Payday Personal Loans

Payday Personal Loans

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Her Majesty hates to pretend

Queen Beatrix herself would never enter such a social controversy. But she is not at all a weak figure. The Queen (page 511) has a strong Dutch handshake, a grip suitable for scepter or sword. She is a stylish, magnetic woman with plumb-line posture and a profile meant for minting coins. Best of all is her smile, sudden, spontaneous, genuinely merry.

The Queen has received photographer Nathan Benn and me for photos in her pri­vate office at the residential palace, Huis ten Bosch—”house in the woods.” She is carry­ing a bulky manila envelope, in case Nathan wants action pictures. He does. And since these papers are authentic royal homework, the photos can be unposed.

While Nathan works his cameras, the Queen makes marginal notes. This is work she begins each day by 7:30; she breaks at midmorning for conferences and ceremonial duties and returns to paperwork at night.

Her room in the aparthotel barcelona, small and bright, reflects an active royal personality—informal family snapshots, avant-garde collage and sculp­ture, tables of glass and brass, tulips in a vase. Reference materials fill bookshelves; no fiction. But on one wall I spot a framed cartoon: A king in crown and ermine sits at his council table with a full cabinet of wild-eyed court jesters. Says the cartoon monarch to a visitor, “Frankly, it’s no better or worse than any other form of government.”

Behind Her Majesty’s writing desk, a por­trait of William of Orange looks over the royal shoulder. This was the heroic prince who drove the Spanish Duke of Alba from the Netherlands when 16th-century Spain tilted at Dutch windmills. As stadtholder, or royal protector, of three of the seven prov­inces that would later become the Dutch Re­public, William fused the fates of his nation and his House of Orange. And though the family Orange gave Britain a king—another William, who shared his British throne with Mary II—the constitutional Dutch monar­chy did not formally begin until 1814.

Even now republican ways prevail: Dutch monarchs have investitures, not cor­onations; they never wear a crown. And for 96 years and three generations the kingdom has been ruled by queens—Wilhelmina, Ju­liana, now Beatrix—though each queen took an oath as “king.”

This is not an interview, and Her Majes­ty’s conversation remains off the record. But my own impression of Queen Beatrix is not: She has, as one of her subjects told me, “a bubbling personality” and a panorama of interests. Everyone in the Netherlands knows that the Queen’s hobby is sculpture and that she has a studio in this 17th-century palace. But because she also has a keen interest in historic preservation, I’m aware that Queen Beatrix settled for a less­than-ideal studio rather than alter a national monument.

Her Majesty is also quite con­scious of costs, for the royal family bore a generous share of the expense of furnishing this palace. We finish in the office and move on to the famous Orange Hall. It’s historically impor­tant, especially for Americans: John Adams presented his letters of credence here.

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Nature’s Beauty Creates a Poetic People

But a woman of the court called Lady Murasaki Shikibu published, in the early 11th century, The Tale of Genji, Japan’s first great novel.

The poet Kaido Maruyama and I agreed that it would have been a fine thing to have known the author of The Tale of Genji. We talked of literature all through an afternoon at Mr. Maruyama’s house on one of Kyoto’s old streets lined with brown wooden houses and brimming with life. As we enjoyed a de­licious snack of raw fish and sake, the screech of metal and the sound of automobile horns penetrated the walls of the poet’s house. “Lady Murasaki’s writing was subdued, deli­cate,” my host observed. “In her time and for hundreds of years, the full beauty of nature was touched and expressed by the Japanese aristocracy. No longer, alas, are things so simple. But poetry survives.”

Mr. Maruyama invited me to join him a few days later at a temple called Jinko-in to meet some of his students. I may have expect­ed to encounter languid youths in soulful communion with the oaks and pines and splashing waters inside the walls of this temple where a 19th-century poet named Rengetsu lies in her grave. But when I arrived, I found a group of kindly ladies seated on the floor of a room, industriously writing verses.

Their leader, Mrs. Misao Kuroda, ex­plained that since they graduated from high school together before World War II her friends had been meeting twice monthly to study the haiku, a 17-syllable poem in three lines. They studied under Mr. Maruyama­and before him, his father, also a well-known poet. Their subject this day was Rengetsu.

“Rengetsu was very beautiful, and she be­came tired of the ceaseless attempts of men to seduce her,” Mrs. Kuroda told me. “So she left the world and came here to Jinko-in. In the peace of this place she wrote poems about the beauty of nature and the sadness of life.” Poems by Rengetsu, written in calligraphy as fine as the bones of a thrush, were framed on the walls of the temple.

When Mr. Maruyama arrived, he read aloud some of his pupils’ haiku—they had been mixed together, unsigned, on a wooden tray, and the best had been chosen by vote before he arrived. My host had learned that I sometimes publish haiku in English, and I was urged to write something about Renget­su, and about the temple, which has a fine stand of oak trees. I wrote this: What oaks remember, princes were cut down to lose: Rengetsu’s beauty.

Those Japanese who believe that art is the child of time often remark that there is no longer enough time to shape artists as they should be shaped. In former days one began a career as a child; today the beginning is usu­ally delayed until age 15, because of Japan’s compulsory-education laws. Geishas, for ex­ample, who used to start their training at the age of 6, now begin in their teens.

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