negotiation. The encounters that foster absorption, as Rollo May suggests, sustain the

interactions with the creative process itself. Pleasing surprises result from the integration

of left and right brain activities, promoting discovery. The renowned author of Flow, an

intellectual treatise on happiness, Csikszentmihalyi, also fosters absorption with tasks as

the key to persistence, deep thinking and, ultimately, pleasure.

Discovery is also promoted by collaboration. To move inside an inquiry is an

inclusive activity. One has to let others and "otherness" in. If language maps the terrain,

then we must work on both the terrain and our mapping of it, so that in Freire's terms, we

can make the words "true." Truth is better revealed by exposure to varying points of view

and our own circuitry, exposed to the matters at hand. To create and to unearth the

unpredicted truths means to investigate deeply while being as patient as a security guard.

Though the alchemy of formerly disparate ideas, the creative process thrives. Bruner

recommends setting up heuristic endeavors, aiming a compass toward productive

combinations. In the end, we live within the maps of our making, in turn transforming our

relation to the world into intimacy.

On a day when the weather cracks open and spring leaks into the streets, the girl

walks to the warehouse. The chill in the air feels like warmth. Ahead, she sees the

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Frances McCue 40

warehouse doors thrust wide, and a little flock of passersby clustering to the now-widened

entrance. The outer walls seem to peel away as the girl draws near. Light intrudes,

illuminating the aisles, catching the boxes and unassembled furniture. The girl pauses,

scanning the rows, the items thrust anew into the light.

"Step aside, please," the guard says. "We need to get a truck in here."

"Are you selling anything?" asks a woman on the street.

"We're moving some of this stuff to a bigger place," the man says, waving to a

truck, backing down the block.

"Will my things be going?" asks the girl.

"Most will," he says.

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Frances McCue 41

SPACE, STRUCTURE, STORAGE

Poetry is the art of seeing what isn't. It makes visible the spaces in which nothing

existed, and it emerges to fill these caesuras of our lives, or to remind us that such silences

exist. To create something from open space, a poet structures language, and in that matrix,

she stores innuendo, metaphor, philosophy, history and narrative. In the end, a poem is as

real as a warehouse. Readers, enter at first puzzled by the space; they look closely at the

building's cues: how it was constructed, how it fits into the environs, and what it might

hold. To read, after all, is to furnish and to store our belongings, to keep the experience as

part of our inner lives. By holding poemsas well as storieswithin us, we are weaving

complex interior narratives filled with longing and learning. Writing stories, poems, and

plays, and storing them on paper, rearranges and manipulates our fantasies; they assist

their creators in making sense of the world around them.

Learning, in many instances, is about storage. In school, we plug our heads with

verb conjugations, dates of wars, names of generals, the process of photosynthesis, and we

expect our teachers to excavate, to make us ready, and to provide us with such fill. But real

learning, as John Dewey and Ted Sizer tell us, is actually about connecting things, making

ideas out of isolated facts, forming opinions and substantiating them, and building new

frameworks for our beliefs and ideas to thrive. These are the elements we assemble inside

the warehouse, that place that once did not exist at all.

It is memory-- personal, cultural and historical-- that constructs our ability to store

knowledge and our uses of it. As Frances Yates points out in her seminal book The Art of

Memory; memory is "the converting power, the bridge between the abstraction and the

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Frances McCue 42

image" (96): This dialogue between symbol and idea initiates critical thinking, rather than

simplistic notions of representation. To place a lens on this interaction between the

abstraction and the image, drawing upon our own experiences and those of our culture, we

have the power to build a structure and then use it for storage: a monument with the doors

pulled wide and the entrance gaping, always open. Later, we wheel things in and out at

will, and if needed, we remodel the building, sometimes changing its very structure, to

accommodate our remembrances..

In these spaces where new visions can be structured, ideas beg forms. How will we

formulate what we know? How will we outline our explanations? And, traveling outward:

what forms do the culture's ideas come in? How have people built structures before? Like

poets, open spaces beckon to us. Wallace Stevens, at the end of "The Snow Man," writes

about this very recognition:

For the listener, who listens in to snowAnd nothing himself, beholdsNothing that is not there and the nothing that is (9-10).

To educate, teachers must have faith in the "nothing that is not there," and most of all in

"the nothing that is." Teachers offer possibilities andfacilitate the construction of learning.

They unroll blueprints and ask students to change them. They ask students to see spaces

and to build and to store.

Writing poems and stories and reconstructing them orally are two forms of storage:

paper storage and body storage. Both thrive on what James Moffett terms "inner speech,"

and what Frances Yates defines as the art of memory: "inner writing." What we keep

inside our bodies, what we retain and what we feel as part of ourselves is crucial to human

development and to anyone's ability to thrive in future emotional and intellectual arenas.

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Frances McCue 43

Body storage helps us act and to communicate immediately in "real time" through what

Deborah Tannen terms "interpersonal involvement." She notes that literate strategiesa

term she later refutesimpose "relatively less focus on interpersonal involvement" than

oral discourses (124). Tanne-n assembles these oral strategies which include: "pacing, rate

of speech, overlap and interruption, intonation, pitch, loudness, syntactic structures, topic,

storytelling, humor and irony" (133). These are all vehicles for pulling what is stored out

of ourselves, and possibly, influencing our listeners, helping them to remember the

interaction, placing it into their own forms of body storage. These strategies facilitate the

loading and unloading of images, as well as their assimilation into us. The magic of

storytelling becomes an art where these techniques mingle in a new way, inspiring the

magic of oral experience.

Paper storage, on the other hand, organizes our thoughts for more complex readings

that do not exist in the present. These readings live outside of "real time." On paper, as

writers and students, we create a different variation of storage, for a less personal, less

immediate purpose. Since paper is a separate entity from the body, and vulnerable to a

different set of environmental influences, literacy ushers in a whole realm of complexities,

both as a process and as a fixed storage. The act of physically rendering a story or poem on

the page is a different kind of making something out of words. As Moffett says,. "Because

inner speech is the matrix of spontaneous discourse that can be composed in any direction

and that reflects any externalities, it allows us to integrate all discursive learning" (Center

80).

By retrieving inner speech, bringing it outward, and revising it for the page, we

hone and explore what we have stored, creating then a new structure in a space that had

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not been filled before. Moffett calls writing a "revision of inner speech," and he claims

that "nothing is so important to education as this circularity of inner and outer speech,

mind and society" (Center 77, 95). To learn is to integrate, process and store. It is also to

give away what we have stored. What we learn is self-replenishing, thriving on use.

Because fictional, poetic and real experiences merge in the hodgepodge of the

mind, they all are the materials that structure value judgments. At times, one cannot

separate a real life experience from a "read- experience. Freud credited imaginative

activity with the power of lived activity, since both deeply influenced the psyche. James

Britton claims that by taking on the role of the witness, one sees one's own past and future

experiences along with those of others. Practicing this means one can also witness "events

that have never happened and could never happen" (103). All of these experiences

contribute meaningfully to our being.

Stories and poems are open structures, not airless bell jars, but storage mechanisms

that hold possibility. They store literal imagery and the permeable abstractions of working

those images; readers supply the bridge of memory; the alchemaic process grows, like

"black flowers bloom(ing) in matter's darkness" (Baehelard 19). Fiction also creates what

Sapir terms the "reduction of experience to familiar form" (339). Poems, in contrast, are

essential utterances, webs of essence, while stories host situations adjacent to our own,

realms where repression and desire can be unleashed, places where we might turn around

and see new perspectives. Both poetry and fiction need the potency of lived experience to

bloom; they allow us to incorporate particular fictional events into our own world views.

Umberto Eco describes fiction as "the opportunity to employ limitlessly our facilities for

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perceiving the world and reconstructing the past," and we "train our ability to structure our

past and present experience" (Eco 131).

Memory becomes an adhesive between living in'the present and realigning the past;

it is the bridge between image and abstraction that Yates so artfully describes. Sometimes

the process of building the bridge suspends time: for the writer, a world of past and present

can exist in one fiction or one poem which the reader re-activates in her own present, thus

dissolving the bridge itself. James Britton writes:

Events take place and are gone: .it is the representation thatlasts and accumulates and undergoes successivemodification. It is from the representation we make that wegain a sense of a continuing existence in a world that has apast and a future, a world that remains in existence whetherwe are there to perceive it or not (18).

How much this implicates fiction and poetry! Writers create representations, perhaps

inspired from actual events, and they create new spaces for understanding. "This is to work

upon our representation of the particular experience and our world representation in order

to incorporate one into the other more fully," as Britton states (19). Havelock narrows this

idea by pointing to Piaget's model: "The mind's attention is continually bifocal; it

preserves an identity, yet it makes room for a difference within this identity" (147). Our

storage is constantly shifted, filtered and replenished with new materials, as are our

readings of stories. In the end, both the internal paradigms of the mind have to

accommodate and translate imagery into abstraction, and the external presentation,

whether written or oral, must attend to structure as an expression of what is stored.

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When we make things, we make symbols, iconic images. When an architect creates

a building, she uses symbols in her materials and in her framework. The building itself

becomes a symbol for shelter, a representation of what is held there. Suzanne Langer calls

symbols "the typically human form of overt activity" (Philosophy; qtd. In Britton 21).

When we act, or when we store information, we are structuring symbols. Symbols become

the image end of the bridge to abstraction, as well as items to be stored within working

structures. To make poems, read texts, build buildings, write letters, we are reliant upon

representative devices. These symbols construct experience, and literature becomes, as

Langer claims, "virtual experience" (Problems 29). And experience itself is a construct; it

too fills spaces. When someone dies or when a book is burned, the space diminishes. It

disintegrates. We use memory to protect the ruins. In oral cultures, where history is not

recorded on paper, people protect the constructed spaces with tales, music and dance-- to

both hold things in place and to allow them to metamorphosize. In literacy cultures, pages

emerge as a vehicle to keep the memory of the lost alive.

Writing poems and stories constructs what isn't. It is also constructing what is. Like

Stevens' speaker who sees in the snow both emptinegs and possibility, we are all searching

for ways to leave marks on our world, and to let the world leave marks on us. Learning by

creating unites these two: in filling spaces, building structures and nurturing storage.

USING PROVERBS:

Proverbs are a natural bridge between paper storage and body storage. While

tucked in the body, proverbs retain deliberate syntactic frames, useful in both speech and

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writing. As culturally-embedded metaphors, such aphorisms store distillations of folk

wisdom. In many cultures, people draw upon proverbs to identify and deconstruct complex

situations. Because of their simplicity and brevity, in both structure and abstracted lesson,

they are "adopted as elementary lessons of culturally valued behavior" (Moreno and

Di Vesta 179-80). Proverbs are also useful to students, not only to identify and to

recommend appropriate behavior, but to use as a method of inquiry because they

"summarize prior experience, contribute to our expectations, and allow prediction of

outcomes in novel problem-solving situations" (180). This, for students, is a gateway to

critical thinking. A person who can invoke a proverb in a given situation, therefore, is not

dealing with an unknown," say Goodwin and Wenzel (142). Students can use proverbs by

relying on the cultural and personal storage they provide, and by mounting new proverbs in

old frameworks. In this way, learners can confront "novel problem-solving situations" and

make predictions. This method, as a mechanism for learning, puts language in action, in

form, and therefore in contexts to confront and disassemble enigmatic scenarios.

As frameworks, proverb structures are predictable and classifiable. They are also

communal, relying upon interaction, and quite often, they can even be more powerful than

the poet's storehouse of images. Proverbs resonate in everyday speech, and the listener

pauses to assimilate the proverb and reapply it to the situation at hand. Proverbs can

inspire the poet, urging her to build new truths from them. Such adages, shared socially,

rely on fixed, identifiable syntactic constructs. Some formulas identified by paremiologist

Alan Dundes are:

"Better than

"A is a

never

or

444 said the as (s)he " (46)

Frances McCue 48

"From the structural point of view," write Holden and Warshaw, "a proverb, is

really an equality expression. Graphically, it can be portrayed as an equality expression

between two statements, one literal, one abstract. The abstract one must be constructed"

(63). In simpler terms, a proverb is a metaphor. Listeners have to build the abstract ideal

from the concrete, and apply it to a larger context that is both specific and abstract: "All

proverbs are potentially propositions which compare and/or contrast" (Dundes 54). By

having the model to compare one unknown with a known, a student can come to a greater

truth about both the known and the unknown. Making metaphors is not easy; having a

generative proverb frame makes the process easier.

When given more detailed analysis, proverbs also display more complicated

lodgings: "The basic architectural structure is composed of four statements or propositions

and this is the basis for calling it quadripartite...four is a pervasive and stable deep-

structure, what Levi-Strauss called a model" (Perry 31). The syntactic structures also

display logical connections, illuminating the connections between the four propositions. In

the process that Goodwin and Wenzel outline, the roles of proverbs reach from specific

patterning into resonance; they "1) reflect an implicit typology of patterns of reasoning or

argument, 2) illustrate and comment upon legitimate patterns of inference, and 3) caution

against general and specific fallacies" (157). The logic of proverbs hangs on their framing,

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their structures. Even when they resound with truth, they are inferring accuracy with the

establishment of patterns, cues we easily, but mysteriously, recognize in speech.

Even in such logical frames, proverbs rely heavily on poetic devices. Like poems,

they distill experience. Ruth Finnegan states that "Proverbs are a rich source of imagery

and succinct expression on which elaborate forms can draw" (11). These elaborations take

on elements that transcend exposition, becoming poetic. Finnegan recognizes the element

of imaginative writing in proverbs: "...in addition to terseness and relative.fixity, most

sayings classed as proverbs are also marked by some kind of poetic quality in style or

sense..." (14). This intersection of the poetic and the structural open gateways to critical

and imaginative thinking, demanding applications to particular situations while also

universalizing them.

When students adopt these poetic devices, which Frank D'Angelo outlines as

-alliteration", "rhyme ", "metaphor and simile", "repetition", "ellipsis", "parallelism",

"antithesis" and "puns", they can learn more about the strategies themselves, while, at the

same time, embarking on the process of using proverbs as generative frames (366). Here,

the toolbox spills open, creating many uses, not the least of which is to "offer a general set

of rational strategies for deliberating about life's problems" (Goodwin and Wenzel 158). In

using proverbs, one gives an anchor to an enigma. Something vague and puzzling is

grounded within the application of a proverb. Since a proverb can "disambiguate complex

situations and events," by their nature, such aphorisms must be open-ended to allow the

injection of intuition, opinion and projection (Lieber 101). Of course, the proverb alone

serves to make sense of particular situations; the structure can be fixed while its

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implications and uses burst into open spaces. The structure frames the reading at the same

time it imposes freedom upon it.

Once used as "proof in formal arguments, and as a means of learning to

paraphrase," proverbs have been utilized by students for centuries (D'Angelo 367). Young

scholars in the Renaissance filled their commonplace books with adages. Other than the

Psalms, no rhetorical structure has so infused speech across cultures, and for such an

extended period of time. Even when isolated from whole contexts, proverbs ask their

listeners and readers to draw inferences and develop abstract reasoning: the same skills

demanded of a good reader, writer and storyteller. Proverbs provide opportunities for

students to look closely at the functioning of grammatical structures, individual words, and

literary devices (most notably metaphor).

Quotes, statements of wisdom, proverbs-- they all entice us. Proverbs can inspire

adolescent thinkers who have reached the Piagetian stage of formal operational thinking,

who are developmentally ready to grasp abstract meaning. (Research of Piaget, Holden,

Richardson and Church suggests that students younger than eleven or twelve generally do

not grasp proverbs.) Adolescents are, according to Pia. get, "the individuals who submit

themselves to possibility," and this new stage of awakening opens the door to a complex

storage facility in the mind. Because it feels motivating to find wisdom and apply it, one

can also marvel at inventing-it, filling spaces with new structural frameworks.

A proverb can open the gates to something not understood. But for a proverb "to

endure, it must also be useful. It must have some strategic value in coping with some

relatively common human problem or situation" (Goodwin and Wenzel 142). Parents

invoke proverbs as they grapple with raising their children; business people use proverbs to

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understand complex dealings with markets. Yet proverbs are a departure from regular

speech. Psycho linguists have long tried to ascertain how we orally tag these differences.

Something shifts in a speaker's utterance when a proverb is delivered; something tilts in

the listener. In oral cultures, these proverbial shifts lace speech. In poetic writing one can

sense the notion of the essence, of stylized language that transcends particularity. Roland

Barthes claims that "popular proverbs forsee more than they assert, they remain the speech

of a humanity which is making itself, not one which is" (154). With this power to forecast

comes the resonance of poetry; when one predicts, one conjures up imagery, the building

blocks of imagined space. Prophesy, certainly, is an act of imagination. Proverbs are one

leap into metaphor, into the foretelling of a world still evolving.

In many ways, proverbs pose oppositions that are "not resolved" (Dundes 60). A

proverb points to a situation, identifies its complexity, but does not demand direct action.

Proverbs ruminate. They allow students to pass into larger, operative theaters, where the

puzzles of science, math, history, art, architecture and literature reside. What they store:

folk wisdom, one's identity with particular cultural heritages, aphoristic structures and

methods to apply them, all the while begging the contexts.

Walter Ong, linguist and cultural theorist, claims that proverbs are forms of "social

apprenticeship" in some cultures (9). They provide the impetus for storytelling, but they

also serve as mnemonic devices. Ong claims that "serious thought is intertwined with

memory systems," (34) and Havelock takes it one step further by claiming that "mnemonic

needs determine syntax" (87-96; 131-2; 294-6). To invert the equation here, students may

turn to formulas in order to memorize material, as well as to generate new meaning. Ong

believes "formulas help implement rhythmic discourse and also act as mnemonic aids in

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their own right..." (35). It is easier to remember lists, principles, and ideas when one has

structural frameworks, or warehouses, in which to put them. Even such a distillation can

create the impetus to move from entropy into a creative process. Proverbs, along with the

poetic tools they utilize, give one solution to exercising memory as a trolling net.

Alliteration, antithesis, assonance, epithets all serve as forms, inside or outside proverbs.

Such exterior patterns help internalize information and philosophy.

In the conceptual framework of Space, Structure, Storage curriculum that follows,

proverbs are generated not as morals, but as invented truths. They are practice hooks that

direct us into these cultural storehouses. "By citing a proverb...a speaker makes his hearer

aware of or convinces him of (his/her) common group membership or cultural heritage..."

(Lieber 146). By looking at proverbs from other cultures, one can learn more about his or

her own. They provide both access and identification, a means to explore the world.

Miraculously, it seems all cultures use some variation of proverbs, a wealth of information

stored in such humble huts. As segues, proverbs are passports.

A CURRICULAR MODEL

To connect these notions of space, structure and storage with proverbs as

generative frames, the following model places this process into a curriculum. Divided into

seven parts, each part is designed for one to two hours of meeting time. The whole

curriculum works as a mini-course or part of a larger high school or liberal arts course.

Like Donald Murray's paradigm of the writing process, this model attempts to both

instigate and organize chaos. Murray's diagram looks like this:

58

WRITING

COLLECTING aleCONNECTING

N" READING

(23)

Frances McCue 53

The space, structure, storage curriculum, as a process, is a constructivist and dialogic

exploration. As "the writer welcomes unexpected relationships between pieces of

information never before heard in the writer's head," as Murray describes, she explores

material outside her own storage mechanisms (20). Unlike insular theories of the writing

process as a self-centered activity, this new model breaks outward, knocking out the side

wall in the "collecting" side of the equation.

Proverbs generate reactions, opinions and inferences about the outside world, about

material that is puzzling. This is where inquiry begins. Like the curricula of The Coalition

of Essential Schools, this curriculum is triggered by an essential question, a pivot from

which the class activities spin, throwing open the doors of students' warehouses. The

model is structured so that a variety of subject areas could plant themes.into this

"triggering town" (as poet Richard Hugo would call it). The over-arching theme of Space,

Storage and Structure could be replaced or re-modeled to suit the needs of the exploration.

In its structuring, this process of curriculum design emphasizes the necessity of a

thoughtful open process with enough framing to sustain inquiry, without stifling it. (This

design is, however, flexible and broad enough to house a range of inquiries.)

Since poems and stories are begun here, along with some rudimentary

memorization analysis, both oral and literate traditions are called upon. These methods are

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Frances McCue 54

transportable across disciplines, focusing on the role of memory, or building knowledge

into oneself through the workings of image and abstractions. In many ways, no matter what

the course, one's work is always about Space, Structure and Storage.

The Coalition for Essential Schools and the work by Brooks and Brooks (The

Constructivist Teacher) greatly influenced this paradigm, centering on an essential

question. Since learning is a process of exploration rather than the load-and-fill strategies

of content-driven classrooms, the model should be considered as a circular one, one which

can be repeated many times through the course of a sustained dialogue, or extended so that

it rotates in a single sweep throughout a term long class. Ultimately, a scientist,

mathematician, historian, painter, dramatist, writer and critic should feel comfortable

operating in this "space." The structure is as flexible as it is fixed: a form- of impermanent

architecture.

THE ESSENTIAL QUESTION

The triggering subject in the following curriculum design is Architecture: some

elementary principles. In many ways, this essential question was inspired by The Art of

Memory in which Frances Yates connects memory, as a deeply human function, to

architecture: "Very singular is the art of this invisible art of memory. It reflects ancient

architecture but in an unclassical spirit, concentrating its choice on irregular places and

avoiding symmetrical orders. It is full of human imagery ofa very personal kind..." (16).

Using this focus, the exploration takes students (high school, undergraduate or adults) into

history, classical studies, drawing and design, and literature.

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THE MODEL:

A flat, two-dimensional model follows. It should be thought of as a rotating mobius

strip, constantly moving and twisting to make connections. In the first interaction, proverbs

are analyzed, supplemented with material which describes their structures and their

cultural universality. These discoveries are connectedto the essential question, the subject

matter at hand, to generate written material about specific observations and processes

inherent in the topic. From these applications of proverbs to discipline-specific material,

the class moves to creating stories and poems, while letting the proverbs and the new

material inspire them. These stories and poems are presented both in writing and orally.

Pedagogically, this exercise hopes to assist students in articulating their ideas without

paper, drawing on the skills of the storyteller, as well as to enhance their writing skills on

paper. "Body storage" becomes the assimilation of memory and living in the present, and

storage" of adhering images to paper, and not allowing them to draw on animated

assistance from their creators. This distinction should open windows to learning, to meta-

reflections upon each students strategies for assimilating material. At this point in the

creative process, students can accommodate revision of the initial stories and poems with

new discoveries of the initial material. Refining the essential question becomes the

penultimate activity, one which plays to the specific needs of each student's search for

themes and pivots in the subject. At the end, the group reviews the role of the proverbs in

the learning experience. This juncture provides the opportunity for the research to spin

back to its origins, and allow more response

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Following the model is the meeting-by-meeting breakdown of the curriculum.

ESSENTIAL QUESTION

STORIES, POEMS/PAPERSTORAGE

BODYSTORAGE

DISCUSSIONOF

STORAGE &STORED

REVISION OFSTORAGE &

STORED

REFINE

ESSENTIAL

QUESTION

ROLE OF PROVERBS

CREATECONNECTIVE

WEB S

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Frances McCue 57

Frances McCue 58

PART 1:

Activity and Location: Discussion in the classroom.

Materials: slide projector, slides and reading material.

1. Look at James Tate's poem "No Spitting Up." (Appendix A.)Discuss first line as a generative frame.

2.What is a proverb? Make lists of ones we know. Review cultural ones.How are proverbs a means of storage? (Appendix A.)What models do they follow?

3. Using these, we make our own proverbs in response to three slides which representdifferent genres, eras. (For example: pre- Gothic cathedral, 19th century theater, LeCorbusier house.) (Appendix B.)

4. Discuss four principles any architect has to consider:Use, functionality, aesthetics and content.Apply these to the proverbs and to what they reveal about the buildings.

Assignnzent .fi)r Part 2: Read "Some Uses of Proverbs" by Frank J. D'Angelo, Proverblist from other cultures and Chapter One of Experiencing Architecture., (Appendix C.)

Analysis:

The goal of this day's work is to recognize and analyze what a proverb is, collect

some we know, and apply them as generative frames: recording opinions, intuitions and

impressions of three styles of buildings. Tate's poem (a prose poem, really) uses a

proverb frame to create a new, comic wisdom in his poem "No Spitting Up." The poem

fills space with its stocky, sturdy structure. It resembles an elevator, lifting us from the

frame, into a new and complex world. This exercise draws upon what we have stored in

our bodies (proverbs along with untethered ideas), and asks the class to revise and utilize

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these things from our memories to discover new concepts about architecture. Essentially,

the exercise uses intuitive ideas to generate discussion and inquiry into architecture.

PART 2:

Activity and Location: Travel to site of empty lot, space where a.building once stood. (Ifa site visit is not possible, photographs of a lot with surrounding environs will do.)

Materials: tape recorders, journals, pens.

I. In groups of three, make up three proverbs about the space, and three about thebuilding that you would build there.

Use D'Angelo's categories.Keep in mind the architectural and proverbial principles you learned about in yourreading.

2. Each person must write down the six proverbs and the corresponding categories towhich they apply.

2. Then, in these same groups of three, take turns tape recordingyour impressions as youwalk the perimeter of the site.

Approximate measurements using stride's.Look at the context of the site. What is around it? What would be useful here?What might an imaginary building be like, taking into account, use, functionality,aesthetics and content? Who would use the building?Start to make an oral story, or tale about the scene and building. This may be inspiredby the proverb. Use your tape recorder to take notes and your journals to drawimpressions, ideas you can't hold on tape.

Assignment for Part 3: Write your own version of the story you began together. Includeat least one of your proverbs and several of the impressions of the space you explored.

Analysis:

By taking this journey out of the classroom, students are literally moving through

space. Then, they arrive at a building that isn't. Using the "nothing that is not there," they

create impressions of the space, as an architect would, constructing the beginnings of a

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Frances McCue 60

hypothetiCal building by relying on proverb, making the "nothing that is." The groups

will generate more ideas by working together, and by recording their impressions, as an

oral historian would, on tape. They are learning to collect material. The reading, on

architecture and proverbs, enhances the students' abilities to generate ideas and to locate

ready frameworks for them.

PART 3:

Activity and Location: Discussion in the classroom; large and small groups workingtogether.

Materials: tape recorders with previous day's tapes.

1. Read Frances Yates selection together. (Appendix D.)Discuss the concept of buildings as storage facilities for memory.Use specific buildings from the stories as examples.

2. In the same groups of three, listen to tapes, taking notes.What did you learn about space and context?

3. Share your stories, noting similarities. In your journal, make a list of these similarities.Do you have similar characters or situations?What are the characteristics of the building?What does the story remind you of?

4. Plant memory loci within your fictional building.

Assignment for Part 4: Revise your story to be delivered orally. Use memory loci in yourbuilding. Be prepared to tell the story in class. It must be at least three minutes long.Read "Demolition" by Mark Doty. (Appendix E.)

Analysis:

When the students handed in their tapes at the previous meeting, they surrendered

a form of stored memory. To create the stories, they rely on original proverbs and

Frances McCue 61

whatever they could recall at the site, filling the rest in with imaginative inventions. They

literally walked around the space and imagined a building there. According to Frances

Yates, the ancient system of memory outlined in the Ad Herennium is "the main source,

and indeed the only complete source for the classical art of memory both in the Greek

and Latin world" (6). Written in approximately 82 B.C., hundreds ofyears before the

invention of moveable type, this system demanded that the student of mnemonics

imagine a building. This building, furnished with imagined details, becomes the

container for the speech, story or list that the imaginer needs to recall later. By placing

cues from the target discourse on to loci within the structure, the memorizer tours the

building. When the information needs to be called forth in the future, she returns to the

loci where the earlier ideas were planted. By "walking" through the building again, the

original material is recalled. This is a useful connection to the physical act the students

performed during the last meeting when they walked around the fictional building.

The discussion can, and should, sprawl into regions of memorization and physical

space, and how we structure internal space. Some worthwhile questions: Did the space

give cues to your imagined building? How will you remember them?

In the second part of the meeting, students listen to their tapes and create new

versions of their stories (revision), from the ones they've written. Together, they work to

plant memory devices into their stories so that they can be re-told orally.

PART 4:

Location and Activity: Discussion in the classroom. The room should be set up like atheater in the round.

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Frances McCue 62

I. Performance of oral tales.Watch body language, and try to feel the structure of each story.

2. Discuss what the stories have in common in terms of imagery.Make some assumptions about what the stories and proverbs tell you about the space,structure and storage of the hypothetical building and empty lot.

3. Write these impressions down.

Assignment far Part 5: Draw the building which you would put in the empty lot. Youmay include floor plans, sketches of different angles, but emphasize the shape of thebuilding. This might be done on the computer, especially with a program like VISIO.Read 3/14, 3/15, 3/16 in Architecture is Elementary. (Appendix E.)

Analysis:

The oral presentation of stories reveal strategies of memorization, along with the

difficulties and successful techniques of sustaining a story in front of a group. The

underlying grammar of the imagery, as Bettelheim claims, will reveal a lot about the

speaker and/or narrator of the story. Students should be prepared to watch the stories,

noting points where the delivery especially imitates content. These stories offer devices

to assist body storage, and inspire an ongoing exploration of architecture. Because

students are keeping records of elements of space, structure and storage, the tools for

learning a range of information and ideas, and reformulating them, become more

developed. "Demolition", the poem by Mark Doty, describes the demise of a building. It

creates a structure that details the vulnerability of another structure, an idea that grows

more useful over the next meetings.. Since poetic devices are also strategies for housing

memory, the students may be inclined to draw upon these as they construct their own

images and plant them in the stories.

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Frances McCue 63

PART 5:

Location and activity: Discussion in the classroom, individual and small groups.

1. Tour the room, and look at the drawings.Compare buildings.

2. Look at the proverb structures proposed in the handout. Which one would you apply toyour building? Why?

2. Create new proverbs which apply to your building.

3. Write journal responses.How does your building structure space?How is it a reservoir for storage?

4. Draw memory loci into your building. Make a key.

Assignment: Write a poem in the shape of your building. Use your proverbs to help you.Read Chapter 2 in Experiencing Architecture and selections from Housekeeping.

(Appendix F.)

Analysis:

Paper storage can include visual representations outside of language. In the

assignment, students generate drawings of a building to fit in the space they visited. The

goal here is to imagine visual space, and to apply some basic architectural principles to

their designs. In class, they turnonce againto proverbs: first, by choosing some

structures from D'Angelo's categories, and second, by creating new proverbs in those

frameworks. Abstract reasoning is escalated here: choosing the proverb framework is

inspired by the building itself. Two structures, two storage facilities, overlap in the mind.

The class returns to storage, placing memory loci in their buildings and writing journal

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Frances McCue 64

reflections on these. This day's work makes storage both literal and abstract, bridging

what Yates calls the abstraction and the image, with memory.

PART 6:

Activity and Location: Discussion in the classroom, individual writing activities.

1. Share the poems and discuss what issues the poems raise.

2. Make a compare/contrast list about your building and your poem.Use this list to instigate generalizations about how buildings and poems are alike.

2. Use the poem to inspire a short essay about architecture.Imagine what is outside the borders of the poem.What does your poem store?

Assignment: Journal entry reflecting upon how you have structured space, and storedyour responses over the last meetings. Write at least three assumptions: one aboutmemory, one about architecture and one about literature, each on a separate sheet ofpaper. (Be very specific. Cite an example on each sheet, to support your assumption.)Write at least three memorable quotes from your reading, each on a separate sheet ofpaper.

Analysis:

Suzanne Langer, philosopher of aesthetics, says that a poem, as a "composed

apparition has as definite a structure as a musical composition, a piece of sculpture, an

architectural work or a painting" (Problems 148). Students here are embarking on artlike

research that immerses them in a creative process. In this way, the results differ from

research papers. The poem "is not," Langer goes on to say, "a report or a comment but a

constructed form... in the same way that a work of plastic art is an expressive formby

virtue of the tensions and resolutions, balances and asymmetries among its own elements,

B8

Frances McCue 65

which beget the illusions of organic nature that artists call 'living form' (148-9). The

poem is, in other words, an object. The point of this day's work is to treat the poem as an

object that can inspire a more discursive dialogue.

PART 7:

Location and Activity: Interactive group work and large group discussion.

Materials.: tape and multi-colored yarn.

1. Assemble the observations. Read them aloud.

2. With tape, the students should affix each assumption and quote to separate physicalloci within the room.

3. Divide the students into teams, each designated by a particular color of a ball of yarn.The teams represent: 1) Buildings 2) Memory and 3) Literature

4. The students, in teams, circulate through the room. The goal is to make connectionsbetween the quotes and assumptions that have been taped throughout the room. Using thestring, they connect the physical quotes and/or assumptions, two at a time. For eachconnection, they must write an intellectual connection between the two loci, and hang itfrom the string connecting the points.

5. After a set period of time, when the students are sufficiently tangled in the web ofyarn, they should stop. The teacher will point out the. connections, and then the studentswill read the connections and vote on each one's legitimacy as an intellectually sturdyidea.

6. At the end of the meeting, students choose connections to take home, and paste in theircommonplace books, to inspire papers beyond the realm of this particular curriculum.

Last Assignment:. Reflect upon oral vs. paper storage of ideas. Which is useful to whichsituations? Present, orally, your ideas from the past six days of study. Make lists of whatyou want to know more about, in architecture, urban planning, the development ofmemory and in stories and poems.

Frances McCue 66

Analysis:

This exercise seems complicated, but it is actually just a physical rendering of

what students already do when they write. By making connections, writing them down,

and following them in the topography of a classroom, they are constructing a physical

architecture, a web that might represent history, thinking, or structures for storage. This

culminates the ideas generated over the last six_ meetings, and inspires more specific

explorations in architecture, literature and classics.

ASSESSMENT:

Assessment tools for the curriculum are based on two principles:

Transportability:1. Can the model be used for inquiries in a variety of disciplines?2. Does the exploration contribute to addressing meaningfully the essential question?

Connections:1. Are the methods clear and understandable?2. Does the reading promote a connection between abstraction and image, betweeninterior and exterior forms of learning?3. Does the conceptual framework of space, structure and storage hold up through theactivities of the curriculum?

To assess the work of individual students, the following criteria might be considered.*

Each student should:

1) record material in a commonplace book or journalAssessed on:--depth of inquiry, including range of resources--risk-taking- -accuracy and thoroughness of records- -mapping the sources of intuitive decisions

2) ask questions that promote searching

This model is based on work with Klingenstein Fellows Bill McGuire and Eric Temple.

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Frances McCue 67

Assessed on:--asking questions of other groups--asking contextual questions--asking questions that promote further inquiry--asking questions that reflect upon data of one's work and work of others

3) use reflective analogies to draw relevanceAssessed through log book, nightly assignments and group discussions

4) give attention to research detailAssessed through log book, nightly assignments and group discussions

5) contribute to general researchAssessed through group work, drafts and final versions of writtenmaterials

71

THE GLASS PASSAGE

1. The Anteroom

These words are glassspun airless from sandlike an utterance, half tongued,caught behind our eyes, the gazeinto spaces dissolvinga place locked by omission;materials, here, turn overof glass partly transparent

Frances McCue 68

In Nature's shifting glimmer-glassStars are nets, we their haul,Gods are shadows on a wall.

Velimir Khlebnikov

glass unglued a languagesanded into fire, melting

tongues leave speechgazing back through simulacra

solving the way, the passage:mission in frames where

lovers in the mind, shardsapparent, still. There is a wall.

Hang your coats. We'll begin here.

72

2. The Corridor

Think of steps, travelingyour boots slapping marble

The room, here, folded inour choices narrow.

Lonely as you arethrough hallways. Arches

Neither wall can mirrorbehind us, in the anteroom.

coats snapped to racks,begins like a museum.

Take only what youLet the words pull tight,

stilled mid-glance, forSymmetry is a conceit.delay, retreat. Let's saystark continuum, alum

Pull the pavement overhead.the plumbing of our streets.

underneath, never to crossbeg for segue. The way

where millennia adjacentThis bridge, all glass

Landed now, the routetour at twenty centuries'

from hell to heavenA gaze, alas, will keep

dear Charon's wake.

neither up, nor down,perhaps, or wood.like speech collapsingYou must squeeze through.you hurry, as most dowantyou to float.the other, as it didYour belongings shuffledhats tucked, the place

No wallets here.might need graveside.slipping you into a gazefocus saves nothing.Look closely and it willthis corridor is time'sthe language most adored.Tinker with the underbelly,Most of those who passcenturies, hugging the last,through sets the straddleare pulled wider apart.some leadlifts and sinks.charts a glass-wrappedend. Follow the mazeoverlapped in purgatorio.the thing aligned, acrossDo not look back.

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Frances McCue 69

3. The Palace

Frances McCue 70

Within the harmoniumtime sends to us,sealing our centuries,

glass slides the materialahead; in panes-- gloriousengineering frames.

From the crystal palace,we learned to build,to layer, to tear away:

modules. No greenhousecould imitate plantslike this one: huge poppies

spinning through transepts,the apple's core, unblightedin the bracing links, a leaf

spread across the roof,view through a forest'sslivers. Passage as palace

or warehouse, conceitsthe architect could notimagine, her prisms

overturned. Luster transformsrepeating frames toornament, panels replicated

for acres. And the artifactscollected there' Looms spunmid-weave, the fabric's hands

spill beneath the glass; baskets,nets, frames, artless machinesheld under glass. Such wares

doomed to excess: the palace

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Frances McCue 71

dissolves into vision.From outside, it melts to air,nothing solid. Something

buzzed under the roof,like a fly under a donut dome,in this hothouse. At first,

it was psychological,a monumental opening,interior without boundaries.

The palace burns, glassrestored to fire. Ruskin's wordscaught flame, dissembled

the greenhouse frame.As warehouse, cathedralor station, the palace could never

sustain a railway's steam,or live up to its relics.By now, the glass turns maze.

What we long for:a veil to revealand disguise our gaze.

75

4. The Arcade

Could such a thing be so garish?A dirty sky's our light into pass-

motes to iron strands, all rustand soot. Boots smudge the routes,

Greenish in their sludge, lampslong dimmed, bulbs, filaments

steps, aloof, pulled through the market.In the tangle of fauna, shadow--

our tensions. In the jamb, sightfolds slim, veiling the clock mid-

a crystal edge where light splinters,bounces into gaze. Wait! These shops

display their wares, proppedbehind the glass. The dress-

with buttons looped throughwhile the cobbler's trophies--

Pressure sealed, the items cannotreach behind the wall. Corridors

glass seal a verdict. Draperies mockthe gaze, trimming the view back to

light into glare, and shears our watching,these commodities, ossified, lost

Frances McCue 72

ages of history and novelty.Baroque leftovers pull

from shop to hall-- each way deadends into glass and doorways.

tinged, find nostalgia for the gaz.Such lighting slows our march,

the door peels ajar. Above railsof balconies and gates, iron-wrought

chime, the hem of a cloak.A decanter standswe catch the prism,

are closed. The arcade, now sealsits relics. Shopkeepers, long dead,

maker's dummies, press the panes,in gingham, fur collars, and shoes

soles half sewn-- tip to the window,dragging some bootless world aloft.

lean from the center, spokes alignedfrom the walkways' hub. Views through

ourselves. There! A chanceto razor-cut the city, turn lamp-

7-6

Muse, so subterranean, so filledby an aquarium, you turn

a thermometer-- mercurysliding down our aisle. Then:

feet-clamped upon the street.

a century ago, frozen in glasslike the baker's cake, unretrieved.

the city into steam, hothousefilter of our woes. The ceiling's

it opens.at the mercurial pitch,leaving us, hot and shivering,

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Frances McCue 73

5. The Fissure

From the arcade's narrow gape, the street.Leaps of faith tumble us skyward, Grateswispy beneath. Through the passage,leaking, we travel up. No architectureonly sleep. In dream or aeroplane, wea cloud-bound route. Our city illuminatesspines, double-baCked, connectedall light and glass. Downwind, landspins us into vision. The roofs aresoot-grout fills the rims. Lids withinstacks its margins: roadways wideningaround and over, like water guidedDarkness softens our air. Up here,and land, the heart lilts, caughtGlass holds us, fixed in our littlethrough space. Then, the pavementpulled to us by gaze. The passageair. Buoyed by illusion, a glassthe passage adheres to all rooftop,

78

steam,a city's bubble

protects us,alight into

the waterwaysin strings: bridges

scape tilts,pavement-tarred;

lids, the cityin rings, wrapped

through its banks.leaning to stars

in the heavens.ship, porthole-clips

lifts from earth,narrowsthen, open

chain linked by fissure,all sky.

Frances McCue 74

Frances McCue 75

6. The skyscraper

Both illusion:language canwrap a bulb,but neversave a filamentfrom wind.Shieldingthe bulb,a glass tubemay leaveus speechlessin the end.What is on_ eto do, butmerge the two?Up-ended,our passagein crystal,aligns ourmovesfrom centreto transept.The gaze:a reflective net.Should itfloat, and spin usoverhead,what will becomeof our earthboundlives, the hellswe buildin spheres?They'll cutcorners..Take the elevatorto a dividedview.In the pausefrom palace tooffice,blueprintsare outlinedupon the glass:our skin.

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7. The Glass House

Frances McCue 76

Antidote to corridors dark and thunder-struck,the houses of our childhoods come back to us.No dwelling survived without the relic: windowglass long-dimnied from use. Our memoriesmerge into clear, glass frames: pure nostalgia.

Once I lived in a windowless room.How I envied the walls! The voices I could hearjust beyond the plaster, never appeared.But the wall faced me, and tucked into corners.I caught my hush and pressed myself upon the plane.

Later, the room slid wide. (I moved.)So swept and modern, and the view!I was lonely without my walls. But looking out:glass cleared a passage. It opened the sky intoour alley, into my room. I couldn't see it then.

People who live in glass housesshould watch their words.Children grow transparentwith the outside looking in.Here, a child utters glass.

She speaks and shards fall from her teeth.What will be her fate? Or the glasswhen it looks transparent but is not- -just a pile at her feet?Some words are cinderblock,

think of that. When the child seesa mirror, she can't speak.The glass, uncracked, glancesback. And though it bifurcates her view,the child can see through and know

that glass has made her into two.Shards, fates, the glass accumulates.It looks transparent but is notlike words one cannot.look through.Glass can warp a glance,distort the face: language too.

To live in glass is to hold a watch.

8 0

8. From form to material

TIMEglass: passage:transparent connectionfluid hingeview enclosurematerial structure

FORM

veil way throughskin chuteenclosure liberationvoyeurism surveillance

MATERIAL

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Frances McCue 77

9. Paradiso

"\-kov.

.xt N$ to sMasVt.NOT,s

.'

In paradiSe,we"`- t-rash

to make mote space.We've shatteted

our past, and crave shards.

Our streets roll with gravel, all glass.

Ornaments hide our defects; gaze is a net.The passages slides away, as wordsspin tainted by their lodgings, lifting the poem,hermetic, from the frame.

Buildings in the mind, warehouses for our past,ask what memories adhere to glass?Fingerprints, once ephemeral,stay forever in the pane.

Marks of the hand obscure our viewsuch veils transform a wall to skin and husk.Reach toward light, and findyour wrist dipped in water.

Paradiso: To become the wrinkle, thefold through time and warp,where gods are pinned upon the walls,kept from us by glass. Leave traces:

the knob within the hand, the seat within the chair.When glass cracks, the snowfall rests:When glass shatters, the vision grows.Our passage ends. Ahead of us:

The years to cross in splinters.How unexpected is heaven's novelty?Is a word a mirror, or the mirror a wadeless seawhere words must drown?

Dostoyevskv Notes from the Underground

Frances McCue 78

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Frances McCue 79

COMMENTARY ON THE GLASS PASSAGE

Of all architectural materials, glass has the most in common with words. Both language

and glass, as materials, can be sturdy as well as fragile. Glass makes walls; words hold up

governments. They are vulnerable too: paper is flimsy and windows can be broken with

errant baseballs. Glass and language carry deceptions as well; they seem transparent, but can

store strange innuendoes and refractions. We see ourselves in words and in the looking glass,

but we cannot completely trust either vision. In contemporary literature, as in architecture,

the reader is implicated in the structure, in materiality. Like glass, words can gesture to the

viewer, refracting back some distortion of herself. Both words and glass allow the audience

to read the material and to be read by it. In the poem, I wanted to play with some of these

revelations and deceptions, and use both material and form to illuminate them.

In the past, glass has been subservient to form. Panes filled in the walls of Paxton's

Crystal Palace; they lined the roof of arcades in the last century. Recently the attention has

turned to the materiality of glass. In literature too, the language poets and self-reflexive

narrators have isolated words as a medium. I wanted to imitate that shift in the poem. It, too,

travels from the highly structured to a dissolution, or shattering, of the form.

In "The Anteroom," a lobby space is created, a place to "hang your coats." The piece is

actually one stanza split down the middle to create an opening. The endwords on one side are

repeated (sometimes in different variations) in the first words on the other side of the line.

Frances McCue 80

Imitating the reflectivity of glass, the "walls" meet as if a transparent sheet were inserted.

The two sides reflect each other, yet their sameness is a foreground for different

backgrounds, much in the way that one wall can separate two rooms.

The wrangle here was to create a stanza that could be read across, and as two separate

stanzas, reading down. I had to balance them, rhythmically and visually. In many ways, the

left side of the poem, read on its own, creates the passage as an issue of empty space, "a

place locked by omission." The right side claims that the passage, much like an echo

chamber, is a place seeking an original, "gazing backward through simulacra/solving the

way...". As a whole, I hope that the stanza represents the dichotomy of the passage as a place

constructed out of a need to speak or build, to fill a space that has been empty, and the need

to sort through the repetitive-"shards" that claim no original.

"The Corridor" removes the reflecting wall, and inserts glass as pure transparency. It

.demands to be read across the gap. As a mimetic device, I want this form to parallel the

constrained feeling of going into a confined space. I don't want the reader to be able to turn

back, or make choices with the form. The symmetry should be confining, the caesura

relieving. Here too, rhythm was important for balance and to thrust one forward. The

adjacent rhymes and nearby slant rhymes further narrow the aisle through which the tourist

of the passage ventures.

By adhering to tercets, "The Palace" relies on modularity. It is "Passage as palace/ or

warehouse." The orderly display holds some unusual artifacts, and the comparisons to the

Frances McCue 81

Crystal Palace are rampant. Like the palace, this .section of the poem stores countless

artifacts, and in many waves, it, like the palace, dissolves under the pressure of viewing so

much. There are some heavy, chiming rhymes in here too; 'they semi-mock the repetitive

obsession that Paxton had in his relentless design.

Things turn more subtle in section Four. To capture the arcade, I wrestled with the notion

of "dead ends", the little shops that provided no other outlet for the browser. One had to turn

back around and head down the main corridor to "razor-slice the city." The couplets provide

a thinner frame than those we've seen, a narrow cut that tempts us with choices (the shops)

but ultimately dump us "feet-clamped upon the street." In this arcade, the shops are closed,

and the view is of relics "stapled to the glass." Hopefully, the form is a clear membrane for

vision, like one offered in a museum.

To move into the twentieth century, and to confront the glass chain correspondence, the

influences of Dadaism, futurism and a host of other influences, I chose "The Fissure" as a

form. This splinter, or crack, dislocates the clear, mdmbraned symmetry of the earlier

sections. The "centre does not hold." Vision is starting to become fractured; in the lust

for the modern, architects are frustrated by outdated forms. As with much of the writing

in the poem, Khlebnikov influences this quite a bit. He ached for new forms, and he

aspired to architecture, fissures and all. Khlebnikov was also obsessed with aerial views;

I took him up on the challenge by using the fissure as a skyward leak, pushing us above

the city, taking the passage to the heavens.

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Frances McCue 82

"The skyscraper" is an obvious mimesis of a real building, and from here, the poem

heads into realms more abstract. "The Glass House" tries to dodge mimesis with fable and

memory. Just as the glass house itself pulls apart notions of materiality with a simplicity in

form, the poem takes on blocky stanzas that reflect corners and odd adjacencies. The leaps

are fanciful, twisting proverbs and devices of apostrophe and magic realism. In the middle of

the poem, a shift occurs from the attention upon the speaker, our tour guide (the watcher) to

a strange scene within a glass house (the watched). Anything, after all, can happen in a glass

house, and someone outside it, like a reader, might get to see it.

In the penultimate section, I'm playing with some language poetry and some symbolic

demarcations. By isolating words and aligning them, both in groups and individually, as

polar opposites, I intend the reader to focus on the words as materials. The poem is literally

shifting "from form to material." At the top, "Time" hosts the gaze as a larger abstraction in

which form shifts to tactile material. This is like a game; one has to stare at it like a puzzle,

and it shifts the vision of the viewer in the way that many contemporary buildings, like those

at the Light Construction show, shift one's vision.

Finally, a risk with form: I've created "Paradiso", after the Danteum. Here, one has to

shatter the glass wall that separates us from heaven. Instead of Terragni's version of

futurism, I've substituted in postmodernism. The first stanza of the poem disassembles itself,

collecting in shards. It is both disintegrating and assembling a new form, one not so unlike

postmodern buildings. This is my version of "Playtime", where the poem, as a building, is

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Frances McCue 83

both identifiable and strange. As viewers, there are always choices to be made, places hinted

to but not visited, an idea carried off quite beautifully by Jacques Tati in his film.

As a whole, the passage weaves specificity and abstraction. It is a tour of an imagined

space that is palpable and illusive, much like language and glass, or in Dante's case, much

like heaven, hell and limbo. The poem is a tour and an immersion within the materiality of

such abstract places.

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Frances McCue 84

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Freire, Paulo. Pedagogy of the Oppressed. New York: Continuum, 1990.

Gardner, Howard. Multiple Intelligences. New York: Basic Books, 1993.

Goodwin, Paul D. and Wenzel, Joseph W. "Proverbs and Practical Reasoning."

Meider.

Gorman, Margaret, Michael Gorman, and Art Young. Writing Across the Disciplines,

Portsmouth NH: Boynton/Cook, 1986.

Graff, Gerald. Professing Literature. Chicago: University of Chicago Press, 1989.

Haake, Katharine. "Teaching Creative Writing if The Shoe Fits." Moxley.

Hampl, Patricia. A Romantic Education. Boston: Houghton Mifflin, 1992.

Havelock, Eric A. Preface to Plato, Cambridge: Harvard University Press, 1963.

Heaney, Seamus. The Redress of Poetry. New York: Farrar, Straus and Giroux, 1995.

Holden, Marjorie H. and Mimi Warshaw. "A Bird in The Hand and a Bird in The Bush:

89

Frances McCue 86

Using Proverbs to Teach Skills and Comprehension." English Journal, 2/95.

Inhelder and Piaget The Growth of Logical Thinking From Childhood to Adolescence,

Basic Books, New York, 1958.

Kirchenblatt-Gimblett, Barbara. "Toward a Theory of Proverb Meaning." Meider.

Langer, Suzanne. Philosophy in a New Key, Cambridge: Harvard University Press, 1960.

Le Corbusier. Towards A New Architecture..New York: Dover Press, 1931, 1986.

Lieber, Michael D. "Analogic Ambiguity: A paradox of Proverb Usage." Mieder.

Mieder, Willhelm and Alan Dundes. The Wisdom of Many: Essays on the Proverb,

New York: Garland Publishing, 1981

Moffett, James. Active Voice. Portsmouth NH: Boynton/Cook, 1981

Coming on Center. Portsmouth NH: Boynton/Cook, 1981

Teaching the Universe of Discourse. Portsmouth NH: Heinemann, 1968.

Moore, Marianne. The Complete Poems of Marianne Moore. New York: Penguin Books,

1982.

Moreno, Virginia, and DiVesta, Francis J.. "Analogies (Adages) as Aids for

Comprehending Structural Relations in A Text", Contemporary Educational

Psychology, v.19, n. 2 p.179-98, April 1994.

Moxley, Joseph, ed. Creative Writing in America. Urbana, Illinois: NCTE, 1989.

Murray, Donald. Learning By Teaching, Portsmouth NH: Boynton/Cook, 1982.

Olson, David R., Nancy Torrance, and Angela Hildyard, eds. Literacy, Language and

Learning: The Consequences of Reading and Writing, Cambridge England:

Cambridge University Press, 1985.

Frances McCue 87

Ong, Walter. Orality, Literacy and The Technologizing of the Word, Routledge NJ:

Routledge Press, 1982.

Meier, Deborah. The Power of Their Ideas. Boston: Beacon Press, 1995

Parsons, "Talk About a Painting: A Cognitive Developmental Analysis", Journal of

Aesthetic Education, vol. 21, No. 1 Spring 1987, p. 51.

Perry, T.A. Wisdom Literature and the 'Structure of Proverbs, State College, PA:

Pennsylvania State University Press, 1993.

Postman, Neil and Charles Weingartner. Teaching as a Subversive Activity: Delacorte

Press, New York. 1969.

Rasmussen, Steen Eiler. Experiencing Architecture, Cambridge: M.I.T. Press, 1989.

Raymond, Joseph. "Tensions in Proverbs." Meider.

Sapir, Edward. Culture, Language and Personality, Berkeley: University of California

Press. 1961.

Schon, Donald. The Reflective Practitioner, New York: Basic Books, 1983.

Sizer, Theodore. Horace's Compromise. Boston: Houghton Mifflin, 1992.

Stafford, William. Writing the Australian Crawl: views on the writer's vocation.

Ann Arbor: University of Michigan Press,. 1978.

Stevens, Wallace. The Collected Poems of Wallace Stevens. Vintage Books, New York.

1982.

Tannen, Deborah. "Relative focus on involvement in oral and written discourse." Olson,

Torrance and Hildyard.

Winters, Nathan B. Architecture is Elementary. Boston: Gibbs Smith, 1986.

Yates, Frances. The Art of Memory, Chicago: University of Chicago Press, 1966.

91

APPENDIX A

92

No Spitting Up

"People in glass elevators shouldn't carry snow. shovels,"I said to Sheila, because we were in one with a lads' who was.I faced the closed doors, rejected the view of the citywithout the slightest curiosity, because I already knew.What if this woman with the shovel suddenly went crazy_ ,started flapping her wings like a chicken, like a fiend?I wonder what Sheila is thinking just now, I wonder if shehas her eve on the snow shovel, how it can't restin this glass elevator, how it is dancing inside of itselfand making me dance. No one's paving the least attentionto the tension between me and that shovel, that shoveland that window, that window and me.

4sp, si-A,0c6 Fed pi 1-0 Of-CS"

Op\veesi-ty Press 00

83

Examples of Proverbs:

African:

Amharic:Sore eyes are seen but a sore head is hidden.Truth and the morning become light with time.

Bantu:Debts make slaves.Water never loses its way.

Ewe:When the stomach sleeps, the man sleeps.In crooked wood, one recognizes the artist.

Ganda:Eat and put back.The man of two homes dies of hunger.

Hausa:Wealth is the cure for punishment.Even when the king dances, the poor man says "good".

Chinese:Almonds come to those who have no teeth.Adversity is sometimes the rain of spring.Be inwardly clever but outwardly clownish.When the wagon of fortune goes well, spite and envy hang on to the wheels.

Japanese:One good word can warm three winter months.Even the fool has his art.Thankless labor gains fatigue.To be loved is to be hindered.

Korean:Good critic-- bad worker.Those who swallow their food whole--choke.A man who stands behind a wall sees nothing else.A poor horse always has a thick tail.

Mexican:

94

A jealous lover makes an indifferent husband.The liar tumbles much sooner than the lame man.Each one scratches himself with his own nails.

Jamaican:Believe half what you see-- nothing what you hear.When belly full, jaw must stop.Crack bell never mend.Buy beef, you buy bone; buy land you buy rock stone.When cow-tail cut off, God Almighty brush flies.Clothes cover character.

Nicaraguan:Have patience, fleas, the night is long.

Yiddish:Little children, small pleasures; big children; great troubles.He who likes taking doesn't like giving.Revenge is half consolation.Too much humility is half pride.When you go to your neighbor's, you find our what is happening in your house.

APPENDIX B

96

he a

llow

ed to

rui

n hi

m. A

nd I

drea

med

I was

Low

ell,

in a

man

ic fl

ight

of f

ailin

gan

d ru

thle

ss e

nerg

y, a

nd u

nder

stoo

dho

w w

rong

I w

as w

ith a

pas

sion

ate

exac

titud

ew

hich

had

to b

e lik

e hi

s. A

mon

th a

go,

at S

aint

-Gau

den'

s ho

use,

we

ran

from

a s

tart

ling

dow

npou

r

into

coi

ncid

ence

: und

er a

logg

ia b

uilt

for

perf

orm

ance

s on

the

law

nhu

lked

Sha

w's

mon

umen

t, sp

lend

idin

its

plas

ter

maq

uette

, the

ram

rod-

stra

ight

col

onel

high

abo

ve h

is b

lack

troo

ps. W

e cr

ouch

edon

wet

gra

vel

and

wai

ted

out t

he s

qual

l; th

e he

iratic

wom

an

a w

ingl

ess

ange

l?flo

atin

g ho

rizon

tally

abov

e th

e so

ldie

rs, h

er r

obe

billo

win

g lik

e pl

aste

r du

st,

seem

ed s

o fa

r ab

ove

us, a

noth

er c

entu

ry's

alle

goric

al d

ecor

, an

afte

rtho

ught

who

'd n

ever

des

cend

to th

e pu

rely

phy

sica

lso

ldie

rs, t

he n

early

bre

athi

ng b

ronz

e ra

nks

crus

hed

into

a te

rrib

le c

ompr

essi

on o

f per

spec

tive,

as if

the

wor

ld h

urrie

d th

em in

to th

e di

tch.

"The

unr

eada

ble,

" W

ilde

said

, "is

wha

t occ

urs.

"A

nd w

hen

the

brut

ish

met

al r

ears

abov

e th

e w

all o

f ung

laze

d w

indo

ws

whe

re, i

n a

wee

k, th

e ki

ds w

ill s

kate

boar

d

91

in th

eir

love

ly lo

ops

and

spra

yth

eir

inde

ciph

erab

le id

eogr

ams

acro

ss th

e pa

rkin

g lo

tthe

sing

le s

tand

ing

wal

lse

ems

Rom

an, m

omen

taril

y, a

n aq

uedu

ct,

all t

hat's

left

of s

omet

hing

diff

icul

tto

und

erst

and

now

, som

ethi

ng O

scar

and

Bos

ie m

ight

hav

e po

sed

befo

re, f

or a

pho

togr

aph.

Aqu

educ

ts a

nd a

ngel

s, h

ere

on M

ain,

seem

mer

ely

souv

enirs

; the

gap

sw

here

the

win

dow

s, o

pene

d on

cein

to tr

ansi

ents

' roo

ms

are

pure

sky

.It'

s st

rang

e ho

w m

uch

mor

e be

autif

ul

the

sky

is to

us

whe

n it'

s fr

amed

by th

ese

colu

mne

d op

enin

gs s

omeo

ne m

eant

us

to ta

ke fo

r st

one.

The

eno

rmou

s, a

rtic

ulat

e sh

ovel

nudg

es th

e hi

ghes

t row

of m

oldi

ngs

and

the

who

le th

ing

wav

ers

as th

ough

we'

d dr

eam

ed it

,ou

r bl

ack

clas

sic,

and

it to

pple

s al

l at o

nce.

-mite

rP

VT

`r

MA

-be/

A-P

WIA

)U

N! v

645

ITT

OF

new

s,

98

-*"' ". An(' -617

LE CORI3USIER, 1921. A " CITROHAN " HOUSE

Framework of concrete, girders made on the site and raised by a hand-winch.Hollow wails of it" concrete and expanded metal with a 7Y' cavity ; all floorslabs on the same unit of measurement ; the factory- window frames, withadaptable ventilating, on the same unit. The arrangements in conformitywith the running of a household ; abundant lighting, all hygienic needs met andservants yell cared for.

241

"Write without adjectives, build with smooth walls.""The modern building is a building without adjectives."

--Massimo Bontempelli, 1920's

182 B. MARCUS PRITECA

3. Coliseum Theater, Seattle, 1914-16 (altered), B. Marcus Priteca. This perspective drawing of theexterior illustrates Priteca's talents as a delineator. The original entrance canopy was later replaced.The building no longer functions as a theater, but is instead occupied by retail uses. (Richard F.McCann Collection.)

Vancouver, British Columbia (1916-17; de-stroyed), with its French Renaissance ele-ments and its seating capacity of 1,800, wasconsidered at the time to be the most richlyembellished and efficient theater of thePantages chain. Priteca also designedSeattle's brick and terra-cotta OrpheumTheater (1926-27; destroyed); and in asso-ciation with Frederick J. Peters and the Chi-cago firm of Rapp & Rapp he designed theSeattle (Paramount) Theater apartment andcommercial building (1927-28), for busi-nessman L. N. Rosenbaum. The TacomaPantages Theater (ca. 1916-18; altered) isthe earliest extant example of the collabora-tion between the vaudeville entrepreneurand Priteca.

Priteca's Hollywood Pantages Theater(1929-30), sited in Hollywood, California,represented a radical departure from his fa-vored classical expression; it is a masterpieceof Arst Deco design. He viewed his workonthis theater as a quest for a design whichwould "best exemplify America of the mo-ment. Effort centered upon motifs that weremodernnever futuristic, yet based ontime-tested classiccism 'sic' of enduringgood taste and beauty." Priteca hoped thetheater would be a synthesis of comfort,pleasure, and beauty. The HollywoodPantages, built at the apogee of Priteca's ca-reer, was the last movie palace to open inHollywood. It stands as a memorial to thePantages era and, in the opinion of Richard

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BEST COPY AVAILABLE 101

APPENDIX C

102

Some 'Uses of .Proverbs

FRANK J. D'ANGELO

A FEW YEARS ACO, I was watching theTV news show with the magazine for-mat, 60 Minutes. One particular seg-ment dealt with-the busing controversyin Boston. Black school-children fromRoxbury were being bussed into theschools of South Boston, and the resi-dents were up in anus. As I watched,one vehement Irishman being inter-viewed by CBS was exclaiming: "Blackshave access to everything we havepools, public facilities, and places of en-tertainment. What more do they want?Now they want our neighborhoodschoolsl \Vhy don't they develop andtake pride in their own schools and'neighborhoods? It seems that the ethnic.group that makes the most noise getsthe most attention from the FederalGovernment. The wheel that squeaksthe loudest gets the most grease."

This incident impressed upon me theidea that proverbs are not just outwornsentiments from an earlier age, but thatthey are still being used lwpeo_pleevery day to win arguments. Ilecauseproverbs are so familiar, tnev often winimcritical acceptance from the audi-ence, and I am certain that manyviewers of the TV program were dulyimpressed with the Irishman's argu-ment.

DEFINITION OF PROVERBSProverbs are short, concise savings in

common use which express some ob-vious and familiar truth or experiencein striking form. The word proverbcomes from the Latin word proverbiunz,a combination of the prefix pro meaning"forth," and the root verbum, which

3EST COPY AVAILABLE

means "word." Thus the literal meaningof the word proverb is "a set of wordsput forth." Some synonyms often usedfor the word proverb are saying, sen-tentia, maxim, aphorism, adage, motto,and epigram. The word saying is themost general term of all. It refers to anywise or truthful saying that is repeatedoften. Sententiae are almost indistin-guishable from proverbs, but a sen-tentia, instead of coming from the com-mon man, has its origin in learned men.Alexander Pope's "A little learning is adangerous thing" is a typical example.A maxim is a saying, derived from prac-tical experience, that serves as a ruleof conduct. Thus the expression, "Judgenot, that you be not judged," is a suc-cinct statement of a fundamental prin-ciple or rule. Like the maxim, theaphorism is a general truth or principle,but one that is not intended as a guide-line for bcl ?avior. A good example of anaphorism is the expression, "He thatcannot conceal his wisdom is a fool."An adage is a popular saying that hasbecome acceptable as a truth throughlong use. The oft-quoted adage, "Whenthe cat's away, the mice will play," ex-emplifies this popular saying. A mottois a terse saying that is used as a guid-ing principle or idea by a particulargroup of people. The motto, "In God wetrust," which is found on U.S. coins, isused in just this way. An epigram is aconcise and witty statement, oftencleverly phrased, that is paradoxical orsatirical. A good example would be theexpression, "The only way to get rid ofa temptation is to yield to it." It shouldbe remembered that these distinctionscannot be maintained consistently, be-

365

103

366

CO

LL

EG

E C

OM

POSI

TIO

N A

ND

CO

MM

UN

ICA

TIO

N

caus

e on

e fo

rm is

con

stan

tly m

ergi

ngw

ith th

e ne

xt.

SOU

RC

E O

F PR

OV

ER

BS

Alm

ost e

very

nat

ion

has

itssh

are

ofpr

over

bs a

nd w

ise

sayi

ngs.

Pro

verb

sca

n be

fou

nd in

the

olde

st li

tera

ry w

orks

in S

ansk

rit,

Heb

rew

, Gre

ek, a

nd R

o-m

an li

tera

ture

, in

the

Bib

le, i

n th

e w

orks

of A

rist

opha

nes,

in C

hauc

er a

nd in

Shak

espe

are,

in E

rasm

us, C

erva

ntes

, Ben

Jons

on,

Ale

xand

er P

ope,

Sir

Wal

ter

Scot

t, B

enja

min

Fra

nklin

, Ral

ph W

aldo

Em

erso

n, H

enry

Dav

id T

hore

au, a

ndR

ober

t Fro

st.

The

sou

rce

of p

rove

rbs

is g

ener

ally

cons

ider

ed to

be

the

folk

wis

dom

of

the

com

mon

man

. Som

e sc

hola

rs b

e-lie

ve th

at p

rove

rbs

wer

e or

igin

ally

sup

-po

sed

to b

e ta

ken

liter

ally

but

that

grad

ually

the

advi

ce th

ey c

onta

ined

was

gen

eral

ized

to s

uch

an e

xten

t tha

tth

ey b

ecam

e w

idel

y ap

plic

able

to a

vari

ety

of s

ituat

ions

. Man

y pr

over

bs a

relit

eral

sta

tem

ents

whi

ch c

onta

in s

ome

kind

of

sage

adv

ice

base

d on

eve

ryda

yob

serv

atio

ns. T

hese

are

wis

e an

d in

-st

ruct

ive

apot

hegm

s,su

ch a

s "L

ive

and

lear

n,"

"Mis

take

sw

illha

ppen

," a

nd"T

here

's n

o fo

ol li

ke a

n ol

d fo

ol,"

whi

chw

ere

repe

ated

so

ofte

n th

at th

ey to

okon

the

stat

us o

f pr

over

bs. S

ome

prov

-er

bs a

re s

impl

e re

port

s of

eve

ryda

yoc

curr

ence

s. M

any

of th

ese

have

fig

ura-

tive

mea

ning

s: "

Chi

cken

s al

way

s co

me

hom

e to

roo

st,"

"A

pril

show

ers

brin

gM

ay f

low

ers,

" "Y

ou c

an le

ad a

hor

se to

wat

er b

ut y

ou c

an't

mak

e hi

m d

rink

,""A

new

bro

om s

wee

ps c

lean

," "

A s

hady

lane

bre

eds

mud

."C

lose

ly r

elat

ed to

the

prov

erb

and

thh

wis

e sa

ying

are

exp

ress

ions

whi

chse

em to

hav

e m

ost o

f th

e ch

arac

teri

stic

sof

the

prov

erb

exce

ptgr

amm

atic

alfo

rm: pr

over

bial

phr

ases

,to

bre

ak th

e ic

e1

4to

touc

h a

sore

spo

t

to c

all h

is b

luff

prov

erbi

al c

ompa

riso

ns,

as o

ld a

s th

e hi

llsas

qui

et a

s a

mou

seas

goo

d as

gol

dcl

iché

s an

d co

nven

tiona

l phr

ases

null

and

void

bag

and

bagg

age

to a

dd in

sult

to in

jury

The

dis

tinct

ion

betw

een

clic

hes

and

prov

erbi

al p

hras

es a

nd c

ompa

riso

ns, l

ike

the

dist

inct

ions

bet

wee

n th

e pr

over

ban

d ot

her

kind

s of

wis

e sa

ying

s, h

ow-

ever

, are

dif

ficu

lt to

mai

ntai

n.

FOR

M O

F PR

OV

ER

BS

Prov

erbs

are

cha

ract

eriz

ed b

y co

n-ci

sene

ss o

f fo

rm (

"Boy

s w

ill b

e bo

ys,"

"Pra

ctic

e m

akes

per

fect

") a

nd b

y m

em-

orab

lean

dst

riki

ngrh

etor

ical

tech

-ni

ques

:

Alli

tera

tion

Frie

ndsh

ip th

at f

lam

es g

oes

out i

na

flas

h.B

ette

r be

nd th

an .b

reak

.L

ove

laug

hs a

t loc

ksm

iths.

Rhy

me

Man

pro

pose

s, G

od d

ispo

ses.

Bor

row

ing

brin

gsso

rrow

ing.

Bla

b is

not

che

er; f

roth

is n

ot b

eer.

Met

apho

r an

d Si

mile

The

leop

ard

cann

ot c

hang

e hi

ssp

ots.

Bea

uty

fade

s lik

e a

flow

er.

Los

t cre

dit i

s lik

e a

brok

en m

irro

r.R

epet

ition

The

bes

t art

con

ceal

s ar

t.A

poo

r sp

irit

is p

oore

r th

an a

poo

rpu

rse.

Wha

t cos

ts li

ttle

is li

ttle

este

emed

.E

llips

isT

he p

oor

man

see

ks f

ood,

and

the

rich

man

app

etite

.B

lood

is in

heri

ted

and

virt

ueac

quir

ed.

Gen

eral

s pr

ay f

or w

ar a

nd d

octo

rsfo

r di

seas

es.

Para

llelis

mL

ife

is s

hort

and

tim

e is

sw

ift.

Age

and

wed

lock

tam

e m

an a

ndbe

ast.

SOM

E U

SES

OF

PRO

VE

RB

S38

7

Bra

ndy

is le

ad in

the

mor

ning

,si

lver

at n

oon,

gol

d at

nig

ht.

Ant

ithes

isT

here

is n

o pl

easu

re w

ithou

t pai

n.B

eaut

y is

pot

ent,

but m

oney

isom

nipo

tent

.U

se s

oft w

ords

and

har

d ar

gum

ents

.Pu

ns Bet

ter

to b

e a-

cold

than

a c

ucko

ld.

Cal

l me

cous

in, b

ut c

ozen

me

not.

Nev

er p

ick

a qu

arre

l; pi

ck th

eba

njo

inst

ead.

EA

RL

Y U

SES

TO

PR

OV

ER

BS

To

earl

y rh

etor

icia

ns a

nd s

chol

ars,

we

owe

the

exis

tenc

e of

man

y pr

over

bs.

Scri

bes

copi

ed th

em in

old

man

uscr

ipts

.Pr

over

bs w

ere

taug

ht in

Ang

lo-S

axon

scho

ols,

incl

uded

in m

edie

val t

extb

ooks

,sc

ribb

led

into

com

mon

plac

e bo

oks,

il-

lust

rate

din

tape

stri

es,

and

used

tote

ach

Lat

in. S

tude

nts

used

them

for

styl

istic

em

belli

shm

ent,

as b

egin

ning

san

d en

ding

s of

them

es,'

as a

mpl

ifyi

ngm

ater

ial f

or s

ubje

ct m

atte

r, a

s a

mea

nsof

roof

in f

orm

al a

rm

end

as

am

eans

oea

rnin

g to

arhr

ase.

te

impo

rtan

va

ue o

f pr

oved

s, n

ot.

to b

e ov

erlo

oked

, is

that

they

em

body

habi

ts o

f th

ough

t, cu

stom

s, a

nd m

oral

valu

es. T

hey

are

a ki

nd o

f co

nsen

sus

ofop

inio

n, m

anif

est t

ruth

s th

at m

ay b

eus

eful

in th

e co

nduc

t of

life.

Chr

ist u

sed

them

in h

is p

arab

les

("B

y th

eir

frui

tssh

all y

e kn

ow th

em")

. The

y sp

arkl

edlik

e m

agni

fice

nt je

wel

s in

the

conv

er-

satio

ns a

nd w

ritin

gs o

f w

ise

men

. Ser

-m

ons

wer

e en

rich

ed b

y th

em. I

n br

ief,

they

wer

e us

ed to

dev

elop

hum

anis

ticva

lues

and

to e

ndow

men

with

mor

alan

d cu

ltura

l vir

tues

. Pag

an a

nd C

hris

-tia

nm

oral

ists

,w

hobe

lieve

din

ath

orou

ghin

culc

atio

nof

ethi

cal

and

mor

al v

irtu

es s

uch

as te

mpe

ranc

e, w

is-

dom

, jus

tice,

for

titud

e, a

nd p

rude

nce,

advo

cate

d th

e us

e of

pro

verb

s.2

'The

Oxf

ord

Dic

tiona

ry o

f Eng

lish

Pro

v-er

bs,

2nd

ed. (

Oxf

ord:

Cla

rend

on P

ress

, 194

8),

p. x

.

BE

ST

CO

PY

AV

AIL

AB

LE

SOM

E U

SES

OF

PRO

VE

RB

S

Prov

erbs

, the

n, h

ad a

ver

y im

port

ant

educ

atio

nal f

unct

ion

in th

e pa

st, a

ndI

belie

ve th

at th

ey c

an s

till b

e us

eful

in th

e co

mpo

sitio

n cl

assr

oom

toda

y. I

nth

e re

mai

nder

of

this

pap

er, I

wou

ldlik

e to

exp

lore

a f

ew o

f th

ose

uses

.O

ne u

se o

f pr

over

bs is

for

rhe

tori

cal

inve

ntio

n.' B

ecau

se p

rove

rbs

tend

tocl

uste

r in

to s

ubje

ct-m

atte

r ar

eas,

they

can

be u

sed

as a

sou

rce

of m

ater

ial f

orw

ritin

g or

spe

akin

g. M

any

ethi

cal i

deas

deri

ved

from

pro

verb

s ca

n be

eff

ectiv

e-ly

app

lied

to c

onte

mpo

rary

situ

atio

ns.

Succ

essf

ul w

rite

rs w

isel

y se

lect

som

eof

the

best

idea

s of

the

past

(si

nce

prov

erbs

are

a r

epos

itory

of

folk

wis

-do

m)

and

use

them

for

thei

r ow

n pu

r-po

ses.

Man

y bo

oks

of p

rove

rbs

have

alph

abet

ical

list

ings

by

key

idea

s th

atca

n he

lp th

e w

rite

r in

his

or

her

sear

chfo

r m

ater

ial.

Bel

ow a

re a

few

exa

mpl

esof

prov

erbs

arra

nged

acco

rdin

gto

them

e: Act

ion

Act

ions

spe

ak lo

uder

than

wor

ds.

One

goo

d ac

tion

excu

ses

a do

zen

bad

ones

.Su

it th

e ac

tion

to th

e w

ord.

Bad

act

ions

lead

to w

orse

rea

ctio

ns.

Peop

le a

re r

emem

bere

d by

goo

dac

tions

, not

by

good

inte

ntio

ns.

Adv

ersi

tySw

eet a

re th

e us

es o

f ad

vers

ity.

Adv

ersi

ty h

as n

ot f

rien

ds.

Be

patie

nt in

adv

ersi

ty a

ndca

utio

us in

pro

sper

ity.

Adv

ersi

ty m

akes

men

, pro

sper

itym

onst

ers.

Adv

ersi

ty m

akes

us

wis

eunt

il th

ene

xt m

isfo

rtun

e co

mes

.A

dvic

ePe

ople

giv

e no

thin

g so

will

ingl

y as

advi

ce.

The

adv

ice

of f

ools

is w

orth

less

.T

he w

orst

men

are

oft

en th

e be

stad

vise

rs.

'Sis

ter

Joan

Mar

ie L

echn

er, O

.S.U

.,R

enai

s-sa

nce

Con

cept

s of

the

Com

mon

plac

e(N

ewY

ork:

Pag

eant

Pre

ss, 1

962)

, pp.

202

-208

.3L

echn

er, p

p. 1

59, 1

62, 1

79.

105

368

CO

LL

EG

E C

OM

POSI

TIO

N A

ND

CO

MM

UN

ICA

TIO

N

Whe

n a

thin

g is

don

e, a

dvic

eco

mes

too

late

.W

hat t

he p

oor

need

is le

ss a

dvic

ean

d m

ore

help

ing

hand

s.B

ribe

ryE

very

man

has

his

pri

ce.

Ele

ct th

e be

st C

ongr

essm

en th

atm

oney

can

buy

.M

oney

will

soo

the

an it

chin

g pa

lm.

Mon

ey a

nd f

rien

dshi

p br

ibe

just

ice.

To

win

the

lady

fir

st b

ribe

her

mai

d.C

rim

eN

o cr

ime

is f

ound

ed u

pon

reas

on.

It is

unl

awfu

l to

over

com

e cr

ime

by c

rim

e.C

rim

e m

ust b

e co

ncea

led

by c

rim

e.T

he g

reat

er th

e m

an, t

he g

reat

erth

e cr

ime.

If y

ou s

hare

you

r fr

iend

's c

rim

e,yo

u m

ake

it yo

ur o

wn.

If w

rite

rs n

eed

som

ethi

ng to

say

, the

ym

erel

y go

thro

ugh

the

them

atic

hea

d-in

gs a

nd c

hoos

e th

e m

ater

ial a

ppro

pri-

ate

to th

eir

purp

oses

. In

this

way

, the

yca

nob

tain

idea

sab

out i

nnum

erab

lesu

bjec

ts.

Dur

ing

the

Ren

aiss

ance

,st

uden

tske

pt c

omm

onpl

ace

book

s w

hich

con

-ta

ined

prov

erbs

,m

axim

s,pr

over

bial

com

pari

sons

, rar

e w

ords

, witt

y sa

ying

s,an

d id

eas

and

mat

eria

ls o

f va

riou

s so

rts.

The

se b

ooks

gav

e am

ple

mat

eria

l for

them

es. T

he m

ater

ial t

hey

colle

cted

was

ofte

n ar

rang

ed u

nder

con

tras

ting

head

-in

gs:

love

/hat

e,lif

e/de

ath,

wis

dom

/fo

olis

hnes

s,co

urag

e/fe

ar,

pers

uasi

on/

forc

e,w

ords

/dee

ds,

know

ledg

e/ig

nor-

ance

,su

cces

s/fa

ilure

,re

ason

/inst

inct

,pl

easu

re/p

ain.

Ide

as c

lass

ifie

d in

this

man

ner

wer

e ea

sy to

get

at f

orsu

bse-

quen

t inv

entio

n, a

nd th

e id

eas

colle

cted

unde

r th

ese

head

ings

aid

ed f

luen

cy a

ndco

piou

snes

s.*

One

kin

d of

exe

rcis

e th

at c

lass

ical

rhet

oric

ians

use

d to

ass

ist m

emor

y fo

rth

e pr

oces

s of

inve

ntio

n an

d to

fac

ili-

tate

flu

ency

in th

e ha

ndlin

g of

idea

s

4Lec

hner

,1R

-13.

_i

was

an

oral

exe

rcis

e in

the

form

of

adi

alog

ue:5

Que

stio

nWha

t is

itth

at w

ill o

ver-

com

e al

l thi

ngs?

Ans

wer

Lov

e.Q

uest

ionC

an y

ou q

uote

the

prov

erb

to s

uppo

rt th

is?

Ans

wer

Lov

e co

nque

rs a

llth

ings

.Q

uest

ionW

hat i

sit

that

will

ove

r-co

me

lear

ning

and

mak

e it

a pa

rtof

us?

Ans

wer

The

love

of

lear

ning

or

the

love

of

book

s.Q

uest

ionC

an y

ou p

rove

this

fro

m a

quot

atio

n?A

nsw

erL

ove

conq

uers

all

thin

gs.

Ano

ther

use

of

prov

erbs

is in

lear

n-in

g to

par

aphr

ase.

A o

ne-l

ine

para

phra

seof

a p

rove

rb c

an e

xem

plif

y st

ylis

tic d

if-

fere

nces

bet

wee

n th

e tw

o ve

rsio

ns o

f th

epr

over

b an

d ca

n al

so b

e an

exe

rcis

e in

inte

rpre

tatio

n. T

he f

ollo

win

g ex

ampl

esill

ustr

ate

this

exe

rcis

e:

Em

pty

vess

els

mak

e th

e m

ost s

ound

.Pe

ople

who

talk

the

mos

t are

oft

enth

e m

ost i

gnor

ant.

A s

titch

in ti

me

save

s ni

ne.

Tro

uble

s w

ill q

uick

ly m

ultip

ly if

you

do n

ot h

andl

e th

em a

t onc

e.

Mak

e ha

y w

hile

the

sun

shin

es.

You

've

got t

o ge

t thi

ngs

done

whi

leth

e op

port

unity

is r

ipe.

One

man

's m

eat i

s an

othe

r m

an's

pois

on.

Just

bec

ause

one

per

son

likes

som

ethi

ng is

no

reas

on to

bel

ieve

that

ano

ther

will

like

it.

Eve

ry c

loud

has

a s

ilver

lini

ng.

If y

ou lo

ok f

or th

e br

ight

sid

e of

thin

gs, y

ou w

ill f

ind

it.

A th

ird

exer

cise

cons

ists

inus

ing

prov

erbs

as

them

atic

sta

tem

ents

to d

e-

5Joh

n B

rins

ley,

Lud

t:* L

ltera

rius

( M

enst

on,

Eng

land

: The

Sch

olar

Pre

ss L

imite

d, 1

968)

,p.

143

.

SOM

E U

SES

OF

PRO

VE

RB

S36

9

velo

p m

inia

ture

them

es th

at f

ollo

w a

pres

crib

ed o

rder

:!

1.Q

uote

the

prov

erb.

2.D

iscu

ss it

s m

eani

ng.

3. G

ive

a pr

over

b w

ith a

sim

ilar

mea

ning

.4.

Dis

cuss

the

prov

erb'

s or

igin

inpr

actic

al e

xper

ienc

e.5.

Illu

stra

te it

s us

e to

day

in y

our

own

or s

omeo

ne e

lse'

s ex

peri

ence

.

6Ada

pted

fro

m: D

onal

d L

emen

Cla

rk, J

ohn

Milt

on a

t St.

Paul

's S

choo

l (N

. Y.:

Col

umbi

aU

nive

rsity

Pre

ss, 1

948

),pp

. 234

-235

; Rhe

t-or

ic in

Gre

co-R

oman

Edu

catio

n (M

omin

gsid

eH

eigh

ts,

N.Y

.:C

olum

bia

Uni

vers

ityPr

ess,

1957

), p

p. 1

88-1

90.

In th

is d

ay a

nd a

ge, i

n w

hich

man

yof

our

edu

catio

nal e

ndea

vors

may

be

char

acte

rize

d as

"va

lue-

free

," w

e co

uld

do w

orse

than

rev

italiz

e an

impo

rtan

tpa

rt o

f th

e W

este

rn li

bera

l-ed

ucat

ion

trad

ition

. Lik

e ot

her

form

s of

rhe

tori

c,pr

over

bs m

ay b

e us

ed a

s "i

mpe

rson

alve

hicl

es"

for

com

mun

icat

ion.

But

thei

rbe

st u

se m

ay b

e as

wha

t Ken

neth

Bur

keca

lls, "

equi

pmen

t for

livi

ng."

As

such

,th

eyst

ill h

ave

a vi

tal r

elev

ance

for

mod

ern

man

in th

e pr

esen

tatio

n an

dpr

eser

vatio

n of

eth

ical

val

ues.

Ari

zona

. Sta

te U

nive

rsity

Tem

pe

INT

ER

NA

TIO

NA

L S

OC

IET

Y F

OR

TH

E H

IST

OR

Y O

F R

HE

TO

RIC

The

new

Int

erna

tiona

l Soc

iety

for

the

His

tory

of

Rhe

tori

c w

as f

orm

ally

esta

b-lis

hed

at a

mee

ting

held

at t

he E

idge

noss

isch

e T

echn

isch

e H

ochs

chul

e, Z

uric

h,Sw

itzer

land

, Jun

e 29

-Jul

y 2,

197

7. T

he in

augu

ral m

eetin

g w

as a

ttend

ed b

y 12

0sc

hola

rs f

rom

nin

e co

untr

ies.

As

stat

ed in

the

Con

stitu

tion

adop

ted

at th

e m

eetin

g, "

The

pur

pose

of th

is S

o-ci

ety

is to

pro

mot

e th

e st

udy

of b

oth

the

theo

ry a

nd p

ract

ice

of r

heto

ric

inal

lpe

riod

s an

d la

ngua

ges

and

its r

elat

ions

hips

with

poe

tics,

phi

loso

phy,

-po

litic

s,re

ligio

n, la

w, a

nd o

ther

asp

ects

of

the

cultu

ral c

onte

xt. T

he S

ocie

ty is

not

con

-ce

rned

with

the

furt

heri

ng o

f pr

actic

al r

heto

rica

l ski

lls a

s su

ch."

The

Soc

iety

will

mee

t bie

nnia

lly, w

ith th

e 19

79 c

onfe

renc

e pl

anne

d fo

r a

site

in E

urop

e ye

t to

be c

hose

n. P

ublic

atio

ns b

eing

pla

nned

incl

ude

the

Act

a of

eac

hbi

enni

al c

onfe

renc

e, a

con

tinui

ng in

tern

atio

nal b

iblio

grap

hy, a

nd a

ret

rosp

ectiv

ebi

blio

grap

hy.

Mem

bers

hip

is o

pen

to a

ny in

divi

dual

or

inst

itutio

n su

bscr

ibin

g to

the

aim

s of

the

Soci

ety.

Due

s ar

e as

fol

low

s: r

egul

ar m

embe

rshi

p, $

10.0

0; s

tude

nt m

embe

r-sh

ip, $

4.00

. Due

s m

ay b

e se

nt to

the

Am

eric

an T

reas

urer

, Llo

yd B

itzer

, 614

2V

ilas

Hal

l, U

nive

rsity

of

Wis

cons

in, M

adis

on, W

I 53

706.

BE

ST C

OPY

AV

AIL

AB

LE

17

108

1Vvt

'erI

C,;-

15C

HA

PTE

R 1

(:1i

l-K 4

5/vI

ci.)

5B

asic

Obs

erva

tions

For

cen

turie

s ar

chite

ctur

e, p

aint

ing

and

scul

ptur

e ha

ve b

een

calle

d th

e F

ine

Art

s, th

at is

to s

ay th

e ar

ts w

hich

are

con

cern

edw

ith "

the

beau

tiful

" an

d ap

peal

to th

e ey

e, ju

st a

s m

usic

app

eals

to th

e ea

r. A

nd in

deed

mos

t peo

ple

judg

e ar

chite

ctur

e by

its

exte

rnal

app

eara

nce,

just

as

book

s on

the

subj

ect a

re u

sual

lyill

ustr

ated

with

pic

ture

s of

bui

ldin

g ex

terio

rs.

Whe

n an

arc

hite

ct ju

dges

a b

uild

ing

its a

ppea

ranc

e is

onl

y on

eof

sev

eral

fact

ors

whi

ch in

tere

st h

im. H

e st

udie

s pl

ans,

sec

tions

and

elev

atio

ns a

nd m

aint

ains

that

, if i

t is

to b

e a

good

bui

ldin

g,th

ese

mus

t har

mon

ize

with

eac

h ot

her.

Jus

t wha

t he

mea

ns b

yth

is is

not

eas

y to

exp

lain

. At a

ny r

ate,

not

eve

ryon

e ca

n un

der-

stan

d it

any

mor

e th

an e

very

one

can

visu

aliz

e a

build

ing

mer

ely

by lo

okin

g at

the

plan

s. A

man

to w

hom

I w

as e

xpla

inin

g a

proj

ect f

or a

hou

se h

e w

ante

d to

bui

ld, s

aid

depr

ecat

ingl

y: "

I rea

llydo

n't l

ike

sect

ions

." H

e w

as a

rat

her

delic

ate

pers

on a

nd I

got t

heim

pres

sion

that

the

mer

e id

ea o

f cut

ting

into

any

thin

g w

as r

epul

-si

ve to

him

. But

his

rel

ucta

nce

may

hav

e ar

isen

from

the

corr

ect

idea

of a

rchi

tect

ure

as s

omet

hing

indi

visi

ble,

som

ethi

ng y

ou c

an-

not s

epar

ate

into

a n

umbe

r of

ele

men

ts. A

rchi

tect

ure

is n

ot p

ro-

duce

d si

mpl

y by

add

ing

plan

s an

d se

ctio

ns to

ele

vatio

ns. I

t is

som

ethi

ng e

lse

and

som

ethi

ng m

ore.

It is

impo

ssib

le to

exp

lain

prec

isel

y w

hat i

t isi

ts li

mits

are

by

no m

eans

wel

l-def

ined

. On

the

who

le, a

rt s

houl

d no

t be

expl

aine

d; it

mus

t be

expe

rienc

ed.

But

by

mea

ns o

f wor

ds it

is p

ossi

ble

to h

elp

othe

rs to

exp

erie

nce

it, a

nd th

at is

wha

t I s

hall

atte

mpt

to d

o he

re.

The

arc

hite

ct w

orks

with

form

and

mas

s ju

st a

s th

e sc

ulpt

ordo

es, a

nd li

ke th

e pa

inte

r he

wor

ks w

ith c

olor

. But

alo

ne o

f the

thre

e, h

is is

a fu

nctio

nal a

rt. I

t sol

ves

prac

tical

pro

blem

s. It

crea

tes

tool

s or

impl

emen

ts fo

r hu

man

bei

ngs

and

utili

ty p

lays

a de

cisi

ve r

ole

in ju

dgin

g it.

109

I 0

Arc

hite

ctur

e is

ave

ry s

peci

al f

unct

iona

l art

; it c

onfi

nes

spac

eso

we

can

dwel

l in

it, c

reat

es th

e fr

amew

ork

arou

ndou

r liv

es. I

not

her

wor

ds, t

he d

iffe

renc

e be

twee

nsc

ulpt

ure

and

arch

itect

ure

is n

ot th

at th

e fo

rmer

is c

once

rned

with

mor

e or

gani

c fo

rms,

the

latte

r w

ith m

ore

abst

ract

. Eve

n th

em

ost a

bstr

act p

iece

of

scul

ptur

e, li

mite

d to

pur

ely

geom

etri

c sh

apes

, doe

s no

t bec

ome

arch

itect

ure.

It l

acks

a d

ecis

ive

fact

or:

utili

ty.

The

mas

ter

phot

ogra

pher

, And

reas

Fein

inge

r, h

as ta

ken

api

ctur

e sh

owin

g a

cem

eter

y in

the

Bro

okly

n-Q

ueen

sar

ea o

fN

ew Y

ork.

The

tom

bsto

nes

stan

d cr

owde

dto

geth

er e

xact

ly li

kesk

yscr

aper

s in

an

Am

eric

an c

ity, t

heve

ry s

kysc

rape

rs w

hich

form

the

dist

ant b

ackg

roun

d of

the

phot

ogra

ph.

Seen

fro

m a

n ae

ropl

ane

high

in th

e ai

r,ev

en th

e m

ost g

igan

ticsk

yscr

aper

is o

nly

a ta

ll st

one

bloc

k, a

mer

e sc

ulpt

ural

for

m, n

ota

real

bui

ldin

g in

whi

ch p

eopl

e ca

n liv

e. B

ut a

s th

e pl

ane

de-

scen

ds f

rom

the

grea

t hei

ghts

thei

e w

ill b

e on

e m

omen

t whe

nth

e bu

ildin

gs c

hang

e ch

arac

ter

com

plet

ely.

Sud

denl

y th

ey ta

keon

hum

an s

cale

, bec

ome

hous

es f

or h

uman

bei

ngs

like

ours

elve

s,no

t the

tiny

dol

ls o

bser

ved

from

the

heig

hts.

Thi

sst

rang

e tr

ans-

form

atio

n ta

kes

plac

e at

the

inst

ant w

hen

the

cont

ours

of

the

build

ings

beg

in to

ris

e ab

ove

the

hori

zon

so th

at w

ege

t a s

ide

view

of

them

inst

ead

of lo

okin

g do

wn

on th

em. T

he b

uild

ings

pass

into

a n

ew s

tage

of

exis

tenc

e, b

ecom

e ar

chite

ctur

e in

pla

ceof

nea

t toy

sfor

arc

hite

ctur

e m

eans

sha

pes

form

ed a

roun

dm

an,

form

ed to

be

lived

in, n

ot m

erel

y to

be

seen

fro

m th

e ou

tsid

e.T

he a

rchi

tect

is a

sor

t of

thea

tric

al p

rodu

cer,

the

man

who

plan

s th

e se

tting

for

our

live

s. I

nnum

erab

le c

ircu

mst

ance

s ar

ede

pend

ent o

n th

e w

ay h

e ar

rang

es th

is s

ettin

g fo

r us

. Whe

n hi

sin

tent

ions

suc

ceed

, he

is li

ke th

e pe

rfec

t hos

t who

pro

vide

sev

ery

com

fort

for

his

gue

sts

so th

at li

ving

with

him

is a

happ

y ex

peri

-en

ce. B

ut h

is p

rodu

cer

job

is d

iffi

cult

for

seve

ral r

easo

ns. F

irst

of a

ll, th

e ac

tors

are

qui

te o

rdin

ary

peop

le. H

e m

ust b

eaw

are

ofth

eir

natu

ral

way

of

actin

g; o

ther

wis

e th

e w

hole

thin

g w

ill b

e a

fias

co. T

hat w

hich

may

be

quite

rig

ht a

nd n

atur

al in

one

cul

tura

len

viro

nmen

t can

eas

ily b

e w

rong

in a

noth

er; w

hatis

fitti

ng a

nd

110

BE

ST C

OR

Y A

VA

ILA

BL

E

prop

erin

one

gen

erat

ion

beco

mes

rid

icul

ous

in th

e ne

xt w

hen

peop

le h

ave

acqu

ired

new

tast

es a

nd h

abits

. Thi

s is

cle

arly

dem

onst

rate

d by

the

pict

ure

of th

e D

anis

h R

enai

ssan

ce k

ing,

Chr

istia

n IV

as in

terp

rete

d by

a p

opul

ar D

anis

h ac

tor

ridi

ng a

bic

ycle

. The

cos

tum

e, o

f its

kin

d, is

und

oubt

edly

aha

ndso

me

one,

and

the

bicy

cle

too

is o

f th

e be

st. B

ut th

ey s

impl

ydo

not

go

toge

ther

. In

the

sam

e w

ay, i

t is

impo

ssib

le to

take

ove

rth

e be

autif

ul a

rchi

tect

ure

of a

pas

t era

; it b

ecom

es f

alse

and

pret

entio

us w

hen

peop

le c

an n

o lo

nger

live

up

to it

.

111

I I

I2T

he 1

9th

cent

ury

had

the

very

ill-

advi

sed

idea

that

to o

btai

nth

e be

st r

esul

ts it

was

nec

essa

ry o

nly

to c

opy

fine

old

bui

ldin

gsth

at w

ere

univ

ersa

lly a

dmir

ed. B

ut w

hen

ina

mod

ern

city

you

build

a m

oder

n of

fice

bui

ldin

g w

ith a

' faç

ade

that

is a

fai

thfu

lco

py o

f a

Ven

etia

n pa

lace

, it b

ecom

es q

uite

mea

ning

less

even

thou

gh it

s pr

otot

ype

is c

harm

ingc

harm

ing,

that

is, i

n V

enic

eon

the

righ

t site

and

in th

e ri

ght s

urro

undi

ngs.

Ano

ther

gre

at d

iffi

culty

is th

at th

e ar

chite

ct's

wor

kis

inte

nded

to li

ve o

n in

to a

dis

tant

fut

ure.

He

sets

the

stag

e fo

r a

long

,sl

owm

ovin

g pe

rfor

man

ce w

hich

mus

t be

adap

tabl

e en

ough

toac

com

mod

ate

unfo

rese

en im

prov

isat

ions

. His

bui

ldin

gsh

ould

pref

erab

ly b

e ah

ead

of it

s tim

e w

hen

plan

ned

so th

at it

will

be in

kee

ping

with

the

times

as lo

ng a

s it

stan

ds.

The

arc

hite

ct a

lso

has

som

ethi

ng in

com

mon

with

the

land

-sc

ape

gard

ener

. Eve

ryon

e ca

n gr

asp

the

fact

that

the

gard

ener

'ssu

cces

s de

pend

s on

whe

ther

or

not t

he p

lant

s he

sel

ects

for

the

gard

en th

rive

ther

e. N

o m

atte

r ho

w b

eaut

iful

his

conc

eptio

n of

agar

clen

may

be

it w

ill, n

ever

thel

ess,

be

a fa

ilure

if it

is n

ot th

eri

ght e

nvir

onm

ent f

or th

e pl

ants

, if

they

cann

ot f

lour

ish

in it

.T

he a

rchi

tect

, too

, wor

ks w

ith li

ving

thin

gsw

ith h

uman

bein

gs,

who

are

muc

h m

ore

inca

lcul

able

than

pla

nts.

If th

ey c

anno

tth

rive

in h

is h

ouse

its

appa

rent

bea

uty

will

be

ofno

ava

ilwith

-ou

t lif

e it

beco

mes

a m

onst

rosi

ty. I

t will

be

negl

ecte

d, f

all i

nto

disr

epai

r an

d ch

ange

into

som

ethi

ng q

uite

dif

fere

ntfr

om w

hat

he in

tend

ed. I

ndee

d, o

ne o

f th

e pr

oofs

of

good

arch

itect

ure

isth

at it

is b

eing

util

ized

as

the

arch

itect

had

pla

nned

.Fi

nally

, the

re is

a v

ery

impo

rtan

t fea

ture

whi

chm

ust n

ot b

eov

erlo

oked

in a

ny a

ttem

pt to

def

ine

the

true

nat

ure

of a

rchi

-te

ctur

e. T

hat i

s th

e' c

reat

ive

proc

ess,

how

the

build

ing

com

esin

to e

xist

ence

. Arc

hite

ctur

e is

not

pro

duce

d by

the

artis

t him

self

as, f

or in

stan

ce, p

aint

ings

are

.A

pai

nter

's s

ketc

h is

a p

urel

y pe

rson

al d

ocum

ent;

his

brus

hst

roke

is a

s in

divi

dual

as

his

hand

-wri

ting;

an im

itatio

n of

it is

afo

rger

y. T

his

is n

ot tr

ue o

f ar

chite

ctur

e. T

hear

chite

ct r

emai

nsan

onym

ousl

y in

the

back

grou

nd. H

ere

agai

n he

rese

mbl

es th

e

112

I

Bitt

mni

r w

unt n

utu

rood

.1,1

117

Pala

zzo

Ven

dram

in-C

aler

gi, V

enic

e. C

ompl

eted

150

9

MP

23 H

avne

gade

, Cop

enha

gen.

Com

plet

ed 1

865.

Arc

hite

ct F

. Mel

dahl

BE

ST C

OPY

AV

AIL

AB

LE

113

14th

eatr

ical

pro

duce

r. H

is d

raw

ings

are

not a

n en

d in

theM

selv

es,

a w

ork

of a

rt, b

ut s

impl

y a

set o

f in

stru

ctio

ns,

an a

id to

the

craf

ts-

men

who

con

stru

ct h

is b

uild

ings

. He

deliv

ers

a nu

mbe

r of

com

-pl

etel

yim

pers

onal

pla

n dr

awin

gs a

ndty

pew

ritte

n sp

ecif

icat

ions

.T

hey

mus

t be

so u

nequ

ivoc

al th

at th

ere

will

be

no d

oubt

abo

utth

e co

nstr

uctio

n. H

eco

mpo

ses

the

mus

ic w

hich

oth

ers

will

pla

y.Fu

rthe

rmor

e, in

ord

er to

und

erst

and

arch

itect

ure

fully

, it m

ust

be r

emem

bere

d th

at th

e pe

ople

who

pla

y it

are

not s

ensi

tive

mus

icia

ns in

terp

retin

g an

othe

r'ssc

oreg

ivin

g it

spec

ial p

hras

-in

g, a

ccen

tuat

ing

one

thin

g or

ano

ther

in th

e w

ork.

On

the

con-

trar

y, th

ey a

re a

mul

titud

e of

ord

inar

y pe

ople

who

, lik

e an

tsto

iling

toge

ther

to b

uild

an a

nt-h

ill, q

uite

impe

rson

ally

con

trib

-ut

e th

eir

part

icul

ar s

kills

to th

e w

hole

, oft

enw

ithou

t und

er-

stan

ding

that

whi

ch th

eyar

e he

lpin

g to

cre

ate.

Beh

ind

them

isth

e ar

chite

ct w

ho o

rgan

izes

the

wor

k, a

nd a

rchi

tect

ure

mig

htw

ell b

e ca

lled

an a

rt o

f or

gani

iatio

n.T

he b

uild

ing

is p

rodu

ced

like

a m

otio

n pi

ctur

e w

ithou

tst

ar p

erfo

rmer

s, a

sor

t of

docu

-m

enta

ry f

ilm w

ith o

rdin

ary

peop

le p

layi

ng a

ll th

epa

rts.

Com

pare

d w

ith o

ther

bra

nche

s of

art,

all t

his

may

see

m q

uite

nega

tive;

arc

hite

ctur

e is

inca

pabl

e of

com

mun

icat

ing

an in

timat

e,pe

rson

al m

essa

ge f

rom

one

pers

on to

ano

ther

; it e

ntir

ely

lack

sem

otio

nal s

ensi

tivity

. But

this

very

fac

t lea

ds to

som

ethi

ng p

osi-

tive.

The

arc

hite

ct is

for

ced

to s

eek

a fo

rm w

hich

is m

ore

expl

icit

and

fini

shed

than

a s

ketc

hor

per

sona

l stu

dy. T

here

fore

, arc

hi-

tect

ure

has

a sp

ecia

l qua

lity

of it

s ow

n an

dgr

eat c

lari

ty. T

he f

act

that

rhy

thm

and

har

mon

y ha

ve a

ppea

red

at a

ll in

arc

hite

ctur

ew

heth

er a

med

ieva

l cat

hedr

alor

the

mos

t mod

ern

stee

l-fr

ame

build

ingm

ust b

e at

trib

uted

to th

e or

gani

zatio

n w

hich

is th

eun

derl

ying

idea

of

the

art.

No

othe

r ar

t em

ploy

sa

cold

er m

ore

abst

ract

for

m, b

ut a

t the

sam

e tim

e no

oth

er a

rt is

so

intim

atel

y co

nnec

ted

with

man

'sda

ily li

fe f

rom

the

crad

le to

the

grav

e.A

rchi

tect

ure

is p

rodu

ced

by o

rdin

ary

peop

le, f

or o

rdin

ary

peop

le; t

here

fore

it s

houl

d be

eas

ily c

ompr

ehen

sibl

eto

all.

It i

sba

sed

on a

num

ber

of h

uman

inst

inct

s,on

dis

cove

ries

and

ex-

114

Lev

er H

ouse

,N

ewY

ork

City

, Ski

d-m

ore,

Ow

ings

C.1

Mer

rill,

arch

itect

s.E

xam

ple

ofha

rmon

y an

drh

ythm

as

the

resu

lt of

the

crea

tive

proc

ess

in

arch

itect

ure

a

peri

ence

s co

mm

on to

all

of u

s at

a v

ery

earl

y st

age

in o

ur li

ves

abov

e al

l, ou

r re

latio

n to

inan

imat

e th

ings

. Thi

s ca

n pe

rhap

sbe

st b

e ill

ustr

ated

by

com

pari

son

with

ani

mal

s.C

erta

in n

atur

al c

apac

ities

with

whi

ch m

any

anim

als

are

born

,m

an a

cqui

res

only

by

patie

nt e

ndea

vor.

It t

akes

yea

rs f

or a

smal

l chi

ld to

lear

n to

sta

nd, t

o w

alk,

to ju

mp,

to s

wim

. On

the

othe

r ha

nd, t

he h

uman

bei

ng v

ery

soon

ext

ends

his

mas

tery

toin

clud

e th

ings

whi

ch a

re a

part

fro

m h

imse

lf. W

ith th

e he

lp o

fal

l kin

ds o

f im

plem

ents

he

deve

lops

his

eff

icie

ncy

and

enla

rges

his

scop

e of

act

ion

in a

way

no

anim

al c

an e

mul

ate.

In h

is h

elpl

essn

ess,

the

baby

beg

ins

by ta

stin

g th

ings

, tou

chin

gth

em, h

andl

ing

them

, cra

wlin

g on

them

, tod

dlin

g ov

er th

em, t

ofi

nd o

ut w

hat t

hey

are

like,

whe

ther

fri

endl

y or

hos

tile.

But

he q

uick

ly le

arns

to u

se a

ll so

rts

of c

ontr

ivan

ces

and

ther

eby

avoi

ds s

ome

of th

e m

ore

unpl

easa

nt e

xper

ienc

es.

Soon

the

child

bec

omes

qui

te a

dept

in th

e em

ploy

men

t of

thes

e th

ings

. He

seem

s to

pro

ject

his

ner

ves,

all

his

sens

es, d

eep

into

the

lifel

ess

obje

cts.

Con

fron

ted

by a

wal

l whi

ch is

so

high

that

he

cann

ot r

each

up

to f

eel t

he to

p, h

e ne

vert

hele

ss o

btai

ns

BE

ST

CO

PY

AV

AIL

AB

LE11

5

I6

r,10

1111

1111

111.

1.-.

4111

14.A

.:s

4477

.

.N

4

1%.

10.0

0000

2.00

10

Boy

s pl

ayin

ga

ball

gam

e

on th

e to

pst

ep o

f the

stai

rway

behi

nd th

e

chur

ch o

fS

. Mar

iaM

aggi

ore

inR

ome

(105

2)

an im

pres

sion

of

wha

t it i

s lik

e by

thro

win

g hi

sba

ll ag

ains

t it.

In th

is w

ay h

e di

scov

ers

that

it is

entir

ely

diff

eren

t fro

ma

taut

lyst

retc

hed

piec

e of

canv

as o

r pa

per.

With

the

help

of

the

ball

here

ceiv

es a

n im

pres

sion

of

the

hard

ness

and

solid

ity o

f th

e w

all.

The

eno

rmou

s ch

urch

of

S. M

aria

Mag

gior

e st

ands

on o

ne o

fR

ome'

s se

ven

fam

ous

hills

. Ori

gina

llyth

e si

te w

as v

ery

unke

mpt

,as

can

be

seen

in a

n ol

d fr

esco

pai

ntin

g in

the

Vat

ican

. Lat

er,

the

slop

es w

ere

smoo

thed

and

art

icul

ated

with

a f

light

of

step

sup

to th

e ap

se o

f th

e ba

silic

a. T

hem

any

tour

ists

who

are

bro

ught

to th

e ch

urch

on

sigh

t-se

eing

tour

s ha

rdly

notic

e th

e un

ique

char

acte

r of

the

surr

ound

ings

. The

ysi

mpl

y ch

eck

off o

ne o

f th

e'

star

red

num

bers

in th

eir

guid

e-bo

oks

and

hast

en o

n to

the

next

one.

But

they

do

not e

xper

ienc

e th

e pl

ace

in th

ew

ay s

ome

boys

I sa

w th

ere

a fe

wye

ars

ago

did.

I im

agin

e th

eyw

ere

pupi

ls f

rom

a ne

arby

mon

aste

ry s

choo

l. T

hey

had

a re

cess

at e

leve

n o'

cloc

k

116

Vie

w f

rom

the

top

step

beh

ind

S. M

aria

Mag

gior

e,R

ome

(195

2 )

r(

and

empl

oyed

the

time

play

ing

a ve

ry s

peci

al k

ind

of b

all g

ame

on th

e br

oad

terr

ace

at th

e to

p 6f

the

stai

rs. I

t was

app

aren

tly a

kind

of

foot

ball

but t

hey

also

util

ized

the

wal

l in

the

gam

e, a

sin

squ

asha

cur

ved

wal

l, w

hich

they

pla

yed

agai

nst w

ith g

reat

virt

uosi

ty. W

hen

the

ball

was

out

, it w

as m

ost d

ecid

edly

out

,bo

unci

ng d

own

all t

he s

teps

and

rol

ling

seve

ral h

undr

ed f

eet

furt

her

on w

ith a

n ea

ger

boy

rush

ing

afte

r it,

in a

nd o

ut a

mon

gm

otor

car

s an

d V

espa

s do

wn

near

the

grea

t obe

lisk.

I do

not

cla

im th

at th

ese

Ital

ian

youn

gste

rs le

arne

d m

ore

abou

tar

chite

ctur

e th

an th

e to

uris

ts d

id. B

ut q

uite

unc

onsc

ious

ly th

eyex

peri

ence

d ce

rtai

n ba

sic

elem

ents

of

arch

itect

ure:

the

hori

zont

alpl

anes

and

the

vert

ical

wal

ls a

bove

the

slop

es. A

nd th

ey le

arne

dto

pla

y on

thes

e el

emen

ts. A

s I

sat i

n- th

e sh

ade

wat

chin

g th

em,

I se

nsed

the

who

le th

ree-

dim

ensi

onal

com

posi

tion

as n

ever

'be-

fore

. At a

qua

rter

pas

t ele

ven

the

boys

das

hed

off,

sho

utin

g an

d

BE

ST

CO

PY

AV

AIL

AB

LE11

7

17

8la

ughi

ng. T

he g

reat

bas

ilica

sto

odon

ce m

ore

in s

ilent

gra

ndeu

r.In

sim

ilar

fash

ion

the

child

fam

iliar

izes

him

self

with

all

sort

sof

pla

ythi

ngs

whi

ch in

crea

se h

isop

port

uniti

es to

exp

erie

nce

his

surr

ound

ings

. If h

e su

cks

his

finge

r an

d st

icks

it in

the

air,

he

disc

over

s w

hat t

he w

ind

is li

ke in

the

low

stra

ta o

f air

in w

hich

he m

oves

abo

ut. B

ut w

itha

kite

he

has

an a

eria

l fee

ler

out h

igh

up in

the

atm

osph

ere.

He

is o

ne w

ith h

is h

oop,

his

scoo

ter,

his

bicy

cle.

By

a va

riety

of e

xper

ienc

es h

e qu

itein

stin

ctiv

ely

lear

nsto

judg

e th

ings

acc

ordi

ng to

wei

ght,

solid

ity,

text

ure,

hea

t-co

nduc

ting

abili

ty.

Bef

ore

thro

win

g a

ston

e he

firs

tge

ts th

e fe

el o

f it,

turn

ing

itov

er a

nd o

ver

until

he

has

the

right

grip

on

it, a

nd th

en w

eigh

ing

it in

his

han

d. A

fter

doin

g th

is o

ften

enou

gh,

he is

abl

e to

tell

wha

t a s

tone

is li

ke w

ithou

t tou

chin

g it

at a

ll; a

mer

e gl

ance

issu

ffici

ent.

Whe

n w

e se

e a

sphe

rical

obj

ect

we

do n

ot s

impl

y no

te it

ssp

heric

al s

hape

. Whi

le o

bser

ving

itw

e se

em to

pas

s ou

r ha

nds

over

it in

ord

er to

exp

erie

nce

its v

ario

us c

hara

cter

istic

s.T

houg

h th

e m

any

kind

s of

bal

ls a

nd m

arbl

es th

atar

e us

edin

var

ious

gam

es h

ave

the

sam

e ge

omet

ric s

hape

, we

reco

g-ni

ze th

em a

s ob

ject

s of

ext

rem

ely

diffe

rent

cha

ract

er.

The

ir si

zeal

one,

in r

elat

ion

to th

e hu

man

han

d, n

ot o

nly

give

s th

emdi

ffer-

ent q

uant

ities

but

diff

eren

t qua

litie

s. C

olor

pla

ysa

part

, but

wei

ght a

nd s

tren

gth

are

muc

hm

ore

impo

rtan

t. T

he la

rge

foot

-ba

ll, m

ade

to b

e ki

cked

, is

esse

ntia

lly d

iffer

ent f

rom

the

little

whi

te te

nnis

bal

l tha

t is

stru

ck b

y th

e ha

nd,

or b

y th

e ra

cque

tw

hich

is s

impl

y an

ext

ensi

on o

f the

han

d.A

t an

early

age

the

child

dis

cove

rs th

atso

me

thin

gs a

re h

ard,

othe

rs s

oft,

and

som

e so

pla

stic

that

they

can

be k

nead

ed a

ndm

ould

ed b

y ha

nd. H

e le

arns

that

the

hard

ones

can

be

grou

ndby

stil

l har

der

mat

eria

lsso

that

they

bec

ome

shar

p an

d po

inte

d,an

d th

eref

ore

obje

cts

cut l

ike

a di

amon

d ar

e pe

rcei

ved

as h

ard.

Qui

te th

e re

vers

e, p

liabl

e st

uffs

, lik

e br

ead

doug

h, c

an b

e gi

ven

roun

ded

form

s, a

nd n

o m

atte

r ho

wyo

u cu

t the

m u

p, th

e se

ctio

nw

ill a

lway

s sh

ow a

n un

brok

encu

rve.

jog

4

I

c

e-

.ti"; r

.`,Z

4

Var

ious

bal

ls u

sed

in E

nglis

h ba

ll ga

mes

BE

ST C

OPY

AV

AIL

AB

LE

P9

20Fr

om s

uch

obse

rvat

ions

we

lear

n th

at th

ere

are

cert

ain

form

s w

hich

are

cal

led

hard

and

oth

ers

soft

, reg

ardl

ess

ofw

heth

er th

e m

ater

ials

they

are

mad

e of

are

act

ually

sof

t or

hard

.A

s an

exa

mpl

e of

a "

soft

" fo

rm in

a h

ard

mat

eria

l we

can

take

a so

-cal

led

pear

-sha

ped

cup

from

the

Eng

lish

firm

Wed

gwoo

d.It

is a

n ol

d m

odel

but

it is

impo

ssib

le to

say

whe

n th

e fo

rmfi

rst a

ppea

red.

It i

s ve

ry a

lien

to th

e cl

assi

cal s

hape

s w

hich

the

foun

der

of th

e fi

rm, J

osia

h W

edgw

ood,

pre

ferr

ed to

all

othe

rs.

It m

ay b

e th

at it

is o

f Pe

rsia

n an

cest

ry a

nd w

as p

erm

itted

to li

veon

in E

nglis

h gu

ise

beca

use

it su

its th

e po

tter's

cra

ft s

o w

ell.

You

fee

l tha

t you

can

act

ually

see

how

it w

as d

raw

n up

on

the

potte

r's w

heel

, how

the

soft

cla

y hu

mbl

y su

bmitt

ed to

the

hand

sof

the

potte

r, s

uffe

ring

itse

lf to

be

pres

sed

in b

elow

so

that

itco

uld

swel

l out

abo

ve. T

he h

andl

e is

not

cas

t in

a m

ould

, as

onm

ost c

ups

toda

y, b

ut f

orm

ed w

ith th

e fi

nger

s. T

o av

oid

rim

s, th

epl

astic

cla

y is

squ

eeze

d ou

t lik

e to

othp

aste

fro

m a

tube

, sha

ped

over

the

potte

r's f

inge

rs a

nd th

en f

ixed

to th

e cu

p in

a s

lend

ercu

rve

whi

ch is

ple

asan

t to

gras

p. A

man

at t

he W

edgw

ood

wor

ks,

who

sat

mak

ing

thes

e ha

ndle

s, s

aid

to m

e th

at it

was

love

ly w

ork

and

that

he

enjo

yed

curv

ing

the

hand

le in

tow

ards

the

pear

-sh

aped

cup

. He

knew

no

wor

ds f

or m

ore

com

plic

ated

sen

satio

ns;

othe

rwis

e he

mig

ht h

ave

said

that

he

liked

the

rhyt

hm in

cup

and

hand

le. B

ut th

ough

he

coul

d no

t exp

ress

this

, he

had

expe

rien

ced

it. W

hen

we

say

that

suc

h a

cup

has

a "s

oft"

for

m, i

t is

entir

ely

due

to a

ser

ies

of e

xper

ienc

es w

e ga

ther

ed in

chi

ldho

od, w

hich

taug

htus

how

sof

t and

har

d m

ater

ials

res

pond

to m

anip

ulat

ion.

Tho

ugh

the

cup,

aft

er f

irin

g, is

har

d, w

e ar

e ne

vert

hele

ss a

war

e th

at it

was

sof

t at t

he ti

me

it w

as s

hape

d.In

this

inst

ance

we

have

a s

oft t

hing

that

was

har

dene

d by

asp

ecia

l pro

cess

, nam

ely

firi

ng, a

nd it

is e

asy

to u

nder

stan

d w

hyw

e co

ntin

ue to

thin

k of

it a

s so

ft. B

ut e

ven

in c

ases

whe

re th

em

ater

ial u

sed

was

har

d fr

om th

e ve

ry b

egin

ning

, we

can

spea

kof

sof

t for

ms.

And

this

con

cept

ion

of s

oft a

nd h

ard

form

s,ac

quir

ed f

rom

, obj

ects

sm

all e

noug

h to

han

dle,

is a

pplie

d ev

ento

the

larg

est s

truc

ture

s.

;

4

So-

calle

d pe

ar-s

hape

d cu

p m

anuf

actu

red

by W

edgw

ood

The

cup

was

sof

t whe

n it

was

sha

ped;

afte

r fir

ing

the

mat

eria

l bec

ame

hard

but t

he fo

rm it

self

can

still

be

desc

ribed

as

soft

120

121

22A

n E

nglis

hbr

idge

of th

e gr

eat

cana

l-bui

ldin

gpe

riod

atth

e be

ginn

ing

of th

e 19

thce

ntur

y.E

xam

ple

ofa

-sof

t- fo

rmm

ode

of b

rick

As

a ty

pica

l exa

mpl

e of

a s

truc

ture

with

sof

t for

ms

we

can

take

an E

nglis

h br

idge

bui

lt at

the

begi

nnin

g of

the

nine

teen

th c

en-

tury

. It i

s ob

viou

sly

mad

e of

bri

ck, t

hat i

s of

a m

ater

ial t

hat w

asha

rd a

t the

tim

e th

e br

idge

was

con

stru

cted

. Nev

erth

eles

s it

isim

poss

ible

to r

id y

ours

elf

of th

e im

pres

sion

of

som

ethi

ng th

atw

as k

nead

ed a

nd m

ould

ed, s

omet

hing

that

res

pond

ed to

pre

ssur

ein

the

sam

e w

ay th

e ba

nks

of s

trea

ms

and

rive

rs d

o, a

cqui

ring

the

form

of

win

ding

cur

ves

as th

e ru

shin

g w

ater

car

ries

off

mas

ses

ofcl

ay a

nd g

rave

l fro

m o

ne b

ank

and

depo

sits

iton

the

othe

r. T

hebr

idge

has

a d

oubl

e fu

nctio

n: it

is a

rai

sed

road

way

and

a na

viga

-tio

n po

rtal

that

see

ms

to h

ave

been

hol

low

ed o

ut b

y th

epr

essu

reof

run

ning

wat

er.

As,

an

exam

ple

of th

e op

posi

te q

ualit

y, th

at is

,a

stru

ctur

ew

hose

for

m is

man

ifes

tly "

hard

",w

e se

lect

the

Rom

an P

alaz

zoPu

nta

di D

iam

anti.

Not

onl

y is

the

entir

e bu

ildin

gm

ass

acl

earc

ut p

rism

, but

the

low

er p

art i

s m

ade

of s

tone

with

fac

eted

122

Pal

azzo

Pun

tadi

Dia

ntan

tiin

Rom

e.A

bui

ldin

g w

itha

typi

cally

-har

d- fo

rm

1

rust

icat

ions

like

pro

ject

ing

pyra

mid

sso-

calle

d di

amon

d-sh

aped

ashl

ar. H

ere,

the

deta

il ha

s be

en d

irec

tly ta

ken

over

fro

m a

tiny

obje

ct a

nd e

mpl

oyed

on

a m

uch

larg

er s

cale

.C

erta

in p

erio

ds h

ave

pref

erre

d ha

rd e

ffec

ts o

f th

is k

ind

whi

leot

hers

hav

e en

deav

ored

to m

ake

thei

r bu

ildin

gs "

soft

," a

ndth

ere

is m

uch

arch

itect

ure

whi

ch s

ets

the

soft

aga

inst

the

hard

for

the

sake

of

cont

rast

.Fo

rm c

an a

lso

give

an

impr

essi

on o

f he

avin

ess

or li

ghtn

ess.

A w

all b

uilt

of la

rge

ston

es, w

hich

we

real

ize

mus

t hav

e re

-qu

ired

gre

at e

ffor

t to

brin

g to

the

site

and

put

in p

lace

, app

ears

heav

y to

us.

A s

moo

th w

all s

eem

s lig

ht, e

ven

thou

gh it

may

hav

ene

cess

itate

d m

uch

hard

er w

ork

and

actu

ally

wei

gh m

ore

than

the

ston

e w

all.

We

intu

itive

ly f

eel t

hat g

rani

te w

alls

are

hea

vier

than

bric

k on

es w

ithou

t hav

ing

any

idea

of

thei

r re

spec

tive

wei

ghts

.A

shla

r m

ason

ry w

ith d

eep

join

ts is

oft

en im

itate

d in

bri

ck, n

otto

pro

duce

a d

ecep

tion

but s

impl

y as

a m

eans

of

artis

tic e

xpre

ssio

n.

123

24S

idew

alk

Sid

ewal

kIll

nam

sbut

in A

arhu

s,

Land

(D

enm

ark

Impr

essi

ons

of h

ardn

ess

and

soft

ness

, of

heav

ines

s an

d lig

ht-

ness

, are

con

nect

ed w

ith th

e su

rfac

e ch

arac

ter o

f m

ater

ials

. The

rear

e in

num

erab

le k

inds

of

surf

aces

fro

m th

eco

arse

st to

the

fine

st.

If b

uild

ing

mat

eria

lsw

ere

grad

ed a

ccor

ding

to d

egre

es o

f ro

ugh-

ness

, the

re w

ould

be

a gr

eat n

umbe

r of

them

with

alm

ost i

mpe

r-ce

ptib

le d

iffe

renc

es. A

t one

end

of

the

scal

e w

ould

be

undr

esse

dtim

ber

and

pebb

le-d

ash,

at th

e ot

her

polis

hed

ston

e an

d sm

ooth

lyva

rnis

hed

surf

aces

.It

may

not

be

surp

risi

ng th

atw

e ca

n se

e su

ch d

iffe

renc

es w

ithth

e na

ked

eye

but i

t is

cert

ainl

yre

mar

kabl

e th

at, w

ithou

t tou

ch-

ing

the

mat

eria

ls,

we

are

awar

e of

the

esse

ntia

l dif

fere

nce

betw

een

such

thin

gs a

s fi

red

clay

, cry

stal

line

ston

e, a

nd c

oncr

ete.

In D

enm

ark

toda

y si

dew

alks

are

ofte

n pa

ved

with

sev

eral

row

sof

con

cret

e sl

abs

sepa

rate

dby

row

s of

gra

nite

cob

bles

tone

s.It

is12

4

undo

ubte

dly

prac

tical

, whe

n ne

cess

ary

to li

ft th

e sl

ab o

fco

n-cr

ete,

to b

e ab

le to

res

t the

cro

wba

r ag

ains

t the

har

d gr

anite

,w

hich

is le

ss li

kely

to c

rum

ble.

But

the

com

bina

tion

give

sa

sing

ular

ly in

harm

onio

us s

urfa

ce. G

rani

te a

nd c

oncr

ete

dono

tm

ix w

ell;

you

can

alm

ost f

eel h

ow u

nple

asan

t it i

s ri

ght t

hrou

ghth

e so

les

of y

our

shoe

sthe

two

mat

eria

ls a

re o

f su

ch d

iffe

rent

grad

es o

f sm

ooth

ness

. And

whe

n, a

s so

met

imes

hap

pens

, thi

spa

vem

ent i

s fl

anke

d by

bro

ad s

trip

s of

asp

halt

or g

rave

l and

edg

edw

ith k

erbs

tone

, the

mod

ern

Dan

ish

side

wal

k be

com

esa

veri

-ta

ble

sam

ple

colle

ctio

n of

pav

ing

mat

eria

ls, n

ot to

be

com

pare

dw

ith th

e pa

vem

ents

of

mor

e ci

viliz

ed e

ras,

whi

char

e pl

easi

ng to

the

eye

and

com

fort

able

und

er f

oot.

The

Lon

done

r ca

lls h

issi

dew

alk

the

"pav

emen

t," a

nd a

mor

e cu

ltiva

ted

exam

ple

ofpa

ving

can

har

dly

be f

ound

.

BE

ST C

OPY

AV

AIL

AB

LE

125

26

a.%

itI

1 6

BE

ST

CO

PY

AV

AIL

AB

LE

Clin

ker

pavi

ngat

The

1-la

gue

Clin

ker

pave

dco

lonn

ade

in

Cop

enha

gen.

Hea

vy g

rani

teco

lum

n st

ands

dire

ctly

on

the

light

er p

avin

gm

ater

ial,

shat

terin

g th

e

patte

rn o

f the

bric

k pa

ving

Cob

bles

tone

pav

ed s

quar

e in

Frib

ourg

, Sw

itzer

land

In S

witz

erla

nd th

e co

bble

ston

e pa

ving

is e

xcee

ding

ly h

and-

som

e, a

s ca

n be

see

n in

the

phot

ogra

phs

of a

tran

quil

little

squa

re in

Fri

bour

g w

here

the

beau

tiful

ly la

id p

avem

ent g

ives

aest

hetic

ple

asur

e to

the

eye

and

has

its p

erfe

ct f

oil i

n th

e un

ifor

mpa

le y

ello

w li

mes

tone

of

the

surr

ound

ing

wal

ls a

nd th

e fo

unta

in.

A g

reat

var

iety

of

mat

eria

ls c

an b

e us

ed f

or p

avin

g w

ith v

ery

satis

fact

ory

resu

lts, b

ut th

ey c

anno

t be

com

bine

d or

use

d ar

bi-

trar

ily. I

n H

olla

nd th

ey u

se c

linke

rs in

the

stre

ets

and

on th

ehi

ghw

ays

and

secu

re a

nea

t and

ple

asan

t sur

face

. But

whe

n th

esa

me

mat

eria

l is

used

as

a fo

unda

tion

for

gran

ite p

illar

s, a

s in

127

27

Stor

mga

de in

Cop

enha

gen,

the

effe

ct is

far

fro

m g

ood.

Not

onl

ydo

the

clin

kers

bec

ome

chip

ped,

but

you

hav

e th

e un

com

fort

able

feel

ing

that

the

heav

y pi

llars

are

sin

king

into

the

soft

er m

ater

ial.

At a

bout

the

time

whe

n th

e ch

ild b

ecom

es a

war

e of

the

tex-

ture

s of

var

ious

mat

eria

ls h

e al

so f

orm

s an

idea

of

taut

ness

as

oppo

sed

to s

lack

ness

. The

boy

who

mak

es a

bow

and

dra

ws

the

stri

ng s

o tig

htly

that

it h

ums,

enj

oys

its ta

utne

ss a

nd r

ecei

ves

anim

pres

sion

for

life

of

a te

nse

curv

e an

d w

hen

he s

ees

a fi

shin

g ne

thu

ng u

p to

dry

, he

expe

rien

ces

how

rep

osef

ul it

s sl

ack

and

heav

ylin

es a

re. Sq

uare

in F

ribo

urg,

Sw

itzer

land

. Pav

ing

seen

fro

m th

e te

rrac

e ab

ove

128

-

str-

0---

-

r11

I1

r

4 :.tag

0

Ow

.

Fis

hing

net

hun

g up

to d

ry in

Ven

ice

The

sw

ellin

g fo

rms

of d

omes

see

n th

roug

h th

e pe

nden

t lin

es o

f the

net

The

re a

re m

onum

enta

l str

uctu

res

of th

e gr

eate

st s

impl

icity

whi

ch p

rodu

ce o

nly

a si

ngle

eff

ect,

such

as

hard

ness

or

soft

ness

.B

ut m

ost b

uild

ings

con

sist

of

a co

mbi

natio

n of

har

d an

d so

ft,

light

and

hea

vy, t

aut a

nd s

lack

, and

of

man

y ki

nds

of s

urfa

ces.

The

se a

re a

ll el

emen

ts o

f ar

chite

ctur

e, s

ome

of th

e th

ings

the

arch

itect

can

cal

l int

o pl

ay. A

nd to

exp

erie

nce

arch

itect

ure,

you

mus

t be

awar

e of

all

of th

ese

elem

ents

.

BE

ST C

OPY

AV

AIL

AB

LE

129

29

30E

very

inst

rum

ent

has

its o

wn

phys

iogn

omy.

The

sig

ht o

f a te

nnis

racq

uet p

rovo

kes

a fe

elin

g of

vita

lity

From

thes

e in

divi

dual

qua

litie

s le

t us

now

turn

to th

e th

ings

them

selv

es.

Whe

n w

e re

gard

the

tool

s pr

oduc

ed b

y m

anus

ing

the

term

tool

s in

the

broa

d se

nse

whi

ch in

clud

es b

uild

ings

and

thei

r ro

oms

we

find

that

by

mea

ns o

f m

ater

ial,

form

, col

or a

nd o

ther

per

-ce

ptiv

e qu

aliti

es, m

an h

ai b

een

able

to g

ive

each

tool

its

indi

vid-

ual c

hara

cter

. Eac

h on

e se

ems

to h

ave

its o

wn

pers

onal

ity w

hich

fair

ly s

peak

s to

us

like

a he

lpfu

l fri

end,

a g

ood

com

rade

. And

eac

him

plem

ent h

as it

s ow

n pa

rtic

ular

eff

ect u

pon

our

min

ds.

In th

is w

ay, m

an f

irst

put

s hi

s st

amp

on th

e im

plem

ents

he

mak

es a

nd th

erea

fter

the

impl

emen

ts e

xert

thei

r in

flue

nce

on'm

an. T

hey

beco

me

mor

e th

an p

urel

y us

eful

art

icle

s. B

esid

esex

pand

ing

our

fiel

d of

act

ion,

they

incr

ease

our

vita

lity.

A te

nnis

racq

uet c

an h

elp

us to

str

ike

a ba

ll be

tter

than

we

can

do w

ith th

eha

nd a

lone

. Thi

s, h

owev

er, i

s no

t the

mos

t im

port

ant t

hing

abo

utit.

As

a m

atte

r of

fac

t, st

riki

ng b

alls

is in

itse

lf o

f no

par

ticul

ar

130

AS

ST

CO

PY

AV

AIL

AB

LE

The

Eng

lish

ridin

gboo

tha

s an

aris

tocr

atic

air

and

it pr

oduc

es a

nef

fect

of c

ostli

ness

and

eleg

ance

t:,5s

e

valu

e to

any

one.

But

usi

ng th

e ra

cque

t giv

es u

s a

feel

ing

of b

eing

aliv

e, f

ills

us w

ith e

nerg

y an

d ex

uber

ance

. The

sig

ht o

f it

alon

est

imul

ates

the

tenn

is p

laye

r in

a w

ay th

at is

dif

ficu

lt to

des

crib

e.B

ut if

we

turn

to a

noth

er p

iece

of

spor

ts e

quip

men

tthe

ridi

ngho

ot, f

or e

xam

ple,

we

will

imm

edia

tely

rea

lize

wha

t dif

fere

ntse

nsat

ions

the

vari

ous

thin

gs a

rous

e. T

here

is s

omet

hing

ari

sto-

crat

ic a

bout

an

Eng

lish

ridi

ng b

oot.

It's

a r

athe

r od

d-lo

okin

gle

athe

r sh

eath

, onl

y fa

intly

rem

inis

cent

of

the

shap

e of

the

hum

anle

g. I

t aw

aken

s se

nsat

ions

of

eleg

ance

and

luxu

ryca

lls to

min

dpr

anci

ng th

orou

ghbr

eds

and

pink

coa

ts. O

r ta

ke th

e um

brel

la.

Itis

an in

geni

ous,

thor

ough

ly f

unct

iona

l dev

ice,

nea

t and

prac

tical

. But

you

sim

ply

cann

ot im

agin

e it

in c

ompa

ny w

ithth

e ra

cque

t or

the

ridi

ng b

oot.

The

y do

not

spe

ak th

e sa

me

lang

uage

. The

re s

eem

s to

he

som

ethi

ng f

inic

ky a

bout

an

umbr

ella

,so

met

hing

rat

her

cold

and

res

erve

dan

air

of d

igni

ty w

hich

the

racq

uet u

tterl

y la

cks.

131

3

32W

e ge

t to

the

poin

t whe

re w

e ca

nnot

des

crib

eou

r im

pres

sion

sof

an

obje

ct w

ithou

t tre

atin

g it

as a

livi

ng th

ing

with

its

own

phys

iogn

omy.

For

eve

n th

e m

ost p

reci

se d

escr

iptio

n,en

umer

-at

ing

all v

isib

le c

hara

cter

istic

s, w

ill n

ot g

ive

an in

klin

g of

wha

tw

efe

el is

the

esse

nce

of th

e th

ing

itsel

f. J

ust a

sw

e do

not

not

ice

the

indi

vidu

al le

tters

in a

wor

d bu

t rec

eive

a to

tal i

mpr

essi

on o

f th

eid

ea th

e w

ord

conv

eys,

we

gene

rally

are

not

aw

are

of w

hat i

t is

that

we

perc

eive

but

onl

y of

the

conc

eptio

n cr

eate

d in

our

min

dsw

hen

we

perc

eive

it.

Not

onl

y th

e te

nnis

rac

quet

but

eve

ryth

ing

conn

ecte

d w

ithth

e ga

met

he c

ourt

, the

tenn

is p

laye

r's c

loth

esar

ouse

s th

esa

me

sens

atio

ns. T

he g

arb

is lo

ose

and

com

fort

able

, the

sho

es a

reso

ftin

kee

ping

with

the

rela

xed

cond

ition

in w

hich

the

play

erm

oves

abo

ut th

e co

urt i

dly

pick

ing

up b

alls

, res

ervi

ng h

is e

nerg

yfo

r th

e sp

eed

and

conc

entr

atio

n w

hich

will

be

dem

ande

d of

him

the

inst

ant t

he b

all i

s in

pla

y. I

f, la

ter

in th

e da

y, th

esa

me

man

appe

ars

at a

n of

fici

al f

unct

ion

in u

nifo

rm o

r fo

rmal

atti

re, n

oton

ly h

is a

ppea

ranc

e w

ill h

ave

chan

ged

but h

is e

ntir

e be

ing.

His

post

ure

and

gait

are

infl

uenc

ed b

y hi

s cl

othe

s; r

estr

aint

and

dign

ity a

re n

ow th

e ke

ynot

e.T

urni

ng f

rom

thes

e ex

ampl

es f

rom

dai

ly-

life

to a

rchi

tect

ure,

we

find

that

the

best

bui

ldin

gs h

ave

been

pro

duce

d' w

hen

the

arch

itect

has

bee

n in

spir

ed b

y so

met

hing

in th

e pr

oble

m w

hich

will

giv

e th

e bu

ildin

g a

dist

inct

ive

stam

p. S

uch

build

ings

are

crea

ted

in a

spe

cial

spi

rit a

nd th

ey c

onve

y th

at s

piri

t to

othe

rs.

Ext

erna

l fea

ture

s be

com

e a

mea

ns o

f co

mm

unic

atin

g fe

elin

gsan

d m

oods

fro

m o

ne p

erso

n to

ano

ther

. Oft

en, h

owev

er, t

he o

nly

mes

sage

con

veye

d is

one

of

conf

orm

ity. M

an is

less

lone

ly w

hen

he f

eels

that

he

is p

art o

f a

gene

ral m

ovem

ent.

Peop

le w

hoge

tto

geth

er f

or a

com

mon

pur

pose

try

to a

ppea

ras

muc

h al

ike

aspo

ssib

le. I

f on

e of

them

fin

ds h

imse

lf a

bit

cons

picu

ous,

he

islik

ely

to f

eel m

iser

able

; the

ent

ire

occa

sion

is s

poile

d fo

r hi

m.

In p

ictu

res

from

a p

artic

ular

per

iod

peop

lese

em to

look

ver

ym

uch

alik

e. I

t is

not o

nly

a qu

estio

n of

clo

thes

and

the

styl

e of

hair

-dre

ss, b

ut o

f po

stur

e an

d m

ovem

ent a

nd th

e en

tire

man

ner

132

in w

hich

the

peop

le c

ondu

ct th

emse

lves

. In

mem

oirs

of

the

sam

epe

riod

you

fin

d th

at th

e m

ode

of li

ving

har

mon

izes

with

the

ex-

tern

al p

ictu

re, a

nd y

ou w

ill a

lso

find

that

the

build

ings

, str

eets

and

tow

ns w

ere

attu

ned

to th

e rh

ythm

of

the

era.

Whe

n it

had

pass

ed h

isto

rian

s di

scov

ered

that

a d

efin

ite s

tyle

had

dom

inat

ed th

e pe

riod

and

they

gav

e it

a na

me.

But

thos

e w

holiv

ed in

that

sty

le w

ere

not a

war

e of

it. W

hate

ver

they

did

, how

-ev

er th

ey d

ress

ed, s

eem

ed n

atur

al to

them

. We

spea

k of

a"G

othi

c" p

erio

d or

a "

Bar

oque

" pe

riod

, and

dea

lers

in a

ntiq

ues

and

thos

e w

ho m

ake

thei

r liv

ing

man

ufac

turi

ng f

ake

antiq

ues

are

fam

iliar

with

all

the

smal

l det

ails

that

are

cha

ract

eris

tic o

fea

ch s

tyle

in a

ll its

pha

ses.

But

det

ails

tell

noth

ing

esse

ntia

l abo

ut;

arch

itect

ure,

sim

ply

beca

use

the

obje

ct o

f al

l goo

d ar

chite

ctur

e is

to c

reat

e in

tegr

ated

who

les.

Und

erst

andi

ng a

rchi

tect

ure,

ther

efor

e, is

not

the

sam

e as

be-

ing

able

to d

eter

min

e th

e st

yle

of a

bui

ldin

g by

cer

tain

ext

erna

lfe

atur

es. I

t is

not e

noug

h to

see

arc

hite

ctur

e; y

ou m

ust e

xper

i-en

ce it

. You

mus

t obs

erve

how

it w

as d

esig

ned

for

a sp

ecia

l pur

-po

se a

nd h

ow it

was

attu

ned

to th

e en

tire

conc

ept a

nd r

hyth

m o

fa

spec

ific

era

. You

mus

t dw

ell i

n th

e ro

oms,

fee

l how

they

clo

seab

out y

ou, o

bser

ve h

ow y

ou a

re n

atur

ally

led

from

one

to th

eot

her.

You

mus

t be

awar

e of

the

text

ural

eff

ects

, dis

cove

r w

hyju

st th

ose

colo

rs w

ere

used

, how

the

choi

ce d

epen

ded

on th

eor

ient

atio

n of

the

room

s in

rel

atio

n to

win

dow

s an

d th

e su

n. T

wo

apar

tmen

ts, o

ne a

bove

the

othe

r, w

ith r

oom

s of

exa

ctly

the

sam

edi

men

sion

s an

d w

ith th

e sa

me

open

ings

, can

be

entir

ely

diff

eren

tsi

mpl

y be

caus

e of

cur

tain

s, w

allp

aper

and

fur

nitu

re. Y

ou m

ust

expe

rien

ce th

e gr

eat d

iffe

renc

e ac

oust

ics

mak

e in

you

r co

ncep

-tio

n of

spa

ce: t

he w

ay s

ound

act

s in

an

enor

mou

s ca

thed

ral,

with

its e

choe

s an

d lo

ng-t

oned

rev

erbe

ratio

ns, a

s co

mpa

red

to a

sm

all

pane

led

room

wel

l pad

ded

with

han

ging

s, r

ugs

and

cush

ions

.M

an's

rel

atio

n to

impl

emen

ts c

an b

e br

oadl

y de

scri

bed

thus

:ch

ildre

n be

gin

by p

layi

ng w

ith b

lock

s, b

alls

and

oth

er th

ings

whi

ch th

ey c

an g

rasp

in th

eir

hand

s. A

s tim

e go

es o

n th

ey d

eman

dbe

tter

and

bette

r to

ols.

At a

cer

tain

sta

ge m

ost c

hild

ren

have

33

34th

e de

sire

to b

uild

som

e so

rt o

f she

lter.

Itm

ay b

e a

real

cav

edu

g in

to a

ban

k, o

r a

prim

itive

but

of r

ough

boa

rds.

But

ofte

n it

is n

o m

ore

than

a s

ecre

t noo

k hi

dden

amon

g bu

shes

, or

a te

ntm

ade

with

a r

ug d

rape

d ov

er tw

o ch

airs

. Thi

s "c

ave

gam

e"ca

nhe

var

ied

in a

thou

sand

way

s bu

t com

mon

to th

em a

llis

the

encl

osin

g of

spa

ce fo

r th

e ch

ild's

ow

nus

e. M

any

anim

als

arc

also

able

to c

reat

e a

shel

ter

for

them

selv

es, b

y di

ggin

ga

hole

in th

egr

ound

or

build

ing

som

e so

rt o

f hab

itatio

n ab

ove

it. B

ut th

esa

me

spec

ies

alw

ays

does

it in

the

sam

e w

ay. M

an a

lone

form

s dw

ell-

ings

whi

ch v

ary

acco

rdin

g to

req

uire

men

ts, c

limat

e an

d cu

ltura

lpa

ttern

. The

chi

ld's

pla

y is

con

tinue

d in

the

grow

n-up

's c

reat

ion,

and

just

as

man

pro

gres

ses

from

sim

ple

bloc

ks to

the

mos

t ref

ined

impl

emen

ts, h

e pr

ogre

sses

from

the

cave

gam

e to

mor

e an

d m

ore

refin

ed m

etho

ds o

f enc

losi

ng s

pace

. Litt

le b

y lit

tle h

e st

rives

togi

ve fo

rm to

his

ent

ire s

urro

undi

ngs.

And

this

to b

ring

orde

r an

d re

latio

n in

to h

uman

sur

roun

d-in

gsis

the

task

of t

he a

rchi

tect

.

M.P

1i12

;P-

e. 13

4

. 't

F

BE

ST

CO

PY

AV

AIL

AB

LE

CH

APT

ER

II

Solid

s an

d C

aviti

es in

Arc

hite

ctur

e

See

ing

dem

ands

a c

erta

in a

ctiv

ity o

n th

e pa

rt o

f the

spe

ctat

or. I

tis

not

eno

ugh

pass

ivel

y to

let a

pic

ture

form

itse

lf on

the

retin

aof

the

eye.

The

ret

ina

is li

ke a

mov

ie s

cree

n on

whi

ch a

con

:.tin

uous

ly c

hang

ing

stre

am o

f pic

ture

s ap

pear

s bu

t the

min

dbe

hind

the

eye

is c

onsc

ious

of o

nly

very

few

of t

hem

. On

the

othe

r ha

nd, o

nly

a ve

ry fa

int v

isua

l im

pres

sion

is n

eces

sary

for

us to

thin

k th

at w

e ha

ve s

een

a th

ing;

a ti

ny d

etai

l is

enou

gh.

A v

isua

l pro

cess

can

be

desc

ribed

as

follo

ws.

A m

an w

alki

ngal

ong

with

ben

t hea

d re

ceiv

es a

n im

pres

sion

of b

lue

jean

s; a

mer

ehi

nt w

ill s

uffic

e. H

e be

lieve

s th

at h

e ha

s se

en a

man

thou

ghac

tual

ly a

ll he

saw

was

the

char

acte

ristic

sea

m r

unni

ng d

own

the

side

of t

he le

g. F

rom

this

one

sm

all o

bser

vatio

n he

con

clud

esth

at a

man

has

pas

sed

him

on

the

side

wal

k, s

impl

y be

caus

e w

here

ther

e is

that

sor

t of s

eam

ther

e m

ust b

e je

ans

and

whe

re th

ere

are

mov

ing

jean

s th

ere

mus

t be

a m

an in

side

them

. Usu

ally

his

ob-

serv

atio

n en

ds h

ere;

ther

e ar

e so

man

y th

ings

to k

eep

an e

ye o

nin

a c

row

ded

stre

et th

at h

e ca

nnot

bot

her

his

min

d w

ith h

is fe

llow

pede

stria

ns. B

ut fo

r so

me

reas

on o

ur m

an w

ishe

s to

hav

e a

clos

erlo

ok a

t the

per

son.

He

obse

rves

mor

e de

tails

. He

was

rig

ht a

bout

the

jean

s bu

t the

wea

rer

is a

you

ng g

irl, n

ot a

man

. If h

e is

not

a v

ery

dull

pers

on h

e w

ill n

ow a

sk h

imse

lf: "

Wha

t doe

s sh

e lo

ok li

ke ?

"H

e w

ill th

en o

bser

ve h

er m

ore

clos

ely,

add

ing

deta

il to

det

ail u

ntil

he g

ets

a m

ore

or le

ss c

orre

ct p

ictu

re o

f her

. His

act

ivity

can

be

com

pare

d to

that

of a

por

trai

t pai

nter

. Firs

t he

form

s a

roug

hsk

etch

of h

is s

ubje

ct, a

mer

e su

gges

tion;

then

ela

bora

tes

it en

ough

for

it to

bec

ome

a gi

rl in

jean

s; fi

nally

he

adds

mor

e an

d m

ore

deta

ils u

ntil

he h

as o

btai

ned

a ch

arac

teris

tic p

ortr

ait o

f tha

tpa

rtic

ular

girl

. The

act

ivity

of s

uch

a sp

ecta

tor

is c

reat

ive;

he

recr

eate

s th

e ph

enom

ena

he o

bser

ves

in h

is e

ffort

to fo

rm a

com

plet

e im

age

of w

hat h

e ha

s se

en.

135

APPENDIX D

136

137

h-el

s-C

e/

I

Cha

pter

I

4.0

TH

E T

HR

EE

LA

TIN

SOU

RC

ES

FOR

TH

E C

LA

SSIC

AL

AR

T O

F M

EM

OR

Y'

AT T

banq

uet g

iven

by

a no

blem

an o

fT

hess

aly

nam

edSc

opas

, the

poe

t Sim

onid

es o

f C

eos

chan

ted

a ly

ric

poem

in h

onou

r of

his

hos

t but

incl

udin

ga

pass

age

inpr

aise

of

Cas

tor

and

Pollu

x. S

copa

sm

eanl

y to

ld th

epo

et th

at h

e w

ould

onl

y pa

y hi

m h

alf

the

sum

agr

eed

upon

for

the

pane

gyri

c an

d th

at h

e m

ust o

btai

n th

e ba

lanc

efr

om th

e tw

in g

ods

to w

hom

he

had

devo

ted

half

the

poem

. A li

ttle

late

r,a

mes

sage

was

brou

ght i

n to

Sim

onid

es th

at tw

oyo

ung

men

wer

e w

aitin

g ou

tsid

ew

ho w

ishe

d to

see

him

. He

rose

fro

m th

e ba

nque

t and

wen

t out

but

coul

d fi

nd n

o on

e. D

urin

g hi

s ab

senc

e th

e ro

ofof

the

banq

uetin

gha

ll fe

ll in

, cru

shin

g Sc

opas

and

all

the

gues

ts to

dea

th b

enea

th th

eru

ins;

the

corp

ses

wer

e so

man

gled

that

the

rela

tives

who

cam

e to

The

Eng

lish

tran

slat

ions

of

the

thre

e L

atin

sour

ces

used

are

thos

e in

the

Loe

b ed

ition

of

the

clas

sics

: the

Ad

Her

enni

umis

tran

slat

ed b

y H

.C

apla

n; th

e D

c or

ator

e by

E. W

. Sut

ton

and

H. R

ackh

am;

Qui

ntili

an's

Inst

itutio

ora

tori

o by

H. E

. But

ler.

Whe

n qu

otin

gfr

om th

ese

tran

slat

ions

I ha

ve s

omet

imes

mod

ifie

d th

em in

the

dire

ctio

n of

liter

alne

ss, p

artic

u-la

rly

in r

epea

ting

the

actu

al te

rmin

olog

y of

the

mne

mon

ic r

athe

r th

an in

usin

g pe

riph

rase

s of

the

term

s.T

he b

est a

ccou

nt k

now

n to

me

of th

e ar

t of

mem

ory

in a

ntiq

uity

isth

at g

iven

by

H. H

ajdu

, Das

Mne

mot

echn

isch

e Sc

hnft

umde

s M

ittel

aher

s,V

ienn

a, 1

936.

I a

ttem

pted

a b

rief

ske

tch

of it

inm

y ar

ticle

'The

Cic

ero-

nian

Art

of

Mem

ory'

in M

edio

eve

e R

inas

cim

ento

, Stu

diin

ono

re d

i Bru

noN

ardi

, Flo

renc

e, 1

955,

II,

pp.

871

ff. O

n th

e w

hole

,th

e su

bjec

t has

bee

ncu

riou

sly

negl

ecte

d.I

138

TH

RE

E L

AT

IN S

OU

RC

ES

FOR

TH

E C

LA

SSIC

AL

AR

T O

P M

EM

OR

Y

take

them

aw

ay f

or b

uria

l wer

e un

able

to id

entif

y th

em. B

utSi

mon

ides

rem

embe

red

the

plac

es a

t whi

ch th

ey h

ad b

een

sitti

ngat

the

tabl

e an

d w

as th

eref

ore

able

to in

dica

te to

the

rela

tives

whi

chw

ere

thei

r de

ad. T

he in

visi

ble

calle

rs, C

asto

r an

d Po

llux,

had

hand

som

ely

paid

for

thei

r sh

are

in th

e pa

negy

ric

by d

raw

ing

Sim

onid

es a

way

fro

m th

e ba

nque

t jus

t bef

ore

the

cras

h. A

nd th

isex

peri

ence

sug

gest

ed to

the

poet

the

prin

cipl

es o

f th

e ar

t of

mem

ory

of w

hich

he

is s

aid

to h

ave

been

the

inve

ntor

. Not

ing

that

it w

asth

roug

h hi

s m

emor

y of

the

plac

es a

t whi

ch th

e gu

ests

had

bee

nsi

tting

that

he

had

been

abl

e to

iden

tify

the

bodi

es, h

e re

alis

ed th

ator

derl

y ar

rang

emen

t is

esse

ntia

l for

goo

d m

emor

y.

He

infe

rred

that

per

sons

des

irin

g to

trai

n th

is f

acul

ty (

of m

emor

y)m

ust s

elec

t pla

ces

and

form

men

tal i

mag

es o

f th

e th

ings

they

wis

hto

rem

embe

r an

d st

ore

thos

e im

ages

in th

e pl

aces

, so

that

the

orde

rof

the

plac

es w

ill p

rese

rve

the

orde

r of

the

thin

gs, a

nd th

e im

ages

of

the

thin

gs w

ill d

enot

e th

e th

ings

them

selv

es, a

nd w

e sh

all e

mpl

oyth

e pl

aces

and

imag

es r

espe

ctiv

ely

as a

wax

wri

ting-

tabl

et a

nd th

ele

tters

wri

tten

on it

.=

The

viv

id s

tory

of

how

Sim

onid

es in

vent

ed th

e ar

t of

mem

ory

isto

ld b

y C

icer

o in

his

De

orat

ore

whe

n he

is d

iscu

ssin

g m

emor

y as

one

of th

e fi

ve p

arts

of

rhet

oric

; the

sto

ry in

trod

uces

abr

ief

des-

crip

tion

of th

e m

nem

onic

of

plac

es a

nd im

ages

(lo

ci a

nd im

agin

es)

whi

ch w

as u

sed

by th

e R

oman

rhe

tors

. Tw

o ot

her

desc

ript

ions

of

the

clas

sica

l mne

mon

ic, b

esid

es th

e on

e gi

ven

by C

icer

o, h

ave

com

e do

wn

to u

s, b

oth

also

in tr

eatis

es o

n rh

etor

icw

hen

mem

ory

as a

par

t of

rhet

oric

is b

eing

dis

cuss

ed; o

ne is

in th

e an

onym

ous

Ad

C. H

eren

nium

libr

i IV

; the

oth

er is

in Q

uint

ilian

's I

nstit

utio

orat

oria

.T

he f

irst

bas

ic f

act w

hich

the

stud

ent o

f th

e hi

stor

y of

the

clas

-si

cal a

rt o

f m

emor

y m

ust r

emem

ber

is th

at th

e ar

t bel

onge

d to

rhet

oric

as

a te

chni

que

by w

hich

the

orat

or c

ould

impr

ove

his

mem

ory,

whi

ch w

ould

ena

ble

him

to d

eliv

er lo

ngsp

eech

es f

rom

mem

ory

with

unf

ailin

g ac

cura

cy. A

nd it

was

as

a pa

rtof

the

art o

frh

etor

ic th

at th

e ar

t of

mem

ory

trav

elle

d do

wn

thro

ugh

the

Eur

o-pe

an tr

aditi

on in

whi

ch it

was

nev

er f

orgo

tten,

or

not

forg

otte

nun

til c

ompa

rativ

ely

mod

ern

times

, tha

t tho

se in

falli

ble

guid

es in

all h

uman

act

iviti

es, t

he a

ncie

nts,

had

laid

dow

n ru

les

and

prec

epts

for

impr

ovin

g th

e m

emor

y.

2 C

icer

o, D

e or

ator

s, I

I, lx

xxvi

, 355

-4.

213

9

TH

RE

E L

AT

IN S

OU

RC

ES

FOR

TH

E C

LA

SSIC

AL

AR

T O

FM

EM

OR

Y

It is

not

dif

ficu

lt to

get

hol

d of

the

gene

ral

prin

cipl

es o

f th

em

nem

onic

. The

fir

st s

tep

was

to im

prin

ton

the

mem

ory

a se

ries

of lo

ci o

r pl

aces

. The

com

mon

est,

thou

ghno

t the

onl

y, ty

pe o

fm

nem

onic

pla

ce s

yste

m u

sed

was

the

arch

itect

ural

type

. The

clea

rest

des

crip

tion

of th

epr

oces

s is

that

giv

en b

y Q

uint

ilian

.3 I

nor

der

to f

orm

a s

erie

s of

pla

ces

inm

emor

y, h

e sa

ys, a

bui

ldin

g is

tobe

rem

embe

red,

as

spac

ious

and

var

ied

a on

e as

pos

sibl

e, th

e fo

re-

cour

t, th

e liv

ing

room

, bed

room

s, a

nd p

arlo

urs;

not o

mitt

ing

stat

ues

and

othe

r or

nam

ents

with

whi

ch th

ero

oms

are

deco

rate

d.T

he im

ages

by

whi

ch th

e sp

eech

isto

be

rem

embe

reda

s an

exam

ple

of th

ese

Qui

ntili

ansa

ys o

ne m

ay u

se a

n an

chor

or

aw

eapo

nare

then

pla

ced

in im

agin

atio

n on

the

plac

es w

hich

hav

ebe

en m

emor

ised

in th

e bu

ildin

g. T

his

done

, as

soon

as

the

mem

ory

of th

e fa

cts

requ

ires

to b

e re

vive

d, a

ll th

ese

plac

esar

e vi

site

d in

turn

and

the

vari

ous

depo

sits

dem

ande

d of

thei

r cu

stod

ians

.W

eha

ve to

thin

k of

the

anci

ent o

rato

ras

mov

ing

in im

agin

atio

nth

roug

h hi

s m

emor

y bu

ildin

g w

hils

t he

is m

akin

g hi

ssp

eech

, dra

w-

ing

from

the

mem

oris

ed p

lace

s th

e im

ages

he

has

plac

ed o

n th

em.

The

met

hod

ensu

res

that

the

poin

tsar

e re

mem

bere

d in

the

righ

tor

der,

sin

ce _

the

orde

r is

fix

ed b

y th

ese

quen

ce o

f pl

aces

in th

ebu

ildin

g. Q

uint

ilian

's e

xam

ples

of

the

anch

or a

nd th

ew

eapo

n as

imag

es m

ay s

ugge

st th

at h

e ha

d in

min

da

spee

ch w

hich

dea

lt at

one

poin

t with

nav

al m

atte

rs (

the

anch

or),

at a

noth

er w

ith m

ilita

ryop

erat

ions

(th

e w

eapo

n).

The

re is

no

doub

t tha

t thi

s m

etho

d w

ill w

ork

for

anyo

ne w

ho is

prep

ared

to la

bour

ser

ious

ly a

t the

se m

nem

onic

gym

nast

ics.

Iha

ve n

ever

atte

mpt

ed to

do

so m

ysel

f bu

t I h

ave

been

told

of

apr

ofes

sor

who

use

d to

am

use

his

stud

ents

at p

artie

s by

ask

ing

each

of th

em to

nam

e an

obj

ect;

one

of th

em n

oted

dow

n al

l the

obje

cts

in th

e or

der

in w

hich

they

had

bee

n na

med

. Lat

er in

the

even

ing

the

prof

esso

r w

ould

cau

se g

ener

alam

azem

ent b

y re

peat

ing

the

list

of o

bjec

ts in

the

righ

t ord

er. H

e pe

rfor

med

his

littl

em

emor

y fe

atby

pla

cing

the

obje

cts,

as

they

wer

e na

med

, on

the

win

dow

sill

, on

the

desk

, on

the

was

tepa

per

bask

et, a

ndso

on.

The

n, a

s Q

uint

ilian

advi

ses,

he

revi

site

d th

ose

plac

es in

turn

and

dem

ande

d fr

omth

emth

eir

depo

sits

. He

had

neve

r he

ard

of th

e cl

assi

cal m

nem

onic

but

had

disc

over

ed h

is te

chni

que

quite

inde

pend

ently

. Had

he e

x-te

nded

his

eff

orts

by

atta

chin

g no

tions

to th

e ob

ject

sre

mem

bere

don

the

plac

es h

e m

ight

hav

e ca

used

stil

l gre

ater

am

azem

ent b

y3

Inst

itutio

ora

tori

o, X

I, ii

, 17-

22.

43

0

TH

RE

E L

AT

IN S

OU

RC

ES

FOR

TH

E C

LA

SSIC

AL

AR

T O

F M

EM

OR

Y

deliv

erin

g hi

s le

ctur

es f

rom

mem

ory,

as

the

clas

sica

l ora

tor

deliv

ered

his

spe

eche

s.W

hils

t it i

s im

port

ant t

o re

cogn

ise

that

the

clas

sica

l art

is b

ased

on w

orka

ble

mne

mot

echn

ic p

rinc

iple

s it

may

be

mis

lead

ing

todi

smis

s it

with

the

labe

l `m

nem

otec

lmic

s'. T

he c

lass

ical

sou

rces

seem

to b

e de

scri

bing

inne

r te

chni

ques

whi

ch d

epen

d on

vis

ual

impr

essi

ons

of a

lmos

t inc

redi

ble

inte

nsity

. Cic

ero

emph

asis

es th

atSi

mon

ides

' inv

entio

n of

the

art o

f m

emor

y re

sted

, not

onl

y on

his

disc

over

y of

the

impo

rtan

ce o

f or

der

for

mem

ory,

but

als

o on

the

disc

over

y th

at th

e se

nse

of s

ight

is th

e st

rong

est o

f al

l the

sen

ses.

It h

as b

een

saga

ciou

sly

disc

erne

d by

Sim

onid

es o

r el

se d

isco

vere

dby

som

e ot

her

pers

on, t

hat t

he m

ost c

ompl

ete

pict

ures

are

for

med

in o

ur m

inds

of

the

thin

gs th

at h

ave

been

con

veye

d to

them

and

impr

inte

d on

them

by

the

sens

es, b

ut th

at th

e ke

enes

t of

all o

urse

nses

is th

e se

nse

of s

ight

, and

that

con

sequ

ently

per

cept

ions

rece

ived

by

the

ears

or

by r

efle

zion

can

be

mos

t eas

ily r

etai

ned

ifth

ey a

re a

lso

conv

eyed

to o

ur m

inds

by

the

med

iatio

n of

the

eyes

.4

The

wor

d `m

nem

otec

imic

s' h

ardl

y co

nvey

s w

hat t

he a

rtif

icia

lm

emor

y of

Cic

ero

may

hav

e be

en li

ke, a

s it

mov

ed a

mon

g th

ebu

ildin

gs o

f an

cien

t Rom

e, s

eein

g th

e pl

aces

, see

ing

the

imag

esst

ored

on

the

plac

es, w

ith a

pie

rcin

g in

ner

visi

on w

hich

imm

edi-

atel

y br

ough

t to

his

lips

the

thou

ghts

and

wor

ds o

f hi

s sp

eech

. Ipr

efer

to u

se th

e ex

pres

sion

'art

of

mem

ory'

for

this

pro

cess

.W

e m

oder

ns w

ho h

ave

no m

emor

ies

at a

ll m

ay, l

ike

the

pro-

fess

or, e

mpl

oy f

rom

tim

e to

tim

e so

me

priv

ate

mne

mot

echn

ic n

otof

vita

l im

port

ance

to u

s in

our

live

s an

d pr

ofes

sion

s. B

ut in

the

anci

ent w

orld

, dev

oid

of p

rint

ing,

with

out p

aper

for

not

e-ta

king

or o

n w

hich

to ty

pe le

ctur

es, t

he tr

aine

d m

emor

y w

as o

f vi

tal

impo

rtan

ce. A

nd th

e an

cien

t mem

orie

s w

ere

trai

ned

by a

n ar

tw

hich

ref

lect

ed th

e ar

t and

arc

hite

ctur

e of

the

anci

ent w

orld

, whi

chco

uld

depe

nd o

n fa

culti

es o

f in

tens

e vi

sual

mem

oris

atio

n w

hich

we

have

lost

. The

wor

d em

nem

otec

lmic

s', t

houg

h no

t act

ually

wro

ngas

a d

escr

iptio

n of

the

clas

sica

l art

of

mem

ory,

mak

es th

is v

ery

mys

teri

ous

subj

ect s

eem

sim

pler

than

it is

.

An

unkn

own

teac

her

of r

heto

ric

in R

omes

com

pile

d, c

irca

86-

82 B

.c.,

a us

eful

text

-boo

k fo

r hi

s st

uden

ts w

hich

imm

orta

lised

,

De

orat

ore,

II,

lxxx

vii,

357.

3 O

n th

e au

thor

ship

and

oth

er p

robl

ems

of th

e A

d H

eren

niw

n, s

ee th

eex

celle

nt in

trod

uctio

n by

H. C

apla

n to

the

Loe

b ed

ition

(19

54).

4

141

TH

RE

E L

AT

IN S

OU

RC

ES

FOR

TH

E C

LA

SSIC

AL

AR

TO

F M

EM

OR

Y

not h

is o

wn

nam

e, b

ut th

e na

me

of th

e m

an to

who

m it

was

ded

i-ca

ted.

It i

s so

mew

hat t

ires

ome

that

this

wor

k,so

vita

lly im

port

ant

for

the

hist

ory

of th

e cl

assi

cal

art o

f m

emor

y an

d w

hich

will

be

cons

tant

ly r

efer

red

to in

the

cour

se o

f th

is b

ook,

has

no

othe

r tit

lesa

ve th

e un

info

rmat

ive

Ad

Her

enni

um. T

he b

usy

and

effi

cien

tte

ache

r go

es th

roug

h th

e fi

ve p

arts

of

rhet

oric

(inv

entio

, dis

posi

tio,

eloc

utio

, mem

oria

, pro

nunt

iatio

)in

a ra

ther

dry

text

-boo

k st

yle.

Whe

nhe

com

es to

mem

ory6

as

an e

ssen

tial p

art o

f th

e or

ator

's e

quip

men

t,he

ope

ns h

is tr

eatm

ent o

f it

with

the

wor

ds: '

Now

let u

s tu

rn to

the

trea

sure

-hou

se o

f in

vent

ions

, the

cus

todi

anof

alt

the

part

s of

rhet

oric

, mem

ory.

' The

rear

e tw

o ki

nds

of m

emor

y, h

e co

ntin

ues,

one

natu

ral,

the

othe

r ar

tific

ial.

The

nat

ural

mem

ory

is th

at w

hich

is e

ngra

fted

in o

ur m

inds

, bor

n si

mul

tane

ousl

yw

ith th

ough

t.T

he a

rtif

icia

l mem

ory

isa

mem

ory

stre

ngth

ened

or

conf

irm

ed b

ytr

aini

ng. A

goo

d na

tura

lm

emor

y ca

n be

impr

oved

by

this

dis

-ci

plin

e an

d pe

rson

s le

ss w

ell e

ndow

edca

n ha

ve th

eir

wea

k m

emo-

ries

impr

oved

by

the

art.

Aft

er th

is c

urt p

ream

ble

the

auth

oran

noun

ces

abru

ptly

, `N

oww

e w

ill s

peak

of

the

artif

icia

l mem

ory.

'A

n im

men

se w

eigh

t of

hist

ory

pres

ses

on th

e m

emor

y se

ctio

n of

Ad

Her

enni

um. I

t is

draw

ing

on G

reek

sou

rces

of

mem

ory

teac

h-.

;, pr

obab

ly in

Gre

ek tr

eatis

es o

n rh

etor

ic a

ll of

whi

char

e lo

st. I

tis

the

only

Lat

in tr

eatis

e on

the

subj

ect t

o be

pre

serv

ed, f

or C

icer

o's

and

Qui

ntili

an's

rem

arks

are

not

ful

l tre

atis

esan

d as

sum

e th

at th

ere

ader

is a

lrea

dy f

amili

ar w

ith th

e ar

tific

ial

mem

ory

and

itste

rmin

olog

y. I

t is

thus

rea

lly th

e m

ain

sour

ce, a

nd in

deed

the

only

com

plet

e so

urce

, for

the

clas

sica

lar

t of

mem

ory

both

in th

e G

reek

and

in th

e L

atin

wor

ld. I

ts r

ole

as th

e tr

ansm

itter

of

the

clas

sica

lar

t to

the

Mid

dle

Age

s an

d th

e R

enai

ssan

ce is

als

o of

uniq

ueim

port

ance

. The

Ad

Her

enni

umw

as a

wel

l kno

wn

and

muc

h us

edte

xt in

the

Mid

dle

Age

s w

hen

it ha

dan

imm

ense

pre

stig

e be

caus

eit

was

thou

ght t

o be

by

Cic

ero.

It w

as th

eref

ore

belie

ved

that

the

prec

epts

for

the

artif

icia

l mem

ory

whi

ch it

exp

ound

edha

d be

endr

awn

up b

y 'T

ulliu

s' h

imse

lf.

In s

hort

, all

atte

mpt

s to

puz

zle

out w

hat t

he c

lass

ical

art

of

mem

ory

was

like

mus

t be

mai

nly

base

d on

the

mem

ory

sect

ion

ofA

d H

eren

nium

. And

all

atte

mpt

s su

chas

we

are

mak

ing

in th

isbo

ok to

puz

zle

out t

he h

isto

ry o

f th

atar

t in

the

Wes

tern

trad

ition

6 T

he s

ectio

n on

mem

ory

is in

Ad

Her

enni

um, I

II, x

vi -

xxiv

.

5

142

TH

RE

E L

AT

IN S

OU

RC

ES

FOR

TH

E C

LA

SSIC

AL

AR

T O

F M

EM

OR

Y

mus

t ref

er b

ack

cons

tant

ly to

this

text

as

the

mai

n so

urce

of

the

trad

ition

. Eve

ry A

rs m

emor

ativ

a tr

eatis

e, w

ith it

s ru

les

for

'pla

ces'

,its

rul

es f

or 'i

mag

es',

its d

iscu

ssio

n of

'mem

ory

for

thin

gs' a

nd`m

emor

y fo

r w

ords

', is

rep

eatin

g th

e pl

an, t

he s

ubje

ct m

atte

r, a

ndas

oft

en a

s no

t the

act

ual w

ords

of

Ad

Her

enni

um. A

nd th

e as

toni

sh-

ing

deve

lopm

ents

of

the

art o

fm

emor

y in

the

sixt

eent

h ce

ntur

y,w

hich

it is

the

chie

f ob

ject

of

this

boo

k to

exp

lore

, stil

l pre

serv

e th

e`A

d H

eren

nian

' out

lines

bel

ow a

ll th

eir

com

plex

acc

retio

ns. E

ven

the

wild

est f

light

s of

fan

cy in

suc

h a

wor

k as

Gio

rdan

o B

runo

'sD

e um

bris

idea

rum

can

not c

once

al th

e fa

ct th

at th

e ph

iloso

pher

of

the

Ren

aiss

ance

is g

oing

thro

ugh

yet

once

aga

in th

e ol

d, o

ldbu

sine

ss o

f ru

les

for

plac

es, r

ules

for

imag

es,

mem

ory

for

thin

gs,

mem

ory

for

wor

ds.

Evi

dent

ly, t

here

fore

, it i

s in

cum

bent

upo

n us

to a

ttem

pt th

e by

no m

eans

eas

y ta

sk o

f tr

ying

to u

nder

stan

d th

e m

emor

y se

ctio

n of

Ad

Her

enni

um. W

hat m

akes

the

task

by

no m

eans

eas

y is

that

the

rhet

oric

teac

her

is n

ot a

ddre

ssin

g us

; he

is n

ot s

ettin

g ou

t to

expl

ain

to p

eopl

e w

ho k

now

not

hing

abo

ut it

wha

t the

art

ific

ial

mem

ory

was

. He

is a

ddre

ssin

g hi

s rh

etor

ic s

tude

nts

as th

eyco

ngre

gate

d ar

ound

him

cir

ca 8

6-82

B.c

., an

d th

ey k

new

wha

t he

was

talk

ing

abou

t; fo

r th

em h

e ne

eded

onl

y to

rat

tle o

ff th

e 'ru

les'

whi

ch th

ey w

ould

kno

w h

ow to

app

ly. W

e ar

e in

a d

iffe

rent

cas

ean

d ar

e of

ten

som

ewha

t baf

fled

by

the

stra

ngen

ess

of s

ome

of th

em

emor

y ru

les.

In w

hat f

ollo

ws

I at

tem

pt to

giv

e th

e co

nten

t of

the

mem

ory

sect

ion

of A

d H

eren

nium

, em

ulat

ing

the

bris

k st

yle

of th

e au

thor

,bu

t with

pau

ses

for

refl

ectio

n ab

out w

hat h

e is

telli

ng u

s.

The

art

ific

ial m

emor

y is

est

ablis

hed

from

pla

ces

and

imag

es(C

onst

at ig

itur

artif

icio

sa m

emor

ia e

x lo

cis

et im

agin

ibus

), th

e st

ock

defi

nitio

n to

be

fore

ver

repe

ated

dow

n th

e ag

es. A

locu

s is

a p

lace

easi

ly g

rasp

ed b

y th

e m

emor

y, s

uch

as a

hou

se, a

n in

terc

olum

nar

spac

e, a

cor

ner,

an

arch

, or

the

like.

Im

ages

are

for

ms,

mar

ks o

rsi

mul

acra

(fo

rmae

, not

ae, s

imul

acra

) of

wha

t we

wis

h to

rem

embe

r.Fo

r in

stan

ce if

we

wis

h to

rec

all t

he g

enus

of

a ho

rse,

of

a lio

n, o

f an

eagl

e, w

e m

ust p

lace

thei

r im

ages

on

defi

nite

loci

.T

he a

rt o

f m

emor

y is

like

an

inne

r w

ritin

g. T

hose

who

kno

w th

ele

tters

of

the

alph

abet

can

wri

te d

own

wha

t is

dict

ated

to th

em a

ndre

ad o

ut w

hat t

hey

have

wri

tten.

Lik

ewis

e th

ose

who

hav

e le

arne

dm

nem

onic

s ca

n se

t in

plac

es w

hat t

hey

have

hea

rd a

nd d

eliv

er it

614

3

TH

RE

E L

AT

IN S

OU

RC

ES

FOR

TH

E C

LA

SSIC

AL

AR

T O

F M

EM

OR

Y

from

mem

ory.

'For

the

plac

es a

re v

ery

muc

h lik

e w

ax ta

blet

sor

papy

rus,

the

imag

es li

ke th

e le

tters

, the

arr

ange

men

t and

dis

posi

-tio

n of

the

imag

es li

ke th

e sc

ript

, and

the

deliv

ery

is li

ke th

ere

adin

g.'

If w

e w

ish

to r

emem

ber

muc

h m

ater

ial w

e m

ust e

quip

our

selv

esw

ith a

larg

e nu

mbe

r of

pla

ces.

It i

s es

sent

ial t

hat t

he p

lace

s sh

ould

form

a s

erie

s an

d m

ust b

e re

mem

bere

d in

thei

r or

der,

so th

at w

eca

n st

art f

rom

any

locu

s in

the

seri

es a

nd m

ove

eith

er b

ackw

ards

or f

orw

ards

fro

m it

. If

we

shou

ld s

ee a

num

ber

of o

ur a

cqua

in-

tanc

es s

tand

ing

in a

row

, it w

ould

not

mak

e an

y tii

ffer

ence

to u

sw

heth

er w

e sh

ould

tell

thei

r na

mes

beg

inni

ng w

ith th

e pe

rson

stan

ding

at t

he h

ead

of th

e lin

e or

at t

he f

oot o

r in

the

mid

dle.

So

with

mem

ory

loci

. 'If

thes

e ha

ve b

een

arra

nged

in o

rder

, the

res

ult

will

be

that

, rem

inde

d by

the

imag

es, w

e ca

n re

peat

ora

lly w

hat w

eha

ve c

omm

itted

to th

e lo

ci, p

roce

edin

g in

eith

er d

irec

tion

from

any

locu

s w

e pl

ease

.'T

he f

orm

atio

n of

the

loci

is o

f th

e gr

eate

st im

port

ance

, for

the

sam

e se

t of

loci

can

be

used

aga

in a

nd a

gain

for

rem

embe

ring

diff

eren

t mat

eria

l. T

he im

ages

whi

ch w

e ha

ve p

lace

d on

them

for

rem

embe

ring

one

set

of

thin

gs f

ade

and

are

effa

ced

whe

n w

e m

ake

no f

urth

er u

se o

f th

em. B

ut th

e lo

ci r

emai

n in

the

mem

ory

and

can

be u

sed

agai

n by

pla

cing

ano

ther

set

of

imag

es f

or a

noth

er s

etof

mat

eria

l. T

he lo

ci a

re li

ke th

e w

ax ta

blet

s w

hich

rem

ain

whe

nw

hat i

s w

ritte

n on

them

has

bee

n ef

face

d an

d ar

e re

ady

to b

ew

ritte

n on

aga

in.

In o

rder

to m

ake

sure

that

we

do n

ot e

rr in

rem

embe

ring

the

orde

r of

the

loci

it is

use

ful t

o gi

ve e

ach

fift

h lo

cus

som

e di

stin

guis

h-in

g m

ark.

We

may

for

exa

mpl

e m

ark

the

fift

h lo

cus

with

a g

olde

nha

nd, a

nd p

lace

in th

e te

nth

the

imag

e of

som

e ac

quai

ntan

ce w

hose

nam

e is

Dec

imus

. We

can

then

go

on to

sta

tion

othe

r m

arks

on

each

suc

ceed

ing

fift

h lo

cus.

It is

bet

ter

to f

orm

one

's m

emor

y lo

ci in

a d

eser

ted

and

solit

ary

plac

e fo

r cr

owds

of

pass

ing

peop

le te

nd to

wea

ken

the

impr

essi

ons.

The

refo

re th

e st

uden

t int

ent o

n ac

quir

ing

a sh

arp

and

wel

l-de

fine

d se

t of

loci

will

cho

ose

an u

nfre

quen

ted

build

ing

in w

hich

tom

emor

ise

plac

es.

Mem

ory

loci

sho

uld

not b

e to

o m

uch

like

one

anot

her,

for

inst

ance

too

man

y in

terc

olum

nar

spac

es a

re n

ot g

ood,

for

thei

rre

sem

blan

ce to

one

ano

ther

will

be

conf

usin

g. T

hey

shou

ld b

e of

mod

erat

e si

ze, n

ot to

o la

rge

for

this

ren

ders

the

imag

es p

lace

d7

144

TH

RE

E L

AT

IN S

OU

RC

ES

FOR

TH

E C

LA

SSIC

AL

AR

T O

F M

EM

OR

Y

on th

em v

ague

, and

not

too

smal

l for

then

an

arra

ngem

ent o

fim

ages

will

be

over

crow

ded.

The

y m

ust n

ot b

e to

o br

ight

lylig

hted

for

then

the

imag

es p

lace

d on

them

will

glit

ter

and

dazz

le;

nor

mus

t the

y be

too

dark

or

the

shad

ows

will

obs

cure

the

imag

es.

The

inte

rval

s be

twee

n th

e lo

ci s

houl

d be

of

mod

erat

e ex

tent

,pe

rhap

s ab

out t

hirt

y fe

et, T

or li

ke th

e ex

tern

al e

ye, s

o th

e in

ner

eye

of th

ough

t is

less

pow

erfu

l whe

n yo

u ha

ve m

oved

the

obje

ctof

sig

ht to

o ne

ar o

r to

o fa

r aw

ay'.

A p

erso

n w

ith a

rel

ativ

ely

larg

e ex

peri

ence

can

eas

ily e

quip

him

self

with

as

man

y su

itabl

e lo

ci a

s he

ple

ases

, and

eve

n a

pers

onw

ho th

inks

that

he

does

not

pos

sess

eno

ugh

suff

icie

ntly

goo

d lo

cica

n re

med

y th

is. '

For

thou

ght c

an e

mbr

ace

any

regi

on w

hats

oeve

ran

d in

it a

nd a

t will

con

stru

ct th

e se

tting

of

som

e lo

cus.

' (T

hat

isto

say

, mne

mon

ics

can

use

wha

t wer

e af

terw

ards

cal

led

'fict

itiou

s pl

aces

', in

con

tras

t to

the

'real

pla

ces'

of

the

ordi

nary

met

hod.

)Pa

usin

g fo

r re

flec

tion

at th

e en

d of

rul

es f

or p

lace

s I

wou

ld s

ayth

at w

hat s

trik

es m

e m

ost a

bout

them

is th

e as

toni

shin

g vi

sual

prec

isio

n w

hich

they

impl

y. I

n a

clas

sica

lly tr

aine

d m

emor

y th

esp

ace

betw

een

the

loci

can

be

mea

sure

d, th

e lig

htin

g of

the

loci

is a

llow

ed f

or. A

nd th

e ru

les

sum

mon

up

a vi

sion

of

a fo

rgot

ten

soci

al h

abit.

Who

is th

at m

an m

ovin

g sl

owly

in th

e lo

nely

bui

ldin

g,st

oppi

ng a

t int

erva

ls w

ith a

n in

tent

fac

e ?

He

is a

rhe

tori

c st

uden

tfo

rmin

g a

set o

f m

emor

y lo

ci.

'Eno

ugh

has

been

sai

d of

pla

ces'

, con

tinue

s th

e au

thor

of

Ad

Her

enni

um, '

now

we

turn

to th

e th

eory

of

imag

es.'

Rul

es f

orim

ages

now

beg

in, t

he f

irst

of

whi

ch is

that

ther

e ar

e tw

o ki

nds

ofim

ages

, one

for

'thi

ngs'

(re

s), t

he o

ther

for

'wor

ds' (

verb

a). T

hat

is to

say

'mem

ory

for

thin

gs' m

akes

imag

es to

rem

ind

of a

n ar

gu-

men

t, a

notio

n, o

r a

'thin

g'; b

ut 'm

emor

y fo

r w

ords

' has

to f

ind

imag

es to

rem

ind

of e

very

sin

gle

wor

d.I

inte

rrru

pt th

e co

ncis

e au

thor

her

e fo

r a

mom

ent i

n or

der

tore

min

d th

e re

ader

that

for

the

rhet

oric

stu

dent

'thi

ngs'

and

'wor

ds'

wou

ld h

ave

an a

bsol

utel

y pr

ecis

e m

eahi

ng in

rel

atio

n to

the

five

part

s of

the

rhet

oric

. Tho

se f

ive

part

s ar

e de

fine

d by

Cic

ero

asfo

llow

s.:

Inve

ntio

n is

the

exco

gita

tion

of tr

ue th

ings

(re

s), o

r th

ings

sim

ilar

to tr

uth

to r

ende

r on

e's

caus

e pl

ausi

ble;

dis

posi

tion

is th

e ar

rang

e-m

ent i

n or

der

of th

e th

ings

thus

dis

cove

red;

elo

cutio

n is

the

acco

mod

atio

n of

sui

tabl

e w

ords

to th

e in

vent

ed (

thin

gs);

mem

ory

8

145

TH

RE

E L

AT

IN S

OU

RC

ES

FOR

TH

E C

LA

SSIC

AL

AR

T O

F M

EM

OR

Y

is th

e fi

rm p

erce

ptio

n in

the

soul

of

thin

gs a

nd w

ords

; pro

nunc

ia-

tion

is th

e m

oder

atin

g of

the

voic

e an

d bo

dy to

sui

t the

dig

nity

of

the

thin

gs a

nd w

ords

.'

'Thi

ngs'

are

thus

the

subj

ect m

atte

r of

the

spee

ch; '

wor

ds' a

re th

ela

ngua

ge in

whi

ch th

at s

ubje

ct m

atte

r is

clo

thed

. Are

you

aim

ing

atan

art

ific

ial m

emor

y to

rem

ind

you

only

of

the

orde

r of

the

notio

ns,

argu

men

ts, '

thin

gs' o

f yo

ur s

peec

h ?

Or

do y

ou a

im a

t mem

oris

ing

ever

y si

ngle

wor

d in

it in

the

righ

t ord

er ?

The

fir

st k

ind

of a

rtif

icia

lm

emor

y is

mem

oria

rer

um; t

he s

econ

d ki

nd is

mem

oria

ver

boru

m.

The

idea

l, as

def

ined

by

Cic

ero

in th

e ab

ove

pass

age,

wou

ld b

e to

have

a 'f

irm

per

cept

ion

in th

e so

ul' o

f bo

th th

ings

and

wor

ds.

But

'mem

ory

for

wor

ds' i

s m

uch

hard

er th

an 'm

emor

y fo

r th

ings

';th

e w

eake

r br

ethr

en a

mon

g th

e au

thor

of

Ad

Her

enni

um's

rhe

tori

cst

uden

ts e

vide

ntly

rat

her

jibbe

d at

mem

oris

ing

an im

age

for

ever

ysi

ngle

wor

d, a

nd e

ven

Cic

ero

him

self

,as

we

shal

l see

late

r,al

low

ed th

at 'm

emor

y fo

r th

ings

' was

eno

ugh.

To

retu

rn to

the

rule

s fo

r im

ages

. We

have

alr

eady

bee

n gi

ven

the

rule

s fo

r pl

aces

, wha

t kin

d of

pla

ces

to c

hoos

e fo

r m

emor

isin

g.W

hat a

re th

e ru

les

abou

t wha

t kin

d of

imag

es to

cho

ose

for m

emo-

risi

ng o

n th

e pl

aces

? W

e no

w c

ome

to o

ne o

f th

e m

ost c

urio

us a

ndsu

rpri

sing

pas

sage

s in

the

trea

tise,

nam

ely

the

psyc

holo

gica

lre

ason

s w

hich

the

auth

or g

ives

for

the

choi

ce o

f m

nem

onic

imag

es.

Why

is it

, he

asks

, tha

t som

e im

ages

are

so

stro

ng a

nd s

harp

and

sosu

itabl

e fo

r aw

aken

ing

mem

ory,

whi

lst o

ther

sar

e so

wea

k an

dfe

eble

that

they

har

dly

stim

ulat

e m

emor

y at

all

? W

e m

ust e

nqui

rein

to th

is s

o as

to k

now

whi

ch im

ages

to a

void

and

whi

ch to

see

k.

Now

nat

ure

hers

elf

teac

hes

us w

hat w

e sh

ould

do.

Whe

n w

e se

e in

ever

y da

y lif

e th

ings

that

are

pet

ty, o

rdin

ary,

and

ban

al, w

ege

nera

lly f

ail t

o re

mem

ber

them

, bec

ause

the

min

d is

not

bei

ngst

irre

d by

any

thin

g no

vel o

r m

arve

llous

. But

if w

e se

eor

hea

rso

met

hing

exc

eptio

nally

bas

e, d

isho

nour

able

, unu

sual

, gre

at,

un-

belie

vabl

e, o

r ri

dicu

lous

, tha

t we

are

likel

y to

rem

embe

r fo

r a

long

time.

Acc

ordi

ngly

, thi

ngs

imm

edia

te to

our

eye

or

ear

we

com

mon

lyfo

rget

; inc

iden

ts o

f ou

r ch

ildho

od w

e of

ten

rem

embe

r be

st. N

orco

uld

this

be

so f

or a

ny o

ther

rea

son

than

that

ord

inar

y th

ings

easi

ly s

lip f

rom

the

mem

ory

whi

le th

e st

riki

ng a

nd th

e no

vel s

tay

long

er in

the

min

d. A

sun

rise

, the

sun

's c

ours

e, a

sun

set

are

7 D

c in

vent

ione

, I, v

ii, 9

(tr

ansl

atio

n ba

sed

on th

at b

y H

. M. H

ubbe

llin

the

Loe

b ed

ition

, but

mad

e m

ore

liter

al in

rep

rOdu

cing

the

tech

nica

lte

rms

res

and

verb

a).

914

.6

TH

RE

E L

AT

IN S

OU

RC

ES

FOR

TH

E C

LA

SSIC

AL

AR

T O

F M

EM

OR

Y

mar

vello

us to

no

one

beca

use

they

occ

ur d

aily

. But

sol

ar e

clip

ses

are

a so

urce

of

won

der

beca

use

they

occ

ur s

eldo

m, a

nd in

deed

are

mor

e m

arve

llous

than

luna

r ec

lipse

s, b

ecau

se th

ese

are

mor

e fr

e-qu

ent.

Thu

s na

ture

sho

ws

that

she

is n

ot a

rous

ed b

y th

e co

mm

onor

dina

ry e

vent

, but

is m

oved

by

a ne

w o

r st

riki

ngoc

curr

ence

. Let

art,

then

, im

itate

nat

ure,

fin

d w

hat s

he d

esir

es, a

nd f

ollo

w a

s sh

edi

rect

s. F

or in

inve

ntio

n na

ture

is n

ever

last

, edu

catio

nne

ver

firs

t;ra

ther

the

begi

nnin

gs o

f th

ings

ari

se f

rom

nat

ural

tale

nt, a

nd th

een

ds a

re r

each

ed b

y di

scip

line.

We

ough

t, th

en, t

o se

t up

imag

es o

f a

kind

that

can

adh

ere

lon-

gest

in m

emor

y. A

nd w

e sh

all d

o so

if w

e es

tabl

ish

sim

ilitu

des

asst

riki

ng a

s po

ssib

le; i

f w

e se

t up

imag

es th

at a

re n

ot m

any

or v

ague

but a

ctiv

e (i

mag

ines

age

ntes

); if

we

assi

gn to

them

exc

eptio

nal

beau

ty o

r si

ngul

ar u

glin

ess;

if w

e or

nam

ent s

ome

of th

em, a

s w

ithcr

owns

or

purp

le c

loak

s, s

o th

at th

e si

mili

tude

may

be

mor

e di

s-tin

ct to

us;

or

if w

e so

meh

ow d

isfi

gure

them

, as

by in

trod

ucin

gon

est

aine

d w

ith b

lood

or

soile

d w

ith m

ud o

r sm

eare

d w

ith r

ed p

aint

,so

that

its

form

is m

ore

stri

king

, or

by a

ssig

ning

cer

tain

com

icef

fect

s to

our

imag

es, f

or th

at, t

oo, w

ill e

nsur

e ou

r re

mem

beri

ngth

em m

ore

read

ily. T

he th

ings

we

easi

ly r

emem

ber

whe

n th

ey a

rere

al w

e lik

ewis

e re

mem

ber

with

out d

iffi

culty

whe

n th

ey a

re f

ig-

men

ts. B

ut th

is w

ill b

e es

sent

iala

gain

and

aga

in to

run

ove

rra

pidl

y in

the

min

d al

l the

ori

gina

l pla

ces

in o

rder

to r

efre

sh th

eim

ages

.°

Our

aut

hor

has

clea

rly

got h

old

of th

e id

ea o

f he

lpin

gm

emor

y by

arou

sing

em

otio

nal a

ffec

ts th

roug

h th

ese

stri

king

and

unu

sual

imag

es, b

eaut

iful

or

hide

ous,

com

ic o

r ob

scen

e. A

nd it

is c

lear

that

he is

thin

king

of

hum

an im

ages

, of

hum

an f

igur

es w

eari

ngcr

owns

or p

urpl

e cl

oaks

, blo

odst

aine

d or

sm

eare

d w

ith p

aint

, of

hum

anfi

gure

s dr

amat

ical

ly e

ngag

ed in

som

e ac

tivity

doin

g so

met

hing

.W

e fe

el th

at w

e ha

ve m

oved

into

an

extr

aord

inar

y w

orld

as

we

run

over

his

pla

ces

with

the

rhet

oric

stu

dent

, im

agin

ing

on th

e pl

aces

such

ver

y pe

culia

r im

ages

. Qui

ntili

an's

anc

hor

and

wea

pon

asm

emor

y im

ages

, tho

ugh

muc

h le

ss e

xciti

ng, a

re e

asie

r to

und

er-

stan

d th

an th

e w

eird

ly p

opul

ated

mem

ory

to w

hich

the

auth

or o

fA

d H

eren

nium

intr

oduc

es u

s.It

is o

ne o

f th

e m

any

diff

icul

ties

whi

ch c

onfr

ont t

he s

tude

nt o

fth

e hi

stor

y of

the

art o

f m

emor

y th

at a

n A

n m

emor

ativ

a tr

eatis

e,th

ough

it w

ill a

lway

s gi

ve th

e ru

les,

rar

ely

give

s an

y co

ncre

te

Ad

Her

enni

um, I

II, x

xii.

147

I0

TH

RE

E L

AT

IN S

OU

RC

ES

FOR

TH

E C

LA

SSIC

AL

AR

T O

FM

EM

OR

Y

appl

icat

ion

of th

e ru

les,

that

is to

say

it ra

rely

set

s ou

t a s

yste

m o

fm

nem

onic

imag

es o

n th

eir

plac

es. T

his

trad

ition

was

sta

rted

by

the

auth

or o

f A

d H

eren

nium

him

self

who

says

that

the

duty

of

anin

stru

ctor

in m

nem

onic

s is

to te

ach

the

met

hod

ofm

akin

g im

ages

,gi

ve a

few

exa

mpl

es, a

nd th

enen

cour

age

the

stud

ent t

o fo

rm h

isow

n. W

hen

teac

hing

'int

rodu

ctio

ns',

he s

ays,

one

doe

s no

t dra

fta

thou

sand

set

intr

oduc

tions

and

giv

e th

emto

the

stud

ent t

o le

arn

by h

eart

; one

teac

hes

him

the

met

hod

and

then

leav

eshi

m to

his

own

inve

ntiv

enes

s. S

o al

so o

ne s

houl

d do

in te

achi

ng m

nem

onic

imag

es.9

Thi

s is

an

adm

irab

le tu

tori

al p

rinc

iple

thou

ghon

e re

gret

sth

at it

pre

vent

s th

e au

thor

fro

m s

how

ing

us a

who

le s

et o

r ga

llery

of s

trik

ing

and

unus

ual i

mag

ines

agen

tes.

We

mus

t be

cont

ent w

ithth

e th

ree

spec

imen

s w

hich

he

desc

ribe

s.T

he f

irst

is a

n ex

ampl

e of

a `m

emor

y fo

r th

ings

' im

age

We

have

to s

uppo

se th

at w

e ar

e th

e co

unse

l for

the

defe

nce

ina

law

sui

t.`T

he p

rose

cuto

r ha

s sa

id th

at th

e de

fend

ant k

illed

a m

an b

y po

ison

,ha

s ch

arge

d th

at th

e m

otiv

e of

the

crim

ew

as to

gai

n an

inhe

rita

nce,

and

decl

ared

that

ther

e ar

em

any

witn

esse

s an

d ac

cess

orie

s to

this

act.'

We

are

form

ing

a m

emor

y sy

stem

abo

ut th

e w

hole

case

and

we

shal

l wis

h to

put

in o

ur f

irst

mem

ory

locu

s an

imag

e to

rem

ind

us o

f th

e ac

cusa

tion

agai

nst o

ur c

lient

. Thi

s is

the

imag

e.

We

shal

l im

agin

e th

e m

an in

que

stio

nas

lyin

g ill

in b

ed, i

f w

ekn

ow h

im p

erso

nally

. If

we

do n

ot k

now

him

,w

e sh

all y

et ta

keso

me

one

to b

e ou

r in

valid

, but

not

a m

an o

f th

e lo

wes

t cla

ss, s

oth

at h

e m

ay c

ome

to m

ind

at o

nce.

And

we

shal

l pla

ce th

e de

fend

ant

at th

e be

dsid

e, h

oldi

ng in

his

rig

ht h

and

a cu

p, in

his

left

, tab

lets

,an

d on

the

four

th f

inge

r, a

ram

's te

stic

les.

In

this

way

we

can

have

in m

emor

y th

e m

an w

ho w

as p

oiso

ned,

the

witn

esse

s, a

nd th

ein

heri

tanc

e.'°

The

cup

wou

ld r

emin

d of

the

pois

onin

g, th

e ta

blet

s, o

f th

e w

illor

the

inhe

rita

nce,

and

the

test

icle

s of

the

ram

thro

ugh

verb

alsi

mila

rity

with

test

esof

the

witn

esse

s. T

he s

ick

man

is to

be

like

the

man

him

self

, or

like

som

eone

els

e w

hom

we

know

(th

ough

not

one

of th

e an

onym

ous

low

er c

lass

es).

In

the

follo

win

g lo

ciw

e

9 Ib

id.,

III,

xxi

ii, 3

9.10

Ibi

d., I

II, r

oc, 3

3. O

n th

e tr

ansl

atio

n of

med

ico

test

icul

os a

riet

inos

tene

ntem

as

'on

the

four

th f

inge

r a

ram

's te

stic

les'

, see

the

tran

slat

or's

note

, Loe

b ed

ition

, p. 2

14. T

he d

igitu

s m

edic

inal

ii w

as th

e fo

urth

fin

ger

of th

e le

ft h

and.

Med

iaev

al r

eade

rs, u

nabl

e to

und

erst

and

med

ico,

intr

o-du

ced

a do

ctor

into

the

scen

e; s

ee b

elow

; p. 6

5II

148

APPENDIX E

14

150

Dem

oliti

on

The

inta

ct f

acad

e's

now

alm

ost b

lack

in th

e ra

in; a

ll da

y th

ey'v

e to

rn a

t the

bac

kof

the

build

ing,

"th

e ol

dest

con

cret

e st

ruct

ure

in N

ew E

ngla

nd,"

the

new

spap

er s

aid.

By

afte

rnoo

n,w

hen

the

back

hoe

claw

app

ears

abo

veth

ree

stor

ies

of c

olum

ns a

nd c

orni

ces,

the

crow

d be

neat

h th

eir

mas

sed

umbr

ella

s ch

eer.

Sudd

enly

the

stai

rs s

eem

to c

limb

dow

n th

emse

lves

,at

omiz

ed p

last

er b

illow

ing:

dus

t of

1907

'sro

omin

g ho

use,

this

yea

r's b

ake

shop

and

flo

rist

's,

the

ghos

ts o

f th

eir

sign

s fa

int a

bove

the

win

dow

slin

ed, l

ast w

eek,

with

loav

es a

nd b

loom

s.

We

love

dis

aste

rs th

at h

ave

noth

ing

to d

ow

ith u

s: th

e m

etal

sco

op s

eem

s sh

y, te

ntat

ive,

a Ja

pane

se m

onst

er ti

lting

its

yello

w h

ead

and

cons

ider

ing

wha

t to

topp

le n

ext.

It's

a w

eekd

ay,

and

thos

e of

us

with

the

leis

ure

to w

atch

are

out o

f w

ork,

une

mpl

oyab

le o

r ac

adem

ics,

join

ed b

y a

thir

st f

or w

atch

ing

som

ethi

ng f

all.

All

sum

mer

, at l

oose

end

s, I

've

read

bio

grap

hies

,W

ilde

and

Rob

ert L

owel

l, an

d fa

llen

asle

epov

er a

fal

len

hero

lurc

hing

dow

n a

Pari

s bo

ulev

ard,

talk

ing

his

way

to d

inne

r or

a d

rink

,un

able

to f

orge

t the

vai

n an

d st

upid

boy

151

LEV

EL

/ AC

TIV

ITY

CO

NC

EP

T

An

arch

itect

ural

str

uctu

rere

late

s to

its

envi

ronm

ent.

Itca

n ei

ther

har

mon

ize

with

its

surr

ound

ings

or it

can

sta

ncao

art.

Wha

t is

an e

nviro

nmen

t? E

nviro

nmen

t dea

ls w

ithm

any

thin

gs: n

atur

al to

pogr

aphy

(land

form

atio

ns a

nd c

onto

ur),

loca

l fau

na a

nd fl

ora,

sur

roun

ding

build

ing

them

es,

clim

ate,

land

use

(pa

rk, i

ndus

tria

l, et

c.).

An

arch

itect

sho

uld

neve

r ig

nore

the

impo

rtan

ten

viro

nmen

tal c

onsi

dera

tions

in p

lann

ing

a st

ruct

ure.

PR

OD

UC

TIV

E T

HIN

KIN

G

Div

erge

nt (

Ver

bal):

1. H

ow m

any

envi

ronm

ents

can

you

thin

k of

? (M

ount

ains

,pl

ains

, citi

es, s

eaco

ast,

indu

stria

l, pa

rk, e

tc.)

2. W

hat t

ype

of b

uild

ing

wou

ld b

e ap

prop

riate

in e

ach

of th

ose

setti

ngs?

The

uni

ty a

build

ing

achi

eves

with

in it

s en

viro

nmen

t dep

ends

on h

ow w

ell t

he s

truc

ture

"fit

s in

" w

ithits

env

ironm

ent.

For

exa

mpl

e, th

ere

wou

ld b

e lit

tle u

nity

bet

wee

na

log

cabi

n an

d a

setti

ng in

New

Yor

k C

ity's

Man

hatta

n se

ctio

n,or

a 1

10-s

tory

sky

scra

per

in Y

ello

wst

one

Nat

iona

l Par

k.

G15

2_J

AIL

_A

AA

Afti

f

153

_at

AN

NA

L

Ana

logy

: Cre

ate

an a

nalo

gy li

ke th

e on

es b

elow

.

Log

cabi

ns a

re to

New

Yor

k C

ity a

s sk

yscr

aper

s ar

e to

Yel

low

ston

eN

atio

nal P

ark.

(Ina

ppro

pria

te)

Tre

e fr

ogs

are

to h

ot d

eser

ts a

s ho

rned

toad

s ar

e to

the

rain

fore

sts.

Iglo

os a

re to

the

equa

tor

as g

rass

hut

s ar

e to

the

Nor

th P

ole.

Vio

lins

are

to a

roc

k ba

nd a

s el

ectr

ic g

uita

rs a

re to

a s

ymph

ony

orch

estr

a.

Wha

t are

the

way

s st

ruct

ures

may

con

flict

with

thei

r en

viro

nmen

t?(B

uild

ing

mat

eria

ls,

func

tiona

l des

ign,

clim

ate,

topo

grap

hy, e

xist

ing

them

es, l

ands

cape

.)

Con

side

ring

arch

itect

ure

in r

elat

ions

hip

to it

s en

viro

nmen

t can

cre

ate

unity

aco

nditi

onof

har

mon

y w

here

des

ign

corr

espo

nds

with

func

tion

and

fits

with

its

surr

ound

ings

. (S

ee

fig.

14.1

.) B

uild

ings

whi

ch e

xpre

ss u

nity

pos

sess

a c

oope

rativ

e sp

irit.

The

y fit

.

A s

ampl

e an

alog

y of

thin

gs th

at fi

t mig

ht b

e:

Ado

be is

to a

pue

blo

dwel

ling

as p

aper

is to

a w

asp

nest

. (T

he a

naly

sis

isth

at b

oth

are

func

tiona

l, bo

th u

se n

ativ

e m

ater

ials

, and

bot

h ha

ve c

olor

s w

hich

mer

ge th

emw

ith

natu

re.)

14.1

.

SU

GG

ES

TE

D-

AC

TIV

ITIE

S

Div

erge

nt (

Ver

bal):

Dra

w a

s m

any

harm

onio

us h

ousi

ng s

truc

ture

s fr

om n

atur

e as

you

can.

Des

ign

a st

ruct

ure

to fi

t int

o an

env

ironm

ent f

or r

eal a

nd im

agin

ary

anim

als

orpe

ople

.

(Con

side

r m

ater

ials

, str

uctu

re, f

unct

ion,

clim

ate,

soc

ializ

atio

n.)

Con

verg

ent:

Bui

ld s

ever

al m

odel

s w

ith b

oxes

mad

e of

foam

cor

e or

con

stru

ctio

nbo

ard.

A v

arie

ty o

f for

ms

will

be

need

ed. (

See

figs

. 14.

2 th

roug

h 14

.7.)

154

14.2

.

Tap

ing

tabs

P-L

14.3

.

14.6

.14

.7.

Fol

ds

14.4

.C

ylin

ders

Tap

ing

tabs

14.5

.S

ingl

e fa

ced

corr

egat

ed b

oard

155

SU

GG

ES

TE

D A

CT

IVIT

IES

46

Div

erge

nt: A

fter

the

mod

els

are

cons

truc

ted,

pla

ce th

em in

an

"env

ironm

ent,"

suc

h as

a sa

ndbo

x, a

nd "

berm

" so

me

to d

emon

stra

te th

e un

ifyin

g ef

fect

of to

pogr

aphy

(fig

.14

.8).

(B

erm

mea

ns to

pile

up

or b

uild

up

eart

h ar

ound

a fo

rm. I

t is

used

with

gre

atef

fect

in s

olar

hou

sing

.)

"Jam

" so

me

toge

ther

to s

how

dis

-uni

ty a

s an

env

ironm

ent (

fig. 1

4.9)

.

Ana

lyze

you

r co

mm

unity

for

harm

onio

us a

nd d

isha

rmon

ious

rel

atio

nshi

ps. L

ook

espe

cial

ly a

t sty

les

and

them

es, m

ater

ials

, col

ors,

text

ures

, and

func

tions

.

Fin

ally

, arr

ange

a p

leas

ant,

harm

onio

us s

ettin

g. U

se d

ried

wee

ds a

nd h

ills

to la

ndsc

ape.

156

14.8

.

157

LEV

EL

/ AC

TIV

ITY

3/11

5C

ON

CE

PT

Wal

ls, c

eilin

gs,

floor

s, a

ncot

her

flat s

urfa

ces

are

calle

c pl

anes

.

LES

SO

N

A p

iece

of c

halk

can

draw

a li

ne. I

f we

"dra

g" th

at li

ne,

it m

arks

a p

lane

(fig

.15

.1).

If yo

u pu

ll do

wn

a bl

ind,

itm

akes

a p

lane

.

Sha

pe is

a p

lane

's id

entit

y.P

lane

s m

ay b

e na

med

or

iden

tifie

d as

circ

ular

, tria

ngul

ar,

or r

ecta

ngul

ar, o

rco

mbi

natio

ns o

f tho

se s

hape

s. (

fig. 1

5.2)

.

Arc

hite

cts

use

plan

es to

pla

n bu

ildin

gsan

d ho

uses

. The

ove

rhea

d pl

ane

may

be th

e

roof

or

ceili

ng. T

he w

all p

lane

s ar

eth

e w

alls

in o

ur h

omes

(fig

.15

.3).

(D

oors

and

win

dow

s ar

e pa

rt o

f the

wal

l pla

nes.

)

158

15.1

.

Pla

ne

15.3

.

15.2

.

159

LES

SO

N48

The

bas

e pl

anes

are

the

grou

ndor

floo

r (f

ig. 1

5.4)

.

Any

of t

he p

lane

s m

ay b

e sl

oped

, rai

sed,

low

ered

,or

cha

nged

in s

ome

way

to m

ake

them

inte

rest

ing

(fig

.15

.5).

PR

OD

UC

TIV

E T

HIN

KIN

G

Ana

logy

: Pla

ne is

to fo

rm (

volu

me)

as

line

is to

sha

pe. (

Bou

ndar

y an

d de

scrip

tive

rela

tions

hip.

)

Pla

nes

are

used

to e

nclo

se v

olum

e (f

orm

) as

line

sar

e of

ten

used

to o

utlin

e sh

ape.

(The

y ar

e bo

unda

ry d

eter

min

ers.

)

Bec

ause

arc

hite

ctur

e is

a v

isua

l art

dea

ling

in th

ree-

dim

ensi

onal

vol

umes

of f

orm

and

spac

e, p

lane

s ar

e ex

trem

ely

impo

rtan

t.

The

vis

ual p

rope

rtie

s of

the

plan

es d

eter

min

e th

e qu

aliti

es o

f the

vol

ume

and

spac

e th

eyen

clos

e. P

lane

s m

ay b

e fo

lded

, tw

iste

d, a

nd p

enet

rate

d (f

ig.

15.6

).

Try

this

ana

logy

:

A fo

lded

pla

ne is

to a

hal

lway

as

rhyt

hm is

to(p

atte

rn, m

ovem

ent,

etc.

) (f

ig.

15.7

).

160

15.4

.

15 5

15.6

.F

olde

d pl

ane

with

pen

etra

ting

plan

e.

161

S G

GE

ST

ED

AC

TIV

ITY

Pla

ce a

gro

und

plan

e on

you

rta

ble.

(Y

ou m

ay u

seca

rdbo

ard

for

such

pla

nes.

) U

sing

four

she

ets

of s

tiff p

aper

, cre

ate

som

ein

tere

stin

g w

all p

lane

s.(I

f fol

ded,

the

plan

es w

ill

stan

d up

.)

Put

a c

eilin

g pl

ane

on to

pof

you

r w

alls

, cre

atin

g a

room

(fig

. 15.

8).

Cou

ld y

ou m

ake

win

dow

s or

door

s in

you

r w

all p

lane

s?(Y

es, w

ith s

ciss

ors,

or

byfo

ldin

g

so th

at o

peni

ngs

are

left.

) (S

ee L

esso

n4/

25In

tern

atio

nal S

tyle

and

the

New

Bru

talis

m fo

r ar

chite

cts'

appl

icat

ion

of th

is c

once

pt.)

Wha

t are

the

rela

tions

hips

and

diffe

renc

es b

etw

een

airp

lane

s (f

ig. 1

5.9)

, bui

ldin

gpl

anes

(fig

. 15.

6), a

nd th

e pl

ains

(fig

.15

.11)

)?

Con

side

r ce

iling

pla

nes

assk

y, c

loud

s, c

anop

ies,

roof

s, e

tc.

15.1

0.

162

15.8

.

Wal

l pla

nes

in th

e m

odel

s ar

e m

ore

rigid

If s

tiff

pape

r or

car

dboa

rdIs

use

d, a

nd If

tabs

are

used

togl

ue th

em to

the

grou

nd a

tthe

bas

es.

163

LEV

EL

/ AC

TIV

ITY

3//1

CO

NC

EP

T

The

func

tion

ofa

bulb

influ

ence

s its

form

.in

g

50

The

circ

us te

nt is

one

of t

he b

est t

radi

tiona

l exa

mpl

es o

f arc

hite

ctur

al fo

rm a

nd fu

nctio

n(f

ig.

16.1

). T

he c

ircus

had

unu

sual

func

tiona

l nee

ds. I

t had

to a

rriv

e in

tow

n, s

tay

a fe

wda

ys, t

hen

pack

up

and

be o

n its

way

aga

in. I

t nee

ded

to k

eep

the

rain

and

sun

off

larg

e gr

oups

of p

eopl

e w

ho c

ame

tose

e th

e ci

rcus

. The

tent

cou

ld b

e pu

t up

quic

kly

and

take

n do

wn

and

tran

spor

ted

just

as e

asily

. It w

as h

igh

enou

gh fo

r th

e tr

apez

ear

tists

; it w

as la

rge

and

colo

rful

, and

it c

ould

be

pack

edup

and

put

into

truc

ks o

rra

ilroa

d ca

rs fo

r m

ovin

g.

If a

larg

e tr

uck

need

s to

pul

l int

oa

gara

ge to

hav

e its

mot

or r

epai

red,

the

size

of t

hetr

uck

dete

rmin

es p

art o

f the

bui

ldin

g's

func

tion

(fig

.16

.2).

The

form

nee

ds to

be

tall

enou

gh fo

r a

larg

e tr

uck

and

have

a d

oor

larg

e en

ough

for

a tr

uck

to d

rive

thro

ugh.

Itm

ay r

equi

re a

pit

for

wor

kers

to b

e ab

le to

get

und

erne

ath

the

truc

k ea

sily

. It w

ill n

eed

exce

llent

ven

tilat

ion

with

air

fans

, ope

ning

s, a

nd o

utle

ts. A

ll of

thes

e re

quire

men

ts w

illaf

fect

the

look

of t

he b

uild

ing,

just

as

the

need

s of

the

circ

us r

equi

rea

larg

e, c

olor

ful

tent

.

Loui

s S

ulliv

an w

as a

gre

at a

rchi

tect

who

live

d in

Chi

cago

in th

e 18

00s.

He

taug

ht F

rank

Lloy

d W

right

as

a yo

ung

arch

itect

. He

said

, "F

orm

follo

ws

func

tion.

" S

ome

build

ings

mee

t the

ir fu

nctio

n, b

ut th

eir

form

may

rem

ain

ugly

and

unr

espo

nsiv

e.

B

Ate

.ki

ikIl

NW

PR

OD

UC

TIV

E T

HIN

KIN

G51

How

man

y ex

ampl

es o

f fun

ctio

n pr

oble

ms

can

you

thin

k of

? F

or e

xam

ple,

a p

enci

lsh

arpe

ner

with

out a

bas

ket t

o ca

tch

shav

ings

(fig

. 16.

3), a

was

teba

sket

with

out a

botto

m o

n it,

a to

othb

rush

with

no

bris

tles,

a h

ouse

with

no

roof

.

Do

you

rem

embe

r th

e st

ory

of "

The

Thr

ee B

ears

"? S

ome

ofth

e th

ings

Gol

dilo

cks

foun

d

wer

e no

t ver

y fu

nctio

nal,

but

othe

rs w

ere

"just

rig

ht."

Can

you

rem

embe

r w

hich

thin

gsw

ere

just

rig

ht?

Tho

se a

re th

efu

nctio

nal t

hing

s fo

r he

r si

ze a

nd h

er n

eeds

.

Som

etim

es th

e m

ater

ials

an

obje

ct is

mad

e w

ith in

fluen

ce h

ow it

look

s.W

ould

iron

pillo

ws

be v

ery

nice

to s

leep

on?

The

y w

ould

last

a lo

ng ti

me

and

not w

ear

out.

Wou

ldw

oode

n w

indo

ws

be v

ery

func

tiona

l? W

hy n

ot?

How

has

the

form

of t

he te

ache

r's c

hair

been

influ

ence

d by

its

func

tion

(fig

. 16.

4)?

How

has

this

pla

ne's

form

bee

n in

fluen

ced

by it

s fu

nctio

n (f

ig. 1

6.5)

?

How

has

this

bui

ldin

g's

form

bee

n af

fect

ed b

y its

func

tion

(fig

. 16.

6)?

(Wor

ld's

larg

est

build

ing

for

wor

ld's

larg

est r

etai

ler;

offi

ces,

pow

er, e

tc.)

Is it

bea

utifu

l? It

was

a u

niqu

ede

sign

er's

idea

to u

se a

"bu

ndle

"of

rec

tang

ular

tube

s as

a s

truc

ture

. The

y st

reng

then

each

oth

er.

How

has

the

build

ing

in fi

gure

16.

7 be

en in

fluen

ced

by it

sfu

nctio

n?

The

flyi

ng b

uttr

esse

s of

a G

othi

c ca

thed

ral l

ook

deco

rativ

e, b

ut th

ey a

refu

nctio

nal p

arts

that

hel

p co

ntro

l the

out

war

d th

rust

of t

he c

eilin

g va

ults

.

166

76.6

.S

ears

Tow

er, C

hica

go; S

kidm

ore,

Ow

ings

, and

e. 1

973.

16.5

.

I /

(I/

,i/z

1111

1111

1.11

111_

111f

twir-

-=

:111

1t1

16.7

.16

7

SU

GG

ES

TE

D A

CT

IVIT

IES

52

If yo

u ca

n co

mpl

ete

thes

e an

alog

ies

logi

cally

,yo

u un

ders

tand

the

conc

ept.

1. F

unct

ion

is to

form

as

fire/

heat

is to

(Chi

mne

y, fi

rebr

ick,

etc

.)

2. H

ow it

look

s an

d ho

w y

ou u

se it

are

the

sam

e as

its

.(F

orm

)

3. F

orm

is to

func

tion

asis

to la

wn

sprin

kler

(fig

.16

.8).

(H

ose,

pip

e, s

pout

)

4. F

orm

is to

func

tion

asis

to

Mak

e up

som

e ne

w a

nalo

gies

.

Div

erge

nt: D

esig

n a

hous

e w

hich

has

a ni

ce r

elat

ions

hip

of fu

nctio

n an

d fo

rm. I

tsh

ould

"w

ork"

and

sho

uld

"look

like

" its

wor

k. (

See

fig.

16.

9 fo

ran

exa

mpl

e).

Red

esig

n so

met

hing

you

use

ever

y da

y, b

ut ig

nore

how

you

use

it. D

o no

t wor

ry a

bout

rela

ting

its fo

rm o

r its

func

tion

to th

e de

sign

.

168

16.8

.

169

LEV

EL

/ AC

TIV

ITY

CO

NC

EP

T

Nat

ure

isa

mod

el fo

rar

chite

ctur

al fo

rms

anc

shap

esw

hich

are

varia

tions

of t

heco

ne, c

ube,

cyl

inde

r, s

pher

e,an

dpy

ram

id. \

atur

e is

als

oa

mod

el fo

rar

chite

ctur

al fo

rms

whi

char

e no

t so

geom

etric

(Euc

lidea

n).

LES

SO

N

Whe

n w

e sp

eak

of n

atur

e, w

em

ean

the

thin

gs w

hich

are

par

t of t

he w

orld

whi

chhu

man

s ha

ve n

ot m

ade.

We

mea

n su

ch th

ings

as

the

sun

and

sky,

the

leav

es, s

eash

ells

,cr

ysta

ls, a

nd r

ocks

.

By

lear

ning

to lo

ok c

lose

ly a

t sm

all t

hing

s, a

nd a

ta

dist

ance

from

larg

e th

ings

, we

get

idea

s fo

r sh

apes

, col

or, t

extu

re, a

nd fo

rm. I

fa

snow

flake

sho

uld

fall

on y

our

slee

veyo

u

C 1

70

IAA

ail

Sno

wfla

keJ

Ros

ew

indo

w

171

LA

I /1

11N

t

LES

SO

N54

coul

d lo

ok a

t it w

ith a

mag

nify

ing

glas

s. If

itw

ere

a fla

t fla

ke, y

ou w

ould

see

that

eac

hfla

ke is

diff

eren

t, ye

t all

are

alik

e in

man

y w

ays

(fig

. 17.

1). F

or e

xam

ple,

they

app

ear

"sta

rlike

" an

d ha

ve s

ix p

oint

s. T

hey

are

sym

met

rical

the

sam

e ar

ound

the

cent

eran

dar

e he

xago

nal i

n sh

ape.

Yet

, with

suc

h si

mila

ritie

s, e

ach

is v

ery

diffe

rent

. The

y be

ar a

strik

ing

rese

mbl

ance

to r

ose

win

dow

s in

Got

hic

cath

edra

ls.

Look

how

sim

ilar

the

seas

hell

(fig

.17

.2)'

is to

the

spira

l zig

gura

t Tha

nksg

ivin

g S

quar

eC

hape

l in

Dal

las,

Tex

as (

figs.

17.

3 th

roug

h 17

.5).

The

cha

pel w

as d

esig

ned

by P

hilip

John

son

and

John

Bur

gee.

17.1

.

17.2

.

17.3

.17

.4.

17.5

.S

pira

l min

aret

of G

reat

Mos

que

of S

amar

ra, I

raq,

Tha

nksg

ivin

g S

quar

e C

hape

l, D

alla

s; P

hilip

Joh

nson

Tha

nksg

ivin

g S

quar

e C

hape

l Int

erio

r, lo

okin

g up

.A

.D. 8

48-8

52.

and

John

Bur

gee,

197

7.

173

172

ES

SO

N

Buc

kmin

ster

Ful

ler

used

suc

h na

tura

l ide

as. H

e de

sign

ed a

str

uctu

re c

alle

d th

e ge

odes

icdo

me.

Her

e ar

e so

me

pict

ures

of a

lveo

li ce

lls (

fig.

17.6

). N

otic

e ho

w s

imila

r th

ey a

re to

Ful

ler's

dom

e (f

ig. 1

7.7)

. He

had

to a

rran

ge h

is b

asic

sha

pes

to c

onne

ct e

asily

and

form

a r

ound

ed s

urfa

ce, e

ven

thou

gh h

e us

ed o

nly

stra

ight

bui

ldin

g m

ater

ials

.

Look

how

sim

ilar

the

seas

hell

(fig

. 17.

8) is

to th

e m

inar

et (

fig.

17.9

).

The

Ope

ra H

ouse

in S

ydne

y, A

ustr

alia

(fig

. 17.

10),

spo

rts

som

e si

mila

r sh

ell s

hape

s (f

ig.

17.1

1) in

its

roof

str

uctu

re.

Alv

eoli

in th

e hu

man

lung

look

like

som

e st

ruct

ures

bui

lt by

ant

s an

d hu

man

s (f

igs.

17.

12an

d 17

.13)

.

17.6

.17

.7.

U.S

. Pav

ilion

, Mon

trea

l;B

uckm

inst

er F

ulle

r, 1

967.

17.1

0S

ydne

y O

pera

Hou

se, A

ustr

alia

; Joi

n U

tzon

,19

59-1

973.

174

17.1

117

.12.

Lung

s.

17.8

.17

.9.

17.1

3.R

ed a

nt s

truc

ture

. 175

Thi

s m

arke

t pla

ce in

Roy

an, F

ranc

e (f

ig.

17.1

4), b

y A

ndre

Mor

isse

au, l

ooks

sur

pris

ingl

ylik

e so

me

larg

e w

hite

she

lls fo

und

in th

e oc

ean

(fig

.17

.15)

.

Bec

ause

roc

k is

suc

h an

impo

rtan

t par

t of n

atur

e, b

uild

ings

usi

ng s

tone

as a

cons

truc

tion

mat

eria

l ofte

n se

em m

ore

natu

ral o

r or

gani

c. F

igur

e 17

.16

isa

sim

ple

pion

eer

rock

hou

se. E

ven

thou

gh it

is s

till b

asic

ally

a b

ox, t

he s

tone

sur

face

har

mon

izes

with

the

tree

s, iv

y, a

nd e

nviro

nmen

t.

Fig

ure

17.1

7 sh

ows

som

e na

tura

l for

ms

whi

ch c

ould

be

used

for

idea

s in

pla

nnin

gbu

ildin

gs. T

hese

are

soa

p bu

bble

cel

ls. H

ave

you

ever

fille

d yo

ur tu

b w

ith b

ubbl

e ba

than

d w

atch

ed h

ow e

ach

bubb

le is

sha

ped

by th

epr

essu

re o

f bub

bles

nex

t to

it? W

hile

the

cells

look

ver

y m

uch

alik

e, th

eyar

e al

l diff

eren

t. N

o tw

o ap

pear

to b

e th

e so

me.

Man

y fo

rms

in n

atur

e ar

e ba

sed

on c

ryst

als

(fig

.17

.18)

. Eve

n th

ough

geo

met

ric (

regu

lar

shap

e, s

trai

ght l

ines

), th

ey a

re v

ery

diffe

rent

from

one

anot

her.

Fig

ure

17.1

9 is

asy

nago

gue

in Is

rael

.

Bec

ause

of c

onve

nien

ce, i

t is

a te

nden

cy o

f arc

hite

ctur

al d

esig

ners

to w

ork

with

"bo

xes,

Pi

that

is, w

ith th

ings

eas

ily d

raw

n w

ith s

trai

ght e

dges

, rig

ht tr

iang

les,

T-s

quar

es, a

ndco

mpa

sses

(fig

. 17.

20).

As

a re

sult,

man

y "n

atur

al fo

rms"

alte

rnat

ives

are

igno

red

orre

ject

ed a

s to

o bo

ther

som

e. F

or e

xam

ple,

it is

easy

to d

esig

n th

e bu

ildin

g in

figu

re 1

7.21

usin

g st

raig

ht e

dges

and

rul

ers.

17.1

7.17

.19.

:_sk

*61

(

':.1.

,

/is

P41

7-1-

1

17.1

4.

Mar

ket p

lace

, Roy

an, F

ranc

e; A

ndre

Mor

isse

au,

c. 1

950.

17.1

5.

She

ll.

177

ES

SO

N57

But

bui

ldin

gs li

ke th

ose

in fi

gure

17.

22 r

equi

re a

,who

le n

ew s

et o

f ski

lls, t

ools

, and

attit

udes

. The

se h

omes

are

mor

e na

tura

lsof

ter,

less

har

sh fo

rms.

Tho

ugh

sim

ilar,

they

enjo

y un

limite

d va

riatio

n.

Som

etim

es th

e on

ly w

ay w

e ca

n ge

t our

bui

ldin

gs to

sat

isfy

our

need

to b

e pa

rt o

fna

ture

is w

ith la

ndsc

ape

arch

itect

ure.

We

plan

t flo

wer

s, g

rass

, bus

hes,

and

tree

s or

ivy

to m

ake

us fe

el m

ore

wel

com

e, o

r at

trac

ted

to th

eot

herw

ise

hars

h de

sign

.

PR

OD

UC

TIV

E T

HIN

KIN

G

Nam

e 20

thin

gs fo

und

in n

atur

e. W

hat k

inds

of t

hing

s ar

e no

tfo

und

in n

atur

e?

Can

you

thin

k of

som

e th

ings

in n

atur

e th

at g

ive

you

anid

ea fo

r a

hous

e or

a b

uild

ing?

Wha

t are

they

?

Wha

t are

all

of th

e w

ays

a tr

ee h

ouse

is n

atur

al?

(Fig

.17

.23)

(It

is w

ood,

in a

tree

,ki

nd o

f hap

haza

rdly

bui

lt, e

tc.)

Unn

atur

al?

SU

GG

ES

TE

D A

CT

IVIT

IES

Fin

d so

me

form

s in

nat

urew

alki

ng h

ome,

aro

und

your

hous

e, o

n a

visi

t to

the

mou

ntai

ns o

r th

e be

ach,

in b

iolo

gy b

ooks

whi

ch y

outh

ink

wou

ld b

e in

tere

stin

g id

eas

for

build

ings

. (S

ee fi

gs. 1

7.24

thro

ugh

17.2

6.)

8

17.2

2.R

ural

com

mun

ity, T

rulli

, nea

r C

iste

rnin

o, It

aly.

17.2

3

17.2

4.W

ood

17.2

5.S

eed

pods

I

SU

GG

ES

TE

D A

CT

IVIT

IES

58

Cut

sno

wfla

kes

(fig

. 17.

27),

then

use

them

as

spec

ial

win

dow

s in

a b

uild

ing

you

draw

,or

trac

e th

em a

nd m

ake

them

dim

ensi

onal

by

addi

ng a

few

line

s.

Fin

d pi

ctur

es in

mag

azin

es o

f bui

ldin

gs w

hich

look

like

they

wer

ein

spire

d by

nat

ural

thin

gs.

Fill

a m

ilk c

arto

n w

ith p

artia

lly in

flate

d ba

lloon

s. T

hen

fill t

he c

arto

n w

ith p

last

er (

figs.

17.2

8 an

d 17

.29)

. Let

it s

et, t

hen

pop

the

ballo

ons

and

peel

aw

ayth

e ca

rton

. Ana

tura

l for

m w

ill b

e m

ade.

(Y

ou c

an c

arve

and

"im

prov

e"th

e fo

rm w

ith a

kni

fe o

r a

rasp

.)

180

17.2

7.

17.2

8.

1129

.

181

APPENDIX. F

182

Mar

ilynn

e R

obin

son

her

the

resu

rrec

tion

of th

e or

dina

ry. S

oon

the

skun

kca

bbag

e w

ould

com

e up

, and

the

cide

ry s

mel

l wou

ldri

se in

the

orch

ard,

and

the

girl

s w

ould

was

h an

d st

arch

and

iron

thei

r co

tton

dres

ses.

And

eve

ry e

veni

ng w

ould

brin

g its

fam

iliar

str

ange

ness

, and

cri

cket

s w

ould

sin

gth

e w

hole

nig

ht lo

ng, u

nder

her

win

dow

s an

d in

eve

rypa

rt o

f th

e bl

ack

wild

erne

ss th

at s

tret

ched

aw

ay f

rom

Fing

erbo

ne o

n ev

ery

side

. And

she

wou

ld f

eel t

hat s

harp

lone

lines

s sh

e ha

d fe

lt ev

ery

long

eve

ning

sin

ce s

he w

asa

child

. It w

as th

e ki

nd o

f lo

nelin

ess

that

mad

e cl

ocks

seem

slo

w a

nd lo

ud a

nd m

ade

voic

es s

ound

_lik

e vo

ices

acro

ss w

ater

. Old

. wom

en s

he h

ad k

now

n, f

irst

her

gra

nd-

mot

her

and

then

her

mot

her,

roc

ked

on th

eir

porc

hes

inth

e ev

enin

gs a

nd s

ang

sad

song

s, a

nd d

id n

ot w

ish

to b

esp

oken

to.

And

now

, to

com

fort

her

self

, my

gran

dmot

her

wou

ldno

t ref

lect

on

the

unki

ndne

ss o

f he

r ch

ildre

n, o

r of

chi

l-dr

en in

gen

eral

. She

had

not

iced

man

y tim

es, a

lway

s,th

at h

er g

irls

' fac

es w

ere

soft

and

ser

ious

and

inw

ard

and

still

whe

n sh

e lo

oked

at t

hem

, jus

t as

they

had

bee

nw

hen

they

wer

e sm

all c

hild

ren,

just

as

they

wer

e no

ww

hen

they

wer

e sl

eepi

ng. I

f a

frie

nd w

as in

the

room

her

daug

hter

s w

ould

wat

ch h

is f

ace

or h

er f

ace

inte

ntly

and

teas

e or

soo

the

or b

ante

r, a

nd a

ny o

ne o

f th

em c

ould

gaug

e an

d re

spon

d to

the

fine

st c

hang

es o

f ex

pres

sion

or

tone

, eve

n Sy

lvie

, if

she

chos

e to

. But

it d

id n

ot o

ccur

toth

em to

sui

t the

ir w

ords

and

man

ners

to h

er lo

oks,

and

she

did

not w

ant t

hem

to. I

n fa

ct, s

he w

as o

ften

prom

pted

or

rest

rain

ed b

y th

e th

ough

t of

savi

ng th

is u

n-co

nsci

ousn

ess

of th

eirs

. She

was

then

a m

agis

teri

alw

oman

, not

onl

y be

caus

e of

her

hei

ght a

nd h

er la

rge,

shar

p fa

ce, n

ot o

nly

beca

use

of h

er u

pbri

ngin

g, b

ut a

lso

183

'ft

Hou

seke

epin

g

beca

use

it su

ited

her

purp

ose,

to b

e w

hat s

he s

eem

ed to

be s

o th

at h

er c

hild

ren

wou

ld n

ever

be

star

tled

or s

ur-

pris

ed, a

nd to

take

on

all t

he p

ostu

res

and

vest

men

ts o

fm

atro

n, to

dif

fere

ntia

te h

er li

fe f

rom

thei

rs, s

o th

at h

erch

ildre

n w

ould

nev

er f

eel i

ntru

ded

upon

. Her

love

for

them

was

utte

r an

d eq

ual,

her

gove

rnm

ent o

f th

emge

nero

us a

nd a

bsol

ute.

She

was

con

stan

t as

dayl

ight

, and

she

wou

ld b

e un

rem

arke

d as

day

light

, jus

t to

wat

ch th

eca

lm in

war

dnes

s of

thei

r fa

ces.

Wha

t was

it li

ke. O

neev

enin

g on

e su

mm

er s

he w

ent o

ut to

the

gard

en. T

heea

rth

in th

e ro

ws

was

ligh

t and

sof

t as

cind

ers,

pal

e cl

ayye

llow

, and

the

tree

s an

d pl

ants

wer

e ri

pe, o

rdin

ary

gree

n an

d fu

ll of

com

fort

able

rus

tling

s. A

nd a

bove

the

pale

ear

th a

nd b

righ

t tre

es th

e sk

y w

as th

e da

rk b

lue

ofas

hes.

As

she

knel

t in

the

low

s sh

e he

ard

the

holly

hock

sth

ump

agai

nst t

he s

hed

wal

l. Sh

e fe

lt th

e ha

ir li

fted

fro

mhe

r ne

ck b

y a

swif

t, w

ater

y w

ind,

and

she

saw

the

tree

sfi

ll w

ith w

ind

and

hear

d th

eir

trun

ks c

reak

like

mas

ts.

She

burr

owed

her

han

d un

der

a po

tato

pla

nt a

nd f

elt

ging

erly

for

the

new

pot

atoe

s in

thei

r dr

y ne

t of

root

s,sm

ooth

as

eggs

., Sh

e -p

ut th

em in

her

apr

on a

nd w

alke

dba

ck to

the

hous

e th

inki

ng, W

hat h

ave

I se

en, w

hat

have

I s

een.

The

ear

th a

nd th

e sk

y an

d th

e ga

rden

, not

as th

ey a

lway

s ar

e. A

nd s

he s

aw h

er d

augh

ters

' fac

es n

otas

they

alw

ays

wer

e, o

r as

oth

er p

eopl

e's

wer

e, a

nd s

hew

as q

uiet

and

alo

of a

nd w

atch

ful,

not t

o st

artle

the

stra

ngen

ess

away

. She

had

nev

er ta

ught

them

to b

e ki

ndto

her

.

A to

tal o

f se

ven

and

a ha

lf y

ears

pas

sed

betw

een

Hel

en's

leav

ing

Fing

erbo

ne a

nd h

er r

etur

ning

, and

whe

nsh

e di

d fi

nally

ret

urn

it w

as o

n a.

Sun

day

mor

ning

, whe

n

/18

4

Mar

ilynn

e R

obin

son

One

day

my

gran

dmot

her

mus

t hav

e ca

rrie

d ou

t aba

sket

of

shee

ts to

han

g in

the

spri

ng s

unlig

ht, w

eari

nghe

r w

idow

's b

lack

, per

form

ing

the

ritu

als

of th

e or

dina

ryas

an

act o

f fa

ith. S

ay th

ere

wer

e tw

o or

thre

e in

ches

of

hard

old

sno

w o

n th

e gr

ound

, with

ear

th h

ere

and

ther

eoo

zing

thro

ugh

the

brok

en p

lace

s, a

nd th

at th

ere

was

war

mth

in th

e su

nlig

ht, w

hen

the

win

d di

d no

t blo

w it

all a

way

, and

say

she

sto

oped

bre

athl

essl

y in

her

cor

set

to li

ft u

p a

sodd

en s

heet

by

its h

ems,

and

say

that

whe

nsh

e ha

d pi

nned

thre

e co

rner

s to

the

lines

it b

egan

tobi

llow

and

leap

in h

er h

ands

, to

flut

ter

and

trem

ble,

and

to g

lare

with

the

light

, and

that

the

thro

es o

f th

e th

ing

wer

e as

gle

eful

and

str

ong

as if

a s

piri

t wer

e da

ncin

g in

its c

erem

ents

. Tha

t win

d! s

he w

ould

say

, bec

ause

itpu

shed

the

skir

ts o

f he

r co

at a

gain

st h

er le

gs a

nd m

ade

stra

nds

of h

er h

air

fly.

It c

ame

dow

n th

e la

ke, a

nd it

smel

led

swee

tly o

f sn

ow, a

nd r

ankl

y of

mel

ting

snow

, and

it ca

lled

to m

ind

the

smal

l, sc

arce

, ste

mm

y fl

ower

s th

atsh

e an

d E

dmun

d w

ould

wal

k ha

lf a

day

to p

ick,

thou

ghin

ano

ther

day

they

wou

ld a

ll be

wilt

ed. S

omet

imes

Edm

und

wou

ld c

arry

buc

kets

and

a tr

owel

, and

lift

them

ear

th a

nd a

ll, a

nd b

ring

them

hom

e to

pla

nt, a

ndth

ey w

ould

die

. The

y w

ere

rare

thin

gs, a

nd g

rew

out

of

ants

' nes

ts a

nd b

ear

dung

and

the

fles

h of

per

ishe

d an

i-m

als.

She

and

Edm

und

wou

ld c

limb

until

they

wer

e w

etw

ith s

wea

t. H

orse

flie

s fo

llow

ed th

em, a

nd th

e w

ind

chill

ed th

em. W

here

the

snow

rec

eded

, the

y m

ight

see

the

ruin

s of

a p

orcu

pine

, tee

th h

ere,

tail

ther

e. T

he w

ind

wou

ld b

e so

ur w

ith s

tale

sno

w a

nd d

eath

and

pin

e pi

tch

and

wild

flow

ers.

Ina

mon

th th

ose

flow

ers

wou

ld b

loom

. In

a m

onth

all d

orm

ant l

ife

and

arre

sted

dec

ay w

ould

beg

in a

gain

.

/i6X

85.

Hou

seke

epin

g

In a

mon

th s

he w

ould

not

mou

rn, b

ecau

se in

that

sea

son

it ha

d ne

ver

seem

ed to

her

that

they

wer

e m

arri

ed, s

hean

d th

e si

lent

Met

hodi

st E

dmun

d w

ho w

ore

a ne

cktie

and

susp

ende

rs e

ven

to h

unt w

ildfl

ower

s, a

nd w

ho r

e-m

embe

red

just

whe

re th

ey g

rew

fro

m y

ear

to y

ear,

and

who

dip

ped

his

hand

kerc

hief

in a

pud

dle

to w

rap

the

stem

s, a

nd w

ho p

ut o

ut h

is e

lbow

to h

elp

her

over

the

stee

p an

d st

ony

plac

es, w

ith a

wor

dles

s an

d im

pers

onal

cour

tesy

she

did

not

res

ent b

ecau

se s

he h

ad n

ever

rea

llyw

ishe

d to

fee

l mar

ried

to a

nyon

e. S

he s

omet

imes

imag

-in

ed a

rat

her

dark

man

with

cru

de s

trip

es p

aint

ed o

n hi

sfa

ce a

nd s

unke

n be

lly, a

nd a

hid

e fa

sten

ed a

roun

d hi

slo

ins,

and

bon

es d

angl

ing

from

his

ear

s, a

nd c

lay

and

claw

s an

d fa

ngs

and

bone

s an

d fe

athe

rs a

nd s

inew

s an

dhi

de o

rnam

entin

g hi

s ar

ms

and

wai

st a

nd th

roat

and

ankl

es, h

is w

hole

bod

y a

boas

t tha

t he

was

mor

e al

arm

ing

than

all

the

deat

h w

hose

trop

hies

he

wor

e. E

dmun

d w

aslik

e th

at, a

littl

e. T

he r

isin

g of

the

spri

ng s

tirre

d a

seri

ous,

mys

tical

exc

item

ent i

n hi

m, a

nd m

ade

him

for

-ge

tful

of

her.

He

wou

ld p

ick

up e

ggsh

ells

, a b

ird'

s w

ing,

a ja

wbo

ne, t

he a

shy

frag

men

t of

a w

asp'

s ne

st H

e w

ould

peer

at e

ach

of th

em w

ith th

e m

ost a

bsol

ute

atte

ntio

n,an

d th

en p

ut th

em in

his

poc

kets

, whe

re h

e ke

pt h

is ja

ck-

knif

e an

d hi

s lo

ose

chan

ge. H

e w

ould

pee

r at

them

as

ifhe

cou

ld r

ead

them

; and

poc

ket t

hem

as

if h

e co

uld

own

them

. Thi

s is

dea

th in

my

hand

, thi

s is

rui

n in

my

brea

stpo

cket

, whe

re I

kee

p m

y re

adin

g gl

asse

s. A

t suc

h tim

eshe

was

as

forg

etfu

l of

her

as h

e w

as o

f hi

s su

spen

ders

and

his

Met

hodi

sm, b

ut a

ll th

e sa

me

it w

as th

en th

at s

helo

ved

him

bes

t, as

a s

oul a

ll un

acco

mpa

nied

, lik

e he

row

n. So th

e w

ind

that

bill

owed

her

she

ets

anno

p..1

1to

S

/ 17

Mar

ilynn

Rob

inso

n

she

knew

her

mot

her

wou

ld n

ot b

e at

hom

e, a

nd s

hest

ayed

onl

y lo

ng e

noug

h to

set

tle L

ucill

e an

d m

e on

the

benc

h in

the

scre

ened

por

ch, w

ith a

box

of

grah

amcr

acke

rs to

pre

vent

con

flic

t and

res

tless

ness

.Pe

rhap

s fr

om a

sen

se o

f de

licac

y m

y gr

andm

othe

rne

ver

aske

d us

any

thin

g ab

out o

ur li

few

ith o

ur m

othe

r.Pe

rhap

s sh

e w

as n

ot c

urio

us. P

erha

ps s

he w

as s

o af

-fr

onte

d by

Hel

en's

sec

retiv

e be

havi

or th

at e

ven

now

she

refu

sed

to ta

ke n

otic

e of

it. P

erha

ps s

he d

id n

ot w

ish

to le

arn

by in

dire

ctio

n w

hat H

elen

did

not

wis

h to

tell

her. If

she

had

ask

ed m

e, I

cou

ld h

ave

told

her

that

we

lived

in tw

o ro

oms

at th

e to

p of

a ta

ll gr

ay b

uild

ing,

so

that

all

the

win

dow

sthe

re w

ere

five

alto

geth

er,

and

ado

or w

ith f

ive

row

s of

sm

all p

anes

over

look

ed a

nar

row

whi

te p

orch

, the

hig

hest

flig

ht o

f a

grea

t sca

ffol

ding

of

whi

te s

teps

and

por

ches

, fix

ed a

nd in

tric

ate

as th

e fr

ozen

eke

of w

ater

fro

m th

e si

de o

f a

clif

f, g

rain

y gr

ay-w

hite

like

drie

d sa

lt. F

rom

this

por

ch w

e lo

oked

dow

n on

bro

adta

rpap

er r

oofs

, eav

e to

eav

e, s

prea

d lik

e so

mbe

r te

nts

over

hoa

rds

of g

oods

cra

ted

up,

and

over

tom

atoe

s an

dtu

rnip

s an

d ch

icke

ns, a

nd o

ver

crab

s an

d sa

lmon

s, a

ndov

er a

dan

ce f

loor

with

a ju

kebo

xw

here

som

eone

beg

anpl

ayin

g "S

parr

ow in

the

Tre

etop

" an

d "G

ood

Nig

ht,

Iren

e" b

efor

e br

eakf

ast.

But

of

all t

his,

fro

m o

ur v

anta

ge,

we

saw

onl

y th

e te

nted

top.

Gul

ls s

at in

row

s on

our

porc

h ra

iling

and

pee

red

for

scav

enge

.Si

nce

all t

he w

indo

ws

wer

e in

a li

ne, o

ur r

oom

s w

ere

as li

ght a

s th

e da

y w

as, n

ear

the

door

, and

bec

ame

dark

eras

one

wen

t far

ther

in. I

n th

eba

ck w

all o

f th

e m

ain

room

was

a d

oor

whi

ch o

pene

d in

to a

carp

eted

hal

lway

, and

whi

ch w

as n

ever

ope

ned.

It w

as b

lock

ed, i

n fa

ct, b

y a

Hou

seke

epin

g

big

gree

n co

uch

so w

eigh

ty a

nd s

hape

less

that

it lo

oked

as if

it h

ad b

een

hois

ted

out o

f fo

rty

feet

of

wat

er. T

wo

putty

-col

ored

arm

chai

rs w

ere

draw

n up

in a

con

vers

a-tio

nal c

ircl

e. H

alve

s of

two

cera

mic

mal

lard

s w

ere

in f

ull

flig

ht u

p th

e w

all.

As

for

the

rest

of

the

room

, it c

on-

tain

ed a

rou

nd c

ard

tabl

e co

vere

d w

ith a

pla

id o

ilclo

th,

a re

frig

erat

or, a

pal

e-bl

ue c

hina

cup

boar

d, a

sm

all t

able

with

a h

otpl

ate

on it

, and

a s

ink

with

an

oilc

loth

ski

rt.

Hel

en p

ut le

ngth

s of

clo

thes

line

thro

ugh

our

belts

and

fast

ened

them

to th

e do

orkn

ob, a

n ar

rang

emen

t tha

tne

rved

us

to lo

ok o

ver

the

side

of

the

porc

h, e

ven

whe

nth

e w

ind

was

str

ong.

Ber

nice

, who

live

d be

low

us,

was

our

onl

y vi

sito

r. S

heha

d la

vend

er li

ps a

nd o

rang

e ha

ir, a

nd a

rche

d ey

ebro

ws

each

dra

wn

in a

sin

gle

brow

n lin

e, a

con

test

bet

wee

npr

actic

e an

d pa

lsy

whi

ch s

omet

imes

end

ed a

t her

ear

.Sh

e w

as a

n ol

d w

oman

, but

she

man

aged

to lo

ok li

ke a

youn

g w

oman

with

a r

avag

ing

dise

ase.

She

sto

od a

nynu

mbe

r of

hou

rs in

our

doo

rway

, her

long

bac

k ar

ched

and

her

arm

s fo

lded

on

her

sphe

rica

l bel

ly, t

ellin

g sc

an-

dalo

us s

tori

es in

a v

oice

hus

hed

in d

efer

ence

to th

e fa

ctth

at L

ucill

e an

d I

shou

ld n

ot b

e he

arin

g th

em. T

hrou

ghal

l the

se ta

les

her

eyes

wer

e, w

ide

with

am

azem

ent r

e-ca

lled,

and

now

and

then

she

wou

ld la

ugh

and

prod

my

mot

her's

arm

with

her

lave

nder

cla

ws.

Hel

en le

aned

inth

e do

orw

ay, s

mile

d at

the

floo

r, a

nd tw

ined

her

hai

r.B

erni

ce lo

ved

us. S

he h

ad n

o ot

her

fam

ily, e

xcep

t her

husb

and,

Cha

rley

, who

sat

on

her

porc

h w

ith h

is h

ands

on h

is k

nees

and

his

bel

ly in

his

lap,

his

fle

sh m

ottle

dlik

e sa

usag

e, th

ick

vein

s pu

lsin

g in

his

tem

ples

and

inth

e ba

cks

of h

is h

ands

. He

cons

erve

d sy

llabl

es a

s if

toco

nser

ve b

reat

h. W

hene

ver

we

wen

t dow

n th

e st

airs

he

/21

188

Mar

ilynn

e R

obin

son

wou

ld le

an s

low

ly a

fter

us

and

say

"Hey

!" B

erni

ce li

ked

to b

ring

us

cust

ard,

whi

ch h

ad a

thic

k ye

llow

skin

and

sat i

n a

copi

ous

liqui

d th

e co

nsis

tenc

y of

eye

wat

er.H

elen

was

sel

ling

cosm

etic

s in

a d

rugs

tore

,an

d B

erni

ce lo

oked

afte

r us

whi

le s

he w

as a

t wor

k, th

ough

Ber

nice

her

self

wor

ked

all n

ight

as

a ca

shie

r in

a tr

uck

stop

. She

look

edaf

ter

us b

y tr

ying

to s

leep

ligh

tly e

noug

h to

be

awak

ened

by th

e fi

rst s

ound

s of

fis

t fig

hts,

of

the

dest

ruct

ion

offu

rnitu

re, o

f th

e th

roes

of

hous

ehol

d po

ison

ing.

Thi

ssc

hem

e w

orke

d, th

ough

som

etim

es B

erni

ce w

ould

wak

ein

the

grip

of

som

e na

mel

ess

alar

m, r

un u

p th

e st

airs

inhe

r ni

ghtg

own

and

eyeb

row

less

, and

dru

b ou

r w

indo

ws

with

her

han

ds, w

hen

we

wer

e si

tting

qui

etly

at s

uppe

rw

ith o

ur m

othe

r. T

hese

dis

rupt

ions

of

her

slee

p w

ere

not

less

res

ente

d be

caus

e th

ey w

ere

self

-gen

erat

ed. B

utsh

e

love

d us

for

our

mot

her's

sak

e.B

erni

ce to

ok a

wee

k of

f fr

om w

ork

so th

at s

he c

ould

lend

us

her

car

for

a vi

sit t

o Fi

nger

bone

. Whe

nsh

ele

arne

d fr

om H

elen

that

her

mot

her

was

livi

ng, s

hebe

gan

to u

rge

her

to g

o ho

me

for

a w

hile

, and

Hel

en, t

ohe

r gr

eat s

atis

fact

ion,

was

fin

ally

per

suad

ed. I

t pro

ved

tobe

a f

atef

ul jo

urne

y. H

elen

took

us

thro

ugh

the

mou

n-ta

ins

and

acro

ss th

e de

sert

and

into

the

mou

ntai

ns a

gain

,an

d at

last

to th

e la

ke a

nd o

ver

the

brid

ge in

to to

wn,

left

at t

he li

ght o

nto

Syca

mor

e St

reet

and

str

aigh

t for

six

bloc

ks. S

he p

ut o

ur s

uitc

ases

in th

e sc

reen

ed p

orch

,w

hich

was

pop

ulat

ed b

y a

cat a

nd a

mat

ronl

y w

ashi

ngm

achi

ne, a

nd to

ld u

s to

wai

t qui

etly

. The

n sh

e w

ent

back

to th

e ca

r an

d dr

ove

nort

h al

mos

t to

Tyl

er, w

here

she

saile

d in

Bem

ice'

s Fo

rd f

rom

the

top

of a

clif

f na

med

Whi

skey

Roc

k in

to th

e bl

acke

st d

epth

of

the

lake

.

/22

189

INO

f

12It

). .

Arl

Hou

seke

epin

g

The

y se

arch

ed f

or h

er. W

ord

was

szn

t out

ahu

ndre

d m

iles

in e

very

dir

ectio

n to

wat

ch f

or a

you

ngw

oman

in a

car

whi

ch I

sai

d w

as b

lue

and

Luc

ille

said

was

gre

en. S

ome

boys

who

had

bee

n fi

shin

g an

dkn

ewno

thin

g ab

out t

he s

earc

h ha

d co

me

acro

ss h

er s

ittin

gcr

oss-

legg

ed o

n th

e ro

of o

f th

e ca

r, w

hich

had

bog

ged

dow

n in

the

mea

dow

bet

wee

n th

e ro

ad a

nd th

e cl

iff.

The

y sa

id s

he w

as g

azin

g at

the

lake

and

eat

ing

wild

stra

wbe

rrie

s, w

hich

wer

e pr

odig

ious

ly la

rge

and

abun

dant

that

yea

r. S

he a

sked

them

ver

y pl

easa

ntly

to h

elp

her

push

her

car

out

of

the

mud

, and

they

wen

t so

far

as to

put t

heir

bla

nket

s an

d co

ats

unde

r th

e w

heel

s to

fac

ilita

tehe

r re

scue

. Whe

n th

ey g

ot th

e Fo

rd b

ack

to th

e ro

adsh

e th

anke

d th

em, g

ave

them

her

pur

se, r

olle

d do

Wn

the

rear

win

dow

s, s

tart

ed th

e ca

r, tu

rned

the

whe

el a

s fa

rto

the

righ

t as

it w

ould

go,

and

roa

red

swer

ving

and

slid

-in

g ac

ross

the

mea

dow

unt

il sh

e sa

iled

off

the

edge

of

the

clif

f. My

gran

dmot

her

spen

t a n

umbe

r of

day

s in

her

bedr

oom

. She

had

an

arm

chai

r an

d a

foot

stoo

l fro

m th

epa

rlor

pla

ced

by th

e w

indo

w th

at lo

oked

into

the

orch

ard,

and

she

sat

ther

e, f

ood

was

bro

ught

to h

er th

ere.

She

was

not

incl

ined

to m

ove.

She

cou

ld h

ear,

if n

ot th

epa

rtic

ular

wor

ds a

nd c

onve

rsat

ions

, at l

east

the

voic

es o

fpe

ople

in th

e ki

tche

n, th

e ge

ntle

and

for

mal

soc

iety

of

frie

nds

and

mou

rner

s th

at h

ad e

stab

lishe

d its

elf

in h

erho

use

to lo

ok a

fter

thin

gs. H

er f

rien

ds w

ere

very

old

,an

d fo

nd o

f w

hite

cak

e an

d pi

noch

le. I

n tw

os a

nd th

rees

they

wou

ld v

olun

teer

to lo

ok a

fter

us,

whi

le th

e ot

hers

play

ed c

ards

at t

he b

reak

fast

tabl

e. W

e w

ould

be

wal

ked

arou

nd b

y ne

rvou

s, p

erem

ptor

y ol

d m

en w

it) w

ould

-/ 2

3

Mar

ilynn

e R

obin

son

agai

n, c

lear

ly p

leas

ed th

at it

had

mad

e an

impr

essi

on.

"Yes

, you

look

ver

y ni

ce, m

y de

ar. V

ery

wel

l," N

ona

said

, rat

her

loud

ly. S

he r

eally

inte

nded

this

obs

erva

tion

for

her

sist

er, j

ust a

s L

ily's

com

plim

ent h

ad b

een

in-

tend

ed f

or h

er. T

hey

shou

ted,

for

the

sake

of

the

othe

r'sco

mpr

ehen

sion

and

bec

ause

nei

ther

of

them

cou

ld g

auge

her

voic

e ve

ry w

ell,

and

each

of

them

con

side

red

her

sist

er's

hea

ring

wor

se th

an h

er o

wn,

so

each

of

them

spok

e a

little

loud

er th

an s

he h

ad to

. And

they

had

live

dal

l the

ir li

ves

toge

ther

, and

fel

t tha

t the

y ha

d a

spec

ial

lang

uage

bet

wee

n th

em. S

o w

hen

Lily

sai

d, w

ith a

gla

nce

at N

ona,

"W

hat a

love

ly d

ress

," it

was

as

if to

say

, "Sh

ese

ems

rath

er s

ane!

She

see

ms

rath

er n

orm

al!"

And

whe

nN

ona

said

, "Y

ou lo

ok v

ery

wel

l," it

was

as

if to

say

, "Pe

r-ha

ps s

he'll

do!

Per

haps

she

can

sta

y an

d w

e ca

n go

!"Sy

lvie

sat

in th

e si

mpl

e ki

tche

n lig

ht w

ith h

er h

ands

inhe

r la

p an

d he

r ey

es o

n he

r ha

nds,

whi

le L

ily a

nd N

ona

stal

ked

abou

t on

thei

r st

iff

old

legs

, poa

chin

g eg

gs a

nddi

shin

g up

ste

wed

pru

nes,

flu

shed

and

ela

ted

by th

eir

secr

et u

nder

stan

ding

."D

id y

ou k

now

Mr.

Sim

mon

s di

ed?"

Lily

ask

ed.

"He

mus

t hav

e be

en v

ery

old,

" Sy

lvie

sai

d."A

nd d

o yo

u re

mem

ber

a D

anny

Rap

papo

rt?"

Sylv

ie s

hook

her

hea

d."H

e w

as a

cla

ss b

ehin

d yo

u in

sch

ool."

"I g

uess

I s

houl

d re

mem

ber

him

.""W

ell,

he d

ied.

I d

on't

know

how

."N

ona

said

, "T

he f

uner

al w

as a

nnou

nced

in th

e pa

per,

but t

here

was

no

artic

le a

bout

it. W

e th

ough

t tha

t was

stra

nge.

Jus

t a p

hoto

grap

h."

"Not

rec

ent,

eith

er,"

Lily

gru

mbl

ed. "

He

look

edni

nete

en. N

ot a

line

in h

is f

ace.

"

4619

1/

Hou

seke

epin

g

"Was

Mot

her's

fun

eral

nic

e?"

Sylv

ie a

sked

."L

ovel

y."

"Oh,

yes

, ver

y ni

ce."

The

old

sis

ters

look

ed a

t eac

h ot

her.

"Ver

y sm

all,

thou

gh, o

f co

urse

," N

ona

said

."Y

es, s

he w

ante

d it

smal

l. B

ut y

ou s

houl

d ha

ve s

een

the

flow

ers!

The

who

le h

ouse

was

ful

l. W

e se

nt h

alf

ofth

em o

ver

to th

e ch

urch

.""S

he d

idn'

t wan

t flo

wer

s,"

Non

a sa

id. "

She

wou

ldha

ve c

alle

d it

a w

aste

.""S

he d

idn'

t wan

t a s

ervi

ce."

"I s

ee."

The

re w

as a

sile

nce.

Non

a bu

ttere

d a

piec

e of

toas

tan

d sl

id th

e je

lled

egg

onto

it a

nd b

roke

it u

p w

ith a

fork

as

if it

wer

e fo

r a

child

. Syl

vie

took

a c

hair

at t

heta

ble

and

ate

with

her

hea

d on

her

han

d. N

ona

wen

tup

stai

rs, a

nd in

a f

ew m

inut

es c

ame

dow

n ag

ain,

car

ryin

ga

hot -

wat

er b

ottle

. "I'v

e pu

t you

in th

e ha

ll be

droo

m.

It's

a li

ttle

clos

e, b

ut th

at's

bet

ter

than

a d

raft

. The

rear

e tw

o he

avy

blan

kets

on

the

bed,

and

one

ligh

ter

one,

and

I pu

t a c

omfo

rter

on

the

chai

r."

She

fille

d th

e ho

t-w

ater

bot

tle w

ith w

ater

fro

m th

e ke

ttle

and

bund

led

itin

tea

tow

els.

Luc

ille

and

I ea

ch to

ok a

sui

tcas

e an

dfo

llow

ed S

ylvi

e up

stai

rs.

The

sta

irs

wer

e w

ide

and

polis

hed,

with

a h

eavy

rai

ling

and

spin

dle

bani

ster

s, d

atin

g as

they

did

fro

m a

tim

ew

hen

my

gran

dfat

her

was

gro

win

g co

nfid

ent e

noug

h of

his

carp

entr

y to

, use

goo

d m

ater

ials

and

to b

uild

thin

gsth

at m

ight

be

cons

ider

ed p

erm

anen

t. B

ut th

ey te

rmi-

nate

d ra

ther

odd

ly in

a h

atch

or

trap

door

, bec

ause

at

the

top

of th

e st

airs

one

cam

e fa

ce to

fac

e w

ith a

wal

lso

ess

entia

l to

supp

ortin

g th

e ro

of (

whi

ch h

ad a

lway

s

/ 47

192

Mar

ilynn

e R

obin

son

sagg

ed s

omew

hat i

n th

e m

iddl

e) th

at m

y gr

andf

athe

rco

uld

not b

ring

him

self

to c

ut a

noth

er d

oor

in it

. So

in-

stea

d he

had

wor

ked

out a

dev

ice

with

pul

leys

and

win

dow

wei

ghts

that

mad

e th

e tr

apdo

or (

whi

ch w

asle

ft o

ver

from

the

time

whe

n th

e se

cond

flo

or w

as m

erel

ya

loft

with

a la

dder

up

to it

) ri

se a

tth

e sl

ight

est p

ush

and

then

fal

l shu

t aga

in o

f its

ow

n ac

cord

with

alit

tlesl

am. (

Thi

s de

vice

pre

vent

ed d

raft

s fr

om s

wee

ping

dow

n

the

polis

hed

step

s in

torr

ents

, flo

odin

g th

e pa

rlor

, edd

y-in

g in

to th

e ki

tche

n.)

Sylv

ie's

bed

room

was

rea

lly a

sor

tof

nar

row

dor

mer

with

a c

urta

in c

losi

ng it

off

fro

mth

eha

llway

. The

re w

as a

cot

in it

,. fa

ttene

d w

ith p

illow

s an

dbl

anke

tS, a

nd a

littl

e la

mp,

whi

ch N

ona

had

left

bur

ning

on a

she

lf. T

here

was

a s

ingl

ero

und

win

dow

, sm

all a

ndhi

gh a

s a

fully

ris

en m

oon.

The

dre

sser

and

cha

ir w

ere

outs

ide

the

curt

ain,

one

on

each

sid

e. S

ylvi

e, in

the

half

-da

rk h

allw

ay, t

urne

d an

d ki

ssed

eac

h of

us.

"I'l

l get

you

pres

ents

," s

he w

hisp

ered

. "T

omor

row

, may

be."

She

kiss

ed u

s ag

ain

and

wen

t beh

ind

the

curt

ain,

into

the

narr

ow r

oom

.

I ha

ve o

ften

won

dere

d w

hat i

t see

med

like

toSy

lvie

to c

ome

back

to th

at h

ouse

, whi

chw

ould

hav

ech

ange

d si

nce

she

left

it, s

hift

ed a

nd s

ettle

d. I

imag

ine

her

with

her

gri

ps in

her

bar

e ha

nds,

wal

king

dow

n th

em

iddl

e of

the

road

, whi

ch w

as n

arro

wed

by

the

bank

s

of p

low

ed s

now

on

eith

er s

ide,

and

nar

row

ed m

ore

by

the

slus

hy p

ools

that

wer

e fo

rmin

g at

the

foot

of e

ach

bank

. Syl

vie

alw

ays

wal

ked

with

her

hea

d do

wn,

to o

nesi

de, w

ith a

n ab

stra

cted

and

con

side

ring

expr

essi

on, a

sif

som

eone

wer

e sp

eaki

ng to

her

in a

sof

t voi

ce.

But

she

wou

ld h

ave

glan

ced

up s

omet

imes

at t

he s

now

,w

hich

/48

-93

Hou

seke

epin

g

was

the

colo

r of

hea

vy c

loud

s, a

nd th

e sk

y,w

hich

was

the

colo

r of

mel

ting

snow

, and

all

the

slic

k bl

ack

plan

ks a

ndst

icks

and

stu

mps

that

eru

pted

as

the

snow

san

k aw

ay.

How

mus

t it h

ave

seem

ed to

ste

p in

to th

e na

rrow

hallw

ay w

hich

stil

l kep

t (as

it s

eem

ed to

me)

a tr

ace

ofth

e ru

de o

dor

that

the

fune

ral f

low

ers

had

begu

n to

mak

ebe

fore

Non

a co

uld

brin

g he

rsel

f to

thro

w th

em a

way

.H

er h

ands

and

fee

t mus

t hav

e ac

hed

from

the

war

mth

.I

rem

embe

r ho

w r

ed a

nd tw

iste

d he

r ha

nds

look

ed, l

ying

in th

e la

p of

her

gre

en d

ress

, and

how

she

pre

ssed

her

arm

s to

her

sid

es. I

rem

embe

r th

at, a

s sh

e's

at th

ere

in a

woo

den

chai

r in

the

whi

te k

itche

n, s

moo

thin

g he

rbo

rrow

ed -

look

ing

dres

s an

d w

orki

ng h

er f

eet o

ut o

f he

rlo

afer

s, s

usta

inin

g al

l our

sta

res

with

the

plac

id m

odes

tyof

a v

irgi

n w

ho h

as c

once

ived

, her

hap

pine

ss w

aspa

l-

pabl

e.

The

day

aft

er S

ylvi

e ar

rive

d, L

ucill

e an

d I

wok

eup

ear

ly. I

t was

our

cus

tom

to p

row

l the

daw

n of

any

sign

ific

ant d

ay. O

rdin

arily

the

hous

e w

ould

bel

ong

to u

sfo

r an

hou

r or

mor

e, b

ut th

at m

orni

ng w

e fo

und

Sylv

iesi

tting

in th

e ki

tche

n by

the

stov

e, w

ith h

er c

oat o

n, e

at-

ing

oyst

er c

rack

ers

from

a s

mal

l cel

loph

ane

bag.

She

blin

ked

at u

s, s

mili

ng. "

It w

as n

ice

with

the

light

off

,"sh

e su

gges

ted,

and

Luc

ille

and

I co

llide

d in

our

has

te to

pull

the

chai

n. S

ylvi

e's

coat

mad

e us

thin

k sh

e m

ight

be

leav

ing,

and

we

wer

e re

ady

to p

erfo

rm g

reat

fea

ts o

fdo

cilit

y to

kee

p he

r. "

Isn'

t tha

t nic

er?"

In

fact

, the

win

dw

as b

adge

ring

the

hous

e,th

row

ing

froz

en r

ain

agai

nst

the

win

dow

s. W

e sa

t dow

n on

the

rug

by h

er f

eet a

ndw

atch

ed h

er. S

he h

ande

d us

eac

h an

oys

ter

crac

ker.

"I

can

hard

ly b

elie

ve I

'm h

ere,

" sh

esa

id f

inal

ly.,

"I w

as o

n

/ 49

194

34th

e de

sire

to b

uild

som

e so

rt `

of s

helte

r. I

t may

be

a re

al c

ave

dug

into

a b

ank,

or

a pr

imiti

ve b

ut o

f ro

ugh

boar

ds. B

ut o

ften

itis

no

mor

e th

an a

sec

ret n

ook

hidd

en a

mon

g bu

shes

, or

a te

ntm

ade

with

a r

ug d

rape

d ov

er tw

o ch

airs

. Thi

s "c

ave

gam

e" c

anbe

var

ied

in a

thou

sand

way

s bu

t com

mon

to th

em a

ll is

the

encl

osin

g of

spa

ce f

or th

e ch

ild's

ow

n us

e. M

any

anim

als

are

also

able

to c

reat

e a

shel

ter

for

them

selv

es, b

y di

ggin

g a

hole

in th

egr

ound

or

build

ing

som

e so

rt o

f ha

bita

tion

abov

e it.

But

the

sam

esp

ecie

s al

way

s do

es it

in th

e sa

me

way

. Man

alo

ne f

orm

s dw

ell-

ings

whi

ch v

ary

acco

rdin

g to

req

uire

men

ts, c

limat

e an

d cu

ltura

lpa

ttern

. The

chi

ld's

pla

y is

con

tinue

d in

the

grow

n-up

's c

reat

ion,

and

just

as

man

pro

gres

ses

from

sim

ple

bloc

ks to

the

mos

t ref

ined

impl

emen

ts, h

e pr

ogre

sseS

fro

m th

e ca

ve g

ame

to m

ore

and

mor

ere

fine

d m

etho

ds o

f en

clos

ing

spac

e. L

ittle

by

little

he

stri

ves

togi

ve f

orm

to h

is e

ntir

e su

rrou

ndin

gs.

And

this

to b

ring

ord

er a

nd r

elat

ion

into

hum

an s

urro

und-

ings

is th

e ta

sk o

f th

e ar

chite

ct.

119

5

CH

APT

ER

II

Solid

s an

d C

aviti

es in

Arc

hite

ctur

e

Seei

ng d

eman

ds a

cer

tain

act

ivity

on

the

part

of

the

spec

tato

r. I

tis

not

eno

ugh

pass

ivel

y to

let a

pic

ture

for

m it

self

on

the

retin

aof

the

eye.

The

ret

ina

is li

ke a

mov

ie s

cree

n on

whi

ch a

con

-tin

uous

ly c

hang

ing

stre

am o

f pi

ctur

es a

ppea

rs b

ut th

e m

ind

behi

nd th

e ey

e is

con

scio

us o

f on

ly v

ery

few

of

them

. On

the

othe

r ha

nd, o

nly

a ve

ry f

aint

vis

ual i

mpr

essi

on is

nec

essa

ry f

orus

to th

ink

that

we

have

see

n a

thin

g; a

tiny

det

ail i

s en

ough

.A

vis

ual p

roce

ss c

an b

e de

scri

bed

as f

ollo

ws.

A m

an w

alki

ngal

ong

with

ben

t hea

d re

ceiv

es a

n im

pres

sion

of

blue

jean

s; a

mer

ehi

nt w

ill s

uffi

ce. H

e be

lieve

s th

at h

e ha

s se

en a

man

thou

ghac

tual

ly a

ll he

saw

was

the

char

acte

rist

ic s

eam

run

ning

dow

n th

esi

de o

f th

e le

g. F

rom

this

one

sm

all o

bser

vatio

n he

con

clud

esth

at a

man

has

pas

sed

him

on

the

side

wal

k, s

impl

y be

caus

e w

here

ther

e is

that

sor

t of

seam

ther

e m

ust b

e je

ans

and

whe

re th

ere

are

mov

ing

jean

s th

ere

mus

t be

a m

an in

side

them

. Usu

ally

his

ob-

serv

atio

n en

ds h

ere;

ther

e ar

e so

man

y th

ings

to k

eep

an e

ye o

nin

a c

row

ded

stre

et th

at h

e ca

nnot

bot

her

his

min

d w

ith h

is f

ello

wpe

dest

rian

s. B

ut f

or s

ome

reas

on o

ur m

an w

ishe

s to

hav

e a

clos

erlo

ok a

t the

per

son.

He

obse

rves

mor

e de

tails

. He

was

rig

ht a

bout

the

jean

s bu

t the

wea

rer

is a

you

ng g

irl,

not a

man

. If

he is

not

a v

ery

dull

pers

on h

e w

ill n

ow a

sk h

imse

lf: "

Wha

t doe

s sh

e lo

ok li

ke ?

"H

e w

ill th

en o

bser

ve h

er m

ore

clos

ely,

add

ing

deta

il to

det

ail u

ntil

he g

ets

a m

ore

or le

ss c

orre

ct p

ictu

re o

f he

r. H

is a

ctiv

ity c

an b

eco

mpa

red

to th

at o

f a

port

rait

pain

ter.

Fir

st h

e fo

rms

a ro

ugh

sket

ch o

f hi

s su

bjec

t, a

mer

e su

gges

tion;

then

ela

bora

tes

it en

ough

for

it to

bec

ome

a gi

rl in

jean

s; f

inal

ly h

e ad

ds m

ore

and

mor

ede

tails

unt

il he

has

obt

aine

d a

char

acte

rist

ic p

ortr

ait o

f th

atpa

rtic

ular

gir

l. T

he a

ctiv

ity o

f su

ch a

spe

ctat

or is

cre

ativ

e; h

ere

crea

tes

the

phen

omen

a he

obs

erve

s in

his

eff

ort t

o fo

rm 'a

com

plet

e im

age

of w

hat h

e ha

s se

en.

196

36T

his

act o

f re

-cre

atio

n is

com

mon

to a

ll ob

serv

ers;

it is

the

activ

ity th

at is

nec

essa

ry in

ord

er to

exp

erie

nce

the

thin

gse

en.

But

wha

t the

y se

e, w

hat t

hey

re-c

reat

e w

hen

obse

rvin

g th

esa

me

obje

ct, c

an v

ary

enor

mou

sly.

The

re is

no

obje

ctiv

ely

corr

ect i

dea

of a

thin

g's

appe

aran

ce, o

nly

an in

fini

te n

umbe

r of

sub

ject

ive

impr

essi

ons

of it

. Thi

s is

true

of

wor

ks o

f ar

tas

of

ever

ythi

ngel

se; i

t is

impo

ssib

le to

say

, for

inst

ance

, tha

t suc

h an

d su

cha

conc

eptio

n of

a p

aint

ing

is th

e tr

ue o

ne. W

heth

er it

mak

esan

impr

essi

on o

n th

e ob

serv

er, a

nd w

hat i

mpr

essi

on it

mak

es,

depe

nds

not o

nly

on th

e w

ork

of a

rt b

ut to

a g

reat

ext

ent

on th

eob

serv

er's

sus

cept

ibili

ty, h

is m

enta

lity,

his

edu

catio

n, h

is e

ntir

een

viro

nmen

t. It

als

o de

pend

s on

the

moo

d he

is in

at t

he m

omen

t.T

he s

ame

pain

ting

can

affe

ct u

s ve

ry d

iffe

rent

ly a

t dif

fere

nt ti

mes

.T

here

fore

it is

alw

ays

exci

ting

to r

etur

n to

a w

ork

of a

rtw

e ha

vese

en b

efor

e to

fin

d ou

t whe

ther

we

still

rea

ct to

it in

the

sam

e w

ay.

Usu

ally

it is

eas

ier

to p

erce

ive

a th

ing

whe

n w

e kn

owso

me-

thin

g ab

out i

t bef

oreh

and.

We

see

wha

t is

fam

iliar

and

dis

rega

rdth

e re

st. T

hat i

s to

say

we

re-c

reat

e th

e ob

serv

ed in

to s

omet

hing

intim

ate

and

com

preh

ensi

ble.

Thi

s ac

t of

re-c

reat

ion

is o

ften

carr

ied

out b

y ou

r id

entif

ying

our

selv

es w

ith th

e ob

ject

by

imag

inin

g ou

rsel

ves

in it

s st

ead.

In

such

inst

ance

sou

r ac

tivity

is m

ore

like

that

of

an a

ctor

get

ting

the

feel

of

a ro

le th

an o

fan

artis

t cre

atin

g a

pict

ure

of s

omet

hing

he

obse

rves

out

side

him

-se

lf. W

hen

we

look

at a

por

trai

t of

som

eone

laug

hing

or s

mili

ngw

e be

com

e ch

eerf

ul o

urse

lves

. If,

on

the

othe

r ha

nd, t

he f

ace

istr

agic

, we

feel

sad

. Peo

ple

look

ing

at p

ictu

res

have

a r

emar

kabl

eab

ility

to e

nter

a r

ole

whi

ch s

eem

s ve

ry f

orei

gn to

them

. A w

eak

little

man

sw

ells

with

her

oism

and

a z

est f

or li

fe w

hen

hese

es a

Her

cule

s pe

rfor

min

g da

ring

dee

ds. C

omm

erci

al a

rtis

ts a

ndpr

o-du

cers

of

com

ic s

trip

s ar

e aw

are

of th

is te

nden

cy a

nd m

ake

use

of it

in th

eir

wor

k. M

en's

clo

thes

sel

l mor

e re

adily

whe

n th

eyar

edi

spla

yed

on a

thle

tic f

igur

es. T

he o

bser

ver

iden

tifie

s hi

mse

lf w

ithth

e ha

ndso

mel

y bu

ilt m

odel

and

bel

ieve

s he

will

res

embl

e hi

msi

mpl

y by

don

ning

the

sam

e ap

pare

l. A

mid

dle-

aged

wom

anun

criti

cally

buy

s th

e co

stum

e sh

e se

es in

an

adve

rtis

emen

ton

197

a sh

apel

y gl

amou

r gi

rl. T

he b

oy w

ith g

low

ing

chee

ks w

ho s

itssp

ell-

boun

d ov

er th

e ad

vent

ures

in a

com

ic s

trip

imag

ines

him

-se

lf in

Tar

zan'

s or

Sup

erm

an's

ste

ad.

It is

a w

ell k

now

n fa

ct th

at p

rim

itive

peo

ple

endo

w in

anim

ate

obje

cts

with

life

. Str

eam

s an

d tr

ees,

they

bel

ieve

,ar

e na

ture

spir

its th

at li

ve in

com

mun

ion

with

them

. But

even

civ

ilize

dpe

ople

mor

e or

less

con

scio

usly

trea

t lif

eles

s th

ings

as th

ough

they

wer

e im

bued

with

life

.In

cla

ssic

al a

rchi

tect

ure,

for

exa

mpl

e,w

e sp

eak

of s

uppo

rtin

gan

d su

ppor

ted

mem

bers

. Man

y pe

ople

, it i

str

ue, a

ssoc

iate

not

h-in

g pa

rtic

ular

with

this

. But

oth

ers

rece

ive

the

impr

essi

on o

fa

heav

y bu

rden

wei

ghin

g do

wn

the

colu

mn,

just

as it

wou

ld a

hum

an b

eing

. Thi

s is

ver

y lit

eral

ly il

lust

rate

d w

here

the

sup-

port

ing

elem

ent h

as b

een

give

n hu

man

for

m, s

uch

as a

Car

yatid

or a

n A

tlasa

pet

rifi

ed g

iant

str

aini

ng a

ll hi

s m

uscl

es u

nder

his

load

. Thi

s sa

me

conc

eptio

n is

exp

ress

ed in

Gre

ek c

olum

ns b

ya

slig

ht o

utw

ard

curv

atur

e of

pro

file

, the

"en

tasi

s,"

whi

ch g

ives

anim

pres

sion

of

stra

inin

g m

uscl

esa

surp

risi

ng th

ing

to f

ind

ina

rigi

d an

d un

resp

onsi

ve p

illar

of

ston

e.T

he v

ario

us p

arts

of

a ch

air

are

give

n th

esa

me

desi

gnat

ions

that

are

app

lied

to h

uman

and

ani

mal

mem

bers

legs

,ar

ms,

seat

and

bac

k. A

nd o

ften

the

legs

are

act

ually

sha

ped

like

anim

alpa

rts,

suc

h as

lion

paw

s, e

agle

cla

ws,

and

doe

, goa

t, ra

m, o

r ho

rse

hoov

es. S

uch

surr

ealis

tic f

orm

s ha

ve a

ppea

red

peri

odic

ally

ever

sinc

e an

cien

t tim

es. B

esid

es th

ese,

ther

ear

e m

any

exam

ples

of

"org

anic

" fo

rms

whi

ch n

eith

er r

esem

ble

nor

repr

esen

t any

thin

gfo

und

in n

atur

e. T

hey

wer

e em

ploy

ed in

the

Ger

man

Jug

end

styl

e ar

ound

the

turn

of

the

cent

ury

and

appe

ared

aga

inno

t onl

yin

a la

ter

furn

iture

sty

le b

ut a

lso

in o

ther

des

ign.

An

auto

mob

ile,

for

inst

ance

, is

calle

d a

"Jag

uar"

and

in k

eepi

ng w

ith th

e id

eaas

so-

ciat

ion

its li

nes

reca

ll th

e sp

eed

and

brut

e fo

rce

of it

s na

mes

ake.

Eve

n th

ings

whi

ch in

no

way

sug

gest

org

anic

for

ms

are

ofte

nin

vest

ed w

ith h

uman

cha

ract

eris

tics.

We

have

alr

eady

seen

how

ridi

ng b

oots

and

um

brel

las

can

affe

ctus

as

real

per

sona

litie

s,(p

. 31)

. In

Dic

kens

' nov

els,

bui

ldin

gs a

nd in

teri

ors

acqu

ire

soul

s

198

37

38in

som

e de

mon

iaca

l way

cor

resp

ondi

ng to

the

soul

s of

the

inha

bita

nts.

Han

s A

nder

sen,

who

gav

ea

ball

and

a to

p th

epo

wer

of

spee

ch, u

sed

to c

ut o

ut s

ilhou

ette

s in

whi

ch a

win

dmill

beca

me

a hu

man

bei

ng, j

ust a

s it

was

to D

on Q

uixo

te.

Por

tal o

f Pal

azze

tto Z

ucca

ri, R

oma

Port

als

are

ofte

n de

scri

bed

as "

gapi

ng,"

and

the

arch

itect

of

the

Pala

zetto

Zuc

cari

in R

ome

actu

ally

for

med

an

entr

ance

of

that

build

ing

as th

e ga

ping

jaw

s of

a g

iant

.T

he D

anis

h ar

chite

ct I

var

Ben

tsen

, who

thro

ugho

ut h

is li

fere

tain

ed a

rem

arka

bly

orig

inal

vie

w o

f ar

chite

ctur

e, s

aid

at th

ede

dica

tion

of a

new

win

g of

a f

olk

high

sch

ool i

n D

enm

ark:

"W

eus

ually

say

that

a h

ouse

lies

, but

som

e ho

uses

sta

ndto

wer

sal

way

s st

and.

Thi

s ho

use

here

sits

with

its

back

aga

inst

a h

ill,

gazi

ng to

war

ds th

e so

uth.

Go

outd

oors

in a

ny d

irec

tion

and

obse

rve

it an

d yo

u w

ill s

ee h

ow th

e sc

hool

hOus

e lif

ts u

p its

hea

dan

d pe

ers

out o

ver

the

broa

d co

untr

ysid

e so

uth

of th

e to

wn.

"Su

ch a

nim

atio

n of

a b

uild

ing

mak

es it

eas

ier

to e

xper

ienc

e its

arch

itect

ure

as a

who

le r

athe

r th

an a

s th

e ad

ditio

n of

man

y19

9

sepa

rate

tech

nolo

gica

l det

ails

. To

Dic

kens

a s

tree

t of

hous

esw

asa

dram

a, a

mee

ting

of o

rigi

nal c

hara

cter

s, e

ach

hous

e sp

eaki

ngw

ith a

voi

ce o

f its

ow

n. B

utso

me

stre

ets

are

so d

omin

ated

by

aco

nspi

cuou

s ge

omet

ric

patte

rn th

atev

en a

Dic

kens

can

not g

ive

life

to th

em. T

here

exi

sts

from

his

han

da

desc

ript

ion

of th

e vi

ewfr

om th

e L

ion

Inn

in th

e ol

d to

wn

of S

hrew

sbur

yin

Eng

land

:"F

rom

the

win

dow

s I

can

look

all

dow

nhill

and

slan

twis

e at

the

croo

kede

st b

lack

-and

-whi

te h

ouse

s, a

ll of

man

y sh

apes

exc

ept

stra

ight

sha

pes,

" he

wro

te. A

nyon

e w

ho h

asvi

site

d on

e of

the

tow

ns in

Shr

opsh

ire

with

thei

r ta

rred

hal

f-tim

ber

Tud

or h

ouse

sw

ill r

emem

ber

the

stro

ng im

pres

sion

mad

e by

the

broa

d bl

ack

lines

on

whi

te g

roun

d an

d w

ill u

nder

stan

d th

at h

ere

even

Dic

kens

mus

t see

sha

pes

and

not s

tran

ge p

erso

nalit

ies.

But

how

do

we

expe

rien

ce a

str

eet w

hen

we

perc

eive

the

hous

esas

geo

met

ric

form

s? T

he G

erm

an a

rt-h

isto

rian

A. E

. Bri

nck-

man

n ha

s gi

ven

an e

luci

datin

g an

alys

is o

f a

pict

ure

ofa

cert

ain

stre

et in

the

little

Ger

man

tow

n of

Nor

dlin

gen.

"The

bea

uty

of th

e si

tuat

ion

at S

chaf

fler

smar

kt in

Nor

dlin

gen

is d

ue e

ntir

ely

to th

e fi

ne r

elat

ions

of

its f

orm

s.H

ow th

en a

re th

epr

opor

tions

of

the

two-

dim

ensi

onal

pic

ture

con

vert

edin

to p

ro-

port

ions

in th

ree

dim

ensi

ons,

into

a co

ncep

tion

of d

epth

? T

hew

indo

ws

are

of a

lmos

t ide

ntic

al s

ize

whi

ch g

ives

the

sam

e sc

ale

to a

ll th

e ho

uses

and

mak

es th

e th

ree-

stor

ied

in th

e ba

ckgr

ound

outg

row

the

two-

stor

ied

in th

e fo

regr

ound

. All

roof

s sh

owap

-pr

oxim

atel

y th

e sa

me

pitc

h an

d co

mpl

ete

unif

orm

ityof

mat

eria

l.T

he e

ver-

dim

inis

hing

net

wor

k of

the

tiles

hel

psth

e ey

e to

ap-

preh

end

the

dist

ance

s an

d th

ereb

y al

so th

e re

al s

ize

ofth

e ro

ofs.

The

eye

pas

ses

from

sm

alle

r to

larg

er r

oofs

unt

ilit

fina

lly r

ests

on

the

all-

dom

inat

ing

one

of th

e C

hurc

h of

St.

Geo

rge.

Not

hing

inde

ed c

reat

es a

mor

e vi

vid

illus

ion

ofsp

ace

than

the

cons

tant

repe

titio

n of

dim

ensi

ons

fam

iliar

to th

eey

e an

d se

en in

dif

fere

ntde

pths

of

the

arch

itect

ural

per

spec

tive.

The

sear

e th

e re

aliti

es o

fth

e ar

chite

ctur

al c

ompo

sitio

n an

d th

eir

effe

ctis

enh

ance

d by

the

diff

eren

ce in

tone

s ca

used

by

the

atm

osph

ere.

Whe

n fi

nally

the

com

plet

e fo

rms

of th

e ho

uses

are

real

ized

the

two-

baye

d an

d

200

39

the

four

-bay

ed, a

ll w

ith h

oriz

onta

l div

isio

nsth

e to

wer

see

ms

over

whe

lmin

g in

siz

e w

ith it

s co

ncis

ely

artic

ulat

ed m

asse

s ri

sing

high

into

the

air.

"B

y ke

epin

g an

eye

on

the

pict

ure

whi

le r

eadi

ng B

rinc

kman

n's

desc

ript

ion

it is

pos

sibl

e to

exp

erie

nce

the

who

le th

ing

exac

tly a

she

des

crib

es it

. But

whe

n yo

u se

e th

e pl

ace

in r

ealit

y yo

u ge

t ave

ry d

iffe

rent

impr

essi

on o

f it.

Ins

tead

of

a st

reet

pic

ture

you

get

an im

pres

sion

of

a w

hole

tow

n an

d its

atm

osph

ere.

Nor

dlin

gen

isa

med

ieva

l tow

n su

rrou

nded

by

a ci

rcul

ar w

all.

You

r fi

rst g

limps

eof

it, a

fter

pas

sing

thro

ugh

the

tow

n ga

te, g

ives

you

the

conc

ep-

tion

of a

tow

n co

nsis

ting

of id

entic

al h

ouse

s w

ith p

oint

ed g

able

sfa

cing

the

stre

et a

nd d

omin

ated

by

a hu

ge. c

hurc

h. A

nd a

s yo

upe

netr

ate

furt

her

into

the

tow

n yo

ur f

irst

impr

essi

on is

con

-fi

rmed

. Now

here

do

you

stop

and

say

: "It

sho

uld

be s

een

from

here

." T

he q

uest

ion

that

inte

rest

ed B

rinc

kman

n, h

ow a

two-

dim

ensi

onal

pic

ture

can

bes

t giv

e th

e im

pres

sion

of

thre

e di

men

-si

ons,

doe

s no

t ari

se. Y

ou a

re n

ow in

the

mid

dle

of th

e pi

ctur

eits

elf.

Thi

s m

eans

that

you

not

onl

y se

e th

e ho

uses

dir

ectly

infr

ont o

f yo

u bu

t at t

he s

ame

time,

and

with

out a

ctua

lly s

eein

gth

em, y

ou a

re a

war

e of

thos

e on

eith

er s

ide

and

rem

embe

r th

eon

es y

ou h

ave

alre

ady

pass

ed. A

nyon

e w

hoha

s fi

rst s

een

a pl

ace

in a

pic

ture

and

then

vis

ited

it kn

ows

how

dif

fere

nt r

ealit

y is

. You

sens

e th

e at

mos

pher

e al

l aro

und

you

and

are

no lo

nger

dep

ende

nton

the

angl

e fr

om w

hich

the

pict

ure

was

mad

e. Y

ou b

reat

he th

eai

r of

the

plac

e, h

ear

its s

ound

s, n

otic

e ho

w th

ey a

re r

e-ec

hoed

by

the

unse

en h

ouse

s be

hind

you

.T

here

are

str

eets

and

pla

zas

and

park

s w

hich

wer

e de

liber

atel

yla

id o

ut to

be

seen

fro

m a

par

ticul

ar s

pot.

It m

ight

be

a po

rtal

or

a te

rrac

e. T

he s

ize

and

posi

tion

of e

very

thin

g se

en f

rom

ther

ew

ere

care

fully

det

erm

ined

to g

ive

the

best

impr

essi

on o

f de

pth,

of a

n in

tere

stin

g vi

sta.

Thi

s is

par

ticul

arly

true

of

Bar

oque

lay-

outs

whi

ch s

o of

ten

conv

erge

at o

ne p

oint

. An

inte

rest

ing

exam

ple

of th

is, a

nd o

ne o

f th

e si

ghts

of

Rom

e, is

the

cele

brat

ed "

view

thro

ugh

the

keyh

ole.

" O

n M

ount

Ave

ntin

e, a

bove

the

Tib

er, t

hepe

acef

ul V

ia d

i San

ta S

abin

a le

ads

you

past

anc

ient

mon

aste

ries

201

thg

ra

.

-rt

'4.1

Sch

affle

rsm

arkt

with

St.

Geo

rge'

s C

hurc

h, N

ordl

inge

n, fr

om B

rinck

man

nB

elow

, pla

n of

Nor

dlin

gen.

Sca

le 1

:150

00

202

42

01

I t.

Vie

ws

of N

ordl

inge

n fr

om th

e ci

ty g

ate

to S

chaf

flers

mar

ktT

here

is n

o pa

rtic

ular

spo

t fro

m w

hich

to e

xper

ienc

e th

e st

reet

and

chur

ches

to a

sm

all p

iazz

a em

belli

shed

with

obe

lisks

and

trop

hies

in s

tucc

o. A

bove

a b

row

n do

or to

the

righ

t are

the

arm

sof

the

Kni

ghts

of

Mal

ta. B

ut th

e do

or is

clo

sed

and

barr

ed.

Thr

ough

the

keyh

ole

alon

e yo

u ca

n ge

t a v

iew

of

the

sequ

este

red

prec

inct

s. A

nd w

hat a

vie

w it

is!

At t

he e

nd o

f th

e de

ep p

ersp

ec-

tive

of a

long

gar

den

wal

k yo

u se

e th

e di

stan

t dom

e of

S. P

eter

'ssw

ellin

g ag

ains

t the

sky

.H

ere

you

have

all

the

adva

ntag

es o

f a

delib

erat

ely

plan

ned

view

bec

ause

you

see

rea

lity

as th

roug

h a

tele

scop

e, f

rom

a f

ixed

poin

tand

not

hing

inte

rfer

es to

dis

trac

t you

r at

tent

ion.

The

view

has

onl

y on

e di

rect

ion

and

wha

t is

behi

nd th

e ob

serv

er p

lays

no p

art i

n it.

But

this

is a

rar

e ex

cept

ion.

Ord

inar

ily w

e do

not

see

a p

ictu

reof

a th

ing

but r

ecei

ve a

n im

pres

sion

of

the

thin

g its

elf,

of

the

entir

e fo

rm in

clud

ing

the

side

s w

e ca

nnot

see

, and

of

all t

hesp

ace

surr

ound

ing

it. J

ust a

s in

the

exam

ple

of th

e gi

rl in

jean

s,th

e im

pres

sion

rec

eive

d is

onl

y a

gene

ral o

neus

ually

we

do n

otse

e an

y de

tails

. Rar

ely

can

a pe

rson

who

has

"se

en"

a bu

ildin

ggi

ve a

det

aile

d de

scri

ptio

n of

it. I

f, f

or e

xam

ple,

a to

uris

t vis

iting

Nor

dlin

gen

sudd

enly

saw

the

chur

ch, h

e w

ould

imm

edia

tely

real

ize

it w

as a

chu

rch.

We

rega

rd a

chu

rch

as a

dis

tinct

type

,

203

p

41,

feu

eaII

IN

OU

N

Chu

rch

of S

t. G

eorg

e, N

ordl

inge

n, s

een

from

Sch

affle

rsm

arkt

The

impr

essi

on o

f the

bui

ldin

gs is

form

ed fr

om a

ser

ies

of o

bser

tiatio

ns

a sy

mbo

l as

easi

ly r

ecog

nize

d as

a le

tter

of th

e al

phab

et. I

f w

e se

eth

e le

tter

L w

e re

cogn

ize

it w

ithou

t kno

win

g w

hat s

ort o

f L

it is

,w

heth

er b

old-

face

or

lean

-fac

e, w

heth

er g

rote

sque

or A

ntig

ua o

ran

y ot

her

type

. Sim

ply

seei

ng th

e ve

rtic

al a

nd h

oriz

onta

l str

okes

toge

ther

tells

us

that

it is

an

L.

In th

e sa

me

way

we

know

that

we

have

see

n a

chur

ch w

hen

we

have

mer

ely

rece

ived

an

impr

essi

on o

f a

tall

build

ing

com

bine

dw

ith a

ste

eple

. And

if w

e ar

e no

t int

eres

ted

in k

now

ing

mor

e w

eus

ually

not

ice

no m

ore.

But

if w

e ar

e in

tere

sted

we

go f

urth

er.

Firs

t we

atte

mpt

to v

erif

y th

e or

igin

al im

pres

sion

. Is

it re

ally

a

chur

ch?

Yes

, it m

ust b

e; th

e ro

of is

ver

y hi

gh a

nd s

teep

and

at.

the

fron

t the

re is

a to

wer

like

a b

lock

sta

ndin

gon

end

. As

we

ob-

serv

e th

e to

wer

it s

eem

s to

gro

w. W

e di

scov

er th

at it

is h

ighe

rth

an m

ost t

ower

s, w

hich

mea

ns th

atw

e m

ust a

lter

our

firs

t im

-pr

essi

on o

f it.

Dur

ing

the

visu

al p

roce

ss w

e se

em to

pla

ce th

eoc

tago

nal t

iers

on

top

of th

e re

ctan

gula

r bl

ocko

rigi

nally

we

had

not n

otic

ed th

at th

ey w

ere

octa

gona

l. In

our

imag

inat

ion

we

see

them

ris

ing

out o

f th

e sq

uare

tow

er li

ke s

ectio

ns o

fa

tele

scop

eun

til th

e w

ork

of r

e-cr

eatio

nwhi

ch th

e en

tire

visu

alpr

oces

sis

ends

at t

he to

pmos

t tie

r w

here

it is

che

cked

and

term

inat

edby

the

little

rou

nded

cal

otte

. No,

it is

not

fin

ishe

dat

that

. To

204

43

44co

mpl

ete

the

pict

ure

it is

nec

essa

ry to

let t

he c

row

ning

lant

ern

rise

out

of

the

skul

l-ca

p an

d ad

d th

e sm

all f

lyin

g bu

ttres

ses

and

pinn

acle

s at

the

corn

ers

of th

e sq

uare

tow

er.

The

men

tal p

roce

ss th

atgo

es o

n in

the

min

d of

a p

erso

n w

hoob

serv

es a

bui

ldin

g in

this

way

is v

ery

muc

h lik

e th

at w

hich

goes

on in

the

min

d of

an

arch

itect

whe

n pl

anni

ng a

bui

ldin

g. A

fter

havi

ng r

ough

ly d

ecid

ed o

n th

e m

ain

form

s he

con

tinue

s by

addi

ng d

etai

ls w

hich

sho

ot o

ut f

rom

the

body

like

bud

s an

dth

orns

. If

he h

as h

ad m

anua

l tra

inin

g in

one

of

the

build

ing

trad

es h

e kn

ows

how

the

indi

vidu

al p

arts

are

pro

duce

d. H

e m

en-

tally

pre

pare

s th

e m

ater

ials

and

com

bine

s th

em in

one

larg

est

ruct

ure.

It g

ives

him

ple

asur

e to

wor

k w

ith th

e di

ffer

ent m

ate-

rial

s, to

see

them

cha

nge

from

an

amor

phou

s m

ass

of o

rdin

ary

ston

e an

d w

ood

into

a d

efin

ite e

ntity

, the

res

ult o

f hi

s ow

n ef

fort

s.A

bout

45

mile

s no

rth

of P

aris

lies

the

tow

n of

Bea

uvai

s w

ithits

gre

at c

athe

dral

. Act

ually

it is

onl

y th

e ch

ance

l of

a ca

thed

ral

that

was

nev

er c

ompl

eted

but

its

dim

ensi

ons

are

so e

norm

ous

that

it c

an b

e se

en f

or m

iles,

tow

erin

g ab

ove

the

four

-sto

ried

hous

es o

f th

e to

wn.

The

fou

ndat

ions

wer

e la

id in

124

7 an

d th

eva

ultin

g w

as f

inis

hed

in 1

272.

It w

as o

ne o

f th

ose

heav

enw

ard-

aspi

ring

Got

hic

stru

ctur

es w

ith p

illar

s lik

e ta

ll, s

lim tr

ees

whi

chse

em to

gro

w r

ight

into

the

sky.

The

y w

ere

abou

t 144

fee

t hig

h.T

he c

onst

ruct

ion

prov

ed to

o da

ring

, how

ever

, and

the

vaul

ting

colla

psed

in 1

294.

The

chu

rch

was

reb

uilt

abou

t for

ty y

ears

late

rw

ith th

e va

ult j

ust a

s fa

ntas

tical

ly h

igh

as b

efor

e bu

t sup

port

edno

w f

rom

the

outs

ide

by f

lyin

g bu

ttres

ses.

And

the

build

ers

wer

eap

pare

ntly

so

fasc

inat

ed b

y th

is p

urel

y st

ruct

ural

pro

blem

that

they

mad

e a

virt

ue o

f ne

cess

ity a

nd tu

rned

the

supp

ortin

g m

em-

bers

into

a r

ich

com

posi

tion

of p

iers

and

arc

hes

embe

llish

ed w

ithsc

ulpt

ure.

In

othe

r w

ords

, pur

ely

stru

ctur

al f

eatu

res

wer

e tr

eate

dae

sthe

tical

ly, e

ach

one

give

n al

mos

t scu

lptu

ral f

orm

.T

he a

rchi

tect

can

bec

ome

so in

tere

sted

in f

orm

ing

all t

hest

ruct

ural

par

ts o

f a

build

ing

that

he

lose

s si

ght o

f th

e fa

ct th

atco

nstr

uctio

n is

, aft

er a

ll, o

nly

a m

eans

and

not

an

end

in it

self

.T

he e

labo

rate

ext

erio

r of

Bea

uvai

s C

athe

dral

was

dev

elop

ed to

205

A44

Bea

uvai

s C

athe

dral

Cat

hedr

al

206

46m

ake

poss

ible

the

fant

astic

ally

hig

hna

veno

t fro

m a

ny d

esir

eto

cre

ate

a sp

iked

mon

umen

t str

ivin

g to

pie

rce

the

heav

ens

with

its s

harp

poi

nts.

But

it is

und

erst

anda

ble

that

the

arch

itect

can

com

e to

the

conc

lusi

on th

at th

e ai

m o

f hi

s ca

lling

is to

giv

e fo

rmto

the

mat

eria

ls h

e w

orks

with

. Acc

ordi

ng to

his

con

cept

ion,

build

ing

mat

eria

l is

the

med

ium

of

arch

itect

ure.

But

, you

may

ask

,ca

n th

ere

be a

ny o

ther

? A

nd th

e an

swer

isye

s; it

is p

ossi

ble

to h

ave

quite

a d

iffe

rent

con

cept

ion.

Ins

tead

of

letti

ng h

is im

agin

atio

n w

ork

with

str

uctu

ral

form

s, w

ith th

eso

/ids.

of a

bui

ldin

g, th

e ar

chite

ctca

n w

ork

with

the

empt

y sp

ace

the

cavi

tybe

twee

n th

e so

lids,

and

con

side

rth

e fo

rmin

g of

that

spa

ce a

s th

e re

al m

eani

ng o

f ar

chite

ctur

e.T

his

can

be il

lust

rate

d by

an e

xam

ple.

Ord

inar

ily a

bui

ldin

g is

mad

e by

ass

embl

ing

the

mat

eria

lson

the

site

and

with

them

erec

ting

a st

ruct

ure

whi

ch e

nclo

ses

the

spac

e of

the

build

ing.

In

the

case

of

Bea

uvai

s th

e pr

oble

mw

as to

rai

se a

chu

rch

on a

fla

ttr

act o

f la

nd. B

ut le

t us

supp

ose

the

site

to b

ean

eno

rmou

s, s

olid

rock

and

the

prob

lem

to h

ollo

w o

utro

oms

insi

de it

. The

n th

ear

chite

ct's

job

wou

ld b

e to

for

msp

ace

by e

limin

atin

g m

ater

ial

in th

is c

ase

by r

emov

ing

som

e of

the

rock

. The

mat

eria

l its

elf

wou

ld n

ot b

e gi

ven

form

thou

ghso

me

of it

wou

ld b

e le

ft s

tand

ing

afte

r m

ost h

ad b

een

take

n aw

ay.

In th

e fi

rst i

nsta

nce

it is

the

ston

em

ass

of th

e ca

thed

ral w

hich

is th

e re

ality

; in

the

seco

nd th

e ca

vitie

s w

ithin

the

mas

s.T

his

can

also

be

illus

trat

ed b

ya

two-

dim

ensi

onal

exa

mpl

ew

hich

may

mak

e it

clea

rer.

If y

ou p

aint

a b

lack

vas

e on

a w

hite

gro

und,

you

con

side

r al

lth

e bl

ack

as "

figu

re"

and

all t

he w

hite

as th

at w

hich

it r

eally

isas

bac

kgro

und

whi

ch li

es b

ehin

d th

e fi

gure

and

str

etch

esou

t on

both

sid

es w

ith n

o de

fini

te f

orm

. If w

e tr

y to

fix

the

figu

re in

our

min

ds w

e w

ill n

ote

that

at t

he b

otto

m th

e fo

otsp

read

s ou

t on

both

sid

es a

nd a

bove

it a

num

ber

of c

onve

xitie

s al

sopr

ojec

t on

toth

e w

hite

gro

und.

But

if w

e co

nsid

er th

e w

hite

as

figu

re a

nd th

e bl

ack

as g

roun

dfo

r ex

ampl

e, a

hol

e in

the

figu

re o

peni

ng in

toa

blac

k sp

ace-

207

then

we

see

som

ethi

ng q

uite

dif

fere

nt. G

one

is th

e va

se a

nd in

its

stea

d ar

e tw

o fa

ces

in p

rofi

le. N

ow th

e w

hite

bec

omes

the

con-

vexi

ties

proj

ectin

g ou

t ont

o th

e bl

ack

grou

nd a

nd f

orm

ing

nose

,lip

s an

d ch

in.

We

can

shif

t our

per

cept

ion

at w

ill f

rom

one

to th

e ot

her,

alte

r-na

tely

see

ing

vase

and

pro

file

s. B

ut e

ach

time

ther

e m

ust b

e an

abso

lute

cha

nge

in p

erce

ptio

n. W

e ca

nnot

see

bot

h va

se a

nd p

rofi

les

at th

e sa

me

time.

The

str

ange

thin

g is

that

we

do n

ot c

once

ive

the

two

figu

res

asco

mpl

emen

ting

each

oth

er. I

f yo

u tr

y to

dra

w th

em y

ou w

ill in

-vo

lunt

arily

exa

gger

ate

the

size

of

the

area

whi

ch a

t the

mom

ent

appe

ars

as c

onve

xitie

s. O

rdin

arily

con

vex

form

s ar

e se

en a

sfi

gure

, con

cave

as

grou

nd. T

his

can

be s

een

on th

e fi

gure

abo

ve.

The

out

line

here

bei

ng a

wav

y lin

e it

is p

ossi

ble

to s

ee e

ither

blac

k or

whi

te c

onve

xitie

s, a

s yo

u ch

oose

. But

oth

er f

igur

es, s

uch

as o

ne w

ith a

sca

llope

d ed

ge, a

re n

ot p

erce

ptua

lly a

mbi

guou

s.T

here

are

innu

mer

able

cla

ssic

pat

tern

s w

hich

are

iden

tical

no

mat

ter

how

you

look

at t

hem

. A g

ood

exam

ple

is f

ound

in w

eav-

ings

in w

hich

the

patte

rn o

n th

e re

vers

e is

a n

egat

ive

repr

oduc

-tio

n of

the

one

on th

e ri

ght s

ide.

But

mos

t tw

o-di

men

sion

alm

otiv

es th

at a

re c

arri

ed o

ut in

two

colo

rs f

orce

the

obse

rver

to s

ee o

ne o

f th

e co

lors

as

figu

re a

nd th

e ot

her

as g

roun

d.In

Car

li in

Ind

ia th

ere

are

a nu

mbe

r of

cav

e te

mpl

es. T

hey

wer

e ac

tual

ly c

reat

ed, a

s I

have

des

crib

ed a

bove

, by

elim

inat

ing

mat

eria

lthat

is b

y fo

rmin

g ca

vitie

s. H

ere

the

cavi

ty is

'wha

t we

perc

eive

whi

le th

e so

lid r

ock

surr

ound

ing

it is

the

neut

ral b

ack-

grou

nd w

hich

was

left

uns

hape

d. H

owev

er, h

ere

the

prob

lem

is

208

47

48a

mor

e co

mpl

icat

ed o

ne th

an in

two-

dim

ensi

onal

fig

ures

. Whe

nyo

u st

and

insi

de th

e te

mpl

eyo

u no

t onl

y ex

peri

ence

the

cavi

tyth

e gr

eat t

hree

-ais

led

tem

ple

hollo

wed

out

of

the

rock

but a

lso

the

colu

mns

sep

arat

ing

the

aisl

es w

hich

are

part

s of

the

rock

that

wer

e no

t rem

oved

.I

purp

osel

yus

e th

e w

ord

"cav

ity"

beca

use

I be

lieve

it ill

us-

trat

es th

is ty

pe o

f ar

chite

ctur

e be

tter

than

the

mor

e ne

utra

l wor

d"s

pace

" so

oft

en u

sed

inar

chite

ctur

al w

ritin

g no

wad

ays.

Thi

s qu

estio

n of

term

s is

of

grea

t im

port

ance

.G

erm

an a

rt-

hist

oria

ns u

se th

e w

ord

"Rau

m"

whi

ch h

as th

esa

me

root

as

the

Eng

lish

"roo

m"

but

a w

ider

mea

ning

. You

can

spea

k of

the

"Rau

m"

of a

chu

rch

in th

ese

nse

of th

e cl

earl

y de

fine

dsp

ace

en-

clos

ed w

ithin

the

oute

r w

alls

. In

Dan

ish

we

use

the

wor

d "r

um"

whi

ch s

ound

sev

en m

ore

like

the

Eng

lish

wor

d bu

t has

the

wid

erm

eani

ng o

f th

e G

erm

anR

aum

. The

Ger

man

s sp

eak

ofR

aum

-G

efal

, mea

ning

the

sens

e or

con

cept

ion

of th

e de

fine

dsp

ace.

In E

nglis

h th

ere

isno

equ

ival

ent.

In th

is b

ook

Ius

e th

e w

ord

spac

e to

exp

ress

that

whi

ch in

thre

edi

men

sion

s co

rres

pond

sto

"bac

kgro

und"

in tw

o di

men

sion

s,an

d ca

vity

for

the

limite

d,ar

-ch

itect

ural

ly f

orm

edsp

ace.

And

I m

aint

ain

that

som

e ar

chite

cts

are

"str

uctu

re-m

inde

d,"

othe

rs"c

avity

-min

ded;

"so

me

arch

i-te

ctur

al p

erio

ds w

ork

pref

erab

lyw

ith s

olid

s, o

ther

s w

ithca

vitie

s.It

is p

ossi

ble

to p

lan

a bu

ildin

g as

a c

ompo

sitio

n of

cav

ities

alon

e bu

t in

carr

ying

itou

t the

wal

ls w

ill a

lmos

t ine

vita

bly

have

cert

ain

conv

exiti

es w

hich

will

intr

ude

on th

e ob

serv

er in

the

sam

ew

ay a

s th

e pi

llars

in th

e C

ar li

tem

ples

do. T

houg

hw

e be

gin

byco

ncei

ving

the

tem

ples

as c

ompo

sitio

ns o

f ar

chite

ctur

al c

aviti

es,

we

end

by e

xper

ienc

ing

the

bodi

es o

fth

e co

lum

ns. T

he o

ppos

iteca

n al

so h

appe

n. Y

ou s

ee a

hou

se u

nder

cons

truc

tion

and

thin

kof

it a

s an

air

y sk

elet

on,

a st

ruct

ure

of in

num

erab

le r

afte

rsst

icki

ng n

aked

ly in

to th

e ai

r.B

ut if

you

ret

urn

agai

n w

hen

the

hous

e is

fin

ishe

d an

den

ter

the

build

ing,

you

exp

erie

nce

it in

quite

a d

iffe

rent

way

. The

ori

gina

l woo

den

skel

eton

isen

tirel

yer

ased

fro

m y

our

mem

ory.

You

no

long

er th

ink

of th

e w

alls

asst

ruct

ures

but

onl

y as

scr

eens

whi

ch li

mit

and

encl

ose

the

volu

me

7,0

9

1'4

.

Cav

e te

mpl

e at

Car

li,In

dia.

The

tem

ple

was

hollo

wed

out

of

rock

Abo

ve:

view

of

inte

rior

Bel

ow: S

ectio

n, p

lan

4:1.

.04

.11.

`7.1

1f!-

4

u.

1.11

11 It

11

I M If

111

111t

IWO

= e

rpn

r K

ull.

11;:a

7ft.

to I

ht.

r) 1

0

49

50of

the

room

s. I

n ot

her

wor

ds,

you

have

gon

e fr

om a

con

cept

ion

of s

olid

s as

the

sign

ific

ant f

acto

rto

a p

urel

y sp

atia

l con

cept

ion.

And

thou

gh th

e ar

chite

ctm

ay th

ink

of h

is b

uild

ing

in te

rms

ofco

nstr

uctio

n, h

e ne

ver

loes

sig

ht o

f hi

sfi

nal g

oalth

e ro

oms

hew

ishe

s to

for

m.

Got

hic

arch

itect

ure

was

con

stru

ctio

nal;

all b

odie

s w

ere

conv

exw

ith m

ore

and

mor

e m

ater

ial a

dded

to th

em. I

f I

wer

e to

poi

ntou

t a ty

pica

l exa

mpl

e of

a G

othi

c fo

rm I

wou

ldse

lect

the

scul

p-tu

re o

f St

. Geo

rge

and

the

Dra

gon

in N

icol

aiC

hurc

h in

Sto

ck-

holm

. The

scu

lpto

rw

as s

o en

amou

red

of s

piky

exc

resc

ence

s of

all k

inds

that

no

hum

an b

eing

cou

ldpo

ssib

ly c

once

ive

the

shap

eof

the

spac

e su

rrou

ndin

g th

e dr

agon

.A

col

umn

duri

ng th

esa

me

peri

od b

ecam

e a

who

le c

lust

er o

fsh

afts

. See

n in

cro

ss-s

ectio

n it

look

sas

thou

gh it

had

bro

ken

out

on a

ll si

des

in s

mal

l, ro

und

knob

s. T

he tr

ansi

tion

from

Got

hic

to R

enai

ssan

ce w

as n

ot o

nly

a ch

ange

fro

m d

omin

atin

g ve

rtic

alel

emen

ts to

dom

inat

ing

hori

zont

alon

es, b

ut a

bove

all

a co

mpl

ete

tran

sfor

mat

ion

from

an

arch

itect

ure

of s

harp

and

poin

ted

stru

c-tu

res

to a

n ar

chite

ctur

e of

wel

l-sh

aped

cav

ities

, the

sam

e so

rt o

fch

ange

as

that

fro

m s

eein

g th

eva

se a

s fi

gure

to s

eein

g th

e tw

opr

ofile

s.

The

illu

stra

tions

in th

e w

ork

of th

egr

eat I

talia

n ar

chite

ctur

alth

eori

st, S

erlio

, cle

arly

sho

w th

ene

w c

once

ptio

n. A

fav

orite

Ren

aiss

ance

for

m is

the

circ

ular

, dom

edca

vity

. And

just

as

the

Got

hic

pilla

r w

as e

xpan

ded

on a

ll si

des

into

a c

lust

er o

f sh

afts

,th

e R

enai

ssan

ce c

avity

was

enl

arge

d by

the

addi

tion

of n

iche

s.B

ram

ante

's p

lan

for

S. P

eter

's in

Rom

efo

rms

the

love

liest

orna

men

t of

roun

d, d

omed

cav

ities

join

ed to

geth

er a

ndex

pand

edon

all

side

s by

sem

icir

cula

r ni

ches

. If

you

cons

ider

the

dark

,ha

tche

d pa

rt a

s "f

igur

e"yo

u w

ill f

ind

that

it f

orm

s a

very

que

erre

mai

nder

aft

er th

e ca

vitie

s ha

ve b

een

hollo

wed

out o

f th

e gr

eat

wal

l mas

ses.

It i

s lik

ea

regu

lar

cave

tem

ple

dug

out o

f th

een

or-

mou

s bu

ildin

g bl

ock.

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pla

n, a

s w

e kn

ow,

was

cha

nged

and

the

chur

ch to

day

has

a so

mew

hat d

iffe

rent

for

m. T

he s

ensi

tive

obse

rver

will

be

dis-

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ail o

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gro

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St.

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rge

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the

Dra

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in th

e N

icol

ai C

hurc

h, S

tock

holm

7'he

pic

ture

sho

ws

the

brok

en la

nce

and

drag

on's

hea

dE

xam

ple

of ty

pica

l Got

hic

form

s

212

5

52ap

poin

ted

at h

is f

irst

sig

ht o

f th

e en

orm

ous

room

. In

full

dayl

ight

it se

ems

unco

mfo

rtab

ly v

ast a

nd e

mpt

y. B

ut d

urin

g th

e gr

eat

chur

ch f

estiv

als

the

room

is tr

ansf

orm

ed. Y

ou n

ow e

xper

ienc

e

Bra

man

te's

pla

n fo

r S

t. P

-ter

's, R

ome.

Fro

m S

erlio

it as

the

colo

ssal

cav

e te

mpl

e of

the

hatc

hing

s. A

ll da

ylig

ht is

shu

tou

t and

the

light

of

thou

sand

s of

can

dles

and

cry

stal

cha

ndel

iers

is r

efle

cted

fro

m th

e go

ld o

f va

ults

and

cup

olas

. The

chu

rch

isno

w tr

uly

a va

st s

epul

chra

l tem

ple

clos

ing

arou

nd S

aint

Pet

er's

grav

e.

213

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H''.

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.

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.r,

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r, 4

.1'

. U

ti

St.

Pet

er's

, Rom

e, in

can

dle

light

. Fro

m a

dra

win

g by

Lou

is J

ean

Des

pre:

, 778

2

2 1,

4

53

54

Cop

enha

gen

City

Hal

l in

whi

ch th

e ar

chite

ct h

as p

artic

ular

ly s

tres

sed

the

solid

ste

rmin

atin

g th

em in

pea

ks a

nd s

pire

s

.,.fi

effs

°17.

11.

L.

Cop

enha

gen

Polic

e H

eadq

uart

ers.

Her

e th

e ar

chite

ct h

as f

orm

ed th

e ca

vitie

sT

he c

ourt

yard

s se

em to

be

hollo

wed

out

of

the

enor

mou

s bl

ock

2..1

5

The

ext

raor

dina

ry tr

ansi

tion

from

Got

hic

love

of

cons

truc

tion

to R

enai

ssan

ce c

ultiv

atio

n of

cav

ities

can

stil

l be

expe

rien

ced.

The

Dan

ish

arch

itect

Mar

tin N

yrop

(18

49 1

921)

, who

des

igne

dC

open

hage

n's

City

Hal

l, ha

d lik

e so

man

y of

his

con

tem

pora

ries

the

carp

ente

r's v

iew

of

arch

itect

ure

as a

str

uctu

ral a

rt. I

t mig

htbe

cal

led

a G

othi

c co

ncep

tion.

He

was

inte

rest

ed in

mak

ing

his

cons

truc

tions

an

xsth

etic

exp

erie

nce,

am

ong

othe

r w

ays

bygi

ving

them

ric

h or

nam

enta

tion.

Eve

ryw

here

he

show

ed h

ow th

ebu

ildin

g w

as p

ut to

geth

er. T

he C

ity H

all i

s a

larg

e ed

ific

e w

ithan

irre

gula

r, s

pike

d si

lhou

ette

of

gabl

es, s

pire

s an

d pi

nnac

les.

By

the

time

the

next

mon

umen

tal b

uild

ing

was

pla

nned

for

Cop

enha

gen

the

conc

eptio

n of

arc

hite

ctlir

e ha

d sw

ung

full

roun

d.T

his

build

ing,

Pol

ice

Hea

dqua

rter

s, is

for

med

as

a hu

ge b

lock

cut o

ff f

lat a

t the

top.

Not

hing

pro

ject

s ab

ove

the

hori

zont

al b

and

whi

ch f

inis

hes

the

wal

ls. A

ll co

nstr

uctio

n is

car

eful

ly h

idde

n; it

is im

poss

ible

to f

orm

any

idea

of

how

the

build

ing

was

mad

e.W

hat y

ou e

xper

ienc

e he

re is

a r

ich

com

posi

tion

of r

egul

ar c

avi-

ties:

cir

cula

r an

d re

ctan

gula

r co

urts

, cyl

indr

ical

sta

irw

ays,

rou

ndan

d sq

uare

roo

ms

with

abs

olut

ely

smoo

th w

alls

. Nyr

op's

City

Hal

l is

embe

llish

ed w

ith s

emi-

cir

cula

r ba

ys w

hich

pus

h ou

t fro

mth

e fa

cade

. The

man

y ca

vitie

s of

Pol

ice

Hea

dqua

rter

s, o

n th

eot

her

hand

, are

enr

iche

d w

ith s

emi-

circ

ular

nic

hes

push

ing

back

into

the

solid

mas

ses

of th

e w

alls

.

Plan

of

Min

erva

Med

ica,

Rom

e. F

rom

Pal

ladi

o

216

(9/92)

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