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Tag: Elizabeth Barrett Browning

Arthur Rubinstein – Chopin Piano Concerto no 2 in F minor, opus 21‏

I’ve wandered far from Mozart, Mussorgsky,
Saint-Saëns in my consideration of the evolution
of music in the West, Elizabeth Barrett Browning
would have her say, and so would the irrepressible,
the irresistible, Audrey Hepburn, I could not but
diligently for these incandescent luminaries abide

but here, to step back into the purview, the sway,
the particular empyrean of, more specifically, music,
is Arthur Rubinstein doing Chopin’s Piano Concerto
no 2 in F minor, opus 21,
a piece that is for some
reason or other not as celebrated, nor familiar, as
the First, after listening you’ll also wonder why

Arthur Rubinstein is nothing short of bristling here,
Arthur Rubinstein is the august and inspired herald
who reintroduced Chopin essentially to the late
Twentieth Century, after listening, after only even
just superficially hearing, you won’t wonder either
at his well deserved position among the stars

enjoy

Richard

psst: incidentally, Evgeny Kissin doesn’t give an inch
in his own stellar rendition of the First, just click,
here or above

XXlX. I think of thee! – my thoughts do twine and bud – Elizabeth Barrett Browning‏

from Sonnets from the Portuguese

XXlX. I think of thee! – my thoughts do twine and bud

I think of thee! – my thoughts do twine and bud
About thee, as wild vines, about a tree,
Put out broad leaves, and soon there’s nought to see
Except the straggling green which hides the wood.
Yet, O my palm-tree, be it understood
I will not have my thoughts instead of thee
Who art dearer, better! rather, instantly
Renew thy presence. As a strong tree should,
Rustle thy boughs and set thy trunk all bare,
And let these bands of greenery which insphere thee
Drop heavily down, – burst, shattered, everywhere!
Because, in this deep joy to see and hear thee
And breathe within thy shadow a new air,
I do not think of thee – I am too near thee

Elizabeth Barrett Browning

_____________________

“set thy trunk all bare” indeed, Elizabeth is
letting more than just her hair down here, she
is “twin[ing] and bud[ding] / About thee”, she
is, ahem, “hid[ing] the wood” of her “strong
tree”,
her “palm-tree”, her abandon is letting
her “wild vines” engulf him, “I do not think of
thee – I am too near thee”,
she exults, she is
“breath[ing] within thy shadow a new air”

this is of course communion of the very
highest order, transubstantiation,
metamorphosis, and she is here its
highest priestess

all, note, in ever rhyming, ever thumping,
iambic pentameter, enough to make you
blush

Richard

XXVlll. My letters! all dead paper, mute and white – Elizabeth Barrett Browning‏

from Sonnets from the Portuguese

XXVlll. My letters! all dead paper, mute and white

My letters! all dead paper, mute and white!
And yet they seem alive and quivering
Against my tremulous hands which loose the string
And let them drop down on my knee to-night,
This said, — he wished to have me in his sight
Once, as a friend: this fixed a day in spring
To come and touch my hand . . . a simple thing,
Yet I wept for it! — this, . . . the paper’s light. . .
Said, Dear, I love thee; and I sank and quailed
As if God’s future thundered on my past.
This said, I am thine — and so its ink has paled
With lying at my heart that beat too fast.
And this . . . O Love, thy words have ill availed
If, what this said, I dared repeat at last!

Elizabeth Barrett Browning

______________________

after a meticulous search of my archive, I
finally found the last place I’d been wrong,
if you remember well I’d written the date so
it could be found at any moment, just like
this one, March 28, 2012, check it out

if I’ve chosen to preface my comment on
Barrett Browning‘s 28th sonnet from
the Portuguese
with a personal
exculpation it’s because here I so easily
could be incorrect, Elizabeth is to my mind
here too abstruse, obtuse, too cute, I think,
for her own convoluted words

who is doing what to whom in this flurry
of what was “said”, we wonder

she is speaking to the paper – “dead”,
“mute and white”, note – which says what
had been said by her then improbable lover,
that he wished to see her, “to have me in his
sight “,
that he loves her, “Dear, I love thee”,
that he’s hers, “I am thine”, but what is this
insuperable “thy words have ill availed / If,
what this said, I dared repeat at last

an analysis that will not cede the secrets
of a text after a certain moment by a
reasonably informed and probing
analyst is no longer a shortcoming of the
analyst but of the poem, I submit, and
such, I feel, is here the case, though that
position is entirely assailable, I might be
merely, in this instance, stupid, but I
doubt it

the Metaphysical Poets were good at that,
establishing confounding parallels, Donne,
Herbert, Marvell, revered poets Elizabeth
surely would have aspired to mimic

“Love”, I’ll propose, in line 14, is a
composite of Love itself – Amor, a Platonic,
anthropomorphized conception – and
Robert Browning, who had become by this
time her spouse, to whom these recollections
are indirectly directed – remember she’s still
speaking to the paper – who utters this Delphic,
which is to say, inscrutable, pronouncement

then again it could be herself, Elizabeth,
hypothesizing, for she hasn’t italicized this
statement as she has earlier the others

therefore she could be – instead of he, they,
invoking her – invoking them, though “And
this”
in the second last line suggests that
he, Robert Browning, is speaking again,
and yet the “L” is capitalized this time
where it hadn’t been for Robert anywhere
before

help

I will venture, for the sake of conclusion,
that she means that had these been the
last expressions of his devotion, or he,
does she mean, of hers, these letters
would indeed be also dead

but I could be entirely wrong

November 14, 2012

Richard

XXVll. My own Belovèd, who hast lifted me – Elizabeth Barrett Browning‏

from Sonnets from the Portuguese

XXVll. My own Belovèd, who hast lifted me

My own Belovèd, who hast lifted me
From this drear flat of earth where I was thrown,
And, in betwixt the languid ringlets, blown
A life-breath, till the forehead hopefully
Shines out again, as all the angels see,
Before thy saving kiss! My own, my own,
Who camest to me when the world was gone,
And I who looked for only God, found thee!
I find thee; I am safe, and strong, and glad.
As one who stands in dewless asphodel
Looks backward on the tedious time he had
In the upper life,–so I, with bosom-swell,
Make witness, here, between the good and bad,
That Love, as strong as Death, retrieves as well.

Elizabeth Barrett Browning

_______________________

the Asphodel Meadows were a mythological
nether field where souls wandered aimless
after death, bereft of their earthly memories,
washed away by the river Lethe they’d had
to cross to enter the Underworld, can you
dig it

very few have returned from There, notably
Eurydice, who, profoundly grieved by
Orpheus, her swain, is granted leave to
come back by the god of the Underworld,
Hades, as a grace for Orpheus’ uncanny,
uneartlhy, musical ability, though with one
dire condition, that he, Orpheus, Lot-like,
not look back, but that’s an entire other story

love however is what has resurrected her here,
according to Elizabeth Barrett Browning,
afforded her another, transformed, life, she
states

for transcendental apparently love, not only
ineluctable death, according to her earlier
staunch expectations, had proved able to
stir her from her earlier in-, or “asphodel”,
as she calls it, existence

as love does

Richard

XXVl. I lived with visions for my company – Elizabeth Barrett Browning

from Sonnets from the Portuguese

XXVl. I lived with visions for my company

I lived with visions for my company
Instead of men and women, years ago,
And found them gentle mates, nor thought to know
A sweeter music than they played to me.
But soon their trailing purple was not free
Of this world’s dust, their lutes did silent grow,
And I myself grew faint and blind below
Their vanishing eyes. Then THOU didst come–to be,
Belovèd, what they seemed. Their shining fronts,
Their songs, their splendours (better, yet the same,
As river-water hallowed into fonts),
Met in thee, and from out thee overcame
My soul with satisfaction of all wants
Because God’s gifts put man’s best dreams to shame.

Elizabeth Barrett Browning

_____________________

compare Joyce Kilmer‘s

“Poems are made by fools like me,
But only God can make a tree.”

from Kilmer‘s Trees“, where Elizabeth Barrett Browning
in her poem has of course a much more Romantic view
of things nearly a century earlier, and where the source
of her telling light is rather the much more human
Robert Browning

a fair match, I first wondered, Browning or a tree

then thought, what do I now mean, a good one
and two respective centuries later, by God, the
genesis of all this inscrutable incontrovertible
horn of bounteous and wondrous plenty

I am of course still wondering, despite even the
Sisyphean exponentiality of those wonders

in the end I believe a tree is no less the equal
of a Robert Browning, as proof of the divine

about the divine itself however I’ll reserve
judgment, though my own personal experience
of miracles has made me believe in at least the
ineffably miraculous, the immanence ever of a
mystical, multidimensional order – “There are
more things in heaven and earth, Horatio, /
Than are dreamt of in your philosophy.”

maybe therefore of the divine

but this could easily be just ultimately empty
semantics

so presently I cede

interesting that the question was even popping
up however, finally, after centuries of obligatory
Christian, and obfuscating, dogma, a personal
quest, rather than adherence by ecclesiastical
ordinance, for a proof of God

Richard

XXV. A heavy heart, Belovèd, have I borne – Elizabeth Barrett Browning‏

from Sonnets from the Portuguese

XXV. A heavy heart, Belovèd, have I borne

A heavy heart, Belovèd, have I borne
From year to year until I saw thy face,
And sorrow after sorrow took the place
Of all those natural joys as lightly worn
As the stringed pearls, each lifted in its turn
By a beating heart at dance-time. Hopes apace
Were changed to long despairs, till God’s own grace
Could scarcely lift above the world forlorn
My heavy heart. Then thou didst bid me bring
And let it drop adown thy calmly great
Deep being! Fast it sinketh, as a thing
Which its own nature doth precipitate,
While thine doth close above it, mediating
Betwixt the stars and the unaccomplished fate.

Elizabeth Barrett Browning

__________________

despite a rigorous rhyme scheme and a mostly
strict iambic pentameter here, which is to say
each verse is given five, or penta, metres, or
beats, where iambic means that the accent is
on the second syllable of each of those five
individual metres, ta-da, ta-da, ta-da times
five, should your Greek be understandably
amiss, Elizabeth still manages to skew the
pace of the piece again in this instance,
turning her poetry, as always, into a more
direct and purposeful prose

just try to follow the sentence metrically as
in a more traditional poem, or song, you’ll
block her headlong and unfettered propulsion

alteration of the beat is not much different
from what composers were doing then with
music, the early eighteen-hundreds, not much
different indeed at all, and which they did for
the very same particular reason, greater
authenticity, the truth part of the iconic
imperatives of beauty and truth

incidentally, where Elizabeth was trying to
invigorate poetry by giving it the apparent
immediacy of prose you might’ve noted
that in my own flurry of literary tidbits,
however ever so humble, I’ve been quite
consciously peppering prose rather with
the elements of poetry, for better or for
worse, but in my mind to reflect a less,
dare I say, prosaic, more inherently
enchanting, vision of the world

Richard

“Pictures at an Exhibition” – Modest Mussorgsky‏

 
You are definately (sic) now in Chopin mode!“, a friend
writes, much as the culture itself would’ve found
itself after a surfeit of Chopin, giving way to of
course newer inventions in art  
 
if there is an overview that would present the
fundamental outline of what was occuring at
the time it is that the heart was giving way to
the mind, late Romanticism still throbbed with
stirring passions, but a more exploratory
psychological perspective would begin to  
dominate, spurred on by a more analytical
approach to everything, even the arts
themselves to the arts themselves, science
had been unearthing revelations, painters
analyzed paint, writers parsed writing, 
composers deconstructed musical composition
 
all investigated potentiality and purpose within
the area of their field to discover if it still had
relevance, and if so, how and why
 
the first step in moving away from emotion in
music was through an attempt at notational
description, to have music become evocative 
of a scene rather than of sentiment through
orchestrations of sound, an intellectual appeal
to the more probing cerebellum rather than to 
the more facile and evident strings of a rhythmic,
ardently and compellingly pulsing, but primal 
and therefore unreasoning, heart
 
which could also easily become self-indulgent,
only the very best, Chopin, Elizabeth Barrett 
Browning, avoid it, let me add here the never
ever maudlin, always enchanting, Walt Disney,
who cuts mighty, mighty close to the saccharine
in his post-Second-World-War epoch, as do as
skilfully also indeed the other two in theirs
 
it’s all in the rubato, I think, where musical magic
is allowed to turn into pandering kitsch
 
 
here’s Modest Mussorgsky describing Pictures
at an Exhibition, each movement a particular
pictorial work, separated by the return of the
original theme, the “Promenade”, representative
of the amble forward, curatorial and monocled, 
I think, to the next considered instalment 
 
here’s the same thing again in a neat transcription
for guitar 
 
 
Richard
 
 
 

XXlV. Let the world’s sharpness, like a clasping knife – Elizabeth Barrett Browning

notice: the following, I suspect, is for poetry lovers
only, others will likely want to roll their eyes
at my idiosyncratic choices and preoccupations
and delete what I perceive nevertheless and
mean always to be priceless gifts

such is my eccentricity

Richard

psst: one person’s gift however could be another’s
burden, admittedly, meat be their even poison

_________________

from Sonnets from the Portuguese

XXlV. Let the world’s sharpness, like a clasping knife

Let the world’s sharpness like a clasping knife
Shut in upon itself and do no harm
In this close hand of Love, now soft and warm,
And let us hear no sound of human strife
After the click of the shutting. Life to life –
I lean upon thee, Dear, without alarm,
And feel as safe as guarded by a charm
Against the stab of worldlings, who if rife
Are weak to injure. Very whitely still
The lilies of our lives may reassure
Their blossoms from their roots, accessible
Alone to heavenly dews that drop not fewer;
Growing straight, out of man’s reach, on the hill.
God only, who made us rich, can make us poor.

Elizabeth Barrett Browning

_____________________

it had been pointed out in my poetry class at
university, where our supposed greater maturity
would allow us now to peruse somewhat more
prurient texts, that the compass in John Donne‘s
Valediction was, well, prurient, however, to my
mind, at the very least then, eccentric

much like Elizabeth Barrett Browning‘s “clasping
knife”
in her XXlVth sonnet here

all that to our much more jaded XXlst-Century
amusement, we are never ever now so circuitous,
coy, nor were any of us even back in my
mid-XXth-Century teens, D.H. Lawrence had
already irreversibly made courtship graphic,
for better, as in any contract, or for worse

and the beat goes on

Richard

psst:

A Valediction Forbidding Mourning

As virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say,
“Now his breath goes,” and some say, “No.”

So let us melt, and make no noise,
No tear-floods, nor sigh-tempests move ;
‘Twere profanation of our joys
To tell the laity our love.

Moving of th’ earth brings harms and fears ;
Men reckon what it did, and meant ;
But trepidation of the spheres,
Though greater far, is innocent.

Dull sublunary lovers’ love
—Whose soul is sense—cannot admit
Of absence, ’cause it doth remove
The thing which elemented it.

But we by a love so much refined,
That ourselves know not what it is,
Inter-assurèd of the mind,
Care less, eyes, lips and hands to miss.

Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to aery thinness beat.

If they be two, they are two so
As stiff twin compasses are two ;
Thy soul, the fix’d foot, makes no show
To move, but doth, if th’ other do.

And though it in the centre sit,
Yet, when the other far doth roam,
It leans, and hearkens after it,
And grows erect, as that comes home.

Such wilt thou be to me, who must,
Like th’ other foot, obliquely run ;
Thy firmness makes my circle just,
And makes me end where I begun.

John Donne

XXlll. Is it indeed so? If I lay here dead – Elizabeth Barrett Browning

from Sonnets from the Portuguese

XXlll. Is it indeed so? If I lay here dead

Is it indeed so? If I lay here dead,
Wouldst thou miss any life in losing mine?
And would the sun for thee more coldly shine
Because of grave-damps falling round my head?
I marvelled, my Belovèd, when I read
Thy thought so in the letter. I am thine–
But . . . so much to thee? Can I pour thy wine
While my hands tremble? Then my soul, instead
Of dreams of death, resumes life’s lower range.
Then, love me, Love! Look on me–breathe on me!
As brighter ladies do not count it strange,
For love, to give up acres and degree,
I yield the grave for thy sake, and exchange
My near sweet view of Heaven, for earth with thee!

Elizabeth Barrett Browning

_____________________

it is nearly a commonplace that to be profoundly
loved keeps one in fact alive, it is also so in my
own experience, though the expression of it may
often seem, paradoxically, subservient and
fawning

and a great spiritual burden, I would think,
for the anchor, who would be told, in reversed
circumstances, that to be abandoned would be
to have been left, ignominiously, to die

but Elizabeth chooses not to survive, but to
not die, there is a difference, enough to make
a jewel of this poem

Richard

XXll. When our two souls stand up erect and strong – Elizabeth Barrett Browning‏

from Sonnets from the Portuguese

XXll. When our two souls stand up erect and strong

When our two souls stand up erect and strong,
Face to face, silent, drawing nigh and nigher,
Until the lengthening wings break into fire
At either curvèd point,–what bitter wrong
Can the earth do to us, that we should not long
Be here contented? Think. In mounting higher,
The angels would press on us and aspire
To drop some golden orb of perfect song
Into our deep, dear silence. Let us stay
Rather on earth, Belovèd,–where the unfit
Contrarious moods of men recoil away
And isolate pure spirits, and permit
A place to stand and love in for a day,
With darkness and the death-hour rounding it.

Elizabeth Barrett Browning

__________________________

in this XXllnd of her Portuguese sonnets, perhaps a little
too unbridled for my taste, I nearly even blushed,
Elizabeth seems to have been eating all her Wheaties

“erect and strong” indeed, “wings break[ing] into fire”,
the yet unfulfilled idea of “mounting higher”, goodness,
I’ve been even tripling in my excitement all my o’s here
instead of only doubling them, in my unsettling
distraction trippingly misspelling gooodness, and,
however improbably, even tooo

I think I’ll draw the curtain on this one, or at least a veil

this kind of thing, this sort of personal revelation, doesn’t
occur much until, in Paris before the Second World War,
Henry Miller, who is way too uninhibited, not to mention
creatively unedited, generally, for my perhaps too proper
sensitivity, though you could read to the greatest
advantage his magisterial The Colossus of Maroussi“,
an exhilarating evocation of the Greeks, their invaluable
life lessons, grounded in the still unrivalled wisdom of
their verily Promethean legacy

Richard

psst: “Every moment is a golden one for him who has
the vision to recognize it as such”

Henry Miller