Posture
The harbor-straddling Colossus was a figment of medieval imaginations based on the dedication text's mention of "over land and sea" twice. Many older illustrations (above) show the statue with one foot on either side of the harbor mouth with ships passing under it: "...the brazen giant of Greek fame, with conquering limbs astride from land to land..." ("The New Colossus", a poem engraved on a bronze plaque and mounted inside the Statue of Liberty in 1903). Shakespeare's Cassius in Julius Caesar (I,ii,136–38) says of Caesar:
Why man, he doth bestride the narrow world
Like a Colossus, and we petty men
Walk under his huge legs and peep about
To find ourselves dishonorable graves
Shakespeare alludes to the Colossus also in Troilus and Cressida (V.5) and in Henry IV, Part 1 (V.1).
While these fanciful images feed the misconception, the mechanics of the situation reveal that the Colossus could not have straddled the harbor as described in Lemprière's Classical Dictionary. If the completed statue had straddled the harbor, the entire mouth of the harbor would have been effectively closed during the entirety of the construction; nor would the ancient Rhodians have had the means to dredge and re-open the harbor after construction. The statue fell in 224 BC: if it had straddled the harbor mouth, it would have entirely blocked the harbor. Also, since the ancients would not have had the ability to remove the entire statue from the harbor, it would not have remained visible on land for the next 800 years, as discussed above. Even neglecting these objections, the statue was made of bronze, and an engineering analysis proved that it could not have been built with its legs apart without collapsing from its own weight. Many researchers have considered alternative positions for the statue which would have made it more feasible for actual construction by the ancients.
Read more about this topic: Colossus Of Rhodes
Famous quotes containing the word posture:
“If ones posture is upright, one has no need to fear a crooked shadow.”
—Chinese proverb.
“The Dada object reflected an ironic posture before the consecrated forms of art. The surrealist object differs significantly in this respect. It stands for a mysterious relationship with the outer world established by mans sensibility in a way that involves concrete forms in projecting the artists inner model.”
—J.H. Matthews. Object Lessons, The Imagery of Surrealism, Syracuse University Press (1977)