Lonely Cottage

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  “Among the few features of agricultural England which retain an appearance but little modified by the lapse of centuries, may be reckoned the high, grassy and furzy downs, coombs, or ewe-leases, as they are indifferently called, that fill a large area of certain counties in the south and south-west. If any mark of human occupation is met with hereon, it usually takes the form of the solitary cottage of some shepherd. Fifty years ago such a lonely cottage stood on such a down, and may possibly be standing there now. In spite of its loneliness, however, the spot, by actual measurement, was not more than five miles from a county-town. Yet that affected it little. Five miles of irregular upland, during the long inimical seasons, with their sleets, snows, rains, and mists, afford withdrawing space enough to isolate a Timon or a Nebuchadnezzar; much less, in fair weather, to please that less repellent tribe, the poets, philosophers, artists, and others who “conceive and meditate of ple...

The Art of Dancing

 When I was a teen and well into orchestral training, an album was given to me that would be wonderful to find once again. I believe it was called,  “The Compleat Dancing Master.” [sic] It is no longer available, as far as I am able to discover. It was a collection (as I recall) of Renaissance English Country Dance tunes (fiddles, lutes, pipes, guitar, etc). 


When I was a teen and well into orchestral training, an album was given to me that would be wonderful to find once again. I believe it was called,  “The Compleat Dancing Master.” [sic] It is no longer available, as far as I am able to discover. It was a collection (as I recall) of Renaissance English Country Dance tunes (fiddles, lutes, pipes, guitar, etc). 


One track in that collection that stood out as a dance tune faded, was this spoken piece attributed to William Prynne, Archbishop of Canterbury from 1633-1645. The deep, solemn voice orated: 


“Dancing, is, for the most part, attended with many amorous smiles, wanton compliments, unchaste kisses, scurrilous songs and sonnets, effeminate music, lust provoking attire, ridiculous love pranks, all which savor only of sensuality, of raging fleshly lusts. Therefore, it is wholly to be abandoned of all good Christians.”


Dancing can be properly used as a means of expression and communication, as can be seen in various cultures around the world. There are other uses of dancing that fall onto the other end of the spectrum. While it can be enjoyed as an art, as the result of learning, there are some uses leading to sinister results. It can be used a as distraction or enticement. It focuses inward, toward autonomy, away from community. This is manipulation, not Art. Exceptions are rare.


Tap your toes and move your feet in celebration or tradition. Use your body to express what words cannot, as King David did before The LORD. This is art. 


One track in that collection that stood out as a dance tune faded, was this spoken piece attributed to William Prynne, Archbishop of Canterbury from 1633-1645. The deep, solemn voice orated: 


“Dancing, is, for the most part, attended with many amorous smiles, wanton compliments, unchaste kisses, scurrilous songs and sonnets, effeminate music, lust provoking attire, ridiculous love pranks, all which savor only of sensuality, of raging fleshly lusts. Therefore, it is wholly to be abandoned of all good Christians.”


Dancing can be properly used as a means of expression and communication, as can be seen in various cultures around the world. There are other uses of dancing that fall onto the other end of the spectrum. While it can be enjoyed as an art, as the result of learning, there are some uses leading to sinister results. It can be used a as distraction or enticement. It focuses inward, toward autonomy, away from community. This is manipulation, not Art. Exceptions are rare.


Tap your toes and move your feet in celebration or tradition. Use your body to express what words cannot, as King David did before The LORD. This is art. 

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