Light History

This essay comes from the NPR series This I Believe, which features brief personal reflections from both famous and unknown Americans. The pieces that make up the series compel listeners to rethink not only what and how they have arrived at their beliefs, but also the extent to which they share them with others.

In three forcible disruptions, first in April 1885 and last in March-April 1886, the Knights of Labor assailed locomotive operations or stopped work on railroads which were controlled directly or influentially by Jay Gould. Though both Terence Powderly, the chief executive of the Knights, and Gould decried the strikes, they could not easily resolve their labored variance. This play is one of the Gouldium, a series of dramas on the life and times of Jay Gould. As in most of these plays there are seven scenes of dialogue and seven choral episodes.

It is a historical peculiarity of landscape painting that it begins with the artificial, and only after that proceeds towards the natural. For example, landscape paintings, and especially fanciful Nilotic panoramas, were one of the genres produced by artists in Pompeii. When, with the Renaissance, landscape painting once again started to establish itself after a long interval, the representations of the surrounding world that artists began to produce as a separate and independent genre, rather than simply as a background for human figures, were usually more fanciful than real.

The Rev. Calvin Dill Wilson (1857-1946) was a Presbyterian minister and author. His book Black Masters, first published in 1904, explores the history of wealthy free African Americans who became slave-owners. According to Wilson’s research, there were around 6,200 Black slave-holders in the years before the Civil War who owned some 18,000 slaves. By owning their families, free colored men and women could protect them against oppressive local laws.

The Rev. Calvin Dill Wilson (1857-1946) was an author and Presbyterian minister. In Black Masters of 1904, he discusses the little-known history of the free African-Americans that bought and sold slaves just like Southern white planters. Free colored men and women could own their families and in this way protect them against oppressive local laws. There was also the desire to attain a position of superiority over other blacks, an ambition to rise to the class of the masters and to be on the same level as white men.

This essay comes from the NPR series This I Believe, which features brief personal reflections from both famous and unknown Americans. The pieces that make up the series compel listeners to rethink not only what and how they have arrived at their beliefs, but also the extent to which they share them with others.