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 BRIEF CONTENTS

PREFACE xiii

Part 1 FUNDAMENTALS

1 The Humanities: An Introduction 1

2 What Is a Work of Art? 18
3 Being a Critic of the Arts 47

Part 2 THE ARTS

4 Painting 63
5 Sculpture 95
6 Architecture 126
7 Literature 171
8 Theater 199
9 Music 225
10 Dance 256
11 Photography 278
12 Cinema 304
13 Television and Video Art 333

Part 3 INTERRELATIONSHIPS

14 Is It Art or Something Like It? 352

15 The Interrelationships of the Arts 379
16 The Interrelationships of the Humanities 400
GLOSSARY G-1
CREDITS C-1
INDEX I-1
vii
 CONTENTS

PREFACE xiii EXPERIENCING: Interpretations of the Female Nude 44

Further Thoughts on Artistic Form 44
Summary 45
Part 1 FUNDAMENTALS
3 Being a Critic of the Arts 47
1 The Humanities:
An Introduction 1 You Are Already an Art Critic 47
Participation and Criticism 48
The Humanities: A Study of Values 1
Three Kinds of Criticism 48
Taste 4
Descriptive Criticism 49
Responses to Art 4 Interpretive Criticism 53
Structure and Artistic Form 9 Evaluative Criticism 56
EXPERIENCING: The Mona Lisa 10 EXPERIENCING: The Polish Rider 60
Summary 61
Perception 12
Abstract Ideas and Concrete Images 13
Summary 16
Part 2 THE ARTS
2 What Is a Work of Art? 18
4 Painting 63
Identifying Art Conceptually 19
Identifying Art Perceptually 19 Our Visual Powers 63
Artistic Form 20 The Media of Painting 64
Participation 24 Tempera 64
Fresco 66
Participation and Artistic Form 26 Oil 67
Content 27 Watercolor 69
Subject Matter 29 Acrylic 69
Subject Matter and Artistic Form 30 Other Media and Mixed Media 70

Participation, Artistic Form, and Content 30 Elements of Painting 72

Artistic Form: Examples 32 Line 73
Subject Matter and Content 38 Color 76

viii
Texture 77 6 Architecture 126
Composition 77
The Clarity of Painting 80 Centered Space 126
The “All-at-Onceness” of Painting 81 Space and Architecture 127
Abstract Painting 81 Chartres 128
Intensity and Restfulness in Living Space 131
Abstract Painting 83 Four Necessities of Architecture 132
Representational Painting 84 Technical Requirements of Architecture 132
Comparison of Five Impressionist Paintings 84 Functional Requirements of Architecture 133
Spatial Requirements of Architecture 137
FOCUS ON: The Self-Portrait: Rembrandt van Rijn, Gustave
Courbet, Vincent van Gogh, and Frida Kahlo 90 Revelatory Requirements of Architecture 137
Frames 92 Earth-Rooted Architecture 139
Some Painting Styles of the Past 150 Years 92 Site 140
Gravity 140
EXPERIENCING: Frames 93
Raw Materials 142
Summary 94
Centrality 143
Sky-Oriented Architecture 145
5 Sculpture 95 Axis Mundi 148
Defiance of Gravity 149
Sensory Interconnections 96
Integration of Light 150
Sculpture and Painting Compared 96
Earth-Resting Architecture 151
Sculpture and Space 98
Earth-Dominating Architecture 153
Sunken-Relief Sculpture 98
Combinations of Types 154
Low-Relief Sculpture 99
Guggenheim Museum Bilbao and Sydney Opera House 155
High-Relief Sculpture 100 High-Rises and Skyscrapers 157
Sculpture in the Round 101 EXPERIENCING: Sydney Opera House 158
Sculpture and Architecture Compared 103 FOCUS ON: Fantasy Architecture 163
Sensory Space 104 Urban Planning 166
Sculpture and the Human Body 105 Summary 170

Sculpture in the Round and the

Human Body 106 7 Literature 171
EXPERIENCING: Sculpture and Physical Size 108
Spoken Language and Literature 171
Contemporary Sculpture 109
Literary Structures 174
Truth to Materials 109
The Narrative and the Narrator 174
Protest against Technology 112 The Episodic Narrative 176
Accommodation with Technology 115 The Organic Narrative 179
Machine Sculpture 116 The Quest Narrative 182
The Lyric 184
Earth Sculpture 117
EXPERIENCING: “Musée des Beaux Arts” 187
FOCUS ON: African Sculpture 119

Sculpture in Public Places 122 Literary Details 188

Summary 125 Image 189

CONTENTS ix
Metaphor 191 Tonal Center 235
Symbol 194 Musical Structures 237
Irony 195
Theme and Variations 237
Diction 196
Summary 198
Rondo 238
Fugue 238
Sonata Form 238
8 Theater 199 Fantasia 239
Symphony 240
Aristotle and the Elements of Drama 200
FOCUS ON: Beethoven’s Symphony in E ♭ Major, No. 3,
Dialogue and Soliloquy 201 Eroica 245
Archetypal Patterns 203 Blues and Jazz: Popular American Music 250
Genres of Drama: Tragedy 205 Blues and Rock and Roll 252
The Tragic Stage 205 Summary 254
Stage Scenery and Costumes 207
Shakespeare’s Romeo and Juliet 209
10 Dance 256
Comedy: Old and New 212
Tragicomedy: The Mixed Genre 215 Subject Matter of Dance 256
A Play for Study: The Swan Song 215 EXPERIENCING: Feeling and Dance 258

EXPERIENCING: Anton Chekhov’s The Swan Song 219 Form 259

FOCUS ON: Musical Theater 220 Dance and Ritual 259
Experimental Drama 223 Ritual Dance 261
Summary 224 Social Dance 261
The Court Dance 262
Ballet 262
9 Music 225
Swan Lake 264
Hearing and Listening 225 Modern Dance 267
The Elements of Music 226 Alvin Ailey’s Revelations 269
Tone 226 Martha Graham 271
Consonance 227 Pilobolus and Momix Dance Companies 272
Dissonance 227 Mark Morris Dance Group 273
Rhythm 228
FOCUS ON: Theater Dance 275
Tempo 228
Melodic Material: Melody, Theme, and Motive 228 Popular Dance 276
Summary 277
Counterpoint 229
Harmony 229
EXPERIENCING: “Battle Hymn of the Republic” 230 11 Photography 278
Dynamics 231
Photography and Painting 278
Contrast 231
EXPERIENCING: Photography and Art 282
The Subject Matter of Music 231
Photography and Painting: The
Feelings 232
Pictorialists 283
Two Theories: Formalism and Expressionism 234
Straight Photography 286
Sound 234
Stieglitz: Pioneer of Straight Photography 287

x CONTENTS
The f/64 Group 288
The Documentarists 290 Part 3 INTERRELATIONSHIPS
The Modern Eye 296
FOCUS ON: Digital Photography 300 14 Is It Art or Something
Summary 303 Like It? 352
Art and Artlike 352
12 Cinema 304 Illustration 355
The Subject Matter of Film 304 Realism 355
Directing and Editing 305 Folk Art 356
Popular Art 358
The Participative Experience and Film 308
Propaganda 363
The Film Image 309
EXPERIENCING: Propaganda Art 364
EXPERIENCING: Still Frames and Photography 310
FOCUS ON: Kitsch 364
Camera Point of View 312
Decoration 366
Violence and Film 315
Idea Art 369
Sound 316
Dada 369
Image and Action 318 Duchamp and His Legacy 371
Film Structure 319 Conceptual Art 372
Cinematic Significance 321 Performance Art 374
The Context of Film History 322 Shock Art 375
Francis Ford Coppola’s The Godfather 323 Virtual Art 376
Summary 378
The Narrative Structure of The Godfather Films 324
Coppola’s Images 325
Coppola’s Use of Sound 326
15 The Interrelationships
The Power of The Godfather 326 of the Arts 379
FOCUS ON: Alfred Hitchcock’s Vertigo 327
Appropriation 379
Experimentation 330
Synthesis 381
Summary 332
Interpretation 382
Film Interprets Literature: Howards End 382
13 Television and Video Art 333 Music Interprets Drama: The Marriage of Figaro 385
Poetry Interprets Painting: The Starry Night 388
The Evolution of Television 333
Sculpture Interprets Poetry: Apollo and Daphne 390
The Subject Matter of Television and Video
EXPERIENCING: Bernini’s Apollo and Daphne and Ovid’s
Art 334 The Metamorphoses 392
Commercial Television 335 FOCUS ON: Photography Interprets Fiction 393
The Television Series 336 Architecture Interprets Dance: National
The Structure of the Self-Contained Episode 337 Nederlanden Building 395
The Television Serial 337 Painting Interprets Dance and Music: The Dance and
Video Art 342 Music 396
FOCUS ON: Downton Abbey 343 EXPERIENCING: Death in Venice: Three Versions 398
Summary 350 Summary 399

CONTENTS xi
 FOCUS ON: The Arts and History, The Arts and Philosophy,
16 The Interrelationships The Arts and Theology 406
of the Humanities 400 Summary 411

The Humanities and the Sciences 400

GLOSSARY G-1
The Arts and the Other Humanities 401
CREDITS C-1
EXPERIENCING: The Humanities and Students
of Medicine 402 INDEX I-1
Values 403

xii CONTENTS
 PREFACE

The Humanities through the Arts, ninth edition, explores the humanities with an
emphasis on the arts. Examining the relationship of the humanities to values, ob-
jects, and events important to people is central to this book. We make a distinction
between artists and other humanists: Artists reveal values, while other humanists
examine or reflect on values. We study how values are revealed in the arts, while
keeping in mind a basic question: “What is Art?” Judging by the existence of an-
cient artifacts, we see that artistic expression is one of the most fundamental human
activities. It binds us together as a people by revealing the most important values
of our culture.
Our genre-based approach offers students the opportunity to understand the
relation of the arts to human values by examining in-depth each of the major artis-
tic media. Subject matter, form, and content in each of the arts supply the frame-
work for careful analysis. Painting and photography focus our eyes on the visual
appearance of things. Sculpture reveals the textures, densities, and shapes of things.
Architecture sharpens our perception of spatial relationships, both inside and out.
Literature, theater, cinema, and video make us more aware of the human condition,
among other ideas. Our understanding of feelings is deepened by music. Our sensi-
tivity to movement, especially of the human body, is enhanced by dance. The wide
range of opportunities for criticism and analysis helps the reader synthesize the
complexities of the arts and their interaction with values of many kinds. All of this
is achieved with an exceptionally vivid and complete illustration program alongside
detailed discussion and interactive responses to the problems inherent in a close
study of the arts and values of our time.
Four major pedagogical boxed features enhance student understanding of the
genres and of individual works within the genres: Perception Key boxes, Concep-
tion Key boxes, Experiencing boxes, and new Focus On boxes (the latter described
in detail in the “Key Changes in the Ninth Edition” section of this Preface):
• The Perception Key boxes are designed to sharpen readers in their responses
to the arts. These boxes raise important questions about specific works of art in
a way that respects the complexities of the works and of our responses to them.
The questions raised are usually open-ended and thereby avoid any doctrinaire
views or dogmatic opinions. The emphasis is on perception and awareness, and
how a heightened awareness will produce a fuller and more meaningful under-
standing of the work at hand. In a few cases our own interpretations and analyses
xiii
 xiv follow the keys, and are offered not as the way to perceive a given work of art
but, rather, as one possible way. Our primary interest is in exciting our readers to
PREFACE
perceive the splendid singularity of the work of art in question.

PERCEPTION KEY Public Sculpture

1. Public sculpture such as that by Maya Lin, Richard Serra, and Judy Chicago usually
produces tremendous controversy when it is not representative, such as a conven-
tional statue of a man on a horse, a hero holding a rifle and flag, or person of local
fame. What do you think causes these more abstract works to attract controversy?
Do you react negatively or positively to any of these three works?
2. Should artists who plan public sculpture meant to be viewed by a wide-ranging
audience aim at pleasing that audience? Should that be their primary mission, or
should they simply make the best work they are capable of ?
3. Which of the three, Vietnam Veterans Memorial, Sequence, or The Dinner Party, seems
least like a work of art to you? Try to convince someone who disagrees with you
that it is not a work of art.
4. Choose a public sculpture that is in your community, photograph it, and establish
its credentials, as best you can, for making a claim to being an important work of
art.
5. If we label Chicago’s The Dinner Party a feminist work, is it then to be treated as
political sculpture? Do you think Lin’s Vietnam Veterans Memorial is a less political
or more political sculpture than Chicago’s work? Could Serra’s Sequence be consid-

• We use Conception Key boxes, rather than Perception Key boxes, in certain
instances throughout the book where we focus on thought and conception rather
than observation and perception. Again, these are open-ended questions that
involve reflection and understanding. There is no single way of responding to
these keys, just as there is no simple way to answer the questions.

mar23984_ch05_095-125.indd 124
CONCEPTION KEY Archetypes 22/01/14 5:54 PM

1. You may wish to supplement the comments above by reading the third chapter of
Northrop Frye’s Anatomy of Criticism or the Hamlet chapter in Francis Fergusson’s
The Idea of a Theater.
2. Whether or not you do additional reading, consider the recurrent patterns you
have observed in dramas—include television dramas or television adaptations of
drama. Can you find any of the patterns we have described? Do you see other
patterns showing up? Do the patterns you have observed seem basic to human
experience? For example, do you associate gaiety with spring, love with summer,
death with fall, and bitterness with winter? What season seems most appropriate

• Each chapter provides an Experiencing box that gives the reader the opportu-
nity to approach a specific work of art in more detail than the Perception Key
boxes. Analysis of the work begins by answering a few preliminary questions to
make it accessible to students. Follow-up questions ask students to think criti-
cally about the work and guide them to their own interpretations. In every case

mar23984_ch08_199-224.indd 204 22/01/14 7:02 PM

 we raise major issues concerning the genre of work, the background of the work, xv
and the artistic issues that make the work demanding and important.
PREFACE

EXPERIENCING Sydney Opera House

1. Would you recognize the function of
the building if you did not know its
name?
2. Which type does this building ful-
fill, earth-resting, earth-rooted, or
sky-oriented?
In the late 1950s the design was a
sensation in part because no one
could know by looking at it that it
was a concert and opera hall. Its
swooping “sails” were so novel that
people were more amazed at its
construction than by its function.
Additionally, the fact that the build-
FIGURE 6-27
ing was floating in a harbor rather than being built on solid earth was all the Jørn Utzon, Opera House, Sydney,
more mystifying. Today, however, with the innovations of computer-generated Australia. 1973.
plans for buildings like Gehry’s Guggenheim in Bilbao (Figures 6-24 to 6-26), we
This is considered an expressionist
are accustomed to the extraordinary shapes that make these buildings possible.
modern design. The precast
In fact, now we are likely to associate the shape of the Sydney Opera House concrete shells house various
(Figure 6-27) with a function related to the arts. This tells us that our percep- concert and performance halls.
tion of function in a building is established by tradition and our association with
a class of buildings. Therefore, the dogma that was so firmly established years
ago—“form follows function”—is capable of distinct revision.

Organization
This edition, as with previous editions, is organized into three parts, offering
considerable flexibility in the classroom:
Part 1, “Fundamentals,” includes the first three introductory chapters. In
Chapter 1, The Humanities: An Introduction, we distinguish the humanities from the
sciences, and the arts from other humanities. In Chapter 2, What Is a Work of Art?,
we raise the question of definition in art and the ways in which we distinguish art
from other objects and experiences. Chapter 3, Being a Critic of the Arts, introduces
the vital role of criticism in art appreciation and evaluation.
Part 2, “The Arts,” includes individual chapters on each of the basic arts. The
structure of this section permits complete flexibility: The chapters may be used in
their present order or in any order one wishes. We begin with individual chapters
on Painting, Sculpture, and Architecture, follow with Literature, Theater, Music, and
Dance, and continue with Photography, Cinema, and Television and Video Art. Instruc-
tors may reorder or omit chapters as needed. The Photography chapter now more
logically precedes the Cinema and Television and Video Art chapters for the conve-
nience of instructors who prefer to teach the chapters in the order presented.
xvi Part 3, “Interrelationships,” begins with Chapter 14, Is It Art or Something Like
It? We study illustration, folk art, propaganda, and kitsch while raising the ques-
PREFACE
tion “What is Art?” We also examine the avant-garde as it pushes us to the edge of
definition. Chapter 15, The Interrelationships of the Arts, explores the ways in which
the arts work together, as in how literature and music result in a Mozart opera; how
poetry inspires a Bernini sculpture; and how a van Gogh painting inspires poetry
and song. Chapter 16, The Interrelationships of the Humanities, addresses the ways in
which the arts impact the other humanities, particularly history, philosophy, and
theology.

Key Changes in the Ninth Edition

• New “Focus On” boxes. In each chapter of “The Arts” and “Interrelationships”
sections of the book, we include a Focus On box, which provides an opportunity
to deal in-depth with a group of artworks as a way of exploring art in context with
similar works. For example, we focus on African sculpture, fantasy architecture,
self-portraits, kitsch, and other topics via a variety of examples. In the Cinema
and Television and Video Art chapters, we focus in-depth on specific works (Alfred
Hitchcock’s Vertigo and the popular PBS drama Downton Abbey, respectively)
from a variety of perspectives. Each of these opportunities encourages in-depth
and comparative study.

FOCUS ON Downton Abbey

By 2013, in its third season, the British serial drama Down-
ton Abbey (PBS) became one of the most watched television
programs in the world. Almost the diametrical opposite of
The Sopranos and The Wire, it presents a historical period in
England in which the language is formal by comparison and
the manners impeccable. What we see is the upheaval of
the lives of the British aristocracy in the wake of historical
forces that cannot be ignored or stemmed.
The first season began with a major historical event, the
sinking of the Titanic in 1912. With the ship went Patrick
Crawley, the young heir to Downton Abbey. The result is
that, much to the dismay of the Dowager Countess Vio-
let Crawley (Figure 13-8), the great house will now go to
the Earl of Grantham’s distant cousin, Matthew Crawley,
a person unknown to the family. Young Matthew enters as FIGURE 13-8
a middle-class solicitor (lawyer) with little interest in the ways of the aristocracy. But Maggie Smith as Violet Crawley in
soon he finds himself in love with his distant cousin, Lady Mary Crawley, beginning Downton Abbey. She is the Dowager
a long and complicated love interest that becomes one of the major centers of the Countess of Grantham and the
series’ most stalwart character in
drama for three seasons. Lord Grantham and his wife Cora, Countess of Grantham,
her resistance to change. She has
have three daughters (Figure 13-9), and therefore the question of marriage is as im- been a scene-stealer since season 1.
portant in this drama as in any Jane Austen novel.
The fate of Downton Abbey itself is a major center of interest in the drama—not only
because of the question of who is to inherit and live in the great house, but also because
in season 3 Lord Grantham announces that, as a result of bad investments, he has lost
• Updated illustration program and contextual discussions. More than 30 per- xvii
cent of the images in this edition are new or have been updated to include fresh
PREFACE
classic and contemporary works. New discussions of these works appear near
the illustrations. The 200-plus images throughout the book have been carefully
chosen and reproduced in full color when possible, resulting in a beautifully
illustrated text. Newly-added visual artists represented include painters Lee
Krasner, Frida Kahlo, and Gustave Courbet; sculptors Ron Mueck, Frank Stella,
and Jeff Koons; photographers Edward Steichen, Cindy Sherman, and Lewis
Hine; and video artist Janine Antoni. Newly-added film and television stills rep-
resent Alfred Hitchcock’s Vertigo, James Cameron’s Avatar, Quentin Taranti-
no’s Django Unchained, the PBS series Downton Abbey, and more.
• New literature, dance, theater, and music coverage. Along with the many
new illustrations and contextual discussions of the visual arts, film, and televi-
sion, new works and images in the literary, dance, theatrical, and musical arts
have been added and contextualized. These include works by Edgar Lee Masters,
Miguel de Cervantes Saavedra, Anton Chekhov, John Milton, Gerard Manley
Hopkins, Sarah Norcliffe Cleghorn, Samuel Beckett, Steven Sondheim, Mark
Morris, Joseph Haydn, and Wolfgang Amadeus Mozart. The theater chapter
also includes a new section on stage scenery and costumes.
• Increased focus on non-Western art. This edition contains numerous new
examples of non-Western art, from painting (Wang Yuanqi’s Landscape after Wu
Zhen) to sculpture (Focus On: African Sculpture) to architecture (the Guangzhou
Opera House) to dance (the Nrityagram Dance Ensemble) to film (Yasujiro −
Ozu’s Tokyo Story).
• Additional references to online videos. Since many opportunities exist for ex-
periencing the performing arts online, we point to numerous online videos that
can help expand our understanding of specific works of art. Virtually all the arts
have some useful illustrations online that become more intelligible as a result of
our discussion of the medium or the specific work of art.

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xviii Online Learning Center
PREFACE
Instructor Resources An Instructor’s Online Learning Center (OLC) at www.
mhhe.com/hta9 includes a number of resources to assist instructors with planning
and teaching their courses: an instructor’s manual, which offers learning objec-
tives, chapter outlines, possible discussion and lecture topics, and more; a test bank
with multiple-choice and essay questions; and a chapter-by-chapter PowerPoint
presentation.

Student Resources The student content for the Online Learning Center of this
new edition of The Humanities through the Arts enriches the learning experience.
Students can watch videos on various art techniques and access interactive de-
signs to strengthen their understanding of visual art, dance, music, sculpture,
literature, theater, architecture, and film. They will also be able to use the guided
Research in Action tool to enhance their understanding of time periods, genres,
and artists. We hope that this online availability will spark their own creativity.
All of this information is available at www.mhhe.com/hta9 when you click on
the MyHumanitiesStudiolink. Additional resources, including quizzes, links to
relevant websites, and a chapter-by-chapter glossary, are available on the OLC
to help students review and test their knowledge of the material covered in the
book.

Acknowledgments
This book is indebted to more people than we can truly credit. We are deeply
grateful to the following reviewers for their help on this and previous editions:
Addell Austin Anderson, Wayne County Community College District
David Avalos, California State University San Marcos
Bruce Bellingham, University of Connecticut
Eugene Bender, Richard J. Daley College
Michael Berberich, Galveston College
Barbara Brickman, Howard Community College
Peggy Brown, Collin County Community College
Lance Brunner, University of Kentucky
Alexandra Burns, Bay Path College
Bill Burrows, Lane Community College
Glen Bush, Heartland Community College
Sara Cardona, Richland College
Brandon Cesmat, California State University San Marcos
Selma Jean Cohen, editor of Dance Perspectives
Karen Conn, Valencia Community College
Harrison Davis, Brigham Young University
Jim Doan, Nova University
Jill Domoney, Johnson County Community College
Gerald Eager, Bucknell University
Kristin Edford, Amarillo College
D. Layne Ehlers, Bacone College
Jane Ferencz, University of Wisconsin–Whitewater
 Roberta Ferrell, SUNY Empire State xix
Michael Flanagan, University of Wisconsin–Whitewater
Kathy Ford, Lake Land College PREFACE

Andy Friedlander, Skagit Valley College

Harry Garvin, Bucknell University
Susan K. de Ghizee, University of Denver
Amber Gillis, El Camino College–Compton Center
Michael Gos, Lee College
M. Scott Grabau, Irvine Valley College
Lee Hartman, Howard Community College
Jeffrey T. Hopper, Harding University
James Housefield, Texas State University–San Marcos
Stephen Husarik, University of Arkansas–Fort Smith
Ramona Ilea, Pacific University Oregon
Joanna Jacobus, choreographer
Lee Jones, Georgia Perimeter College–Lawrenceville
Deborah Jowitt, Village Voice
Nadene A. Keene, Indiana University–Kokomo
Marsha Keller, Oklahoma City University
Paul Kessel, Mohave Community College
Edward Kies, College of DuPage
John Kinkade, Centre College
Gordon Lee, Lee College
Tracy L. McAfee, North Central State College
L. Timothy Myers, Butler Community College
Marceau Myers, North Texas State University
Martha Myers, Connecticut College
William E. Parker, University of Connecticut
Seamus Pender, Franklin Pierce College
Ellen Rosewall, University of Wisconsin–Green Bay
Susan Shmeling, Vincennes University
Ed Simone, St. Bonaventure University
C. Edward Spann, Dallas Baptist University
Mark Stewart, San Joaquin Delta College
Robert Streeter, University of Chicago
Peter C. Surace, Cuyahoga Community College
Robert Tynes, University of North Carolina at Asheville
Walter Wehner, University of North Carolina at Greensboro
Keith West, Butler Community College

We want to thank the editorial team at McGraw-Hill for their smart and gener-
ous support for this edition. Director of Development Dawn Groundwater, along
with Brand Managers Sarah Remington and Laura Wilk, oversaw the revision from
inception through production, with the invaluable support of Editorial Coordi-
nator Iris Kim. Development Editor Bruce Cantley guided us carefully through
the process of establishing a revision plan and incorporating new material into the
text. In all things he was a major sounding board as we thought about how to im-
prove the book. We also owe thanks to Content Project Manager Laura Bies, who
oversaw the book smoothly through the production process; Trevor Goodman,
who revised the interior design for a sharper look and also designed the extraordi-
nary cover; Margaret Moore, who was an exceptionally good copyeditor; Content
xx Licensing Specialist Brenda Rolwes; Judy Mason, our image and photo researcher,
who dealt with many difficult issues and resolved them with great skill; and Permis-
PREFACE
sions Editor Jenna Caputo, who did a wonderful job clearing the rights for textual
excerpts and line art.

A Note from the Authors

Our own commitment to the arts and the humanities has been lifelong. One pur-
pose of this book is to help instill a lifelong love of all the arts in its readers. We
have faced many of the issues and problems that are considered in this book, and
to an extent we are still undecided about certain important questions concerning
the arts and their relationship to the humanities. Clearly, we grow and change our
thinking as we grow. Our engagement with the arts at any age will reflect our own
abilities and commitments. But as we grow, we deepen our understanding of the
arts we love as well as deepen our understanding of our own nature, our inner self.
We believe that the arts and the humanities function together to make life more
intense, more significant, and more wonderful. A lifetime of work unrelieved by a
deep commitment to the arts would be stultifying and perhaps destructive to one’s
soul. The arts and humanities make us one with our fellow man. They help us
understand each other just as they help us admire the beauty that is the product of
the human imagination. As the philosopher Susanne K. Langer once said, the arts
are the primary avenues to the education of our emotional lives. By our efforts in
understanding the arts we are indelibly enriched.
 Par t 1
FUNDAMENTALS
Chap ter 1

THE HUMANITIES:
AN INTRODUCTION

The Humanities: A Study of Values

Today we think of the humanities as those broad areas of human creativity and
study, such as philosophy, history, social sciences, the arts and literature, that are
distinct from mathematics and the “hard” sciences, mainly because in the human-
ities, strictly objective or scientific standards are not usually dominant.
The current separation between the humanities and the sciences reveals itself in
a number of contemporary controversies. For example, the cloning of animals has
been greeted by many people as a possible benefit for domestic livestock farmers.
Genetically altered wheat, soybeans, and other cereals have been heralded by many
scientists as a breakthrough that will produce disease-resistant crops and therefore
permit us to continue to increase the world food supply. On the other hand, some
people resist such modifications and purchase food identified as not being genet-
ically altered. Scientific research into the human genome has identified certain
genes for inherited diseases, such as breast cancer or Alzheimer’s disease, that could
be modified to protect individuals or their offspring. Genetic research also suggests
that in a few years individuals may be able to “design” their children’s intelligence,
body shape, height, general appearance, and physical ability.
Scientists provide the tools for these choices. Their values are centered in science
in that they value the nature of their research and their capacity to make it work
in a positive way. However, the impact on humanity of such a series of dramatic
1
2 changes to life brings to the fore values that clash with one another. For example, is
it a positive social value for couples to decide the sex of their offspring rather than
CHAPTER 1
following nature’s own direction? In this case, who should decide if “designing”
one’s offspring is a positive value, the scientist or the humanist?
Even more profound is the question of cloning a human being. Once a sheep was
cloned successfully, it was clear that this science would lead directly to the possibility
of a cloned human being. Some proponents of cloning support the process because
we could clone a child who dies in infancy or clone a genius who has given great gifts
to the world. For these people, cloning is a positive value. For others, the very thought
of cloning a person is repugnant on the basis of religious belief. For still others, the
idea of human cloning is objectionable because it echoes the creation of an unnatural
monster, and for them it is a negative value. Because this is a worldwide problem, local
laws will have limited effect on establishing a clear position on the value of cloning of
all sorts. The question of how we decide on such a controversial issue is at the heart
of the humanities, and some observers have pointed to Mary Wollstonecraft Shelley’s
famous novel, Frankenstein, Or the Modern Prometheus, which in some ways enacts the
conflict among these values.
These examples demonstrate that the discoveries of scientists often have tremen-
dous impact on the values of society. Yet some scientists have declared that they
merely make the discoveries and that others—presumably politicians—must decide
how the discoveries are to be used. It is this last statement that brings us closest to
the importance of the humanities. If many scientists believe they cannot judge how
their discoveries are to be used, then we must try to understand why they give that
responsibility to others. This is not to say that scientists uniformly turn such deci-
sions over to others, for many of them are humanists as well as scientists. But the
fact remains that many governments have made use of great scientific achievements
without pausing to ask the “achievers” if they approved of the way their discoveries
were being used. The questions are, Who decides how to use such discoveries? On
what grounds should their judgments be based?
Studying the behavior of neutrinos or string theory will not help us get closer to
the answer. Such study is not related to the nature of humankind but to the nature
of nature. What we need is a study that will get us closer to ourselves. It should be
a study that explores the reaches of human feeling in relation to values—not only
our own individual feelings and values but also the feelings and values of others. We
need a study that will increase our sensitivity to ourselves, others, and the values in
our world. To be sensitive is to perceive with insight. To be sensitive is also to feel
and believe that things make a difference. Furthermore, it involves an awareness of
those aspects of values that cannot be measured by objective standards. To be sen-
sitive is to respect the humanities, because, among other reasons, they help develop
our sensitivity to values, to what is important to us as individuals.
There are numerous ways to approach the humanities. The way we have chosen
here is the way of the arts. One of the contentions of this book is that values are
clarified in enduring ways in the arts. Human beings have had the impulse to
express their values since the earliest times. Ancient tools recovered from the most
recent Ice Age, for example, have features designed to express an affection for
beauty as well as to provide utility.
The concept of progress in the arts is problematic. Who is to say whether the
cave paintings (Figure 1-1) of 30,000 years ago that were discovered in present-day
 3
THE HUMANITIES:
AN INTRODUCTION

FIGURE 1-1
Cave painting from Chauvet Caves,
France.

Discovered in 1994, the Chauvet

Caves have yielded some of the
most astonishing examples of
prehistoric art the world has seen.
This rhinoceros may have lived as
many as 35,000 years ago, while the
painting itself seems as modern as a
contemporary work.

France are less excellent than the work of Picasso (see Figure 1-4)? Cave paintings
were probably not made as works of art to be contemplated. To get to them in the
caves is almost always difficult, and they are very difficult to see. They seem to have
been made for some practical purpose, such as improving the prospects for the hunt.
Yet the work reveals something about the power, grace, and beauty of all the animals
they portrayed. These cave paintings function now as works of art. From the begin-
ning, our species instinctively had an interest in making revealing forms.
Among the numerous ways to approach the humanities, we have chosen the way
of the arts because, as we shall try to elucidate, the arts clarify or reveal values. As
we deepen our understanding of the arts, we necessarily deepen our understanding
of values. We will study our experience with works of art as well as the values others
associate with them, and in this process we will also educate ourselves about our
own values.
Because a value is something that matters, engagement with art—the illumina-
tion of values—enriches the quality of our lives significantly. Moreover, the subject
matter of art—what it is about—is not limited to the beautiful and the pleasant, the
bright sides of life. Art may also include and help us understand the dark sides—the
ugly, the painful, and the tragic. And when it does and when we get it, we are better
able to come to grips with those dark sides of life.
Art brings us into direct communication with others. As Carlos Fuentes wrote in
The Buried Mirror, “People and their cultures perish in isolation, but they are born
or reborn in contact with other men and women of another culture, another creed,
another race. If we do not recognize our humanity in others, we shall not recognize
it in ourselves.” Art reveals the essence of our existence.
4 Taste
CHAPTER 1
The taste of the mass public shifts constantly. Movies, for example, survive or fail
on the basis of the number of people they appeal to. A film is good if it makes
money. Consequently, film producers make every effort to cash in on current pop-
ular tastes, often by making sequels until the public’s taste changes—for example,
the Batman series (1989, 1992, 1995, 1997, 2005, 2008, 2012).
Our study of the humanities emphasizes that commercial success is not the most
important guide to excellence in the arts. The long-term success of works of art
depends on their ability to interpret human experience at a level of complexity that
warrants examination and reexamination. Many commercially successful works give
us what we think we want rather than what we really need with reference to insight
and understanding. By satisfying us in an immediate and superficial way, commercial
art can dull us to the possibilities of complex, more deeply satisfying art.
Everyone has limitations as a perceiver of art. Sometimes we defend our-
selves against stretching our limitations by assuming that we have developed
our taste and that any effort to change it is bad form. An old saying—“Matters of
taste are not disputable”—can be credited with making many of us feel righteous
about our own taste. What the saying means is that there is no accounting for what
people like in the arts, for beauty is in the eye of the beholder. Thus, there is no use
in trying to educate anyone about the arts. Obviously we disagree. We believe that
all of us can and should be educated about the arts and should learn to respond to
as wide a variety of the arts as possible: from jazz to string quartets, from Charlie
Chaplin to Steven Spielberg, from Lewis Carroll to T. S. Eliot, from folk art to
Picasso. Most of us defend our taste because anyone who challenges it challenges
our deep feelings. Anyone who tries to change our responses to art is really trying
to get inside our minds. If we fail to understand its purpose, this kind of persuasion
naturally arouses resistance.
For us, the study of the arts penetrates beyond facts to the values that evoke our
feelings—the way a succession of Eric Clapton’s guitar chords when he plays the
blues can be electrifying or the way song lyrics can give us a chill. In other words,
we want to go beyond the facts about a work of art and get to the values revealed
in the work. How many times have we all found ourselves liking something that,
months or years before, we could not stand? And how often do we find ourselves
now disliking what we previously judged a masterpiece? Generally, we can say the
work of art remains the same. It is we who change. We learn to recognize the values
illuminated in such works as well as to understand the ways in which this is accom-
plished. Such development is the meaning of “education” in the sense in which we
have been using the term.

Responses to Art
Our responses to art usually involve processes so complex that they can never be fully
tracked down or analyzed. At first, they can only be hinted at when we talk about
them. However, further education in the arts permits us to observe more closely and
thereby respond more intensely to the content of the work. This is true, we believe,
even with “easy” art, such as exceptionally beautiful works—for example, Giorgione
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dying. I must go to him. Surely you wouldn’t have the heart to keep me
away? He is the only relative I have in the world! How can I act, and sing,
and laugh, when there is a weight like lead at my heart?”
The stage-manager eyed her pityingly. “I know it’s very hard,” he said,
in a softened voice. “But just consider a moment. You cannot get a train to
Durlston to-night, for the last one went at about six o’clock; so you would
have to wait till morning in any case. Now, suppose you go back to St.
John’s Wood, what will you do? Simply sit still and make yourself ill with
fretting, most probably. Whereas, if you remain here, your mind will, at
least temporarily, be diverted into other channels. Miss Franks, I am sure
you are a brave young lady. Won’t you try?”
“Oh, it’s cruel, Mr. Calhoun——” Grace Haviland began, but her brother
would not allow her to finish the sentence.
Celia was well-nigh distracted. Although loth to cause the stage-manager
so much inconvenience and bother, it would be too terrible to think of
Herbert, perhaps dying, with none of his own kin near him, whilst she was
playing on the hateful stage. Calhoun pulled out his watch, for the precious
minutes were speeding away. All three looked at her in eager expectation.
What would her answer be?
After what seemed an eternity, although it was in reality only about fifty
seconds, she heaved a deep sigh.
“All right, I’ll go through with it,” she said with an effort. “Or at least
I’ll do my best. But please—leave me alone—just for a few minutes.”
“That’s a brave girl!” exclaimed Haviland, with gratification. “I knew
she wouldn’t put us in such a fix.”
“In seven minutes the call-boy will be here,” said the stage-manager; and
then with a word of encouragement the two men withdrew.
Celia sat down at the table and buried her face in her hands. She tried to
think, even to pray, but her senses seemed quite dulled. Fortunately the
possibility of her stumbling or breaking down never entered her mind. She
had promised to go through with it; and she meant to fulfil her promise.
There might be tears and pain at heart, but there would be the usual stage-
smile on her face. When she raised her head, there was an expression of
almost fierce determination on her countenance. She would not, must not,
fail!
 Mrs. Jackson readjusted the details of her costume, whilst Grace tried to
utter words of commiseration and encouragement. Then the former
produced a small spirit-flask and glass, and bade Celia drink.
“There’s nothing like a drop of brandy neat, for putting life into a body,”
she said cheerfully. “Come now, drink it, missie; it will do you good.”
But the girl demurred. “No thanks, I would rather not,” she replied. “I
am all right now;” and then the patter of flying feet heralded the coming of
the call-boy.
For years after Celia remembered that night, and declared she could
never have gone through it again. Calhoun said she had never acted so well.
In the third act, in which she was the central figure all through, she
surpassed herself, and as the curtain fell, evoked a veritable tumult of
applause. And not one out of that light-hearted, pleasure-loving audience
had the slightest idea how it hurt her to give that merry ringing laugh at the
end of the first scene; or that when, later on, she had to say, “Where is my
beloved?... My beloved lays a-dying!” the tears in her voice were
unfeigned.
But her nerves were stretched to their utmost limit of endurance, and the
reaction was bound to follow. She returned to the dressing-room in a state
bordering on exhaustion, scarcely heeding Mr. Calhoun’s “Well done!”
Fortunately, however, the worst was over, for the remaining act entailed but
slight exertion. She begged Grace Haviland to read the account of the
assault at Durlston whilst she was changing her costume; and, occasionally
interrupted by sundry comments from Mrs. Jackson, Grace complied with
her request.
The gist of the matter was this:—
Jacob Strelitzki, a former heeler at Messrs. Mendel and Co.’s boot
factory at Durlston, had, after an absence of two months, returned and run
amok at the factory, attempting to wound three men with a large clasp-
knife. Being of the opinion that he was either the victim of delirium
tremens, or else had lost his reason, the factory people made every effort to
detain him, but he cleverly managed to slip through their fingers and made
his escape. Nothing more was heard of him until that very morning, when
he had forced his way into the studio at the Towers, and, without any
warning, attacked Mr. Karne—who was at work upon a picture—with the
same clasp-knife he had used on the former occasion. Mr. Karne’s servants
had come to the rescue, and managed to subdue the man, who was
undoubtedly a raving lunatic, but not before he had been able to inflict
serious injury to the unfortunate artist. No adequate motive for the crime
was assigned, except that for some time Strelitzki had cherished a senseless
grudge against Herbert Karne, and had so worked upon his comrades at the
factory, that at his instigation they had even set fire to the artist’s house.
Recently, however, a complete reconciliation between Herbert Karne and
the factory people had taken place; and the latter were shocked and
horrified in the extreme at the dastardly action of their former colleague.
Meanwhile, Mr. Karne lay in a critical condition, having been wounded in
the thorax and right lung.
Celia’s face blanched as she listened, whilst a sickening anxiety tore at
her heart. Oh, if only Higgins had despatched the telegram a little earlier,
she would have been well on her way to Durlston by now. As it was, she
would have to wait till morning. Would morning ever come?
Mrs. Jackson thought the girl was going to faint, and insisted on forcing
some brandy down her throat. She was very sympathetic, almost
obtrusively so; for it was that tactless sympathy which is worse than none at
all.
“Keep your heart up, miss,” she said cheerily, noticing that Celia’s tears
were making havoc with her make-up. “You can’t rely on some of them
ha’penny papers, you know. I don’t suppose it’s really so bad as they put it
there. Not but what you’ve not cause to be anxious, for all that. I remember
when my poor daughter—her that was on the trapeze business at the ’alls—
fell right down from the roof to the floor without so much as a net to catch
her, they sent for me—I was dresser to Mrs. Potter Wemyss at the
Haymarket then—and I arrived at the ’all just in time to find the poor gel
stiffening. They told me at first it was only a slight accident; but she was
stretched out dead when I got there, miss, and looking as calm as calm can
be. Them accidents are nasty things, I reckon. I do hope as you won’t find
your poor brother laid out ready——”
“Oh, for goodness’ sake, stop!” called out Grace, imperatively. “Can’t
you see that you are frightening Miss Franks?”
She felt ready to throw the hand-glass or any other convenient missile at
the woman for her arrant thoughtlessness.
 Poor Celia was pale and trembling, whilst visions of her brother lying
dead flashed before her mind’s eye. How she managed to get through that
last act she never knew. The dim faces of the audience looming out of the
semi-darkness seemed to her like rows of grisly skeletons mocking her with
sardonic mirth. The sweep of the violins in the orchestra sounded like a
funeral dirge. Two or three times she was almost overcome with dizziness;
but at length all was over, and, for the last time, the curtain fell.
“You did splendidly, Cely,” Guy Haviland said to her on the way home.
“You are what I have a great admiration for: a brave girl—a girl with
‘grit.’ ”
But Celia felt brave no longer. She leant back in the brougham with her
head against Grace’s shoulder, and cried quietly all the way. She was utterly
worn out.

CHAPTER XVIII

“NEITHER JEW NOR GREEK”—ONE GOD OVER ALL

An unmistakable air of gloom hung over the factory club at Durlston. The
members, instead of playing cards or chess as usual, gathered round the fire
and smoked their pipes in silence; whilst one of them sat over in the corner,
and with his velvet cap carelessly donned, droned prayers to himself out of
a well-thumbed Hebrew book. They were all anxiously awaiting the result
of the medical consultation concerning their benefactor, Herbert Karne; and
could settle to nothing until their suspense had been relieved. Now that they
had relinquished their enmity towards him, they went to the other extreme,
and exalted him into a kind of demi-god. If he lived they would do all in
their power to make amends for their past ingratitude; if he died they would
lament him as a martyr, for it was by one of themselves that he had been
struck down.
Presently the door swung open to admit the foreman, Emil Blatz; and at
his appearance the men looked up with expectancy plainly written on their
faces.
“Well, what news?” said one, as though half afraid to ask the question.
The new-comer closed the door and came forward. “The Manchester
physician has just gone back,” he answered. “Strelitzki has been sent to the
Prestwich asylum.”
“And the doctors’ verdict?”
“Mr. Karne will live.”
“Gott sei dank!” ejaculated the man in the corner. He had wanted
Herbert Karne to change his name, so that the Angel of Death would be
deceived, and pass on without claiming his prey.
There was not a man in the room who was not intensely relieved by the
news. Each clamoured for further particulars, and went to the Towers to
read the bulletin for himself. Once more they were able to enter into their
various pastimes and pursuits without feeling that to laugh or chat would be
to exhibit callousness or bad taste. A load had been lifted from their hearts.
Mr. Karne would live.
For nine days he had hovered ’twixt life and death—a time of
heartrending anxiety to his sister, who attended him with untiring devotion,
and scarcely ate or slept until the crisis had been overcome. On the tenth
day Lady Marjorie arrived; and by a coincidence it was on the tenth day
that he began to mend.
“He will get better quickly now that you are here,” Celia said
optimistically; and her prophecy was, happily, fulfilled. Herbert had so
much to live for now, that he was determined to make a good fight for life
and health. He recovered quickly and thoroughly, quite astonishing Dr.
Forrest by his unusual obedience to his orders.
Lady Marjorie looked thin and pale; and quite unlike the vivacious little
woman of a few months ago. During her stay abroad she had suffered both
mentally and physically, the sorrow on her mind having greatly retarded her
recovery from the fever. But as her lover grew stronger, she also picked up
health. The roses returned to her cheeks, and the sparkle to her eyes; until
by degrees she regained the sprightliness which had been hers of old.
“It was a good thing Strelitzki did not quite finish me off just as our
happiness was on the horizon,” Herbert said to her half playfully one day.
“Just imagine if you had come back to find a nice little urn awaiting you,
labelled ‘Concentrated essence of Herbert Karne.’ I am an advocate of
cremation, you know!”
But Marjorie’s eyes filled at the very thought. “Oh, darling, I can’t bear
to hear you jest about it,” she rejoined seriously. “If that wretched lunatic
had killed you, I should have died too.”
 And her lover, although he persisted in making light of the whole affair,
knew that her words were no vain exaggeration. He began to wonder what
Marjorie could see in him, that she should love him so. He considered
himself quite the luckiest man in the world.
A fortnight before Christmas the good people at Durlston were
somewhat surprised to hear that Durlston House was about to change hands,
the new owner being a Mrs. Thornton, of Sydney. One or two of them went
to Lady Marjorie expressing their regret; and asked her if she were leaving
the town for good.
“Oh no, not for good,” she answered with a merry twinkle in her blue
eyes. “Only for about six weeks.” And more she would not divulge.
But somehow the news leaked out, and there was quite a crowd of well-
wishers outside the registrar’s office on the following Monday morning.
They were mostly the tradespeople who attended at Durlston House and the
Towers, probably drawn thither by the fascination which always seems to
hover round a bridal couple, whatever their degree.
It was a dreadfully plebeian way of getting married, they said to each
other; in fact, it was hardly respectable. “No banns, no church, no wedding-
bells, no cake, no free drinks, no nothing.”
“And it’s not as if they couldn’t afford it, neither,” said Mrs. Smith, who
kept the chandler’s shop in the High Street; “she being a hearl’s daughter
and all.”
“Perhaps it’s because she were a widder,” hazarded Mrs. Jones.
“Widders ain’t so pertikler as spinsters, seeing as it’s their second try.”
At the station, however, Mr. Karne somewhat redeemed his character in
their eyes. The factory people, despite the fact that he was marrying out of
the faith, had sent a deputation to wish the bridal pair good luck and a
pleasant journey. In replying to their congratulations, Herbert said that on
account of the state of his health, he had been obliged to have the marriage
as quiet as possible; but when, in the course of a few weeks, he brought his
bride home to the Towers, he hoped to be well enough to organize all the
festivities generally associated with a happy wedding.
His little speech elicited general satisfaction, and after some
consideration it was unanimously agreed throughout the town that he could
not very well have had a “big” wedding, when he had so recently lain at
death’s door.
 “Although it do seem to me that a bride and bridegroom hev no more
right to put off their wedding breakfast than a dead Irishman has to
postpone his wake,” remarked Mrs. Jones to Mrs. Smith. “Seeing as one
follows the other quite natural-like, as you may say. Still, if them Jews at
Mendel’s is satisfied, it’s nowt to do with you and me.”
And there the matter rested.
Celia drove back from the station with Lord Bexley and Mr. Harry
Barnard, who had been the witnesses of the marriage. She could not help
looking a little bit woe-begone in spite of Mr. Barnard’s jocularity.
Although not begrudging Herbert and Marjorie their happiness—on the
contrary, she was deeply thankful for it—she felt that Marjorie was the most
enviable woman in the world, for she had gained her heart’s desire: she had
married the man she loved.
At lunch Mr. Barnard suddenly bethought him of a letter which had
arrived for Herbert that morning.
“It was a black-bordered envelope, so I advised Higgins not to deliver it,
in case Bert should take it as a bad omen, coming on his wedding-day,” he
said in explanation. “What the dickens did I do with it, though? Ah, here it
is!” extracting it from the depths of one of his numerous pockets. “I
suppose we had better forward it, Miss Franks?”
Celia examined the envelope. “I can open it,” she replied, with a sigh. “I
know where it comes from. Poor Mrs. Neville Williams——”
“Do you mean to say she is——” asked Lord Bexley, in a tone of awe.
The girl nodded. “Yes, she is dead,” she rejoined solemnly, as she read
the letter. “I am glad that you did not give this to my brother, Mr. Barnard.”
“But I saw Dr. Milnes last week,” pursued Bexley, as though he could
scarcely believe it. “He told me that the operation was quite a success.”
“Yes, so it was, according to the nurse’s account also,” answered Celia.
“She says: ‘The operation in itself was entirely successful, but the
unfortunate lady succumbed to weakness following a relapse.’ Poor Mrs.
Neville Williams! I am sorry she is dead!”
“She was a slap-bang and a dash kind of woman, if ever there was one,”
remarked Harry Barnard, unfeelingly. “Never happy unless she was up to
some sort of a lark. Great Scott, the tricks she used to get up to when Bert
and I were in Paris! As flighty as a two-year-old she was, but as cunning as
they make ’em. She would have made up to you if you had given her half a
chance, wouldn’t she, my lord?”
Bexley looked over at Celia and felt uncomfortable. “Mrs. Neville
Williams is dead,” he said with quiet emphasis. “Requiescat in pace.”
And then Celia, who considered Mr. Barnard’s remarks in somewhat bad
taste, tactfully changed the subject.
The “Voice of the Charmer” had but another week to run, for the theatre
was wanted for the Christmas pantomime. Celia had promised to return to
the cast for the final performances; and accompanied by the two gentlemen,
caught the afternoon train to London.
Haviland and Calhoun were glad to see her back, for the play without
her in it had been like Hamlet without the Prince of Denmark, even though
Miss Graham had done her best to imitate the original Mallida’s
interpretation of the part.
Celia was not sorry when the last night arrived, although she was bound
to admit that all her co-workers had been exceedingly kind to her, from the
manager down to the call-boy. But when Mr. Calhoun asked her if she
would continue in the part if they resumed the run of the play in the new
year, she quietly but firmly declined; and neither he nor Haviland could
persuade her to alter her mind.
After Christmas, which she spent very enjoyably at Woodruffe, Herbert
and Marjorie wrote for her to come and join them in Bournemouth, both
assuring her that she need have no scruples about trespassing on the
seclusion of their honeymoon, for there were two or three people they knew
staying at the same hotel. The Wiltons, however, would not hear of her
taking her departure until after their annual Christmas party, which was, to
them, the great event of the winter season.
“Your brother ought to be able to spare you a little longer, now that he
has a wife to keep him company,” said Enid, with authority; and to this all
the other members of the family agreed.
But at length, after her sister-in-law had despatched three or four more
letters of invitation, Celia bade farewell to them all and went. She found
both her brother and his wife greatly improved in health; and the cordial
welcome they gave her quite dispelled the fear she had had that her visit
might be an intrusion. Their fellow-visitors at the hotel organized various
forms of social enjoyment; and as the weather was genial—although it was
January—they went about a good deal.
“There is somebody you know staying at Cliff Terrace,” Marjorie
informed her whilst she unpacked. “He came to Bournemouth because he
knew we were here. We scarcely expected you until Monday, and I told him
so; but I should not be surprised if he came round to-morrow.”
“Who is it?” asked the girl with curiosity, but Lady Marjorie only smiled
at her in a tantalizing manner, and refused to say.
The next day was Sunday. Celia expected the mysterious somebody all
day, but he did not arrive. She wondered if it were Lord Bexley, and hoped
he had not been trying to get his sister to intercede in his favour. She
scarcely thought he would do such a thing, for he had appeared to take her
decision as final, when she had rejected his proposal at the Havilands.
In the evening she expressed her intention of going to church; and as
Marjorie was not allowed to inhale the night air, she went alone, her brother
promising to meet her at the conclusion of the service. He did not scruple to
allow her to go unaccompanied, for ever since she had passed out of the
hands of her governess, she had been used to go about by herself.
The church was of modern build, fitted with electric light and numerous
creature comforts unthought of in the days of our fathers. Celia nestled back
in the corner of her pew, allowing the solemn stillness of the sanctuary to
pervade her spirit. Evensong always had the effect of making her feel happy
and restful; it was like a soothing lullaby after a busy day. She loved
especially the jubilant Magnificat and the solemnly sweet Nunc Dimittis, for
they were of peculiarly Jewish interest, and made her glory in her Hebrew
descent.
After the service was over, and the bulk of the congregation filed out,
she still remained in her seat, dreamily listening to the exquisite organ
melody. It was one of Chopin’s most beautiful Nocturnes, sweetly mournful
and pathetic in parts, but occasionally displaying the fervour of its
restrained passion. Celia knew it well, but she had never heard it played
amidst such surroundings before. The building was now in semi-darkness,
the glare of the electric light having been replaced by the softening shadows
of night. At the altar a surpliced choir-boy was extinguishing the six
candles, one by one. He performed the action with care and reverence; and
then quietly withdrew.
 And still the music played on, rising and falling like the throbbing of a
heart; and still, with her face turned towards the east—where the sacred
symbol stood out in bold relief—Celia listened. At last, recollecting that her
brother might be waiting, she passed on tip-toe down the aisle and through
the porch. But he was not there; so, knowing that he would not like her to
wait about alone, she began to make her way towards the hotel.
It was a fine night, frosty and dry. There was no moon, but the stars
shone with dazzling splendour. Celia crossed over to the esplanade, and
stood contemplating the prospect for a moment, whilst the salt breeze
brushed against her cheek. As she gazed at the vast expanse of sky and
ocean, and listened to the dull roar of the waves, some lines she had once
sung in the “Golden Legend” recurred to her memory:
 “The night is calm and cloudless,
And still as still can be,
The stars come forth to listen
To the music of the sea.”

She loved all the sounds of Nature, but especially that “music of the
sea.” Its chords were deep and resonant; and full of meaning to those who
had ears to listen to its ever-changing harmonies. All around was mystery;
mystery in the impenetrable height of the starry heavens; mystery in the
great depth of the moving waters. What was beyond and below?—she
wondered with reverential awe; and realizing—if ever so slightly—the
majestic grandeur of the great Creator’s handiwork, an overpowering sense
of her own littleness overcame her, until, with a sudden longing for human
companionship, she turned to continue her walk.
“ ‘In maiden meditation, fancy free,’ ” quoted a familiar voice close
behind her. “Star-gazing is a pleasant occupation for two, but rather
lonesome for one in solitude. May I join you, Celia dear?”
It was nearly four years since she had last seen him, but even in the
darkness, she recognized his stalwart form.
“Geoffrey!” she exclaimed. “At last!” And try as she would, she could
not keep the joy out of her voice.
There was nobody about, and he took possession of her arm as if it were
the most natural thing in the world. And the funny part about it was that she
did not feel the least surprise that he should do so. How he came to be there
she had not the faintest idea; she did not even wonder about it. She only
knew that his coming filled her with a delicious sense of happiness, and that
the song of the sea sounded sweeter than it had done before.
“I arrived at your hotel just after you had gone,” Geoffrey explained. “So
Herbert sent me on to meet you. I was in church, quite near you, all the
time; but you looked so absorbed that I didn’t like to bring you down from
heaven to earth until it was absolutely necessary. Celia, has Lady Marjorie
said anything to you about me lately?”
“She told me that somebody I knew was staying at Cliff Terrace and
intended coming to see me; but she did not say it was you. I was expecting
the somebody all day.”
 “Were you? Oh, if I had only known that you were here, I would have
come round early this morning. Lady Marjorie has been very good to me;
she has made me see what a timid ass I’ve been. It was not entirely my
fault, though. Stannard would have it that you were engaged to Lord
Bexley; and I was so busy looking after my poor aunt and Miss Thornton
that——”
“Miss Thornton!” interpolated the girl, suddenly shrinking away from
him. “I had forgotten Miss Thornton.”
Her sky was overcast again.
“You don’t know her, do you?” asked Geoffrey, wonderingly. “She is
Stannard’s fiancée.”
Celia drew a deep sigh. Stannard’s fiancée! That made all the difference.
But how foolish she had been to have made such a mistake!
“She used to be subject to fits,” her lover went on to explain. “But
fortunately I have been able to effect a complete cure. She has been under
my supervision for some months.”
“And she is going to marry Dick Stannard?” Celia asked, anxious to hear
a corroboration of the statement.
“Yes, she is going to marry Dick,” he replied with satisfaction. “But I
don’t want to speak about Miss Thornton just now. Oh, you dear, sweet girl,
how nice it is to be talking to you like this after such a long time!” This
with an affecting pressure of her hand. “You do love me just a wee bit,
don’t you, dear?”
“I love you more than a wee bit, Geoffrey,” she answered, in the tone of
one who makes a great confession. “I have loved you ever since that night
when——”
“When I kissed you under the mistletoe? I remember. I’ve been living on
that kiss for four years. I am just aching and hungering for another one. I
am going to have it here and now.”
“Geoffrey!” she protested. “In the open street!”
“I don’t care,” he answered with determination. “There is nobody to see
except Nature, and Nature keeps her secrets well. Ah”—as he put his desire
into execution—“that was beautiful. But tell me, darling, if you really loved
me all that time ago, why did you become engaged to another fellow?”
“Because you—you—didn’t——”
 “Because I didn’t come forward and claim you?” he suggested, finishing
the sentence for her. “But your brother made me promise not to speak: he
thought it might hinder your career. He told me he did not approve of mixed
marriages either, although he has not practised what he preached. Lady
Marjorie is a Christian.”
“Herbert says now that love is more powerful than race and creed,” the
girl said softly. “Love breaks all barriers down.”
“Yes, he is right,” her lover rejoined with deepening earnestness. “But
there is no barrier of creed ’twixt you and me, now, darling; no barrier of
any kind. Did you notice the text of the sermon, to-night, Celia: ‘Neither
Jew nor Greek’? Oh, it seemed to me as if the clergyman must have chosen
it because he knew we were in the church. ‘Neither Jew nor Greek’ ...
united, made one in Christ. No difference between the Jew and the Gentile,
for the same God is God of both!”
They had arrived at the hotel, and Herbert Karne was looking out for
them in the vestibule. Geoffrey’s buoyant manner and Celia’s happy face
told him, before he asked, that their meeting had been a satisfactory one.
Lady Marjorie looked up from her book with a softened expression in
her blue eyes, when they made their appearance at the door of the private
drawing-room.
“So your visitor has come at last, girlie,” she said, as Celia bent down
and kissed her. “I told him that I thought you would give him a hearty
welcome. Was I right, Dr. Geoff?”
“Yes, quite right,” the young doctor replied, as he gripped her hand. “I
can never be sufficiently grateful to you for your kindness, Lady Marjorie.”
“You really were the silliest pair of lovers I ever came across,” Marjorie
said, as she glanced at them and thought what a well-matched couple they
made. “I knew that each of you was just longing for the other; and yet you
both held aloof, although there was no cause or just impediment why you
should not have come together long ago. So I determined to intervene and
make you happy. And, judging by the looks of you both, I think I have
succeeded.”
“You have, indeed!” rejoined Geoffrey, as he drew his sweetheart closer
to him; and Celia, whose heart was too full for words, expressed by her
shining eyes, the great happiness which was hers at last.
* * * * *
 On the deck of a channel-steamer bound for Calais stood a young girl,
shading her eyes with her hand. She was watching the land as it receded
from view, yet with no feeling of regret, for she was making the journey
with the one she loved best in the world.
Less than twenty-four hours ago she had stood beside him at the altar,
and made her marriage vows. The “Voice that breathed o’er Eden” was still
ringing in her ears; the crashing chords of the Wedding March seemed
interwoven with the throbbing of the ship’s engines; the very air seemed
full of the far-off sound of wedding-bells.
It was a bright spring morning, a day fit for the renewing of energy and
hope. All around was sunlight: on the shimmering waters, the polished
deck, and on the girl’s bright hair. It seemed to her like a happy omen,
symbolizing the sunshine on the sea of life. With a deep sigh of happiness
she turned away; and, looking up, encountered the fond gaze of her lover-
husband.
“Why such a sigh, sweet?” he asked, tenderly placing her hand within
his own. “Of what were you thinking, my little wife?”
“Many things, Geoffrey,” she answered softly, her face lit up with a
radiant smile. And then, as they both continued to gaze landwards, she
added: “But—chiefly—that life is full of joy;—and God is good!”

THE END

PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES.

FOOTNOTES:
[1] Bridegrooms.
[2] Gentile.
[3] Ritually clean.
[4] Jewish holydays.
[5] Pertaining to Judaism.
[6] Confirmation.
[7] Day of Atonement.
[8] Festive.
[9] Congratulation.
[10] Bridegroom.
[11] Sabbath.
[12] Money.
[13] Jews.
[14] Smart wit.
[15] Mourning.
[16] Converted Jewess.
[17] Sabbath.
[18] Holy-days.
[19] Converse with familiarity.
[20] Bridegroom.

Typographical errors corrected by

the etext transcriber:
whether whether they be Jews or
Gentiles=> whether they be Jews or
Gentiles {pg 84}
Jacob Strelitkzi=> Jacob Strelitzki
{pg 107}
Is was so quiet=> It was so quiet
{pg 128}
mental note or=> mental note of
{pg 220}
*** END OF THE PROJECT GUTENBERG EBOOK NEITHER JEW
NOR GREEK ***

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