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81984-1B SP.Pdf Poetics of Place How Ancient Buildings Inspired Great Writing Bassim Hamadeh, CEO and Publisher Jennifer Codner, Acquisitions Editor Michelle Piehl, Project Editor Sean Adams, Production Editor Miguel Macias, Senior Graphic Designer Stephanie Kohl, Licensing Associate Natalie Piccotti, Senior Marketing Manager Kassie Graves, Vice President of Editorial Jamie Giganti, Director of Academic Publishing Copyright © 2018 by Elizabeth Riorden. All rights reserved. No part of this publication may be re- printed, reproduced, transmitted, or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information retrieval system without the written permission of Cognella, Inc. For inquiries regarding permissions, translations, foreign rights, audio rights, and any other forms of reproduc- tion, please contact the Cognella Licensing Department at [email protected]. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Cover image copyright © 2017 iStockphoto LP/mammuth. Printed in the United States of America. ISBN: 978-1-5165-1754-1 (pbk) / 978-1-5165-1755-8 (br) First Edition Poetics of Place How Ancient Buildings Inspired Great Writing edited by Elizabeth Riorden University of Cincinnati To my parents, and to my teachers Contents Literary Sources ..................................................................vii Foreword ...........................................................................xi Introduction .......................................................................1 Chapter 1 Prehistory ......................................................5 Chapter 2 Empire ...........................................................25 Chapter 3 Transition ......................................................47 Chapter 4 Faith ..............................................................67 Epilogue ...........................................................................................95 Further Reading ...............................................................................97 Index of Names ...................................................................101 Index of Places ....................................................................103 Literary Sources 1. Patrick Lee Fermor, Selection from “Into High Germany,” A Time of Gifts: On foot to Constantinople: from the Hook of Holland to the Middle Danube, pp. 79-81. Copyright © 1977 by Hodder & Stoughton. Reprinted with permission. 2. Jane Jacobs, The Economy of Cities, pp. 19-23. Copyright © 1970 by Random House LLC. Reprinted with permission. 3. Agatha Christie Mallowan, Selection from “The Habur and the Jaghjagha,” Come, Tell Me How You Live, pp. 58-61, 64-65. Copyright © 1984 by HarperCollins Publishers. Reprinted with permission. 4. Victor Hugo, Selection from “This Will Kill That”, The Hunchback of Notre- Dame, trans. Catherine Liu, pp. 162-163. Copyright © 2002 by Random House LLC. Reprinted with permission. 5. Pindar, Selection from “Pythian Odes X.31,” Olympian Odes, ed. Diane Arnson Svarlien. Copyright © 1990 by Tufts University. 6. Thomas Hardy, Selection from Tess of the D’Urbervilles: A Pure Woman. 1891. 7. Agatha Christie Mallowan, Selection from Come, Tell Me How You Live, pp. 198-201. Copyright © 1984 by HarperCollins Publishers. Reprinted with permission. 8. Karl Kirchwey, “Troia,” Stumbling Blocks: Roman Poems, p. 39. Copyright © 2017 by Northwestern University Press. Previously published in The New Yorker, 2013. Reprinted with permission. 9. C. A. Trypanis, “Achean Queen,” The Cocks of Hades, pp. 20-21. Copyright © 1958 by Faber & Faber Ltd. 10. Patrick Lee Fermor, Selection from “Change and Decay. The Cocks of Matapan,” Mani: Travels in the Southern Peloponnese, pp. 138-140. Copy- right © 1958 by Hodder & Stoughton. Reprinted with permission. 11. Edward Dodwell, Selection from “Chapter XI,” A Classical and Topograph- ical Tour through Greece, pp. 294-295. 1891. ix 12. D.H. Lawrence, Selection from “Cerveteri,” Etruscan Places, pp. 23-28. Copyright © 1932 by Penguin Group USA and Paper Lion. Reprinted with permission. 13. D.H. Lawrence, Selection from “Painted Tombs of Tarquinia,” Etruscan Places, pp. 66-69. Copyright © 1932 by Penguin Group USA and Paper Lion. Reprinted with permission. 14. C. A. Trypanis, “The Painted Bird,” The Cocks of Hades, p. 52. Copyright © 1958 by Faber & Faber Ltd. 15. Lawrence Durrell, Selection from “Livia,” The Avignon Quintet, pp. 551- 559. Copyright © 1992 by Curtis Brown Group Limited. Reprinted with permission. 16. Lawrence Durrell, Selection from “Quinx,” The Avignon Quintet, pp. 1358- 1359. Copyright © 1992 by Curtis Brown Group Limited. Reprinted with permission. 17. Nathaniel Hawthorne, Selection from “A Moonlight Ramble,” The Marble Faun, pp. 115-117. 1860. 18. Thomas Hardy, Selection from The Mayor of Casterbridge: the Story of a Man of Character, pp. 66-68. 1886. 19. Agatha Christie Mallowan, Selection from Come, Tell Me How You Live, pp. 34-35. Copyright © 1984 by HarperCollins Publishers. Reprinted with permission. 20. Rebecca West, Selection from “Split I,” Black Lamb and Grey Falcon, pp. 138-139, 143-145. Copyright © 1943 by Penguin Group USA. Reprinted with permission. 21. Rebecca West, Selection from “Split II,” Black Lamb and Grey Falcon, p. 155. Copyright © 1943 by Penguin Group USA. Reprinted with permission. 22. Patrick Lee Fermor, Selection from “The Rock Monasteries of Cappadocia,” A Time to Keep Silence, pp. 79-83. Copyright © 2007 by Hodder & Stoughton. Reprinted with permission. 23. Patrick Lee Fermor, Selection from “Mount Athos,” The Broken Road: From the Iron Gates to Mount Athos, pp. 280-282. Copyright © 2013 by Hodder & Stoughton. Reprinted with permission. 24. Victor Hugo, Selection from “A Bird’s Eye View of Paris,” The Hunchback of Notre-Dame, trans. Catherine Liu, pp. 120-121. Copyright © 2002 by Random House LLC. Reprinted with permission. 25. Thomas Hardy, Selection from “George Somerset,” A Laodicean: A Story of To-day. 1881. 26. Thomas Hardy, Selection from “Paula,” A Laodicean: A Story of To-day. 1881. x 27. Victor Hugo, Selection from “Notre-Dame,” The Hunchback of Notre-Dame, trans. Catherine Liu, pp. 101-102. Copyright © 2002 by Random House LLC. Reprinted with permission. 28. Henry Adams, Selection from “Saint Michiel de la Mer del Peril,” Mont-Saint- Michel and Chartres. 1905. 29. Victor Hugo, Selection from “The Danger of Trusting a Goat with a Secret,” The Hunchback of Notre-Dame, trans. Catherine Liu, pp. 219. Copyright © 2002 by Random House LLC. Reprinted with permission. 30. Victor Hugo, Selection from “A Bird’s Eye View of Paris,” The Hunchback of Notre-Dame, trans. Catherine Liu, pp. 104-107. Copyright © 2002 by Random House LLC. Reprinted with permission. 31. Nathaniel Hawthorne, Selection from “Market Day in Perugia,” The Marble Faun. 1860. 32. Washington Irving, Selection from “The Court of Lions,” The Alhambra. 1832. 33. Giorgio Vasari, Selection from “Filippo Brunelleschi,” The Lives of the Artists, trans. Julia Conaway Bondanella and Peter Bondanella, pp. 144-145. Copyright © 1991 by Oxford University Press. Reprinted with permission. 34. Mary McCarthy, The Stones of Florence, pp. 69-73. Houghton Mifflin Har- court, 1989. 35. Victor Hugo, Selection from “This Will Kill That,” The Hunchback of Notre- Dame, trans. Catherine Liu, pp. 161-162. Copyright © 2002 by Random House LLC. Reprinted with permission. xi Foreword his book is intended to supplement a standard textbook assigned for the T architectural history survey course, which covers the story of the human- built environment, from the cave paintings of the Upper Paleolithic Age to the end of the Middle Ages; sometimes this class is known informally as “Caves to Cathedrals.” It is the story of a forty-thousand-year development that hap- pened in Europe—the first act of what architects and architectural historians call the “Western canon.” A little over two thousand years ago, the Roman writer Vitruvius advised the would-be architect to study many different topics, including understanding the history of what had been built before. Ever since, the discipline has considered it important to understand the historic traditions of architecture in a way that is more direct and intentional than it might be for contemporary artists, for example. In the class that I teach in a school of archi- tecture and interior design, we touch upon the architecture of India, Peru, the Islamic World, and the Far East, but “Part One” of the Western canon is the core: Caves to Cathedrals. So what is the supplement about? It is an anthology of writings that talk about or were inspired by the great monuments of the canon. Some of those monuments, such as ancient Troy, lie in ruins but retain a relationship to a landscape; some monuments, such as Notre-Dame of Paris, are still used as intended and are parts of living urban organisms. In either case, they evoke the past and incite a contemplative response when encountered. For some great writers such as Victor Hugo and Nathaniel Hawthorne, the monument is the prompt for establishing a time and place in which to situate a story. For poets, the response is more direct—the poet gazes at the remnants of the past and finds a promise of future salvation or even a brush with amnesia as something almost forgotten echoes faintly in the poet’s head. Some of these great
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