jsburbidge: (Default)
I

 Bientôt nous plongerons dans les froides ténèbres ;
Adieu, vive clarté de nos étés trop courts!
J’entends déjà tomber avec des chocs funèbres
Le bois retentissant sur le pavé des cours.

Tout l’hiver va rentrer dans mon être: colère,
Haine, frissons, horreur, labeur dur et forcé,
Et, comme le soleil dans son enfer polaire,
Mon coeur ne sera plus qu’un bloc rouge et glacé.

J’écoute en frémissant chaque bûche qui tombe;
L’échafaud qu’on bâtit n’a pas d’écho plus sourd.
Mon esprit est pareil à la tour qui succombe
Sous les coups du bélier infatigable et lourd.

Il me semble, bercé par ce choc monotone,
Qu’on cloue en grande hâte un cercueil quelque part.
Pour qui? – C’était hier l’été; voici l’automne!
Ce bruit mystérieux sonne comme un départ.

II

J’aime de vos longs yeux la lumière verdâtre,
Douce beauté, mais tout aujourd’hui m’est amer,
Et rien, ni votre amour, ni le boudoir, ni l’âtre,
Ne me vaut le soleil rayonnant sur la mer.

Et pourtant aimez-moi, tendre coeur! soyez mère,
Même pour un ingrat, même pour un méchant;
Amante ou soeur, soyez la douceur éphémère
D’un glorieux automne ou d’un soleil couchant.

Courte tâche! La tombe attend ; elle est avide!
Ah! laissez-moi, mon front posé sur vos genoux,
Goûter, en regrettant l’été blanc et torride,
De l’arrière-saison le rayon jaune et doux!

Charles Baudelaire, Les fleurs du mal
jsburbidge: (Default)
 As I in hoary winter’s night stood shivering in the snow,
Surpris’d I was with sudden heat which made my heart to glow;
And lifting up a fearful eye to view what fire was near,
A pretty Babe all burning bright did in the air appear;
Who, scorched with excessive heat, such floods of tears did shed
As though his floods should quench his flames which with his tears were fed.
“Alas!” quoth he, “but newly born, in fiery heats I fry,
Yet none approach to warm their hearts or feel my fire but I!
My faultless breast the furnace is, the fuel wounding thorns,
Love is the fire, and sighs the smoke, the ashes shame and scorns;
The fuel Justice layeth on, and Mercy blows the coals,
The metal in this furnace wrought are men’s defiled souls,
For which, as now on fire I am to work them to their good,
      So will I melt into a bath to wash them in my blood.”
      With this he vanish’d out of sight and swiftly shrunk away,
      And straight I called unto mind that it was Christmas day.

- Robert Southwell
jsburbidge: (Default)

Quoted from an actual classicist talking about the early CE in a Guardian article:

"Poetry was so important; everyone read Homer and all that sort of thing. But we know that spoken language wasn’t really appropriate to that kind of poetry.. "

Somebody has their wires crossed. If they'd cited, say, Callimachus it would be unexceptionable (except that I doubt everyone read Callimachus). But Homer was, very much, oral poetry. The ghost of Milman Parry is turning in his grave.

The speaker is trying to position accentual-metric verse as more natural than real metre, in Greek. But even in the days of Aristophanes the old-fashioned, pre-Sophist curriculum for the well-off young was mainly oral poetry (including composition) and not written. Metrical poetry.

Stressed poetry came in as the language changed and more syllables became short, and the claim underneath the article's actual text may be that the text being discussed is evidence of this transition earlier than previously thought. Germanic had already gone through that transition, which is why old Germanic poetry does not inherit Indo-European metrics but uses a stress-based alliterative metric.

Latin, by the way, was a different case - Greek metres had been grafted onto Latin and accentual-metric poetry reasserted itself early in the common era.

jsburbidge: (Cottage)
In 1976 I spent a year in France when my father was on sabbatical. The first paper I had to write in my Lycée French class was on "La Littérature Engagée". I argued at the time (I recall) for the primacy of pure art over any mandate for political engagement; I would take a somewhat more nuanced view now, beginning with the recognition (which makes the whole debate somewhat pointless) that no literature can avoid being somewhat engaged, regardless of the intent of the author, even if that intent is as purely literary and abstract as, say, Mallarmé's.

Through nothing more than coincidence, I have just been reading both Gordon's Teskey's The Poetry of John Milton[1] and Brust's / White's The Skill of our Hands.

Teskey's book is a summation of decades if teaching Milton, and covers his entire poetic career. It is thoroughly grounded in both the history of Milton's lifetime and in the sources Milton absorbed and transmuted. (Teskey knows Italian, Latin, and Greek, has familiarity with the literary works central to the traditions Milton drew on, and also enough of a grasp of Christian theology to discuss Milton's theological positions intelligently.) It is well worth reading.

One thing that comes through is the degree to which Milton's work (from about Comus on) is always "engaged", even if only with what Teskey calls transcendental engagement.

(Comus has a nice slipped-in bit: in the middle if a masque, that most aristocratic of entertainments, performed in front of one of the great officers of the realm, the Lady's statement that

If every just man that now pines with want
Had but a moderate and beseeming share
Of that which lewdly-pamper'd Luxury
Now heaps upon som few with vast excess,
Natures full blessings would be well dispenc't
In unsuperfluous eeven proportion,
And she no whit encomber'd with her store,
And then the giver would be better thank't,
His praise due paid, for swinish gluttony
Ne're looks to Heav'n amidst his gorgeous feast,
But with besotted base ingratitude
Cramms, and blasphemes his feeder.

-- an appeal for radical egalitarianism.)

Adam and Eve's society in Eden is, for Milton, the only valid polity in human history, and it is, formally, outside history. Milton's writing aims to push the reader into a mindset, and a course of action, aimed at bringing an ideal order into being here and in this dispensation. (The classic study of the reader in Paradise Lost is Fish's Surprised by Sin.)

We have become used to a discourse in which, because it is asserted that everything is political, and because many works elicit strong personal reactions because of traits which align them with one side or another in the culture wars, we tend to forget what fully engaged political works are actually like.

Regardless of whether troglodytes get worked up about them, works which are "political" mainly in the sense that they have diverse leading characters and display more polities than simply feudal ones in their fantasy/future worlds are not political, or at least engagedly political, in the same sense that, say Uncle Tom's Cabin was, or indeed Paradise Lost.

By contrast, The Skill of our Hands is very much an engaged book - oddly, even more on its publication than when it was being written.

At the time of its composition, its authors could not have known that it would be published amid a flurry of executive orders on immigration and deportation. They did know that the Obama Administration has increased markedly the number of deportations of undocumented immigrants, and that the general militarization of the police - a continuing trend not only in the US but more generally - was at its apex in the south.

It is explicitly an engaged work: it is about resistance; it layers the undocumented immigrant issue over that if slavery in Buchanan's day; it ends with a direct call to action. (It also slips in an aside about HFCS as a public-health concern.)

It also works as a novel, although it helps if the reader has first read The Incrementalists as a preparation.

[1]Disclosure: Teskey was an undergraduate student of my father's and a graduate student of a friend (and through the latter I see him from time to time when he returns to Canada for a visit).
jsburbidge: (Cottage)
There is no rose of swich vertu
As is the rose that bare Jhesu.
Alleluia.

For in this rose conteynyd was
Heven and erthe in lytyl space,
Res miranda.

Be that rose we may weel see
That he is God in personys three,
Pari forma.

The aungelys sungyn the shepherdes to
'Gloria in excelcis Deo.'
Gaudeamus.

Leve we all this wordly merthe,
And folwe we this joyful berthe;
Transeamus.
jsburbidge: (Cottage)
What is the late November doing
With the disturbance of the spring
And creatures of the summer heat,
And snowdrops writhing under feet
And hollyhocks that aim too high
Red into grey and tumble down
Late roses filled with early snow?
Thunder rolled by the rolling stars
Simulates triumphal cars
Deployed in constellated wars
Scorpion fights against the sun
Until the Sun and Moon go down
Comets weep and Leonids fly
Hunt the heavens and the plains
Whirled in a vortex that shall bring
The world to that destructive fire
Which burns before the ice-cap reigns

-T.S. Eliot, "East Coker"
jsburbidge: (Cottage)
On the Morning of Christ's Nativity
Compos'd 1629

I

This is the Month, and this the happy morn
Wherein the Son of Heav'ns eternal King,
Of wedded Maid, and Virgin Mother born,
Our great redemption from above did bring;
For so the holy sages once did sing,
That he our deadly forfeit should release,
And with his Father work us a perpetual peace.

II

That glorious Form, that Light unsufferable,
And that far-beaming blaze of Majesty,
Wherwith he wont at Heav'ns high Councel-Table,
To sit the midst of Trinal Unity,
He laid aside; and here with us to be,
Forsook the Courts of everlasting Day,
And chose with us a darksom House of mortal Clay.

III

Say Heav'nly Muse, shall not thy sacred vein
Afford a present to the Infant God?
Hast thou no vers, no hymn, or solemn strein,
To welcom him to this his new abode,
Now while the Heav'n by the Suns team untrod,
Hath took no print of the approching light,
And all the spangled host keep watch in squadrons bright?

IV

See how from far upon the Eastern rode
The Star-led Wisards haste with odours sweet:
O run, prevent them with thy humble ode,
And lay it lowly at his blessed feet;
Have thou the honour first, thy Lord to greet,
And joyn thy voice unto the Angel Quire,
From out his secret Altar toucht with hallow'd fire.

The Hymn

I

It was the Winter wilde,
While the Heav'n-born-childe,
All meanly wrapt in the rude manger lies;
Nature in aw to him
Had doff't her gawdy trim,
With her great Master so to sympathize:
It was no season then for her
To wanton with the Sun her lusty Paramour.

II

Onely with speeches fair
She woo's the gentle Air
To hide her guilty front with innocent Snow,
And on her naked shame,
Pollute with sinfull blame,
The Saintly Vail of Maiden white to throw,
Confounded, that her Makers eyes
Should look so neer upon her foul deformities.

III

But he her fears to cease,
Sent down the meek-eyd Peace,
She crown'd with Olive green, came softly sliding
Down through the turning sphear,
His ready Harbinger,
With Turtle wing the amorous clouds dividing,
And waving wide her mirtle wand,
She strikes a universall Peace through Sea and Land.

IV

No War, or Battails sound
Was heard the World around:
The idle spear and shield were high up hung;
The hooked Chariot stood
Unstain'd with hostile blood,
The Trumpet spake not to the armed throng,
And Kings sate still with awfull eye,
As if they surely knew their sovran Lord was by.

V

But peacefull was the night
Wherin the Prince of light
His raign of peace upon the earth began:
The Windes, with wonder whist,
Smoothly the waters kist,
Whispering new joyes to the milde Ocean,
Who now hath quite forgot to rave,
While Birds of Calm sit brooding on the charmed wave.

VI

The Stars with deep amaze
Stand fixt in stedfast gaze,
Bending one way their pretious influence,
And will not take their flight,
For all the morning light,
Or Lucifer that often warn'd them thence;
But in their glimmering Orbs did glow,
Untill their Lord himself bespake, and bid them go.

VII

And though the shady gloom
Had given day her room,
The Sun himself with-held his wonted speed,
And hid his head for shame,
As his inferiour flame,
The new-enlightn'd world no more should need;
He saw a greater Sun appear
Then his bright Throne, or burning Axletree could bear.

VIII

The Shepherds on the Lawn,
Or ere the point of dawn,
Sate simply chatting in a rustick row;
Full little thought they than,
That the mighty Pan
Was kindly com to live with them below;
Perhaps their loves, or els their sheep,
Was all that did their silly thoughts so busie keep.

IX

When such musick sweet
Their hearts and ears did greet,
As never was by mortall finger strook,
Divinely-warbled voice
Answering the stringed noise,
As all their souls in blisfull rapture took:
The Air such pleasure loth to lose,
With thousand echo's still prolongs each heav'nly close.

X

Nature that heard such sound
Beneath the hollow round
Of Cynthia's seat, the Airy region thrilling,
Now was almost won
To think her part was don,
And that her raign had here its last fulfilling;
She knew such harmony alone
Could hold all Heav'n and Earth in happier union.

XI

At last surrounds their sight
A Globe of circular light,
That with long beams the shame-fac't night array'd,
The helmed Cherubim
And sworded Seraphim
Are seen in glittering ranks with wings displaid,
Harping in loud and solemn quire,
With unexpressive notes to Heav'ns new-born Heir.

XII

Such Musick (as 'tis said)
Before was never made,
But when of old the sons of morning sung,
While the Creator Great
His constellations set,
And the well-balanc't world on hinges hung,
And cast the dark foundations deep,
And bid the weltring waves their oozy channel keep.

XIII

Ring out ye Crystall sphears,
Once bless our human ears,
(If ye have power to touch our senses so)
And let your silver chime
Move in melodious time;
And let the Base of Heav'ns deep Organ blow,
And with your ninefold harmony
Make up full consort to th' Angelike symphony.

XIV

For if such holy Song
Enwrap our fancy long,
Time will run back, and fetch the age of gold,
And speckl'd vanity
Will sicken soon and die,
And leprous sin will melt from earthly mould,
And Hell itself will pass away,
And leave her dolorous mansions to the peering day.

XV

Yea Truth, and Justice then
Will down return to men,
Th' enameld Arras of the Rainbow wearing,
And Mercy set between,
Thron'd in Celestiall sheen,
With radiant feet the tissued clouds down stearing,
And Heav'n as at som festivall,
Will open wide the Gates of her high Palace Hall.

XVI

But wisest Fate sayes no,
This must not yet be so,
The Babe lies yet in smiling Infancy,
That on the bitter cross
Must redeem our loss;
So both himself and us to glorifie:
Yet first to those ychain'd in sleep,
The wakefull trump of doom must thunder through the deep,

XVII

With such a horrid clang
As on mount Sinai rang
While the red fire, and smouldring clouds out brake:
The aged Earth agast
With terrour of that blast,
Shall from the surface to the center shake,
When at the worlds last session,
The dreadfull Judge in middle Air shall spread his throne.

XVIII

And then at last our bliss
Full and perfect is,
But now begins; for from this happy day
Th' old Dragon under ground,
In straiter limits bound,
Not half so far casts his usurped sway,
And wrath to see his Kingdom fail,
Swindges the scaly Horrour of his foulded tail.

XIX

The Oracles are dumm,
No voice or hideous humm
Runs through the arched roof in words deceiving.
Apollo from his shrine
Can no more divine,
With hollow shreik the steep of Delphos leaving.
No nightly trance, or breathed spell,
Inspire's the pale-ey'd Priest from the prophetic cell.

XX

The lonely mountains o're,
And the resounding shore,
A voice of weeping heard, and loud lament;
From haunted spring and dale
Edg'd with poplar pale,
The parting Genius is with sighing sent,
With flowre-inwov'n tresses torn
The Nimphs in twilight shade of tangled thickets mourn.

XXI

In consecrated Earth,
And on the holy Hearth,
The Lars, and Lemures moan with midnight plaint,
In Urns, and Altars round,
A drear, and dying sound
Affrights the Flamins at their service quaint;
And the chill Marble seems to sweat,
While each peculiar power forgoes his wonted seat.

XXII

Peor, and Baalim,
Forsake their Temples dim,
With that twise-batter'd god of Palestine,
And mooned Ashtaroth,
Heav'ns Queen and Mother both,
Now sits not girt with Tapers holy shine,
The Libyc Hammon shrinks his horn,
In vain the Tyrian Maids their wounded Thamuz mourn.

XXIII

And sullen Moloch fled,
Hath left in shadows dred.
His burning Idol all of blackest hue,
In vain with Cymbals ring,
They call the grisly king,
In dismall dance about the furnace blue;
The brutish gods of Nile as fast,
Isis and Orus, and the Dog Anubis hast.

XXIV

Nor is Osiris seen
In Memphian Grove, or Green,
Trampling the unshowr'd Grasse with lowings loud:
Nor can he be at rest
Within his sacred chest,
Naught but profoundest Hell can be his shroud:
In vain with Timbrel'd Anthems dark
The sable-stoled Sorcerers bear his worshipt Ark.

XXV

He feels from Juda's land
The dredded Infants hand,
The rayes of Bethlehem blind his dusky eyn;
Nor all the gods beside,
Longer dare abide,
Nor Typhon huge ending in snaky twine:
Our Babe, to shew his Godhead true,
Can in his swadling bands controul the damned crew.

XXVI

So when the Sun in bed,
Curtain'd with cloudy red,
Pillows his chin upon an Orient wave.
The flocking shadows pale
Troop to th' infernall jail,
Each fetter'd Ghost slips to his severall grave,
And the yellow-skirted Fayes
Fly after the Night-steeds, leaving their Moon-lov'd maze.

XXVII

But see the Virgin blest,
Hath laid her Babe to rest.
Time is our tedious Song should here have ending,
Heav'ns youngest-teemed Star
Hath fixt her polisht Car,
Her sleeping Lord with Handmaid Lamp attending.
And all about the Courtly Stable,
Bright-harnest Angels sit in order serviceable.

- John Milton
jsburbidge: (Cottage)
What we call the beginning is often the end
And to make and end is to make a beginning.
The end is where we start from. And every phrase
And sentence that is right (where every word is at home,
Taking its place to support the others,
The word neither diffident nor ostentatious,
An easy commerce of the old and the new,
The common word exact without vulgarity,
The formal word precise but not pedantic,
The complete consort dancing together)
Every phrase and every sentence is an end and a beginning,
Every poem an epitaph. And any action
Is a step to the block, to the fire, down the sea's throat
Or to an illegible stone: and that is where we start.
We die with the dying:
See, they depart, and we go with them.
We are born with the dead:
See, they return, and bring us with them.
The moment of the rose and the moment of the yew-tree
Are of equal duration. A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments. So, while the light fails
On a winter's afternoon, in a secluded chapel
History is now and England.

-T.S. Eliot, Little Gidding
jsburbidge: (Default)
'TIS the year's midnight, and it is the day's,
Lucy's, who scarce seven hours herself unmasks ;
The sun is spent, and now his flasks
Send forth light squibs, no constant rays ;
The world's whole sap is sunk ;
The general balm th' hydroptic earth hath drunk,
Whither, as to the bed's-feet, life is shrunk,
Dead and interr'd ; yet all these seem to laugh,
Compared with me, who am their epitaph.

Study me then, you who shall lovers be
At the next world, that is, at the next spring ;
For I am every dead thing,
In whom Love wrought new alchemy.
For his art did express
A quintessence even from nothingness,
From dull privations, and lean emptiness ;
He ruin'd me, and I am re-begot
Of absence, darkness, death—things which are not.

All others, from all things, draw all that's good,
Life, soul, form, spirit, whence they being have ;
I, by Love's limbec, am the grave
Of all, that's nothing. Oft a flood
Have we two wept, and so
Drown'd the whole world, us two ; oft did we grow,
To be two chaoses, when we did show
Care to aught else ; and often absences
Withdrew our souls, and made us carcasses.

But I am by her death—which word wrongs her—
Of the first nothing the elixir grown ;
Were I a man, that I were one
I needs must know ; I should prefer,
If I were any beast,
Some ends, some means ; yea plants, yea stones detest,
And love ; all, all some properties invest.
If I an ordinary nothing were,
As shadow, a light, and body must be here.

But I am none ; nor will my sun renew.
You lovers, for whose sake the lesser sun
At this time to the Goat is run
To fetch new lust, and give it you,
Enjoy your summer all,
Since she enjoys her long night's festival.
Let me prepare towards her, and let me call
This hour her vigil, and her eve, since this
Both the year's and the day's deep midnight is.

-- John Donne

And yes, I know that St. Lucy's stopped having the distinction of the darkest evening when we adopted the Gregorian calendar.


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