...when one Caryatid was removed from the Erechtheum, those that remained lamented "their ravished sister" with wailing that could be heard throughout the town (Garson 454).
When I read, this part of Garson's essay, I surprised: it touches on the very concept I blogged about earlier in my blog, War! Huh, what is it good for? in reaction to Barker and Hulme's essay. Just as Garson seems to imply that, in their enthusiasm, collectors such as Lord Elgin actually ruin the artwork they prize reducing "the fragments to architectural ruins" (455), I question whether our enthusiastic actions as literary critics damage the text we criticize. Do you think we run this danger?
(By the way, the picture above is an image of the Erechtheum, an ancient Greek temple located in Athens. "Caryatids" are the supporting pillars carved into female figures. In the Erechtheum, they are located in what is known as the Porch of Maidens as pictured below...this is where my year spent as an art history major kicks in...I always get excited when the essays we read link artwork to their literary arguments. I'm a very visual learner, so naturally, I love linking concepts to pretty pictures :) Pics taken from witcombe.sbc.edu/sacredplaces/acropolis.html & http://encarta.msn.com/media_461514456/porch_of_maidens_erechtheum.html.)