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Bentarasko Benta Section 08
Page 09
This statement only applies to the actual marching, and does not at all mean that you had not to go through severe sufferings and endless trials of other kinds. Unless you were careful where you were sitting, you found yourself spiked by thorns of great length which were strewn all over the forest hidden under the thick carpet of discarded foliage from the trees. Not only that, but the moment you sat down your body was simply invaded by swarms of ants of all sizes and degrees of viciousness, which proceeded to bite you all over with considerable vigour. There were not many mosquitoes where the forest was dense, but there were millions--in fact, milliards--of bees, which rendered your life absolutely unbearable, as they clung to your face, hands and clothes. Fortunately, they did not sting, but clinging with their claws upon your skin they produced such an irritation that you were nearly driven mad by it.
So, it seems to me, is the immortality we so glibly predicate of departed artists. If they survive at all, it is but a shadowy life they live, moving on through the gradations of slow decay to distant but inevitable death. They can no longer, as heretofore, speak directly to the hearts of their fellow-men, evoking their tears or laughter, and all the pleasures, be they sad or merry, of which imagination holds the secret. Driven from the marketplace they become first the companions of the student, then the victims of the specialist. He who would still hold familiar intercourse with them must train himself to penetrate the veil which in ever-thickening folds conceals them from the ordinary gaze; he must catch the tone of a vanished society, he must move in a circle of alien associations, he must think in a language not his own.
The fifth chapel represents the birth of the Virgin. Having obtained permission to go inside it, I found the date 1715 cut large and deep on the back of one figure before baking, and I imagine that this date covers the whole. There is a Queen Anne feeling throughout the composition, and if we were told that the sculptor and Francis Bird, sculptor of the statue in front of St. Paul's Cathedral, had studied under the same master, we could very well believe it. The apartment in which the Virgin was born is spacious, and in striking contrast to the one in which she herself gave birth to the Redeemer. St. Anne occupies the centre of the composition, in an enormous bed; on her right there is a lady of the George Cruikshank style of beauty, and on the left an older person. Both are gesticulating and impressing upon St. Anne the enormous obligation she has just conferred upon mankind; they seem also to be imploring her not to overtax her strength, but, strange to say, they are giving her neither flowers nor anything to eat and drink. I know no other birth of the Virgin in which St. Anne wants so little keeping up.
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