Word: nymphes
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...Sodom-Gomorrah metropolitan area. Survivor: The Australian Outback proved to be a huge letdown. TINA WESSON, sweet part-time nurse from Tennessee, took the million dollars, but sensitivity flowed from the other finalists too: COLBY DONALDSON (weepy mama's boy), RODGER BINGHAM (weepy schoolteacher), ELISABETH FILARSKI (weepy outback nymph) and KEITH FAMIE (just plain weepy--he broke down on live TV to propose marriage to his girlfriend). "I wanted it to be a kinder game," said Wesson, of the unfortunate lack of backstabbing. "I told [series creator] Mark [Burnett]...that I think a nice person could win this." The aggressive...
...Troilus and Cressida, Tennyson's Ulysses, Joyce's Ulysses--might not exist. And what damages would today's judges award Christopher Marlowe? He wrote a wildly popular poem called The Passionate Shepherd to His Love that was answered, in identical verse form, by Sir Walter Raleigh in his The Nymph's Reply to the Shepherd. Then John Donne piped up with The Bait, a bawdy variation that opened with the same line ("Come live with me and be my love") as Marlowe's poem. "Immature poets imitate," T.S. Eliot wrote some centuries later. "Mature poets steal...
...Thus the earliest of the 15 Vermeers in this show--because of the massive borrowing power of the Met, it contains nearly half his known output--is his one and only mythological scene, of the moon goddess Diana. The favorite Diana myth among painters showed her bathing with her nymphs (good opening for a painter to show what he could do with pretty nudes) and spied upon by a Peeping Tom of a hunter, Actaeon; whereat the virgin moon goddess, her modesty offended, changed him into a stag. In Vermeer's version, circa 1653-54, there is no Actaeon...
...philosopher Denis Diderot. To them, Chardin's refusal of the highfalutin theme seemed exemplary. He showed that a jar of apricots on a table could be just as important and freighted with meaning as a battle scene in an epic of Alexander, the impregnation of a nymph by Apollo, or the reception into Heaven of a patron's patron saint. In time, Chardin's "natural vision" would be eclipsed by a new form of idealism, that of the neoclassicists, like David. But never for long. People may admire David, but they love Chardin. They cleave to his lack of pretension...
...paint things in a way that forgot how they'd been done before--you couldn't do that with a nymph or an angel. Nymphs and angels aren't real, and for that reason you needed to know the precedents in order to do them. But you had to know things even better to forget them, to forget their names, their styles of presentation. And only by this means, this un-naming, could the penetration of Nature--things as they really are, the silent mysteries beyond nomenclature--really begin. This was Chardin's enterprise, and in a certain sense--particularly...