DOCSLIB.ORG

Twelfth Night and the Reformation of Mourning

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Twelfth Night and the Reformation of Mourning Missing Fathers: Twelfth Night and the Reformation of Mourning by Suzanne Penuel welfth Night (ca. 1602) begins and ends with references to dead fathers whose link to the action of the play is clearly significant Tand significantly unclear. A lady richly left by one father is eroti- cally paralyzed. Another of slightly lower status, also fatherless, leaves the family home. The fathers reveal themselves merely in traces: Olivia’s is mentioned in an aside telling us that he was “a count / That died some twelvemonth since,” and Viola notes hers just in passing until act 5, when she and Sebastian verify each other’s identities. One might as- sume that this paternal absence would free the plot from being the sort that Jonson crafted, with the older generation hovering over the libidos of the young. After all, the casual approximation of “some twelvemonth since” suggests the count’s insignificance, and the quantitative play on “count” and “account” underscores the imprecision of the dating and the wealth of the estate left Olivia by her father. But rather than cele- brating post-adolescent freedom, the play reverberates with the sense of familial loss that accompanies entry into the sexual adult world. That loss is a social lacuna, literalized as paternal death. Less subtle than the appearances of the fathers whose mentions book- end Twelfth Night in acts 1 and 5 is Twelfth Night’s twinning and dou- bling. The shipwrecked dyad of Viola-Sebastian replicates Viola’s dual identity as herself and her transvestite alter ego Cesario; it also copies the similarity of Viola’s and Olivia’s names and circumstances, with the two quasi-anagrammatic women mourning for brothers. Even the doubled recounting of Olivia’s circumstances, the mistaking of Feste William Shakespeare, Twelfth Night, ed. Elizabeth Story Donno (Cambridge: Cam- bridge University Press, 1985), 1.2.36–37. All subsequent references to the play are paren- thetical. 74 © 2010 The University of North Carolina Press Suzanne Penuel 75 for Sir Topas, and Maria’s handwriting for Olivia’s repeat the trope. The twinning in Twelfth Night functions as a response to death. A double is most obviously a form of spatial repetition, with one person or image duplicated in another place. However, it can also be chronological repe- tition: someone from the past is copied into the present, as is the case in the play. This essay will discuss doubling in Twelfth Night, its connec- tions to the ambivalently longed for figure of the early modern father, and the multiple implications of that longing. A response to a specifi- cally post-Reformation hunger, I will argue, the double takes its force from changes in mourning rituals that accompanied the decline of En- glish Catholicism. It serves as a testament to the power of the father- child tie and ultimately as a fantasy of its replacement. DEATH AND THE DOUBLE That Twelfth Night concerns itself with death is a familiar observation; mortality makes its entrance in the first scene even with the evidently healthy young Orsino, who wishes for music so that “his appetite may sicken and so die” (1.1.3). “That strain again,” he requests, “it had a dying fall” (4). As with Hamlet, first performed around the same time, dying is the alpha and omega of the play. But unlike Hamlet, Twelfth Night concludes with the promise of marriage. It also ends not with the more typically comedic references to pregnancy but with a song that On doubling as an omen of death, see Karl Miller, Doubles: Studies in Literary His- tory (New York: Oxford University Press, 1985), 416. For an analysis of the double as death-denying in nineteenth- and twentieth-century German literature, see Otto Rank, The Double: A Psychoanalytic Study, tr. Harry Tucker, Jr. (Chapel Hill: University of North Carolina Press, 1971), 77–79. Sigmund Freud, writing on the topic four years after Rank, concurs that the double functions as a denial of death; he notes that “probably the ‘im- mortal’ soul was the first ‘double’ of the body” (“The Uncanny” [1919], in The Standard Edition of the Complete Psychological Works, ed. and trans. James Strachey, vol. 17 [London: Hogarth, 1955], 235). Thad Jenkins Logan counts thirty-seven allusions to death (“Twelfth Night: The Limits of Festivity,” Studies in English Literature 22 [1982]: 236). Anne Barton observes that these references increase in frequency as the play progresses. See her Introduction to Twelfth Night, in The Riverside Shakespeare, ed. G. Blakemore Evans et al. (Boston: Houghton Miff- lin, 1974), 406. David Willbern, among others, has commented on the play’s focus on mortality. See his “Malvolio’s Fall,” Shakespeare Quarterly 29 (1978): 85–90. See James Calderwood (Shakespeare and the Denial of Death [Amherst: University of Massachusetts Press, 1987]) for an examination of the ways in which Shakespearean characters seek immortality by join- ing with large collectives; the dynamic I describe in this essay is similar to that discussed by Calderwood, albeit on a more intimate scale. 76 Twelfth Night and the Reformation of Mourning for many readers describes a mortal trajectory, especially in the fourth stanza: But when I came unto my beds, With hey, ho, the wind and the rain, With tosspots still ’had drunken heads, For the rain it raineth every day. (5.1.378–81) The chronological progression of the first three stanzas moves from childhood to both marriage and maturity, so “beds” implies decline as much as sexuality or ordinary drunkenness. What the play does with that projection of decline is to oscillate between mournfulness for the past—and the parent—and a desire to avoid patrilineal strictures. The preoccupation with death is not least visible in Sebastian, who usually plays second fiddle to Viola in critical treatments of the play. When Sebas- tian describes his father to his friend Antonio, the lines, “He left behind him myself and a sister, both / born in an hour” (2.1.13–14), juxtapose the children’s birth and the father’s death, though Viola says later, in an unusual third-person reference to herself, that her father “died that day when Viola from her birth / Had numbered thirteen years” (5.1.229). (One critic suggests that the illeism is a form of self-objectification, an ambivalence about living and agency. However, the absence of the ex- pected “I” also serves to distance Viola from her father’s death.) Sebas- tian’s phrasing insinuates a substitution of children for parent, an in- ability to exist simultaneously, that Viola’s version softens, though the precise dating of her father’s death at her arrival to teenage years per- haps indicates a substitution of her incipient adulthood for his ended one. But the potential discrepancy between Sebastian’s and Viola’s ac- counts of their age at their father’s death bears less analysis than does Sebastian’s concluding regret, which I revisit at greater length: “He left behind him myself and a sister, both born in an hour. If the heavens had been pleas’d, would we had so ended!” (2.1.13–15). Presumably, “would we had so ended” means “I wish we had died together, just as In All’s Well That Ends Well, the pregnancy has already happened. In The Merchant of Venice, Gratiano proposes a wager for “the first boy” (The Merchant of Venice, ed. M. M. Mahood [Cambridge: Cambridge University Press, 1987], 3.2.213). For James Halliwell’s reading of Feste’s song, see Donno, ed., Twelfth Night, 5.1.366–85. Julienne Empric, personal communication, March 13, 2004. The third person also em- phasizes the duality of Viola-Cesario’s gender identity—the character speaks as Cesario here, not as Viola. Suzanne Penuel 77 we were born together; I wish I had drowned in the shipwreck along with Viola.” Sebastian wishes to trump death, his father’s real death and Viola’s supposed one, by dying. And paradoxically, he must double the dying—adding his own death to Viola’s—in order to do so. The suicidal duplication renders death less powerful. As significant as the duplica- tion, and linked to it, is the imagined leap back in history: Sebastian’s wish to erase his and Viola’s existence restores the primacy of the father whose death his words have connected to their births. The backward glance subordinates the filial present to the paternal past. In “I am bound to the Count Orsino’s court,” the formula that Sebas- tian uses to announce his departure to Antonio (2.1.31), “bound”’s most obvious meaning is that of activity, of going. However, it also suggests obligation and immobility. Usually an active, vigorous, castrating sort of young man who goes to sea, survives a wreck, evades a male suitor to fall into the arms of a titled bride, and gives his romantic rival a “bloody coxcomb” (5.1.177), Sebastian voices a longing for passivity here. Preceded by Antonio’s use of the word at 2.1.6 (“Let me know of you whither you are bound”), Sebastian’s “bound” matches the odd phrasing in line fifteen’s “Would we had so ended.” He does not say, “I would we had so edied .” H excludes himself as subject instead and selects a second verb that entails a lack of agency, just as he wishes for a lack of subjectivity in death. “End” rarely appears this way in the six- teenth and seventeenth centuries, though it occasionally does in Shake- speare.o People d not end; things do. Too, “end” is considerably more final than “die.” The term denies the possibility of afterlife.
Load more

Recommended publications
  • Celebration by the Colored People's Educational Monument Association in Memory of Abraham Lincoln, on the Fourth of July, 18
    Celebration by the Colored people's educational monument association in memory of Abraham Lincoln, on the Fourth of July, 1865, in the presidential grounds, Washington, D.C. ... CELEBRATION BY THE COLORED PEOPLE'S Educational Monument Association IN MEMORY OF ABRAHAM LINCOLN, ON THE FOURTH OF JULY, 1865, IN THE PRESIDENTIAL GROUNDS, WASHINGTON, D. C. PRINTED BY ORDER OF THE BOARD OF DIRECTORS. L. A. BELL, Recording Secretary. WASHINGTON, D. C.: McGILL & WITHEROW, PRINTERS AND STEREOTYPERS. 1865. CELEBRATION BY THE COLORED PEOPLE'S Educational Monument Association IN MEMORY OF ABRAHAM LINCOLN, ON THE FOURTH OF JULY, 1865, IN THE PRESIDENTIAL GROUNDS, WASHINGTON, D. C. PRINTED BY ORDER OF THE BOARD OF DIRECTORS. L. A. BELL, Recording Secretary. WASHINGTON, D. C.: McGILL & WITHEROW, PRINTERS AND STEREOTYPERS. 1865. THE FOURTH OF JULY, 1865. The Fourth of July, 1865, was indeed a memorable day, being the first time that the colored people have attempted any celebration of a national character. The celebration was gotten up under the auspices of the Colored People's National Lincoln Monument Association, whose efforts have, in this respect, been crowned with the full measure of success. Thousands were present on the grounds throughout the entire day. The Washington City Sabbath School Union were present in great numbers, with many banners, flags, mottoes, and devices, forming one of the chief features of the celebration. Many distinguished persons were present; including senators, representatives, members of the judiciary, officers of the Government and officers of the army and navy. Promptly at Celebration by the Colored people's educational monument association in memory of Abraham Lincoln, on the Fourth of July, 1865, in the presidential grounds, Washington, D.C.
    [Show full text]
  • Confronted Patriarchy in Sylvia Plath's Poems
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by TEFLIN (Teaching English as a Foreign Language in Indonesia) Journal (State University... CONFRONTED PATRIARCHY IN SYLVIA PLATH'S POEMS Kukuh Prayitno Subagyo Universitas Negeri Malang, Indonesia Abstract: The American literary canons, mainly those of the nineteen fifties and the nineteen sixties, had consistently portrayed women as subservient citizens. Women in the American culture had been put under men s domina- tion and thus lost their identity and been unable to determine their own fate. They played roles long prescribed by men, both in the home and in their so- cial milieu. As products of the era, a number of Sylvia Plath s poems depict confrontation against this phenomenon of patriarchy in which women have been inferior to and abused by men; they fight for freedom and to regain their true roles as women and human beings. Key words: the American literary canons, patriarchy, Sylvia Plath s poems The American nineteen fifties and sixties have witnessed the advent of literary works portraying women s struggle for liberation, the so-called Women s Movement, whose members turned out to be assertive activists struggling for the sake of their fellow woman citizens. The Women s Movement for libera- tion gained its momentum during these decades, and continued to color the lit- erary works of all genres even in the ensuing years. In fact, such woman- related themes as feminism, women studies, and women s emancipation have dominated not only the American literary genres but those of the world as well beyond the turn of the second millennium.
    [Show full text]
  • The Kilmichael Glassary Bell-Shrine | 201
    Proc Soc Antiq Scot 142 (2012), 201–244 THE KILMICHAEL GLASSARY BELL-SHRINE | 201 The Kilmichael Glassary Bell-shrine David H Caldwell*, Susy Kirk†, Gilbert Márkus‡, Jim Tate§ and Sharon Webb ǁ ABSTRACT The Kilmichael Glassary Bell-shrine is one of the treasures of National Museums Scotland. This paper reassesses the circumstances of its discovery, its context and importance, and its role as a relic of a saint, not Moluag, as previously suggested, but possibly Columba. The wider use of handbells in the early medieval church is also considered. The bell-shrine was found in 1814, on the farm of Torbhlaren, in the parish of Kilmichael Glassary, in mainland Argyll, probably near to where it was venerated. The bell inside it dates to the 7th–9th century, the shrine to the first half of the 12th century. The latter bears evidence in its design of a mixed artistic heritage, including local, Irish and Scandinavian influence. Alternative hypotheses, that it represents the artistic output of the Kingdom of the Isles or Dunkeld, in the kingdom of the Scots, are presented. Details are provided of a technological examination of bell and shrine and a list of other early Scottish handbells is included. INTRODUCTION DISCOVERY AND PROVENANCE The Kilmichael Glassary Bell-shrine [KGBS] is S Webb a medieval reliquary in the form of a small copper alloy box which contains an iron handbell (illus The circumstances surrounding the place 1). Associated with them is a copper alloy chain where bell, shrine, cross and chain were and cross. This group of artefacts was found in found in the early 1800s are confusing and 1814, on the land of John MacNeill of Oakfield, there are conflicting opinions as to who made in the parish of Kilmichael Glassary in Argyll, this extraordinary discovery.
    [Show full text]
  • A Book About Bells by George S
    A Book About Bells by George S. Tyack File 03: Chapters VIII to VII (pages 137 to 219) This document is provided for you by The Whiting Society of Ringers visit www.whitingsociety.org.uk for the full range of publications and articles about bells and change ringing CHAP-'fER VIII. LJ AVING devoted considerable space to the consider­ r ation of the Lells themselves, we turn to the question of their use; and, as is natural, tt.e human agents in such employment of them first demand some attention. There is not much of interest, however, to record con­ cerning these until comparatively modern times ; for although bells, as we have seen, are very ancient, bell-ringing as it is understood in England to.day is a thing of the last three hundred years only. In the days when churches usually had two or three bells only, and these were chimed or tolled singly, the bell-ringers' art was not one to attract notice. Charle­ magne ordained that the clergy themselves were to sound the beUs as a summons to divine worship, and as late as the last century the custom was regularly observed in some places; at Notre Dame, in Paris, for instance, the priests, arrayed in surplices, rang the bells, and such is still the rule among the Carthusians. The churchwardens' accounts for the parish of Ludlow in 1551 have an entry of the sum of twelvepence paid to "the dekyns for rynginge of day belle;" and a trace of the same usage is to be found at Holy Trinity, Coventry, a century earlier.
    [Show full text]
  • Well, Our Mystery Is Solved Now." Dead Bell-Ringer with a Kind of Regret
    CHAPTER XXIX. THE ENEMY. WALTER broke into a weak, hysterical laugh, "ana I took that for a spirit," he exclaimed. Well, our mystery is solved now." "Yes," his chum admitted, looking down at the dead bell-ringer with a kind of regret, "still there are some points about it which still remain a mystery, and always will. There is no record of there ever being monkeys found in this state. It must have been brought here by one of the Spanish gentlemen as a pet and taught the trick of ringing the bell, and yet, that theory is unbelieveable. Consider, Walter, if such is the case, this creature has reached an in- credible age." Walter bent down and flashed the torch in the monkey's face. "He looks as though he had lived for centuries," he exclaimed, "his face is like that of a shriveled mummy, and see, that look of cunning and aged-wisdom in his features. Charley," contin- ued the tender-hearted boy with a break in his voice, " I feel as badly about it as I would if I had shot a 251 252 THE YOUNG PLUME HUNTERS man. Think of the poor, harmless creature, remain- ing true year after year to the one task he knew how to perform, and then to be shot down at last while doing it." " Nonsense, this is no time for sentiment. We must get back to our post, we have left it altogether too long. You will have to help me back, I guess, Walt," Charley said. "How did you get here ? " demanded his chum, the current of his thoughts suddenly changed.
    [Show full text]
  • Red Eye, the Cauldron of Morning| a Study of the Later Poetry of Sylvia Plath
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Red eye, the cauldron of morning| A study of the later poetry of Sylvia Plath Laurel Ann Hebert The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Hebert, Laurel Ann, "Red eye, the cauldron of morning| A study of the later poetry of Sylvia Plath" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3377. https://scholarworks.umt.edu/etd/3377 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE EED EYE, THE CAULDRON OF MORNING: A STUDY OF THE LATER POETRY OF SYLVIA PLATH by Laurel A. Hebert B.A., Ualveralty of Oregon, 1962 Presented in partial fulfillment of thm requirements for the degree of Master of Arts UNIVERSITY OF MONTANA I960 Approved by: Chairman, Board of Examiners Graduate Sehool August 7, 1968 Date UMI Number: EP35599 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these wili be noted. Also, if material had to be removed, a note will indicate the deletion.
    [Show full text]
  • Humour and the Journey to Hell MADY GILLESPIE Scholars Know the Humor in Ulysses Can Be Erudite, Visceral, Or Just Stupid
    Humour and the Journey to Hell MADY GILLESPIE Scholars know the humor in Ulysses can be erudite, visceral, or just stupid. But can it be polemical, and in what way? Mady Gillespie deals with this issue with admirable finesse, looking for answers in an odd location—the funeral in “Hades”—and distinguishing between the content of a joke and the social positioning from which it is launched. In looking at Leopold Bloom and his puzzling attempt to tell an anti-Semitic joke, she puts her attention on jokes that fail, and that fail because jokes depend on shared social values, being part of a community. As she argues, “pre-existing social powers” do much to determine the success of a joke. Jokes launched from the outside are much more tenuous in their delivery—but much more evocative because of that. —Dr. Leonard Diepeveen nowing nothing about the novel Ulysses, one might find the episode entitled “Hades” an odd place to K begin a search for humour. As the hero, Leopold Bloom, takes his journey to the Underworld in the form of a funeral procession, one cannot help but think that a funeral is not the time or place for jokes. However, in this chapter, Ulysses effectively uses humour juxtaposed with the seriousness of the occasion, to critique the social order in Dublin in 1904. There are two big jokes in the Hades episode: the failed anti-Semitic joke told by Leopold Bloom in the carriage, and the successful joke told later on by John O’Connell in the cemetery. There are also a few subtler jokes mixed in, and some things, which are not so much true jokes as moments of internal humour.
    [Show full text]
  • The Lived Experience of Organ Transplantation: Miracle Or Medicine?
    THE LIVED EXPERIENCE OF ORGAN TRANSPLANTATION: MIRACLE OR MEDICINE? Geraldine Mary O’Brien Bachelor of Psychology (Honours) Murdoch University This thesis is presented for the degree of Doctor of Philosophy Murdoch University 2014 i Abstract Transplantation has revolutionised the management of end stage organ disease, and is currently the treatment of choice in many developed western nations. The success of this treatment has led to an increasing demand for it, and concomitant increase in the demand for transplantable organs. Organ scarcity is widely acknowledged as the dominant, and most persistent, problem faced in contemporary transplantation. Scarcity of available organs undergirds the gift-of-life metaphor, upon which all transplantation discourses have been founded (Fox & Swazey, 2002). Gift-of-life discourse is routinely utilised in a bid to increase donation rates and enforce a ‘construction of care’ in recognition of, and reciprocity for, the scarce and precious gift received (Sothern & Dickinson, 2011). Shaw (2012) argued that gift-of-life rhetoric is prescriptive; directing, in large part, what can be felt and said in the context of transplantation. This can be problematic, as although transplantation undoubtedly extends life, it does not do so without incurring physiological and psychological cost. The immunosuppression regimens that recipients must adhere to and the psychosocial outcomes of transplantation mean that, in effect, transplantation may represent the exchange of one set of hardships for another (Sharp, 2006). Recipients often exist in a state of ‘persistent liminality’, caught between the worlds of the healthy and the sick (Crowley-Matoka, 2005). This research was undertaken to explore the lived experience of transplantation.
    [Show full text]
  • Psychoanalytic Perspectives on Puberty and Adolescence
    Psychoanalytic Perspectives on Puberty and Adolescence Puberty is a time of tumultuous transition from childhood to adulthood activated by rapid physical changes, hormonal development and explosive activity of neurons. This book explores puberty through the parent-teenager relationship, as a “normal state of crisis”, lasting several years and with the teenager oscillating between childlike tendencies and their desire to become an adult. The more parents succeed in recognizing and experiencing these new challenges as an integral, ineluctable emotional transformative process, the more they can allow their children to become independent. In addition, parents who can also see this crisis as a chance for their own further development will be ultimately enriched by this painful process. They can face up to their own aging as they take leave of youth with its myriad possibilities, accepting and working through a newfound rivalry with their sexually mature children, thus experiencing a process of maturity, which in turn can set an example for their children. This book is based on rich clinical observations from international settings, unique within the field, and there is an emphasis placed by the author on the role of the body in self-awareness, identity crises and gender construction. It will be of great interest to psychoanalysts, psychotherapists, parents and carers, as well as all those interacting with adolescents in self, family and society. Gertraud Diem-Wille is Professor Emeritus at the University of Klagenfurt in the field of Psychoanalytic Education. She is a training analyst for children, adolescents and adults (IPA) and has pioneered and supported the training in psychoanalytic observational approaches to training in psychoanalytic and educational fields in Austria.
    [Show full text]
  • Interpretative Notes to Clerk Saunders
    Interpretative Notes for “Clerk Saunders” There are several levels of information contained within language used in traditional ballads. Much is that of the narrative, but there may be other important points of information which can refer to cultural or historic practices, or may refer to the emotional condition of the characters. Literal statements may actually indicate a different action, which cannot fully presented due to the constraints of ballad language and the invasive nature a full description would have on the actual narrative of the story within the ballad. Developed euphemisms may be used to indicate but not state a more visceral event than that which seems to be referred to. In the Minstrelsy, Scott seems to have resorted to at least one of these, and may have invented it. Sometimes, such information may be presented through the use of supra-narrative functions, which operate as an effective shorthand code, implying actions, emotions or the likelihood of a certain outcome, which would not be easily described concisely or within the bounds of a ballad’s verses. Several forms of these language structures, formulas and formulaic language have been developed within the tradition, in order to contain a full emotive response from a listener, who would often share the knowledge with the singer. To help interpret the subtleties which exist within some ballads, we have provided a list of interpretative points to help pinpoint important moments of action or response within these ballads, or to better explain certain phrases within the narrative or the dialogue And remember, if words ever seem confusing on the page - always try reading them aloud.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced from the Microfilm Master. UMI Films the Text Directly from the Origina
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9222631 The art of dying: Suicide in the works of Kate Chopin and Sylvia Plath Gentry, Deborah Suiter, D.A. Middle Tennessee State University, 1992 Copyright ©1992 by Gentry, Deborah Suiter.
    [Show full text]
  • Some Suggestions of Origin in Indian Architecture
    Journal of the Royal Asiatic Society of Great Britain & Ireland http://journals.cambridge.org/JRA Additional services for Journal of the Royal Asiatic Society of Great Britain & Ireland: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Art. II.—Some Suggestions of Origin in Indian Architecture William Simpson Journal of the Royal Asiatic Society of Great Britain & Ireland / Volume 20 / Issue 01 / January 1888, pp 49 - 71 DOI: 10.1017/S0035869X00019870, Published online: 15 March 2011 Link to this article: http://journals.cambridge.org/ abstract_S0035869X00019870 How to cite this article: William Simpson (1888). Art. II.—Some Suggestions of Origin in Indian Architecture. Journal of the Royal Asiatic Society of Great Britain & Ireland, 20, pp 49-71 doi:10.1017/ S0035869X00019870 Request Permissions : Click here Downloaded from http://journals.cambridge.org/JRA, IP address: 142.58.129.109 on 16 Mar 2015 49 ART. II.—Some Suggestions of Origin in Indian Architecture. By WILLIAM SIMPSON, M.R.A.S. WHEN Mr. Fergusson commenced the study of Indian Archi- tecture, nothing was really known on the subject. He had first to collect the materials, and after years of work he was able at last to leave the Architecture of India in a classified form. This was in itself a great achievement for one man to do. But he did more than this. He traced back the develop- ments of form and construction in many cases to their early beginnings, and thus gave us their origin. It is only when this has been accomplished that we can truly say "we know" any particular style of architecture.
    [Show full text]