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Tag: anthropomorphism

my Amsterdam, November 7, 2013‏

    Canal in Amsterdam - Claude Monet

                                      Canal in Amsterdam(1874) 

 
                                          Claude Monet
 
                                                 ____
 
 
in the morning we sit by the large
paned double windows that frame
the masterpiece that sits before our
eyes, beyond a little cement and
wrought iron bridge that crosses
our canal another canal runs 
perpendicular and away from us
between a row on either side of 
trees, their leaves pale yellow
mostly, from late fall, with patches
here and there, like incidental
brushstrokes, of less vivid, or
weathered, if you like, greens 
 
cobblestone paths along either bank,
charming but precarious, serve
pedestrians, cyclists in their dozens,
and the occasional adventurous car 
willing to tackle the more lackadaisical
pace and unpredictability of bicycles,
people and everywhere watery
roadblocks, Renaissance gingerbread
houses hold the fort on either side of
the canvas, geometrically ceding to,
and doing a master class in,
perspective
 
in the distance, of course, the obligatory
steeple, infallably sounding on the quarter
hour
 
   
this morning a flight of what looked
to me like doves, so I’ll call them
doves, to touch up anyway with white
and peaceful thoughts my story, cast
magic by fretting in flocks vertiginously
between the parallel lines of trees, just 
ahead of our front row seats   
 
a symphony, I said to my mom, though
for the birds it must’ve been tumultuous,
a  rash, maybe, anthropomorphismbut
their tumult has only ever translated for
me as immutably grace
 
people were taking pictures with their
smartphones, whirling skyward to the
avian poetry
 
we counted our blessings as we 
breakfasted on coffee, bread and
cheese  
 
 
later we’re off to the Rijksmuseum 
to witness other visual wonders
 
 
Richard
 

 

 
 

“The Carnival of the Animals” – Saint-Saëns/Nash/Disney

in the same spirit of “music as literature” as in
Liszt’s Années de pèlerinage“, or Mussorgsky‘s
Pictures at an Exhibition especially, Camille
Saint-Saëns, composed his Le carnaval des
through an anthropomorphised menagerie 
where the description is impressionistic rather
than narrative, which is to say more painterly
 
he composes in patches of musical textures
instead of melodic and linear paragraphs,
incompatible with the original association
of music as melody, or song, one’s response
would become thereby more intellectual
than emotional, one does not swoon, or
even sway, in other words, as marvel at the
synesthetic imagination, which lets you see
sounds and hear pictures
 
you’ll hear here, or “hear, hear”, the turtles
doing their determined interpretation of the 
can-can, at an improbable crawl, in playful
reference to Offenbach‘s “Galop infernal”,
mad gallop, from his Orpheus in the  
Underworld, other such instances of 
compositional salutations follow, not at
all an unusual practice among composers,
great and small 
 
you’ll be enchanted by the shimmering
ethereality of the aquarium, by the grace
and majesty of the now mythic swan,
among other zoological bedazzlements, 
in 14 movements, in therefore essentially
a symphony, a piece for orchestra with
several movements
 
here they are        
I.      Introduction et marche royale du Lion
               (Introduction and Royal March of the Lion)
II.     Poules et Coqs 
               (Hens and Cocks)
III.    Hémiones (animaux véloces) 
               (Wild Asses)
IV.   Tortues
                (Tortoises)
V.     L’Éléphant 
                (The Elephant)
VI.    Kangourous 
                (Kangaroos)
VII.   Aquarium
VIII.  Personnages à longues oreilles
                (Personages with Long Ears)
IX.    Le coucou au fond des bois 
                (The Cuckoo in the Depths of the Woods)
X.     Volière
                (Aviary)
XI.    Pianistes
                (Pianists)
XII.   Fossiles
                (Fossils)
XIII.  Le Cygne
                (The Swan)
XIV.  Finale
 
 
you’ll want to read the poems that Ogden 
Nash later wrote about them, his very own
Carnival of the Animals“, that now often
accompany the piece, a mistake, I find, for
exposing two entirely idiosyncratic and 
incompatible sensibilities opposite each
other, thereby taking away from each 
 
but Walt Disney has, and you will too have,
a great deal of fun nevertheless with both
of them, though they’re somewhat in his
version abridged, no swan 
 
 
Richard