“Every age has its own outlook. It is specially good at seeing certain truths and specially liable to make certain mistakes. We all, therefore, need the books that will correct the characteristic mistakes of our own period. And that means the old books. All contemporary writers share to some extent the contemporary outlook – even those, like myself, who seem most opposed to it. Nothing strikes me more when I read the controversies of past ages than the fact that both sides were usually assuming without question a good deal which we should now absolutely deny. They thought that they were as completely opposed as two sides could be, but in fact they were all the time secretly united – united with each other and against earlier and later ages – by a great mass of common assumptions. We may be sure that the characteristic blindness of the twentieth century – the blindness about which posterity will ask, “But how could they have thought that?” – lies where we have never suspected it, and concerns something about which there is untroubled agreement between Hitler and President Roosevelt or between Mr. H. G. Wells and Karl Barth. None of us can fully escape this blindness, but we shall certainly increase it, and weaken our guard against it, if we read only modern books. Where they are true they will give us truths which we half knew already. Where they are false they will aggravate the error with which we are already dangerously ill. The only palliative is to keep the clean sea breeze of the centuries blowing through our minds, and this can be done only by reading old books. Not, of course, that there is any magic about the past. People were no cleverer then than they are now; they made as many mistakes as we. But not the same mistakes. They will not flatter us in the errors we are already committing; and their own errors, being now open and palpable, will not endanger us. Two heads are better than one, not because either is infallible, but because they are unlikely to go wrong in the same direction. To be sure, the books of the future would be just as good a corrective as the books of the past, but unfortunately we cannot get at them.”
—C.S. Lewis, Preface to Athanasius’ On the Incarnation
ECCLESIASTES 3:11
11 He has made everything beautiful in its time. Also, he has put eternity into man’s heart, yet so that he cannot find out what God has done from the beginning to the end.
ST. FRANCIS’S PRAYER OF DESIRE
Therefore, let us desire nothing else, let us want nothing else, let nothing else please us and cause us delight except you our Creator, Redeemer and Savior, the only true God, Who is the fullness of good, all good, every good, the true and supreme good, Who alone is good, merciful, gentle, delightful, and sweet, Who alone is holy, just, true, holy, and upright, Who alone is kind, innocent, clean, from Whom, through Whom and in Whom is all pardon, all grace, all glory of all penitents and just ones, of all the blessed rejoicing together in heaven. Amen.
ART APPRECIATION
The Three Musicians is a famous example of Picasso’s style of Cubism. The three musicians are transformed into a sequence of two-dimensional planes, lines, and arcs.
1
Pablo Picasso (1811-1973) was born in Malaga, Spain. His name at birth was Pablo Diego Jose Franciso de Paula Juan Nepomunceno Maria de los Remedios Cipriano de la Santisima Trinidad Ruiz y Picasso. His parents gave him many names honoring saints and relatives. His mother claimed Pablo’s first words were “pencil, pencil” (in Spanish, of course). His father was a fine arts teacher at several schools, but legend has it that when he caught his 13-year-old-son finishing one of his paintings, he never painted again. Pablo was enrolled in a prestigious art academy, but soon quit because he didn’t like formal education. Instead, he moved to Paris to learn from the masters there. Picasso was the best-known figure in 20th century art and was more famous for his work during his lifetime than any other artist before him. He was a founder of a new art form called Cubism.
2
MUSIC APPRECIATION
| “O mio babbino caro” from Gianni Schicchi |
Puccini flirted briefly with faintly Wagnerian subjects in his early operas Le villi (1884) and Edgar (1889), though in these operas, the music owes much more to Verdi than to his Teutonic contemporary. Gianni Schicchi is a comparatively late work, comprising the third part of Puccini’s Il trittico (The Triptych), which premiered at the Metropolitan Opera in 1918. The libretto takes an episode from Dante’s Divine Comedy, the damnation of the will-forger Gianni Schicchi, as its starting point. His fraudulent will enriches his clan so that Lauretta, his daughter, can marry Rinuccio. In “O mio babbino caro,” one of Italian opera’s greatest tunes and a number that has become an archetype of late Romanticism’s final flowering in Puccini’s hands, Lauretta begs her father to go with her to buy a ring so she can marry, setting the whole forgery in motion. The tone of the aria is over-the-top in its voluptuousness, almost parodistic, which perfectly fits Lauretta’s melodramatic emotional state.
3
Giacomo Puccini (1858-1924) was an Italian composer, one of the greatest exponents of operatic realism, who virtually brought the history of Italian opera to an end. His mature operas included La Bohème (1896), Tosca (1900), Madama Butterfly (1904), and Turandot (left incomplete). 4
- Lange, Krista, and Leigh Lowe. First Grade Enrichment: Classical Core Curriculum. Teacher Guide. Memoria Press, 2017. ↩︎
- Ibid. ↩︎
- “‘O Mio Babbino Caro’ from Gianni Schicchi, Giacomo Puccini.” LA Phil, http://www.laphil.com/musicdb/pieces/56/o-mio-babbino-caro-from-gianni-schicchi. Accessed 15 Apr. 2025.
↩︎ - “Giuseppe Verdi.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 19 Feb. 2025, http://www.britannica.com/biography/Giuseppe-Verdi.
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Providence School of Tifton 