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Kenneth Clark

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Evidently one cannot look for long at the Last Supper without ceasing to study it as a composition, and beginning to speak of it as a drama. It is the most literary of all great pictures, one of the few of which the effect may largely be conveyed — can even be enhanced — by description.
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Ch. Five: 1485-1496

 
Kenneth Clark

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For a thousand years, the Bible was almost the only book people read, if they could read at all. The stories that were officially told and portrayed were Biblical and religious stories. That other fount of Western civilization as we know it today — the Greek classics — went largely unknown until the Renaissance. For our purposes, there's a noteworthy difference between these two literatures: in the Bible people are hardly ever said to be mad as such, whereas in Greek drama they go off their rockers with alarming frequency. It was the rediscovery of the classics that stimulated the long procession of literary madpeople of the past four hundred years.

 
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The new "ambiguity" means, in a way adjudged favorable to literary, poetic, intellectually and psychologically well-devised and praiseworthily executed linguistic performance, uncertainty of meaning, or difficulty for the interpreter in identifying just what the meaning in question is: it means the old meanings of ambiguity with a difference. It means uncertainty of meaning (of a word or combination of words) purposefully incorporated in a literary composition for the attainment of the utmost possible variety of meaning-play compressible within the verbal limits of the composition.

 
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Had previous chroniclers neglected to speak in praise of History in general, it might perhaps have been necessary for me to recommend everyone to choose for study and welcome such treatises as the present, since men have no more ready corrective of conduct than knowledge of the past. But all historians, one may say without exception, and in no half-hearted manner, but making this the beginning and end of their labour, have impressed on us that the soundest education and training for a life of active politics is the study of History, and that surest and indeed the only method of learning how to bear bravely the vicissitudes of fortune, is to recall the calamities of others. Evidently therefore no one, and least of all myself, would think it his duty at this day to repeat what has been so well and so often said. For the very element of unexpectedness in the events I have chosen as my theme will be sufficient to challenge and incite everyone, young and old alike, to peruse my systematic history. For who is so worthless or indolent as not to wish to know by what means and under what system of polity the Romans in less than fifty-three years have succeeded in subjecting nearly the whole inhabited world to their sole government — a thing unique in history? Or who again is there so passionately devoted to other spectacles or studies as to regard anything as of greater moment than the acquisition of this knowledge?

 
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“Every drama school in the country turned me down, and so I was lucky to study drama at all, even if it was lowly Birmingham University. But even when I came out with my degree, my mother promptly insisted I go straight to secretarial college to have something to fall back on, just in case – which didn’t exactly fill me with confidence.”

 
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