-Havemann's-Tigers-Lions-Leopards-c1912-lithograph-(poster)-Kunstbibliothek-Staatliche-Museen-zu-Berlin.jpg) |
| Hollerbaum & Schmidt Havemann's Tigers, Lions, Leopards ca. 1912 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
-Havemann's-Predators-c1903-lithograph-(poster)-Kunstbibliothek-Staatliche-Museen-zu-Berlin.jpg) |
| Hollerbaum & Schmidt Havemann's Predators ca. 1903 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
-Anker-Brikets-c1900-lithograph-(poster)-Kunstbibliothek-Staatliche-Museen-zu-Berlin.jpg) |
| Hollerbaum & Schmidt Anker Brikets ca. 1900 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
-Manegold's-Krambambuli-(alcoholic-mixed-drink)-c1914-lithograph-(poster)-Kunstbibliothek-Staatliche-Museen-zu-Berlin.jpg) |
| Hollerbaum & Schmidt Manegold's Krambambuli (alcoholic mixed drink) ca. 1914 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
 |
| Winslow Homer Country School 1873 oil on canvas Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts |
 |
| Winslow Homer Butterflies 1878 oil on canvas New Britain Museum of American Art, Connecticut |
 |
| Winslow Homer The Shepherdess 1878 glazed ceramic tile Lyman Allyn Art Museum, New London, Connecticut |
 |
| Winslow Homer Hunting for Eggs 1874 watercolor and gouache on paper Clark Art Institute, Williamstown, Massachusetts |
 |
| Wenceslaus Hollar after Lorenzo di Credi Portrait of a Woman 1646 etching Philadelphia Museum of Art |
 |
| Wenceslaus Hollar after Martin Schongauer Woman with Wreath of Oak Leaves 1646 etching Philadelphia Museum of Art |
-c1630-etching-Herzog-Anton-Ulrich-Museum-Braunschweig.jpg) |
| Wenceslaus Hollar Harpocrates (Roman God of Silence) ca. 1630 etching Herzog Anton Ulrich Museum, Braunschweig |
-1665-engraving-(book-illustration)-Agnes-Etherington-Art-Centre-Kingston-Ontario.jpg) |
| Wenceslaus Hollar The File and the Viper (illustration to a fable of Aesop) 1665 engraving Agnes Etherington Art Centre, Kingston, Ontario |
-1994-monoprint-Beaverbrook-Art-Gallery-Fredericton-New-Brunswick.jpg) |
| Guy Duguay Francis Coutellier (from series, 5 Portraits of Artists) 1994 monoprint Beaverbrook Art Gallery, Fredericton, New Brunswick |
-1994-monoprint-Beaverbrook-Art-Gallery-Fredericton-New-Brunswick.jpg) |
| Guy Duguay Marc Paulin (from series, 5 Portraits of Artists) 1994 monoprint Beaverbrook Art Gallery, Fredericton, New Brunswick |
-1994-monoprint-Beaverbrook-Art-Gallery-Fredericton-New-Brunswick.jpg) |
| Guy Duguay Nancy Morin (from series, 5 Portraits of Artists) 1994 monoprint Beaverbrook Art Gallery, Fredericton, New Brunswick |
-1994-monoprint-Beaverbrook-Art-Gallery-Fredericton-New-Brunswick.jpg) |
| Guy Duguay Yvon Gallant (from series, 5 Portraits of Artists) 1994 monoprint Beaverbrook Art Gallery, Fredericton, New Brunswick |
from Part Six of The Age of Anxiety
Meanwhile, in the street outside, Quant and Malin, after expressing their mutual pleasure at having met, after exchanging addresses and promising to look each other up some time, had parted and immediately forgotten each other's existence. Now Malin was travelling southward by subway, while Quant was walking eastward, each to his own place. Dawn had begun to break.
Walking through the streets, Quant sang to himself an impromptu ballad:
When the Victory Powers convened at Byzantium,
The shiners declined to show their faces,
And the ambiences of heaven uttered a plethora
Of admonitory monsters which dismayed the illiterate.
Sitting in the train, Malin thought:
Age softens the sense of defeat
As well as the will to success,
Till the unchangeable losses of childhood,
The forbidden affections rebel
No more; so now in the mornings
I wake, neither warned nor refreshed,
From dreams without daring, a series
Of vaguely disquieting adventures
Which never end in horror,
Grief or forgiving embraces.
When the Victory Powers convened at Byzantium,
The shiners declined to show their faces,
And the ambiences of heaven uttered a plethora
Of admonitory monsters which dismayed the illiterate.
Sitting in the train, Malin thought:
Age softens the sense of defeat
As well as the will to success,
Till the unchangeable losses of childhood,
The forbidden affections rebel
No more; so now in the mornings
I wake, neither warned nor refreshed,
From dreams without daring, a series
Of vaguely disquieting adventures
Which never end in horror,
Grief or forgiving embraces.
Quant sang:
But peace was promised by the public hepatoscopists
As the Ministers met to remodel the Commonwealth
In what was formerly the Museum of Fashion and Handicrafts,
While husky spectres haunted the corridors.
Malin thought:
Do we learn from the past? The police,
The dress-designers, etc.,
Who manage the mirrors, say – No.
A hundred centuries hence
The gross and aggressive will still
Be putting their trust in a patron
Saint or family fortress,
The seedy be taking the same
Old treatments for tedium vitae,
Religion, Politics, Love.
But peace was promised by the public hepatoscopists
As the Ministers met to remodel the Commonwealth
In what was formerly the Museum of Fashion and Handicrafts,
While husky spectres haunted the corridors.
Malin thought:
Do we learn from the past? The police,
The dress-designers, etc.,
Who manage the mirrors, say – No.
A hundred centuries hence
The gross and aggressive will still
Be putting their trust in a patron
Saint or family fortress,
The seedy be taking the same
Old treatments for tedium vitae,
Religion, Politics, Love.
– W.H. Auden (1944-46)