Meditation 1 – John Donne

profound dismay, I attributed in

No man is an island, entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend’s or of thine own were; any man’s death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bell tolls; it tolls for thee.



Program for “L’après-midi d’un faune” (1912)
“December“ (1890)
__________
for Susan
several years ago, a friend of mine
invited me to a concert, Sir Edward
Elgar‘s “The Dream of Gerontius“,
to my mind, a double mountain to
cross, both English and ceremonial,
this is not music you can dance to,
nor even dream on, but music that
demands your allegiance, as well
as your attention
to my mind English music, nearly
an oxymoron, remained stagnant
from Purcell, 1659 to 1695, to the
Beatles, 1960 to 1970, with very
few exceptions, never managing,
mostly, to hold, even, a tune
ceremonial music suffered much
from its rigid partisan bent,
whether political or religious, try
singing “La Marseillaise“ or
“The Stars and Stripes“ if you’re
not of those nations, you are
instantly sidelined, a mere
spectator, try “How Great Thou
Art“ at a party, however
inspirational
but the ticket was free, my friend
couldn’t think of anyone else she
could invite who’d enjoy the show,
she’d received the tickets in a
bundle
Gerontius, an old man – you’ll note
the Greek root, geron, as in
“gerontology” – is dying, fears the
other side, friends comfort him and,
in particular, a priest sends him on
his way, that’s act one
act two, he’s on the other side,
wherein the dream of being on the
other side, should he still be alive,
or the actuality of being on the
other side, confront him, have I
died, he wonders
I could tell you something about
that
an angel appears to lead him to,
the programme boasted, no less
than God eventually, in a burst,
for the occasion, of musical
pyrotechnics
well, I wondered, let’s see what
they’re going to do with that
it was unforgettable, though my
friend was somewhat more
equivocal, perhaps not as intent,
quite yet, as I was, about meeting
her divine
in search of something lately to
commemorate the several recent
worldwide atrocities, I quickly
settled on the only work I could
think of, apart from anything,
of course, by Bruckner, to mourn
appropriately
I found this extraordinary production
from no less than London’s St Paul’s
though not an oratorio, according
to the composer’s strict intentions,
Elgar‘s “The Dream of Gerontius“, a
concert piece, is played here in a
church, an Anglican, indeed,
cathedral, despite the flagrantly
Catholic story being told, Elgar had
converted to Catholicism, the piece
transcends, however, religions
an oratorio, incidentally – not to be
confused with Ontario, the Canadian
province – is an opera conceived
without sets or costumes, usually
associated with significant religious
occasions
the text of “Gerontius” is taken
from a poem of Cardinal John
Henry Newman, 1801 to 1890,
a Catholic convert himself, only
recently beatified, as a matter
of fact, not yet, however, for
insufficiency of miracles, it
would appear, canonized
“The Dream of Gerontius“ is
Cardinal Newman‘s retelling of
Dante‘s “Divine Comedy“, our
original tour guide through
Purgatory, Heaven and Hell,
Newman‘s take on it is
particularly poignant, Elgar‘s
musical accompaniment not
any less
the conjunction of divine,
composer, sacred venue and
superior performers is an
extraordinary occasion,
despite, not least, a
scratchy recording, the
experience here is
profound
bring your solemnity
Richard
by the way: December is the end of
the year, 2016 is already act two, are
you ready to meet your own God/dess
“Madonna and Child Pentaptych“
__________
“Suite française“, had it not been for
its musical associations, would’ve
been called a “quintette”
a suite is, of course, a series of five
dance movements, a sarabande, a
minuet, a gigue, for instance, most
commonly with reference to Bach’s
Baroque masterpieces
which is to say that without its dance
implications, a suite would’ve been
called simply a sonata with five
movements, or a duet, trio, quartet,
and so forth, depending on the
participating instruments
in fiction, a sequence of five books
equals a quintet, see Durrell’s
“Avignon Quintet“, for instance
in art, five panels are called a
pentaptych, see above
five books had been intended for her
“Suite française“, but in 1942 their
author, Irène Némirovsky, was arrested
for being Jewish, and died later at
Auschwitz, she’d completed only two
of her intended manuscripts, a tragic
account of day-to-day life during the
Second World War
these texts were only discovered by her
daughters in 1998, who then had them
published in 2002, in just one volume
called “Suite française“
the superb movie came out last year
it’s a whiff of another era, a
recollection of things past
also a timely consideration of the
flawed foundations of any occupation,
I thought
Richard
psst: incidentally, in French, capital
letters are eschewed – gesundheit –
after the first initial, therefore
the French title, “Suite française“,
sports a lower case f
the film, “Suite Française“ uses
the English construction
_________
only a few days ago, of an otherwise
uneventful afternoon, “there came a
tapping, as if someone gently rapping,
rapping at my” [laptop] door”
“Tis some visitor”, I muttered, “tapping
at my [laptop] door – Only this and
nothing more.”
but to my surprise, to my delight, to my,
lo, roused and rustled up excitement,
for I hadn’t read this poem in countless
years, “in there stepped”, serendipitously,
uninvited, “[the] stately Raven of the
saintly days of yore”
thanks, David
Edgar Allan Poe’s “The Raven“, after
several perhaps of Shakespeare’s, is the
most famous of dramatic monologues,
certainly the most haunting
though it is set in “bleak December”,
there is no more apt poem to herald,
I think, the feast of Hallowe’en
here Vincent Price channels the epochal
work, magisterially, unforgettably
Richard
psst:
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas * just above my chamber door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian ** shore!”
Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer ***
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe **** from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe **** and forget this lost Lenore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead? ***** —tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn, ******
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian ** shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas * just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!
* Pallas Athene, Greek goddess of wisdom,
courage, justice, the arts, patroness of
Athens
** Pluto, Greek god of the Underworld
*** censer, a vessel for burning incense
**** nepenthe, a drug which induces
forgetfulness
***** balm of Gilead, a rare perfume of Gilead,
a region east of the River Jordan, reputed to
have been a universal cure
****** Aidenn, paradise