Edmund Gosse.
PRINCESS CHARLOTTE OF ENGLAND
On November 6, 1817, died Princess Charlotte, only child of the Prince Regent, and heir to the crown of England. Her short life had hardly been a happy one. By nature impulsive, capricious, and vehement, she had always longed for liberty; and she had never possessed it. She had been brought up among violent family quarrels, had been early separated from her disreputable and eccentric mother, and handed over to the care of her disreputable and selfish father. When she was seventeen, he decided to marry her off to the Prince of Orange; she, at first, acquiesced ; but, suddenly falling in love with Prince Augustus of Prussia, she determined to break off the engagement. This was not her first love affair, for she had previously carried on a clandestine correspondence with a Captain Hess. Prince Augustus was already married, morganat-ically, but she did not know it, and he did not tell her. While she was spinning out the negotiations with the Prince of Orange, the allied sovereigns
Ко oxar akontre al cinika ? Etun of tala in kontredico kon sa intima natur, pe un duma konformismo kol med ki I’umar. Pe pav de sa ,,kompa-nos”, il raligar lo negeros e lo nilferos. Van il no endar pe suicidi — lo ki po il fonde lo plu logika — il deskadar idide e jar 1’imago selfa de ladeso, gronande matinsere e kirande in obsheneso, van no in krim, un dispera rifugo.
Optimismo e pesimismo sar reale un opto, un elgo ke l’om far sape van il nok yuna. Et elgo decidar l’oryentazo de la viv. Lo pesimist jar cinika e delera; 1’optimist sar konstruifa e realar lo maxim d’ix po soself e po sa proxun.
Goethe dicir ke lo prim dov d’un om ver sa proxun sar si ixa.
Un korespondent ne ramemar ke les Eraklit lo mond sar tala ke lo mal shar ye koexisti kon ben. II en dedukar ke lo pesimistos shar ye koexisti kol optimistos.
Es ete, nos barmu lo pov pesimistos, kondanat groni e sekreli vinagro.
E nosself siu joya, nos laboru — labor lo prim sorgo d’ix — e nos fiu lo ben. Elgande Lum e Joy, nos sor exe portado del klabos del qasheros ki se delektar in skuro e fango.
A.
WALT WHITMAN
Mul pasea autoros sedukar somunos dun zi provokar lo ripulso d’osunos. Mo existar un autor ki ar lo pekuleso de plazi о diplazi al sam person in def periodos de viv, de kondis, uske de ved. Nil konsisto posibla nel atitud ver Walt Whitman ; zi ki abordar la opro sar tica po il oje e disgustat pe il kras. Eto dependar no tan da il qam da ziself; per zi yuna e sefa о lasa de vivi; per zi pasanda sert umoros о zi ju subir un sert erfaro; per lo solyo lucar e zi fridaere о zi sidat on un polto nir lo fok. Whitman ilself tan varya les oxa cirkonsos, tan notransigeme violenta, ke, van il star in sa blanka nudeso antel lekter, dependar no tan da il qam dal lekter ke la aspo plazar о nugar, e konseke nos ar lo fenomen de zorga jugeros exa-manda Whitman oje e danda a il lo prim premyo, e ki kras le ejekor indigne dal kategorio del kompeteros. To dependar dal lekter selfa, da la umor, da la fizika kondis, da la oxa atitud ver viv. Mi konar nilosa skriber ki tan dependar da na neuros о da na digest pol modo kom nos le benvenar о le ripushar.
Edmund Gosse.
PRINSIN SHARLOT D’ANGLO
Lo 6 novem, 1817, mortir Prinsin Sharlot, sol filin del Prinsregent, ed erederin del koron d’Anglo. La kurta viv sir apene ixa. D’impulsa, kaprica e vementa natur, el sem aspirinda ver frido, e el ni it posedinda. El edukinda inte violenta famil-qerelos, ir sat separat fru da sa malriputa e excentrika matro e porgat al kuro de sa malriputa e egoista patro. Van el sir issep, il decidir ley marli veg kol Prins d’Orango ; el prime yazir ; mo, inamande sodene Prins August de Pruso, el decidir rompi fidanso. Etun no sir la prim amor-aventur, den el price tenir un klandastena korespondo kon un Kapten Hess. Prins August sir ja morganmarlat, mo el no it spir, e il no dicir a el. Dun el duladir lo negosados kol Prins d’Orango, l’aligat sovranos. — sir Junyo, 1814 — arivir Londonye ut celebri sa vinko. Inte zi, nel folgo del Imperer de Rusio, sir lo yun e bel Prins Leopold de Sax-Koburg. II fir plul tentos po atiri l’atenso del Prinsin, mo el, kon sa kor osye, ye dir nil vik. Folgamese lo Prinsregent, — it was June, 1814 — arrived in London to celebrate their victory. Among them, in the suite of the Emperor of Russia, was the young and handsome Prince Leopold of Saxe-Goburg. He made several attempts to attract the notice of the Princess, but she, with her heart elsewhere, paid very little attention. Next month the Prince Regent, discovering that his daughter had secret meetings with Prince Augustus, suddenly appeared upon the scene and, after dismissing her household, sentenced her to a strict seclusion in Windsor Park. “God Almighty grant me patience!” she exclaimed, falling on her knees in an agony of agitation : then she jumped up, ran down the backstairs and out into the street, hailed a passing cab, and drove to her mother’s house in Bayswater. She was discovered, pursued, and at length, yielding to the persuasions of her uncles, the Dukes of York and Sussex, of Brougham, and of the Bishop of Salisbury, she returned to Carlton House at two o’clock in the morning. She was immured at Windsor, but no more was heard of the Prince of Orange. Prince Augustus, too, disappeared. The way was at last open to Prince Leopold of Saxe-Coburg.
Lytton Strachey.
REDISCOVERED TREASURES OF PRAGUE CASTLE NOW ON VIEW
From Our Special Correspondent — Prague
The group of paintings at the London embassy of the United Arab Republic that were identified a few weeks ago as the work of Tiepolo, are a reminder of the ease with which even major works of art may be overlooked when they become “part of the scenery”. In an exhibition now being held at Prague Castle there are nearly 50 examples of the same phenomenon, many of them works by some of the greatest artists.
The exhibition has been arranged to acquaint the Czechoslovakian people with the astonishing results of the threeyear historical study of the Prague Castle Gallery that the Institute for the Theory and History of Art, led by Jaromir Neumann, undertook on the instructions of the Restoration Council of the Castle.
There are 74 works on show, many of them major paintings by such masters as Rubens, Tintoretto, Titian, and Veronese, that have not been correctly attributed for several centuries. Some of these paintings were languishing in the darkness of the storerooms of Hraddany Castle, and months of patient study and restoration were needed before their origins could be traced.
Most of the paintings in the present exhibition, however, come into the same category of neglected masterpieces as the Tiepolos in London. Nearly two-thirds of them have, in fact, been hanging for years in the halls, staircases, offices, and galleries of the rambling building that dominates the city, with no more than a cursory glance during the annual inventory.
To the officials who have lived and worked in Hradcany over the years, many of these paintings must have come to seem part of the furniture. Major works by Veronese, Tintoretto, and Rubens, for example, have been hanging modestly on the castle walls, long erroneously described as “From the Studio of Bassano”. „Anonymous Painter of the 17th Century”, and “By an Unknown Aristist”. And, although it reveals others, it is this “mislaid masterpieces” aspect of the Prague Exhibition that most readily captures the imagination.
The story of the Prague Castle collection is long and eventful. It began with the Thirty Years War, when Swedish troops carried off most of the paintings and objects of art that were held in Hradcany. When the war ended in 1648. Ferdinand III set about restoring the collections and at the sale of the Duke of Buckingham’s pictures at Antwerp the same year no fewer than 100 paintings were bought for Prague.