Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Wednesday, 5 November 2014

Keeler's Three Worlds & the Sacred Tree of Life

The ideas here are inspired by a talk I went to by Ahmed Paul Keeler, but my questions and conclusions might be quite different.

Medieval Christianity revered its saints and its sacred artefacts, built society around religious authority and buildings, and went on crusades to spread its faith and teach obedience. The Enlightenment brought the dawn of reason and doubt which revered heroes and philosophers, wiping away the sacred and in its place revived the dead civilisations of Greece and Rome, building society around concepts and ideals and the ghosts of history, colonising the world in the name of civilising it, teaching progress and achievement. Modernity reveres celebrity and money, builds society around democracy and corporations and through debt and war makes the world depend on the market, teaching free-trade, growth and the translation of everything human into a market value. On the bright side, these three represent morality, reason and efficiency through which the world is fed — spiritually, mentally and bodily. But what each lacks is an open-heartedness and in certain moments of history, each projected outwards their dark side, rejecting some aspect of humanity (the magical, the black; the primitive, the tribal; the poor, the natural) with devastating consequences (burning witches, slavery, colonisation, genocide, exploitation, environmental destruction).

Traditionalism reveres order and a return to sacred life and community. It values the living memory of language, calligraphy, music, folklore, culture, celebration and prayer. However, just because something has always been done a certain way is surely no reason to perpetuate it and stifle change? By contrast, post-modernism reveres freedom and self-expression and individuality. However, might this not involve the opposite risk of an unconditional acceptance of a chaotic present? Instead of seeing traditionalism and post-modernism as opposite choices, is it not possible for us to imagine a beautiful synthesis? Order within chaos, freedom within community, the light of the sacred within self expression?
Maxfield Parrish
Garden of Allah (1918)
The tree of life and the tree of tradition are the same tree. It has roots that go deep and wide, as well as leaves that reach for the light and whose breath is the scent of the wind. The roots nourish the leaves, the leaves nourish the roots. In everything a balance: it need not mean a choice nor a restriction. 
Gustav Klimt
The Tree of Life (1905) [detail]
Perhaps all this is just ideas and concepts, but if we seriously care about the world, then should we not think about it? Isn't thinking a proof of love? Despite the limitations of our thinking, it might lead us one day to a deeper understanding.

Thursday, 19 September 2013

Kubla Kahn (Samuel Taylor Coleridge)


Kubla Kahn                    Or, a vision in a dream. A Fragment. 
By Samuel Taylor Coleridge   
In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
   Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round;
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery. 
But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e’er beneath a waning moon was haunted
By woman wailing for her demon-lover!
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced:
Amid whose swift half-intermitted burst
Huge fragments vaulted like rebounding hail,
Or chaffy grain beneath the thresher’s flail:
And mid these dancing rocks at once and ever
It flung up momently the sacred river.
Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,
Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean;
And ’mid this tumult Kubla heard from far
Ancestral voices prophesying war!
   The shadow of the dome of pleasure
   Floated midway on the waves;
   Where was heard the mingled measure
   From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice! 
   A damsel with a dulcimer
   In a vision once I saw:
   It was an Abyssinian maid
   And on her dulcimer she played,
   Singing of Mount Abora.
   Could I revive within me
   Her symphony and song,
   To such a deep delight ’twould win me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread
For he on honey-dew hath fed,
And drunk the milk of Paradise.
     
Painting: ‘A Sea Spell’ by Dante Gabriel Rossetti

Thursday, 18 April 2013

Flower Fairies of Spring (Cicely Mary Barker)

Spring Magic

The World is very old;
But year by year
It groweth new again
When buds appear.

The world is very old,
And sometimes sad,
But when the daisies come
The world is glad

The world is very old;
But every Spring
It groweth young again;
And fairies sing.

—Cecily Mary Barker 

The Complete Book of Flower Fairies
Poetry & Artwork by Cicely Mary Barker

Video by silverbirch4444art

Poems compiled by Frederick Warne


THE SONG OF THE CROCUS FAIRIES

Crocus of yellow, new and gay;
Mauve and purple, in brave array;
Crocus white
Like a cup of light, —
Hundreds of them are smiling up,
Each with a flame in its shining cup,
By the touch of the warm and welcome sun
Opened suddenly. Spring's begun!
Dance then, fairies, for joy, and sing
The song of the coming again of Spring.



THE SONG OF THE COLT'S-FOOT FAIRY

The winds of March are keen and cold;
I fear them not, for I am bold.

I wait not for my leaves to grow;
They follow after: they are slow.

My yellow blooms are brave and bright;
I greet the Spring with all my might.


THE SONG OF THE DANDELION FAIRY

Here's the Dandelion's rhyme:
See my leaves with tooth-like edges;
Blow my clocks to tell the time;

See me flaunting by the hedges,
In the meadow, in the lane,

Gay and naughty in the garden;
Pull me up – I grow again,

Asking neither leave nor pardon.
Sillies, what are you about

With your spades and hoes of iron?
You can never drive me out

Me, the dauntless Dandelion!



THE SONG OF THE WILLOW-CATKIN FAIRY

The people call me Palm, they do;
They call me Pussy-willow too.
And when I'm full in bloom, the bees
Come humming round my yellow trees.

The people trample round about
And spoil the little trees, and shout;
My shiny twigs are thin and brown:
The people pull and break them down.

To keep a Holy Feast, they say,
They take my pretty boughs away.
I should be glad – I should not mind
If only people weren't unkind.

Oh, you may pick a piece, you may
(So dear and silky, soft and grey);
But if you're rough and greedy, why
You'll make the little fairies cry.



THE SONG OF THE WINDFLOWER FAIRY

While human-folk slumber,
The fairies espy
Stars without number
Sprinkling the sky.
The Winter's long sleeping,
Like night-time, is done;
But day-stars are leaping
To welcome the sun.
Star-like they sprinkle
The wildwood with light;
Countless they twinkle
The Windflowers white!

("Windflower" is another name for Wood Anemone.)



THE SONG OF THE LARCH FAIRY

Sing a song of Larch trees
Loved by fairy-folk;
Dark stands the pinewood,
Bare stands the oak,

But the Larch is dressed and trimmed
Fit for fairy-folk!
Sing a song of Larch trees,
Sprays that swing aloft,
Pink tufts, and tassels
Grass-green and soft:
All to please the little elves
Singing songs aloft!



THE SONG OF THE BLUEBELL FAIRY

My hundred thousand bells of blue,
The splendour of the Spring,
They carpet all the woods anew
With royalty of sapphire hue;
The Primrose is the Queen, 'tis true.
But surely I am King!
Ah yes,
The peerless Woodland King!

Loud, loud the thrushes sing their song;
The bluebell woods are wide;
My stems are tall and straight and strong;
From ugly streets the children throng,
They gather armfuls, great and long,
Then home they troop in pride
Ah yes,
With laughter and with pride!

(This is the Wild Hyacinth. The Bluebell of Scotland is the Harebell.)



THE SONG OF THE DAFFODIL FAIRY

I'm everyone's darling: the blackbird and starling
Are shouting about me from blossoming boughs;
For I, the Lent Lily, the Daffy-down-dilly,
Have heard through the country the call to arouse.

The orchards are ringing with voices a-singing
The praise of my petticoat, praise of my gown;
The children are playing, and hark! they are saying
That Daffy-down-dilly is come up to town!



THE SONG OF THE STITCHWORT FAIRY

I am brittle-stemmed and slender,
But the grass is my defender.

On the banks where grass is long,
I can stand erect and strong.

All my mass of starry faces
Looking up from wayside places,

From the thick and tangled grass,
Gives you greeting as you pass.

(A prettier name for Stitchwort is Starwort, though rarely used.)



THE SONG OF THE MAY FAIRY

My buds, they cluster small and green;
The sunshine gaineth heat:
Soon shall the hawthorn tree be clothed
As with a snowy sheet.

O magic sight, the hedge is white,
My scent is very sweet;
And lo, where I am come indeed,
The Spring and Summer meet.

Saturday, 9 February 2013

Beautiful Stained Glass (Jesus College)

Link: http://www.youtube.com/watch?v=ub041pseYJc

Photos courtesy of TheRevSteve on Flickr. 
How TheRevSteve took such great photos:  http://quotidiancleric.wordpress.com/... 
Music by Jesus Choir at Compline
Stained Glass designs mainly by William Morris & Edward Burne-Jones

(in order of appearance)

Moses, Samuel, David, Solomon

Adam, Enoch, Noah, Abraham


Four Cardinal (Human) Virtues: Temperance, Justice, Fortitude, Prudence & their opposites: anger, slander, timidity, stupidity


Three Theological Virtues: Hope, Faith & Charity, with corresponding vices underfoot


Seraphim, Cherubim, Thrones, Powers, Dominions across the first row. Principalities, virtues, archangels, angels, imago dei across the second.


St. Ursula, St. Dorothy, St. Radegund around whose convent now the chapel Jesus was built, St. Cecilia, St. Catherine across the first row. St. Jerome, St. Gregory, Bishop Alcock the founder, St. Ambrose, St. Augustine.


Bishop Alcock of Ely, founder of Jesus College


Angel playing violin


Angels playings cymbals & harp


Angels playing dulcimer & double-pipe


John, sibyls alongside


Luke, sibyls alongside


Mark, sibyls alongside


Matthew, sibyls alongside


Crest of Hugo de Balsham who founded the first Cambridge college (Peterhouse) in Bishop Alcock's chapel in Ely Cathedral


The baby Jesus, with mother Mary and shepherds adoring


The young Jesus confounding the scholars in the temple of Jerusalem


Inner chapel window, Agnus Dei (lamb of God) at the centre of a cinquefoil rose


Patience, Obedience & Docility

The original stained glass designs were destroyed by Puritan fundamentalists under Cromwell during the English Reformation. The new designs were done mainly by William Morris & Edward Burne-Jones in the 19th century. Notice the duality, good often literally stepping over evil. Notice the female saints are positioned superior to the male. Perhaps this is because they were literally there first — Jesus Chapel was originally a convent of St. Radegund (6th century) before it was appropriated to be the centrepiece of Jesus College, founded by Bishop Alcock (16th century). We might conjecture that the ordering left to right is chronological, but interesting that the right-most (right sometimes considered dominant) of these windows reads out: Solomon, Wisdom, Love (in the sense of charitas, or agape in Paul's letter to the Corinthians). Love is indeed the highest theological virtue, Wisdom the highest cardinal (human virtue) and Solomon a symbol of wisdom. All very fitting for a place of learning!

Wednesday, 2 January 2013

Desiderata of Max Ehrmann & The Art of Marie Stillman

Art of the female Pre-Raphaelite painter Marie Euphrosyne Spartali Stillman (1844-1927). The year she died is also the year Max Ehrmann wrote his most famous poem 'Desiderata', read here in the background. The music is the gypsy beat of 'Mahalageasca' by Mahala Rai Banda.
 

 

Desiderata

Go placidly amid the noise and the haste,
and remember what peace there may be in silence.
As far as possible without surrender
be on good terms with all persons.
Speak your truth quietly and clearly;
and listen to others,
even the dull and the ignorant;
they too have their story.

Avoid loud and aggressive persons,
they are vexations to the spirit.
If you compare yourself with others,
you may become vain and bitter;
for always there will be greater and lesser persons than yourself.
Enjoy your achievements as well as your plans.

Keep interested in your own career, however humble;
it is a real possession in the changing fortunes of time.
Exercise caution in your business affairs;
for the world is full of trickery.
But let this not blind you to what virtue there is;
many persons strive for high ideals;
and everywhere life is full of heroism.

Be yourself.
Especially, do not feign affection.
Neither be cynical about love;
for in the face of all aridity and disenchantment
it is as perennial as the grass.

Take kindly the counsel of the years,
gracefully surrendering the things of youth.
Nurture strength of spirit to shield you in sudden misfortune.
But do not distress yourself with dark imaginings.
Many fears are born of fatigue and loneliness.
Beyond a wholesome discipline,
be gentle with yourself.

You are a child of the universe,
no less than the trees and the stars;
you have a right to be here.
And whether or not it is clear to you,
no doubt the universe is unfolding as it should.

Therefore be at peace with God,
whatever you conceive Him to be,
and whatever your labors and aspirations,
in the noisy confusion of life keep peace with your soul.

With all its sham, drudgery, and broken dreams,
it is still a beautiful world.
Be cheerful.
Strive to be happy.

Thursday, 27 December 2012

Illustrated Rubaiyat of Omar Khayyam (Edward Fitzgerald)

This is a reading of most of the verses of the Rubáiyát of Omar Khayyám, as rendered by Edward Fitzgerald in 1859, accompanied by the illustrations of René Bull and the oud-playing of Khyam Allami. This a reprise of my very first ever blog post, a version of the Rubáiyát in 29 verses. The following now doubles that number.

Omar Khayyám, born in 11th century Persia, was an inspirational figure: a mathematician, poet, philosopher and astronomer, who also wrote treatises on music and minerology, and contributed to the development of a more accurate calendar. Fitzgerald's rendering of his Rubáiyát, while far from literal, is also pure inspiration. Enjoy in HD!


Awake! for Morning in the Bowl of Night
Has flung the Stone that sets the Stars to Flight:
   And Lo! the Hunter of the East has caught
The Sultan’s Turret in a Noose of Light.

Dreaming when Dawn’s Left Hand was in the Sky
I heard a Voice within the Tavern cry,
   “Awake, my Little ones, and fill the Cup
Before Life’s Liquor in its Cup be dry.”

And as the Cock crew, those who stood before
The Tavern shouted — “Open then the Door!
   You know how little while we have to stay,
And, once departed, may return no more.”

Now, the New Year reviving old Desires,
The thoughtful Soul to Solitude retires
   Where the White Hand of Moses on the Bough
Puts out, and Jesus from the Ground suspires.

Irám indeed is gone with all its Rose,
And Jamshyd’s Sev’n-ringed Cup where no one knows
   But still the Vine her ancient Ruby yields,
And still a Garden by the Water blows.

And David’s Lips are locked; but in divine
High piping PehlevĂ­, with “Wine! Wine! Wine!
   Red Wine!” — the Nightingale cries to the Rose
So that her yellow Cheeks incarnadine.

Come, fill the Cup, and in the Fire of Spring
The Winter Garment of Repentance fling:
   The Bird of Time has but a little way
To fly — and Lo! the Bird is on the Wing.

And look — a thousand Blossoms with the Day
Woke — and a thousand scattered into Clay
   And this first Summer Month that brings the Rose
Shall take Jamshyd and Kaikobád away.

But come with old Khayyám, and leave the Lot
Of Kaikobád and Kaikhosrú forgot!
   Let Rustum lay about him as he will,
Or Hátim Tai cry Supper — heed them not.

With me along some Strip of Herbage strown
That just divides the desert from the sown,
   Where name of Slave and Sultán scarce is known,
We’ll pity Sultán MáhmĂşd on his Throne.

Here with a Loaf of Bread beneath the Bough,
A Flask of Wine, a Book of Verse — and Thou
   Beside me singing in the Wilderness —
And Wilderness is Paradise enow.

"How sweet is mortal Sovereighnty" — think some:
Others — "How blessed the Paradise to come!"
   Ah, take the Cash in hand and wave the Rest;
Oh, the brave Music of a distant Drum!

Look to the Rose that blows about us — "Lo,
Laughing," she says, "into the World I blow:
   At once the silken Tassels of my Purse
Tear, and its Treasures on the Garden throw.

The Worldly Hope men set their Hearts upon
Turns Ashes — or it prospers; and anon,
   Like snow upon the Desert's dusty Face
Lighting a little Hour or two — is gone.

Think, in this battered Caravanserai
Whose Doorways are alternate Night and Day,
   How Sultán after Sultán with his Pomp
Abode his Hour or two, and went his way.

They say the Lion and the Lizard keep
The Courts where Jamshyd gloried and drank deep:
   And Bahrám, that great Hunter — the Wild Ass
Stamps o’er his Head, but cannot break his sleep.

I sometimes think that never blows so red
The Rose as where some buried Cæsar bled;
   That every Hyacinth the Garden wears
Dropped in its Lap from some once lovely Head.

And this delightful Herb whose tender Green
Fledges the River’s Lip on which we lean —
   Ah, lean upon it lightly! for who knows
From what once lovely Lip it springs unseen!

Ah, my Belovéd, fill the Cup that clears
Today of past Regrets and future Fears —
   Tomorrow? — Why, Tomorrow I may be
Myself with Yesterday’s Sev’n Thousand Years.

Lo! Some we loved, the loveliest and best
That Time and Fate of all their Vintage pressed.
   They drank their Cup a Round or two before,
And one by one crept silently to Rest.

And we, that now make merry in the Room
They left, and Summer dresses in new Bloom,
   Must we beneath the Couch of Earth descend
Ourselves to also make a Couch — for whom?

Ah, make the most of what we yet may spend,
Before we too into the Dust descend;
   Dust into Dust, and under Dust, to lie,
Sans Wine, sans Song, sans Singer, and — sans End!

Alike for those who for Today prepare,
And those that after a Tomorrow stare,
   A Muezzin from the Tower of Darkness cries
“Fools! your reward is neither Here nor There!”

Why all the Saints and Sages who discussed
Of the Two Worlds so learnedly, are thrust
   Like foolish Prophets forth; their Words to Scorn
Are scattered, and their Mouths are stopped with Dust.

Oh, come with old Khayyam, and leave the Wise
To talk; one thing is certain, that Life flies;
   One thing is certain and the Rest is Lies;
The Flower that once has blown for ever dies.

Myself when young did eagerly frequent
Doctor and Saint, and heard great Argument
   About it and about: but evermore
Came out by the same Door as in I went.

With them the Seed of Wisdom did I sow,
And with my own hand laboured it to grow:
   And this was all the Harvest that I reaped —
“I came like Water, and like Wind I go.”

Up from Earth’s Centre through the Seventh Gate
I rose, and on the Throne of Saturn sate,
   And many Knots unravelled by the Road;
But not the Knot of Human Death and Fate.

There was a Door to which I found no Key:
There was a Veil past which I could not see:
   Some little talk a while of Me and Thee
There seemed — and then no more of Thee and Me.

Then to the rolling Heaven itself I cried,
Asking, "What Lamp had Destiny to guide
   Her little Children stumbling in the Dark?"
And "A blind Understanding" Heaven replied.

Then to this earthen bowl did I adjourn
My Lip the secret Well of Life to learn:
And Lip to Lip it murmured — "While you live
Drink! — for once dead you never shall return."

I think the Vessel that with fugitive
Articulation answered, once did live
   And merry-make; and the cold Lip I kissed
How many kisses might it take — and give!

For in the Market-place one Dusk of Day
I watched the Potter thumping his wet Clay:
   And with its all obliterated Tongue
It murmured — "Gently, Brother, gently pray!"

Ah, fill the Cup: — what boots it to repeat
How Time is slipping underneath our Feet:
  Unborn tomorrow and dead Yesterday,
Why fret about them if Today be sweet.

One Moment in Annihilation's Waste,
One Moment, of the Well of Life to taste —
   The Stars are setting and the Caravan
Starts for the Dawn of Nothing — Oh, make haste.

How long, how long, in infinite Pursuit
Of This and That endeavour and dispute
   Better be merry with the fruitful Grape
Than sadden after none, or bitter, Fruit.

You know my Friends, how long since in my House
For a new Marriage I did make Carouse:
   Divorced old barren Reason from my Bed,
And took the Daughter of the Vine to Spouse.

But leave the Wise to wrangle, and with me
The Quarrel of the Universe let be:
   And in some Corner of the Hubbub caught
Make Game with that which make as much with Thee.

For in and out, above, about, below,
'Tis nothing but a Magic Shadow-show,
   Played in a Box whose Candle is the Sun,
Round which we Phantom Figures come and go.

And if the Wine you drink, the Lip you press,
End in the Nothing all Things end in — Yes —
   Then fancy while Thou art, Thou art but what
Thou shalt be — Nothing — Thou shalt not be less.

While the Rose blows along the River Bank,
With old Khayyam the Ruby Vintage drink:
   And when the Angel with his darker Draught
Draws up to thee — take that, and do not shrink.

'Tis all a Chequer-board of Nights and Days
Where Destiny with Men for Pieces plays:
   Hither and thither moves, and mates, and slays,
And one by one back in the Closet lays.

The Moving Finger writes; and, having writ,
Moves on: nor all thy Piety nor Wit
   Shall lure it back to cancel half a Line,
Nor all thy Tears wash out a Word of it.

And that inverted Bowl we call The Sky,
Whereunder crawling cooped we live and die,
   Lift not thy hands to It for help — for It
Rolls impotently on as Thou and I.

And this I know: whether the one True Light
Kindle to Love or Wrath consume me quite,
   One Glimpse of It within the Tavern caught
Better than in the Temple lost outright.

Listen again. One Evening at the Close
Of Ramazan, ere the better Moon arose,
   In that old Potter's Shop I stood alone
Surrounded by the Shapes of Clay in Rows.

And, strange to tell, among the Earthen Lot,
Some could articulate, while others not:
   And suddenly, one more impatient cried —
"Who is the Potter and who is the Pot?"

Then said another — "Surely not in vain
My substance from the common Earth was taken,
   That he who subtly wrought me into Shape
Should stamp me back to common Earth again.

Another said — "Why ne'er a peevish Boy
Would break the Bowl from which he drank in Joy;
   Shall he that made the Vessel in pure Love
And Fancy, in an after Rage destroy!"

None answered this; but after Silence spoke
A Vessel  of a more ungainly Make:
   "They sneer at me for leaning all awry;
What! Did the Hand then of the Potter shake?"

Said one — "Folks of a surly Tapster tell,
And daub his Visage with the Smoke of Hell;
   They talk of some strict Testing of us — Pish!
He's a Good Fellow; and t'will all be well."

Then said another with a long-drawn Sigh,
"My Clay with long oblivion is gone dry:
   But fill me with the old familiar Juice,
Methinks I might recover by-and-bye!"

So while the Vessels one by one were speaking,
One spied the little crescent all were seeking:
   And then they jogged each other, "Brother, Brother!
Hark to the Porter's Shoulder-knot a creaking!"

Ah, with the Grape my fading Life provide,
And wash my body whence the Life has died,
   And in a Winding-sheet of Vine-leaf wrapt,
So bury me by some sweet Garden-side.

Alas, that Spring should vanish with the Rose!
That Youth’s sweet-scented Manuscript should close!
    The Nightingale that in the Branches sang,
Ah, whence, and whither flown again, who knows!

Ah Love! could thou and I with Fate conspire
To grasp this sorry Scheme of Things entire,
   Would not we shatter it to bits — and then
Re-mould it nearer to the Heart’s Desire!

Ah Moon of my Delight who know’st no wane,
The Moon of Heav’n is rising once again:
   How oft hereafter rising shall she look
Through this same Garden after me in vain!

And when Thyself with shining Foot shall pass
Among the Guests Star-scattered on the Grass,
   And in your joyous Errand reach the spot
Where I made One — turn down an empty Glass!

Sunday, 28 October 2012

Tu Chiami Una Vita (Salvatore Quasimodo)



Paintings by John William Waterhouse. Set to music by Jan A. P. Kaczmarek. Poem by Salvatore Quasimodo. Sung by April Armstrong. Video by Accabadora.
http://www.youtube.com/watch?v=DAyfpmo5Q18

Salvatore Quasimodo (1901-1968)
— Tu Chiami Una Vita (You Invoke a Life)

Fatica d'amore, tristezza, Labour of love, sadness, 
tu chiami una vita You invoke a life
che dentro, profonda, ha nomi That within, deep inside, has names
di cieli e giardini. Of skies and gardens.
E fosse mia carne And were it my flesh
che il dono di male trasforma. Which the gift of sorrow transforms.

Saturday, 21 July 2012

Symbolism: East and West

Ingredients:
A collection of quotations, followed by a little video of the paintings of Marc Chagall (1887-1985) accompanied by Cerys Matthews, formerly of Catatonia, singing the Welsh song of unrequited love "Myfanwy".


Directions:
Jean Moreas ("Manifesto of Symbolism", 1886)
"To clothe the idea in perceptible form..."

François Cheng (Chinese Poetic Writing, 1977)
"The influence of a language conceived no longer as a denotative system that "describes" the world, but as a system of connections that provokes the act of signifying, is decisive here. Poetry, calligraphy, painting and myth form a semiotic network, both complex and unified, which cannot be compartmentalised. The three talents (san-tsai) of Man, Earth and Heaven participate in a relationship of both correspondence and complementarily. The role of man consists not only of "fitting out" the universe, but of interiorizing all things, recreating them so as to rediscover his own place within. In this process of "co-creation", the central element with regard to literature is the notion of wen. This term is found in many later combinations signing language, style, literature, civilisation, and so forth. Originally, it designated the footprints of animals, or the veins of wood and stone, the set of harmonious or rhythmic "strokes" by which nature signifies. It is in the image of these natural signs that the linguistic designs of calligraphy were created, and these are similarly called wen. The double nature of wen constitutes an authority through which man may come to understand the mystery of nature, and thereby his own nature. A masterpiece is that which restores the secret relationship between things, and the breath that animates them as well."

Odilon Redon "My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined."

Chung Hung (6th century) "The Breaths animate beings and things; these in their turn inspire man. Pushed by the impulsions and feelings which dwell within him, man expresses himself through dance and song. His song is a light which illuminates the three spirits (Man-Earth-Heaven) as well as the ten thousand creatures. Thus it makes an offering to the spirits, and makes manifest the hidden mystery. For unsettling Heaven and Earth, for moving the gods, nothing equals poetry." (The Chinese, like the Egyptians, have a myth of how the linguistic signs of writing were stolen from the gods, analogous to the Greek myth of Prometheus who stole fire.)

Goethe (from Prometheus)
"...Do you somehow imagine
That I should hate Life,
Flee to the desert,
Because not every
Flowering dream should bloom?
Here I sit, I form humans
After my own image;
A race, to be like me,
To sorrow, to weep,
To enjoy and delight itself,
And to heed you not -
Like I!"

Yen Yu (12th century) Man, Earth and Heaven correspond to human feelings, natural wonders and the language that is beyond language. "Among the great poets of the T'ang, the highest place is always given to the ineffable spirit. Like antelope horns which blend with tree branches in the forest, their verses are little preoccupied with observation or analysis. They possess a radiant transparency which can never be discerned. Sound which vibrates in the air, colour which shimmers like a mirage, the moon reflecting in the water, the face looking out of the mirror: such is the appearance of their poetry, a poetry of limited words, yet of meaning always extending Beyond."

Evelyn Pickering de Morgan "Art is eternal, but life is short…"

Ch'ing yuan Wei-hsin (8th century) "Before I had studied Zen for thirty years, I saw mountains as mountains, and waters as waters. When I arrived at a more intimate knowledge, I came to the point where I saw that mountains are not mountains, and waters are not waters. But now that I have got its very substance I am at rest. For it's just that I see mountains once again as mountains, and waters once again as waters."


Monday, 23 April 2012

Contemplations on Beauty

Ingredients:
Contemplations on Beauty in haiku form, accompanied by "In Cerca di Te" (Looking for You) with subtitled lyric translation into English, and illustrated with artworks listed in the credits.



Some say:
Quarantine Beauty
From's sin's opportunities
Or regret love lost.

I say:
Love springs from Goodness
Or else it's a fool's desire
And a miser's fear.


~_*_~

Days and nights I spend
Trying to please a fickle friend
Futile in the end.

Beauty's the promise
To partake in heaven's fruit
And share it with you.

What humbugs we are
Who claim to live for beauty,
But wake not for dawn. [Logan Pearsall Smith]

Beauty can't be hid,
But the soul that spies her must
Sometimes walk alone. [Johann Wolfgang von Goethe]

How lovely each part!
Isn't it astonishing
How she moves my heart.


Directions:
"In Cerca di Te" (Looking for you) - perhaps best known for its opening words - "Sola me ne vo per la cittĂ " - is a beautiful song written by Eros Sciorilli dating back to 1945. Here it is revived in an electroswing version in 2011, rearranged and with a voice cameo by Peter Cincotti, performed by singer Simona Molinari. The song tells about the search for a lost love, but it also represents the feelings of existential loss that struck many Italians waking up to their broken country in the aftermath of the Second World War.

In Cerca di Te (Looking for You)

Sola me ne vo per la cittĂ 
passo tra la folla che non sa
che non vede il mio dolore
cercando te, sognando te, che piĂą non ho.

Ogni viso guardo e non sei tu
ogni voce ascolto non sei tu
Dove sei perduto amore?
Ti rivedrò, ti troverò, ti seguirò.

Io cerco invano di dimenticar
il primo amore non si può scordar
è scritto un nome, un nome solo in fondo al cuor
t'ho conosciuto ed ora so che sei l'amor,
il vero amor, il grande amor.


Lyric Translation: Looking for You

Through these city's streets I walk alone
Slipping through the bustling crowds unknown
None can see my aching pain inside
Searching, longing you were by my side.
Every face I look, but it's not you
Every voice I listen, it's not you
Where are you, the love I knew?
If only I could catch a glimpse of you,
I will find you and I will follow
I'll seek in vain this pain to swallow.
My first love, how could I forget
That name is written, engraved and set
At the bottom of my beating heart
When we touched, I knew that it was love
My one true love, forever my great love.

Without haikus or voiceover, the original song from 1945:

Monday, 19 March 2012

The Lorelei (Heinrich Heine)

Ingredients:
Poem by the 19th century German poet Heinrich Heine, later set to music by Clara Schumann, translated here into English by Mark Twain, followed by a video of the art of Albert Pinkham Ryder, born 155 years ago today, accompanied by composition "The Cloudy Road" of Yoko Kanno, also born on this day. The painting on the right meanwhile is "Calypso's Isle" by Herbert Draper.


Directions:
The Beautiful Lorelei
I cannot divine what it meaneth,
This haunting nameless pain:
A tale of the bygone ages
Keeps brooding through my brain:

The faint air cools in the gloaming,
And peaceful flows the Rhine,
The thirsty summits are drinking
The sunset's flooding wine;

The loveliest maiden is sitting
High-throned in yon blue air,
Her golden jewels are shining,
She combs her golden hair:

She combs with comb that is golden,
And sings a weird refrain
That steeps in a deadly enchantment
The listener's ravished brain:

The doomed in his drifting shallop,
Is tranced with the sad sweet tone,
He sees not the yawing breakers,
He sees but the maid alone:

The pitiless billows engulf him!-
So perish sailor and bark;
And this, with her baleful singing,
Is the Lorelei's gruesome work.
Translation by Mark Twain

Thanks to Jon, a choral rendition:
http://www.youtube.com/watch?v=UxuryEhS9ZY