Sydney Owenson: 'The Life and Times of Salvator Rosa,' Independence, and Education

The Resurrected Christ by Salvator Rosa

Courtesy of Google Art

From my book, Innovations in Rhetoric in the Writings of Sydney Owenson (Lady Morgan), p. 231

Sydney Owenson (Lady Morgan), a voice representing independent consciousness, does not discriminate between various forms of aristocratic domination and the voice of the common person. Where knowledge and awareness are concerned, she reveals her perspective of the truth as she illustrates in the following passage from her biographical sketch, The Life and Times of Salvator Rosa:

Knowledge, which is supremacy as long only as it is a monopoly, was then the exclusive possession of the clergy; and the intellectual disparity, which existed between the many and the few, long continued to be the instrument of delusions, of which ignorance inevitably becomes the dupe and the victim. (Owenson, The Life and Times of Salvator Rosa, p. 2)

Her purpose for writing evolves from her focus on bringing awareness of the global and historical significance of Ireland to a philosophical focus on the dissemination of knowledge to all thinking individuals. In the above passage, she points out an ‘intellectual disparity’ which exists between those who have been taught through intensive educational programs and, consequently, then use that education as an “instrument of delusion.” 

Even though she presents Rosa in a discrete manner, Owenson reveals her disdain for any totalitarian control over the human spirit, be it religious or governmental. She remains devoted to the concept of independent and critical thinking as the way for humanity to advance to an  elevated consciousness. Thus, her biography of Salvator Rosa is a statement on the evolution of human culture and the possibilities that exist when human beings utilize the knowledge they gain (educational experiences) in a positive way to enlighten others. 

Spiritual Linguistics

 

Photo from DuckDuckGo Images

Spiritual Linguistics

I've given workshops in what I've termed, Spiritual Linguistics. My definition of Spiritual Linguistics follows: Spiritual is that which we cannot see, but we feel in our hearts. Linguistics is the study of language spoken or read, which can be viewed and analyzed. Language is a system of arbitrary symbols formed to express a thought for the purpose of communication between two or more individuals. 

Each of us can use our faithful awareness of our individual spirituality to communicate a sense of Divinity to others. This, in turn, will assist those we encounter to fulfill their purpose. If we each are responsible for our own spiritual contribution to daily conversations, deferent communication will occur.

Below, highlighted in green, are terms that you might consider. Take some time to carefully examine the semantics (the meanings) behind the highlighted terms as you recite this prayer, given to us by our Lord and Savior, Jesus Christ.

The Lord’s Prayer

Our Father, who art in Heaven

hallowed be thy name.

Thy Kingdom come, Thine Will be done

on earth as it is in Heaven.

Give us this day, our daily bread

and forgive us our debts

as we forgive our debtors

and lead us not into temptation

but deliver us from evil,

for Thine is the kingdom, the power and the glory,

now and forever.

Amen.

'Blind Girl at a Holy Well...' by Frederic W. Burton and Iconic Realism

Below is an excerpt from a paper I was beginning to present at a New England Regional Meeting of the American Conference for Irish Studies. Unfortunately, I came down with the Noro virus and had to leave the conference suddenly and drive across the entire state of Connecticut… sick as a dog. Ugh! What a memory… Anyway, enjoy this excerpt that I never was able to present completely. 

Blind Girl at a Holy Well - a Scene in the West of Ireland
Painting by Frederick William Burton

In Frederic William Burton's painting, Blind Girl at a Holy Well - a Scene in the West of Ireland, we could broaden our interpretation to consider who Burton was representing through this young, blind girl. Notice that the younger girl serves as blind girl's ‘eyes.’  Through the establishment of the iconic figure of a blind girl within the mind-set of the community, Burton places this icon in a new reality that the community does not usually accept as the normal setting for this iconic figure: a blind girl gathering water at a well. This placement allows the artist to make a statement that brings awareness to the community’s consciousness of an aspect within its culture that may need some attention. 

In Burton's painting, the commonplace figures become associations of those communal concepts to which many members can relate on a personal level: hope, industriousness and innocence, all of which he creates in the necessary function of gathering water. In Luke 6:39,  Jesus asks His disciples, "Can a blind person guide a blind person?" In this painting, the audience can "see" the necessity for others to help those, who are blinded, in the human act of quenching thirst, be that a physical, emotional, or political thirst.

The Semiotic Theory of Iconic Realism and Sydney Owenson (Lady Morgan), Writer and Patriot

 

Sydney Owenson Morgan and Harp 

(My book cover photo, permission to use photo has been given by the New York Public Library)

My semiotic theory of iconic realism is one I composed whilst researching Sydney Owenson’s national tale, The Wild Irish Girl. This semiotic theory of iconic realism involves any artist’s placement of a realistic, iconic object or person in a unique realistic setting in which this icon does not usually appear, to create a vivid representation of the icon within the designated realistic setting. 

Since both the icon and the realistic setting represent conceptual realism within a given culture which the artist’s rendering represents, this unexpected juxtaposition results in a vital perception. These two unusual entities, positioned by the artist, create awareness in the audience of a need for a change within the culture. 

Sydney Owenson incorporates the field of semiotics, dealing with the meaning of Irish terms and their connections with English interpretations. I had noticed the manner in which she established the iconic images of Ireland and England in realistic settings that were normally not associated with these images. In doing so, she brings to light the needed transformation of legislative and societal interactions between the 19th century English and Irish. 

© Jeanne I. Lakatos

To hear me read this, please click HERE.

Definition of the Semiotic Theory of Iconic Realism

Note: Occasionally, I post this to let any reader know what my semiotic theory actually is. Hope this brings some clarity for you. Cheers! 

Definition of the Semiotic Theory of Iconic Realism

by Jeanne I. Lakatos

Realism comprises authentic and independent aspects of the natural world, which individuals comprehend through sensory perception. The term icon describes a realistic person or realistic object, categorically perceived by a population as representative of a specific human activity or an object that bears significance to human activity. Iconic realism, then, involves the placement of an icon within the midst of a unique realistic setting, out of place for this particular icon, creating a static coalescence of the icon with the designated realism. Since both the icon and the realistic setting represent an aspect of the culture, the resulting friction between these two entities is the catalyst that generates enlightenment of a cultural dilemma. 

I used visual examples of iconic realism as the cover photos for my books, pictured below.
(Book #3 is forthcoming.)