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Tag: Hamlet

“The Story of of Cadmus” (ll) – Ovid

St. George and the Dragon, c.1470 - Paolo Uccello

          “St. George and the Dragon” (c.1470)

 

                 Paolo Uccello

 

                            _______

 

 

             Cadmus salutes the soil, and gladly hails

             The new-found mountains, and the nameless vales,

             And thanks the Gods, and turns about his eye

             To see his new dominions round him lye;

 

Cadmus, son of Agenor, brother of

Europa, has, on the advice of the

Delphick oracles, settled where

the lonely cow, / Unworn with yokes,

unbroken to the plow had stoop’d,

and couch’d amid the rising grass,

and stakes there his new appointed

home

 

vales, valleys


             Then sends his servants to a neighb’ring grove

             For living streams, a sacrifice to Jove.

 

Cadmus, a prince, would’ve had

a retinue, followers, Hamlet for

instance, his Horatio, his

Rosencrantz and Guildenstern

 

Jove, note, is the god who abducted

Europa, though Cadmus, according

to our story, isn’t yet supposed to 

know this, never having found his

sister, nor identified, consequently,

her ravisher, namely Jovethe god

to whom Cadmus is now about to

give sacrifice, give thanks


             O’er the wide plain there rose a shady wood

             Of aged trees; in its dark bosom stood

             A bushy thicket, pathless and unworn,

             O’er-run with brambles, and perplex’d with thorn:

 

perplex’d, a wonderful metaphor

here for entangled, enmeshed

 

             Amidst the brake a hollow den was found,

             With rocks and shelving arches vaulted round.

 

brake, bracken, brush

 

             Deep in the dreary den, conceal’d from day,

             Sacred to Mars, a mighty dragon lay,

 

Mars, god of War

 

a mighty dragon, dragons, it appears,

go back to very prehistory, perhaps

as a memory in our reptilian brain of

dinosaurs, and the like, that made its

way into our poetic imagination

 

see above 


             Bloated with poison to a monstrous size;

             Fire broke in flashes when he glanc’d his eyes:

 

glanc’d his eyes, threw glances at

 

             His tow’ring crest was glorious to behold,

 

crest, as in roosters, or reptiles


             His shoulders and his sides were scal’d with gold;

 

scal’d, having scales, plates,

overlapping surfaces


             Three tongues he brandish’d when he charg’d his foes;

             His teeth stood jaggy in three dreadful rowes.

 

rowes, rows, three dreadful ones,

one behind the other


             The Tyrians in the den for water sought,

 

The Tyrians, Cadmus and his men,

all originally from Tyre


             And with their urns explor’d the hollow vault:

     

urns, to collect from living streams

within the vault a sacrifice to Jove


             From side to side their empty urns rebound,

 

rebound, knock against a harder

surface repeatedly


             And rowse the sleeping serpent with the sound.

 

rowse, rouse

             

             Strait he bestirs him, and is seen to rise;

             

he bestirs him, he bestirs himself

             

             And now with dreadful hissings fills the skies,

             And darts his forky tongues, and rowles his glaring eyes.

 

rowles, rolls


             The Tyrians drop their vessels in the fright,

 

vessels, urns

 

             All pale and trembling at the hideous sight.

             Spire above spire uprear’d in air he stood,

 

Spire above spire, scale upon scale

 

uprear’d, reared up

 

he, the serpent


             And gazing round him over-look’d the wood:

 

overlook’d, looked over, surveyed


             Then floating on the ground in circles rowl’d;

 

rowl’d, rolled


             Then leap’d upon them in a mighty fold.

 

fold, embrace, encirclement

 

             Of such a bulk, and such a monstrous size

             The serpent in the polar circle lyes,

             That stretches over half the northern skies.

 

The serpent in the polar circle, Serpens,

a constellation in the Northern Hemisphere

in close proximity to the North Pole

 

lyes, lies


             In vain the Tyrians on their arms rely,

 

their arms, their weapons


             In vain attempt to fight, in vain to fly:
             All their endeavours and their hopes are vain;
             Some die entangled in the winding train;

 

the winding train, the serpent’s

tail

 

             Some are devour’d, or feel a loathsom death,
             Swoln up with blasts of pestilential breath.

 

stay tuned

 

 

 

R ! chard

“How I Didn’t Get Myself to a Nunnery” – Suzanne Lummis‏

"Ophelia" - Arthur Hughes

Ophelia (1852)

Arthur Hughes

_________

according to Suzanne Lummis Ophelia
“g[o]t outta town”

Suzanne Lummis is Ophelia here, this
is a dramatic monologue, I can’t tell you
how much I find that exciting

you’ll want to run to the source, of course,
to find pertinent references, so I’ve linked
a few for you from the text below to their
counterparts in Hamlet“, if it’s coloured,
just click, otherwise a couple of asterisks
explain two probably too obvious items,
in which case you’ll forgive me my
infelicitous impertinence, my unintended
and hapless presumption

thanks

How I Didn’t Get Myself to a Nunnery

That girl they found ensconced in mud and loam,
she wasn’t me. Small wonder, though, they jumped.
To a conclusion. Water puffs you up,
and we pale Slavic girls looked much alike—
back then. Deprivation smooths you out.
Yes, that was the season of self-drowned maids,
heart-to-hearts with skulls, great minds overthrown.
And minds that could be great if they could just
come up for air. Not in that town. Something stank. *

But me, I drifted on. I like rivers.
And I’m all right with flowers. I floated
on a bed of roses—well, O.K., rue
and columbine
. It bore me up not down.
That night I made a circle with my thumb
and finger, like a lens, and peered through it
at the moon—mine, all mine. My kissed-white moon.
“Moon River wider than a . . .” Mancini/
Mercer wrote that, sure, but I wrote it first.

You wonder where I’m going with all this?
Where water goes. It empties into sea.
Sold! I’d take it—the sea or a fresh life.
Some other life. A good man—good enough,
fair—fished me out. He’d come to quench his thirst.
No sun-god prince,* of course, like him I’d loved,
still loved. (Some loves don’t die; not even murder
kills them.) I married his thatched hut, hatched chicks—
kids running underfoot. Don’t cry for me,

Denmark. I’d learned the art of compromise
back there, in the black castle—then came blood,
ghosts. Something in me burst. If not lover,
father, king, ** then whom can you trust? Alone,
I took up some playing cards. I played them
into skinny air. A voice said, Swim or drown.
It said: Your house caught fire, flood, caught fear—
it’s coming down. No one loves you now, here.
By land or water, girl, get outta town.

Suzanne Lummis

* i.e. Hamlet, of course, prince of Denmark
** Hamlet, Polonius, Claudius

our debt to Shakespeare in literature
is enormous, after even 400 years –
“Hamlet” was written in 1602 – his
literary form, his countless neologisms,
his stories, his blueprints, transformed
into ballets, paintings as above, operas,
have become our myths, our moral and
philosophical standard, our modern
Olympus, the measure of our time,
our epoch, Shakespeare is our Iliad

only Beethoven in music has ever
matched this, in the visual arts, no
one

you’ll notice that the poem itself is a
monologue, in answer, in homage, to
Shakespeare, it’s in iambic pentameter,
also his wont

mine too, incidentally

Richard

 

Meditations, Book l – Marcus Aurelius‏

“From Rusticus I received the impression that my character required improvement and discipline; and from him I learned not to be led astray to sophistic emulation, nor to writing on speculative matters, nor to delivering little hortatory orations, nor to showing myself off as a man who practises much discipline, or does benevolent acts in order to make a display; and to abstain from rhetoric, and poetry, and fine writing; and not to walk about in the house in my outdoor dress, nor to do other things of the kind; and to write my letters with simplicity, like the letter which Rusticus wrote from Sinuessa to my mother; and with respect to those who have offended me by words, or done me wrong, to be easily disposed to be pacified and reconciled, as soon as they have shown a readiness to be reconciled; and to read carefully, and not to be satisfied with a superficial understanding of a book; nor hastily to give my assent to those who talk overmuch; and I am indebted to him for being acquainted with the discourses of Epictetus, which he communicated to me out of his own collection.”

Meditations, Book l, 7

Marcus Aurelius

______________

recently a website caught my attention
with news of a shared interest in things
of, to my mind, significance, a guide to
a moral life

Marcus Aurelius, an emperor, 121 – 180
A.D., along with Epictetus, 55 -135 A.D.,
a slave, are probably the only two
philosophers we know today specifically
devoted to that profoundly noble
intention

the juxtaposition of states here, from
the imperial to the abject, is instructive,
if not even inspiring

both from their divergent positions
proposed a considered life, of probity
and tolerance, what more do we
need of philosophy, fundamentally,
than that

above is an excerpt from Book l, others
will follow

Richard

psst: I found it hard not to imagine here
Laertes responding to Polonius in
“Hamlet”, Act l, scene l, lines 55 – 80,
nor Rudyard Kipling’s son responding
to his father’s poem, “If“, with its
famous, indeed timeless, exhortation,
“… you’ll be a Man, my son!”

daughters should also participate

“Aubade” – Philip Larkin‏

if I said about To be, or not to be that it
had never been equalled with respect to its
broodingly existential substance, this next
poem comes pretty close to doing that

note the link to Hamlet in the word
“indecision”, a consequence of the
“standing chill / That slows each
impulse down”

note also, incidentally, that the metre is
entirely Shakespearean, read “Aubade“
out loud

any further comment I’ll cede with
gratitude and delight to moonbeamtickseed,
a promise of shrewd insight I recently
discovered on the Internet, reciprocally,
as it happened, after moonbeamtickseed,
serendipitously supposedly, had discovered,
having happened on some of my Elizabeth
Barrett Browning
and alerted me to it, me,
not at all adverse, of course, to being
discovered

___________

Aubade

I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what’s really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.
The mind blanks at the glare. Not in remorse
– The good not done, the love not given, time
Torn off unused – nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never;
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast, moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fear – no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anasthetic from which none come round.

And so it stays just on the edge of vision,
A small, unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And realisation of it rages out
In furnace-fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no one off the grave.
Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can’t escape,
Yet can’t accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.

Philip Larkin

“COMMENTARY: Martin Heidegger says somewhere–I can’t seem to find the
quote online–that’s it only in solitude that people face the angst of
death and fully understand what it means to be temporary. When we have
company the logical awareness of death doesn’t produce an emotional
response because, in those self-forgetful moments, the “I” that dies
is taken over by the “we” that doesn’t. Something like that. Notice,
as the poem progresses, how Larkin switches from ‘I’ to ‘we’–as a
means of comfort? as a way of letting philosophical rhetoric displace
fear? And also notice how he ends the poem with a bitter but also
freeing description of the outside world–the world of offices and
phone-calls and correspondences–banal, clay-white, and sunless as it
may be–is also mankind’s medicine, the means of deflecting these
critical fears. Postmen are doctors in that they bring contact and
correspondence (a suggestion here of language and poetry) into the
solitude of the house.

The language in “[Aubade]” is a little uneven, but there are some
moments of dead-on description. “Arid interrogation,” “furnace fear,”
“uncaring, intricate rented world” and several dark maxims:
“religion….that vast moth-eaten musical brocade/ invented to pretend
we never die” and “being brave/ let’s no one off the grave/ death is
no different whined at than withstood.” The rhymes (set in a 10 line
pattern that has a name I can’t think of) are natural and unforced and
add to the solitary desire to “link” as he says in the second stanza.

I should say, as a sort of afterthought that it’s interesting to
compare this poem with Donne’s aubade “[The Sun Rising]“.
I think they may have more in common that the genre,
though I’m hard pressed at the moment to say what it is.
I should say, as a second afterthought,that, aptly
but unfortunately, this was the last great poem Larkin
wrote. After its publication in 1977, he had 7 years ahead
of him in which he wrote little.”

moonbeamtickseed

go, moonbeamtickseed

Richard

XLlll. How do I love thee? Let me count the ways – Elizabeth Barrett Browning‏

from Sonnets from the Portuguese

XLlll. How do I love thee? Let me count the ways

How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of everyday’s
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood’s faith.
I love thee with a love I seemed to lose
With my lost saints, – I love thee with the breath,
Smiles, tears, of all my life! – and, if God choose,
I shall but love thee better after death.

Elizabeth Barrett Browning

__________________________

there are two lines of verse in English
poetry which are early trumpeted by even
those who would have no truck in general
with poems, one about life, one about love,
paraded by already youths with all the
passion of their unbridled years, if not
oratorically advocating, at least sardonically
making fun of perhaps too mannered, even
irrelevant, in their opinion, I would think,
matter, namely Shakespeare‘s To be, or
not to be
and Elizabeth Barrett Browning‘s
How do I love thee? Let me count the ways

nothing much of the rest of these two
poems generally is known, though their
introductions be, even at the level of the
succeeeding ages, panoramic, neither,
either, incidentally, has ever, in its
substance, been equalled

To be, or not to be upon first exploring
it surprises for being, not, as supposed,
a paean to glory, for its declamatory, I
suspect, and engaging, cadences, but a
treatise on the very value of life, Hamlet,
despairing of the state of Denmark, where,
“something”, if you’ll remember, “is rotten”,
where his mother and murderous stepfather
have evilly, he imagines, conspired to steal
his real father’s throne, who hovers now
as a disturbing, and exhortative, presence,
keeping the action, or inaction in this case,
going, can never reach an answer, come to
a decision, To be, or not to be“, “that is the
[inexorable] question”

more specifically, “Whether ’tis nobler
in the mind to suffer”,
he asks, “The slings
and arrows of outrageous fortune, / Or to
take arms against a sea of troubles, /
And by opposing end them:”,
is life
worth living if the cost is so dire

Hamlet will not do the deed himself,
ultimately, of securing his own demise,
but will actively eventually allow it

one will wonder then, is life worthwhile,
Shakespeare never gives us a direct
answer

Elizabeth, however, talks about love, its,
essentially, apotheosis, an expression,
yet unrivalled of how we would like to
love, be loved

her declamation becomes somewhat
elaborate, even morbid, at the end,
macabre, but the force of the initial
statement has weathered already
several unforgiving ages, fresh and
true and captivating, fundamentally,
as ever

Richard

Nemo – “Ennead I” by Plotinus (10)‏

 
 
Date: Fri, 8 Mar 2013 21:28:13 +0000
To: Richibi’s Weblog
From: comment-reply@wordpress.com
Subject: [New comment] “Ennead I” by Plotinus
 
Hi Richard,

Have you thought of writing or already written memoirs? I think I’d enjoy reading them.
Your second story reminded me of the Confessions by St. Augustine,
in which he grieved over the death of his beloved friend.

Descartes might say this about your “This is the census” moment: “I lisp, therefore I exist”.
But how would you interpret the “parable”?

What caused you to stop ministering at the palliative care unit after ten years?

 

 
a parable is in the eye of the beholder, Nemo,  
nearly by definition, and therefore wide in the
possible breadth of its interpretation, that wide
net, should it catch the imagination of many,
can describe a potent, though indefinable,
moral precept that even whole communities
can then propagate and follow, mysticized
fairy tales, for these last serve a similar
purpose, maybe the age of the listener,
reader, here, is the distinguishing factor,
adults have a hard time with fairy tales 
 
dimension to my lisp, if you’re asking what
moral precept I derived from that tale, it is
that something was profoundly watching,
unobtrusive, but gently ready to nudge just
enough to inspire hope, like a second wind
 
I felt, however solipsistically, that something,
someone, was listening, and that was enough,
that indeed would be, wouldn’t you think,
though the information was entirely
metaphorical and abstract 
 
but I’ve experienced too many moments of
transcendence not to subsribe to a more
than merely rational agenda, Shakespeare
again, There are more things in heaven and
earth, Horatio, / Than are dreamt of in your
philosophy.” – Hamlet, act 1, scene 5,
lines 186–187 – which I heartily second
 
no philosopher has ever admitted that but
Proust and Beethoven, which is why I’ve
somewhat put aside classic philosophy,
though I love the Moralists, after Rome
and before Christianity, Saint Augustine,
I’m afraid, however, distorted the facts,
as well as his great acuity, in order to
entrench a mythology, the dominion of
numinous, entirely male, incidentally,
Trinity, forcing Truth into a submissive,
not to say penitent, and furthermore
impotent, corner until the very Renaissance, 
specifically until Descartes, and, by the way,
until his near contemporary, Shakespeare,
1564 -1616, nearly the equal of Beethoven
and Proust in his philosophical perspicacity, 
To be, or not to beis of course the first
existential soliloquy of our era
 
Descartes, 1596 – 1650
 
 
after ten years at palliative care I had changed,
and the unit had changed, it had become more
regimented and constrictive than it had been in
its early, more companionable, and not yet so
regimented, years, I now had to go through
security to get to my station, which was not at
all the spirit in which I’d entered the service
 
I am now, I’m imagining, a poet, and live and
write accordingly, these very missives, Nemo, 
are my memoirs, at present you are my muse
 
thanks  
 
I hope you’re “enjoy[ing] reading them

 

 
Richard
 
 
 

“Trouble” – Matthew Dickman‏

                                                                                                                                                                              after the great hiatus of the Middle Ages Descartes declared I think, therefore I am, and set the modern world in motion, the Age of Reason, the Era of Human Rights 
 
but even Shakespeare some seventy years earlier had given voice already to the consequent existential dilemma, by way of Hamlet in his “To be, or not to be“, the moral dilemma of the individual before existence – “the slings and arrows of outrageous fortune” – and the abyss of eternity, a question up to that point forbidden on dire pain of heresy  
  

                                                                                                                                                                         Emily Dickinson touches on the subject famously, others also of equal authority, but here is something I thought true, touching, beautiful, and ultimately inspiring for anyone who’s delved that deep  
 
                                                                                                                                                                   Richard 
  
  
                       ______________________
  
 
Trouble   
 

                                                                                                                                                                        Marilyn Monroe took all her sleeping pills
to bed when she was thirty-six, and Marlon Brando’s daughter
hung in the Tahitian bedroom
of her mother’s house,
while Stanley Adams shot himself in the head. Sometimes
you can look at the clouds or the trees
and they look nothing like clouds or trees or the sky or the ground.
The performance artist Kathy Change
set herself on fire while Bing Crosby’s sons shot themselves
out of the music industry forever.
I sometimes wonder about the inner lives of polar bears. The French
philosopher Gilles Deleuze jumped
from an apartment window into the world
and then out of it. Peg Entwistle, an actress with no lead
roles, leaped off the “H” in the HOLLYWOOD sign
when everything looked black and white
and David O. Selznick was king, circa 1932. Ernest Hemingway
put a shotgun to his head in Ketchum, Idaho
while his granddaughter, a model and actress, climbed the family tree
and overdosed on phenobarbital. My brother opened
thirteen fentanyl patches and stuck them on his body
until it wasn’t his body anymore. I like
the way geese sound above the river. I like
the little soaps you find in hotel bathrooms because they’re beautiful.
Sarah Kane hanged herself, Harold Pinter
brought her roses when she was still alive,
and Louis Lingg, the German anarchist, lit a cap of dynamite
in his own mouth
though it took six hours for him
to die, 1887. Ludwig II of Bavaria drowned
and so did Hart Crane, John Berryman, and Virginia Woolf. If you are
travelling, you should always bring a book to read, especially
on a train. Andrew Martinez, the nude activist, died
in prison, naked, a bag
around his head, while in 1815 the Polish aristocrat and writer
Jan Potocki shot himself with a silver bullet.
Sara Teasdale swallowed a bottle of blues
after drawing a hot bath,
in which dozens of Roman senators opened their veins beneath the water.
Larry Walters became famous
for flying in a Sears patio chair and forty-five helium-filled
weather balloons. He reached an altitude of 16,000 feet
and then he landed. He was a man who flew.
He shot himself in the heart. In the morning I get out of bed, I brush
my teeth, I wash my face, I get dressed in the clothes I like best.
I want to be good to myself.

 

                                                    
Matthew Dickman
 

             

                        ____________________________________