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Showing posts with label Gustave Dore. Show all posts
Showing posts with label Gustave Dore. Show all posts

Sunday, January 29, 2012

Sunday Poetry LII -- The Most Beautiful Lines in Poetry

Gustave Dore
I don't remember who said it.  I read the quotation somewhere along the line.  Someone important.  You know, like all quotations.  At least the ones we remember.

Anyway, whoever the important person was, he said that the lines from Canto 33 of L'Inferno in which Count Ugolino recounts his story, between chomps at the back of Ruggieri's head, are the most beautiful lines in poetry.  Or else, that's how I remember the quotation going.  

Whatever the quotation, though, and whoever said it, you are the only judge who counts.

From the Longfellow translation –

“Thou hast to know I was Count Ugolino,
  And this one was Ruggieri the Archbishop;
  Now I will tell thee why I am such a neighbour.

That, by effect of his malicious thoughts,
  Trusting in him I was made prisoner,
  And after put to death, I need not say;

 But ne'ertheless what thou canst not have heard,
  That is to say, how cruel was my death,
  Hear shalt thou, and shalt know if he has wronged me.

A narrow perforation in the mew,
  Which bears because of me the title of Famine,
  And in which others still must be locked up,

Had shown me through its opening many moons
  Already, when I dreamed the evil dream
  Which of the future rent for me the veil.

This one appeared to me as lord and master,
  Hunting the wolf and whelps upon the mountain
  For which the Pisans cannot Lucca see.

With sleuth-hounds gaunt, and eager, and well trained,
  Gualandi with Sismondi and Lanfianchi
  He had sent out before him to the front.

After brief course seemed unto me forespent
  The father and the sons, and with sharp tushes
  It seemed to me I saw their flanks ripped open.

When I before the morrow was awake,
  Moaning amid their sleep I heard my sons
  Who with me were, and asking after bread.

Cruel indeed art thou, if yet thou grieve not,
  Thinking of what my heart foreboded me,
  And weep'st thou not, what art thou wont to weep at?

They were awake now, and the hour drew nigh
  At which our food used to be brought to us,
  And through his dream was each one apprehensive;

And I heard locking up the under door
  Of the horrible tower; whereat without a word
  I gazed into the faces of my sons.

I wept not, I within so turned to stone;
  They wept; and darling little Anselm mine
  Said: 'Thou dost gaze so, father, what doth ail thee?'

Still not a tear I shed, nor answer made
  All of that day, nor yet the night thereafter,
  Until another sun rose on the world.

As now a little glimmer made its way
  Into the dolorous prison, and I saw
  Upon four faces my own very aspect,

Both of my hands in agony I bit;
  And, thinking that I did it from desire
  Of eating, on a sudden they uprose,

And said they: 'Father, much less pain 'twill give us
  If thou do eat of us; thyself didst clothe us
  With this poor flesh, and do thou strip it off.'

I calmed me then, not to make them more sad.
  That day we all were silent, and the next.
  Ah! obdurate earth, wherefore didst thou not open?

When we had come unto the fourth day, Gaddo
  Threw himself down outstretched before my feet,
  Saying, 'My father, why dost thou not help me?'

And there he died; and, as thou seest me,
  I saw the three fall, one by one, between
  The fifth day and the sixth; whence I betook me,

Already blind, to groping over each,
  And three days called them after they were dead;
  Then hunger did what sorrow could not do."

Wednesday, March 30, 2011

The Mysterious Flame of Queen Loana XV -- chapter 14: LOCKED AND LOADED

by Gustave Dore'
  1. I’ve claimed elsewhere that I hate exposition.  I need to qualify that.  I hate obvious exposition, or poorly-done, contrived and unnatural exposition.  While Eco, clearly a skilled writer, is telling a story throughout these first 13 or 14 chapters, is it not mostly, if not entirely, exposition?  And if it is indeed and essentially all exposition, is it not also fairly obvious and contrived, no matter how artful?  Read my mind (which, at least in this particular case is and with any luck, is at least fairly aligned with yours): why do I find so much enjoyment here that I would, in otherwise similarly contrived and [never so] lengthy expositions, not find, because, honestly--14 chapters of exposition?
  2. When the memory finally returns, will it be by effect of one particular trigger alone or the weeks of re-living the past in general or the simple heeling effects of time--or all three?
  3. The "Hotel of the Three Roses" becomes another Clarabell's Treasure, as well as, and by the reference "A rose by any other name," another Shakespeare's First Folio.  How do these three things compare to the enigmatic "Mysterious Flames" he's experienced throughout, particularly as none of these three has necessarily sparked such a flame within (at least, in the case of the last of the three, by Yambo's first experience with it at the hands of the mischievous Sibilla)?
  4. Maybe a tough question (so it is for me, anyway, as its answer may include the toppling of gods): Is the sudden and coincidental appearance of the First Folio too much--even a cop out?  Sure, Eco sets it up earlier by Sibilla's joke, but does this feel at all artificial--contrived--to you?  Would anyone in Yambo's circumstances also have to stumble upon their own personal version of the First Folio to shock them back to life (and I'm assuming, not remembering as it so happens, that this is indeed the trigger, based upon the event's placement not only at the end of Yambo's Solara efforts, but also at the end of the section)?

Sunday, January 23, 2011

Sunday Poetry XII (and Jane Eyre XXVIII) -- JANE EYRE IS A BIRD

For brevity's sake, I am not including the full poems I reference here.  Also, and as I've done before (even just last week), I'm going to leave the majority of dot-connecting to you.

The topic comes from our most recent Jane Eyre installment, chapter 27, which in its reference to birds as "emblems of love" throws back in a contrary manner (opposite really, but birds still the same) to chapter 1, where Jane is reading from Bewick's History of British Birds.  Before we get into the direct application to the book, however, I want to look at some more birds.


Birds, symbolically, are a lot like that of trees, at least on the positive end of things, where they can represent nature and God (often, and particularly in the case of Jane Eyre, the same thing) and love, and, in their movement between earth and Heaven, they can represent prayer and angels or spirits.  However, they have a freedom impressionistically lacking in trees, and their folkloric connection to deity is stronger than that of trees.  (Look at Quetzalcoatl and, on the less dramatic side, Mr. Stork -- video below.)


There is also a darker element to birds, which seems more appropriate, at least by first impression, to Jane Eyre.  Birds are often carrion eaters--consumers of the dead.  Blend this with their naturally spiritual element, and you have a symbol well worthy of Jane Eyre, and particularly chapter 1.  Crows, owls, vultures, etcetera are not birds associated with that which is pleasant and beatific and uplifting.  I posted this picture yesterday:


Here a man--one unlucky soul from the Book of Samuel--after being stoned gets taken apart by the birds.  It reminds me of that moment in Pirates of the Caribbean shortly before Jack SPARROW escapes (see? "sparrow": freedom -- though also, perhaps, idiocy -- in that name) where we see crows poking at the eye of some woebegone sailor in a cage.

Gustave Dore'
Pirates and birds, not to mention the illustrator of the above engraving, Gustave Dore (one of my very favorite illustrators, by the way, and thank goodness he was so spectacularly prolific!), brings us to Rime of the Ancient Mariner, by Samuel Taylor Coleridge (short version HERE; complete poem HERE (and, really, read the whole thing; it's worth it and will only put you out about ten or fifteen minutes).  Here we see the curse that follows the destruction of nature, and in this case, an albatross, symbol of good fortune as well as symbol of Jesus Christ (consider its shape against the sky, sun up and behind it, viewed from the deck of a ship far below).

What interests me here is the combination of hopefulness (the albatross as Christ) with the migratory nature, almost aimlessness, of the sea bird.  This and other sea birds are the subject of the chapter of Bewick's, which young Jane Eyre is reading.  But what about the most recent chapter we've read, where the birds are all about the Love?

Certainly that--love--fits birds just fine.  Read the smackingly sappy (sorry) Ode to a Nightingale, by Keats: HERE.

Note the mention of the dryad in the first stanza: bolster, as if it were needed, to the connection mentioned above between birds and trees (beside the fact that so many birds frickin' LIVE in trees!).

Joseph Severn
While I think these two poems do a good job reflecting at least a little of what Bronte was intending in their respective chapters, it does little to make connection between the two, because birds are such facile and even capricious symbols; they can be practically anything.  But perhaps if we forget about the individual symbolics of specific species or varieties, then we might make a general definition for birds (easy -- they fly, right? and flying is freedom, unfettered and irresponsible), and apply it to Jane.

Look at her circumstances in each chapter as they apply to freedom.  In chapter 1, she craves it, but freedom appears to be impossible, unreachable; hence the birds are dark, migratory, and carnivorous--drawn haunts of the derelict and dead.  In chapter 27, she is faced with the necessity of taking up her a new and undesired freedom, but she doesn't want to go!  She sees love--tweedly little birds, cute and white (I'm making that up)--but it, the love, is as unreachable--keen to fly just beyond her grasp--as was freedom back at the beginning.

Maybe this is stretching, but it works.  Birds are such instinctive symbols that, I think, even if Bronte didn't intend their application here, it works nonetheless.  What might not work, though I'm putting it out there anyway, is Jane's name:

JANE EYRE.  (And this is how totally I am going from the mark.  Read Ancestry.com's derivation of the last name Eyre, from Ayer: "English: from Middle English eireyer ‘heir’ (Old French (h)eir, from Latin heres ‘heir’). Forms such as Richard le Heyer were frequent in Middle English, denoting a man who was well known to be the heir to the main property in a particular locality, either one who had already inherited or one with great expectations.")  But say the last name aloud.  Eyre.  Say it.  Eyre; Air.  Birds!  Jane Eyre is a bird, folks!  Take her first name (which means gracious and merciful, by the way) and we've really got a pretty good description of Jane's character: a forgiving and benevolent bird.  Does she not travel here and there spreading the good of her soul?

I welcome you thoughts.



Tuesday, October 26, 2010

East of Eden XXI -- chpt 20: Treacherous to her Master

Gustave Dore

Perhaps it's just my own personal adulation of both, but I was thinking while reading this chapter how Dante and Steinbeck seem to have some of the same darkling sense of humor.  There's an irony and a wit that seem peculiarly parallel, and I can't help but imagine what Dante would have done with Cathy and Adam in Hell.  Adam, of course, would be up above the gates with others guilty of sins of omission; Cathy, on the other hand....  Would she not be right at the very bottom with Judas, Brutus, and Cassius, hanging, wriggling, in the very jaws of Satan himself, demanding of him a fourth mouth?


Reading Questions
Chapter 20.1

  1. Kate to Faye: "You're so sweet.  You believe in everybody.  Someday if you don't watch, or I don't watch for you, someone will steal the roof."  //  "Who'd want to steal from me?" asked Faye.  //  Kate put her hand on Faye's plump shoulders.  "Not everyone is as nice as you are."

Chapter 20.2

  1. Kate is a master at disguising the physical symptoms of her thoughts with their emotional synonyms.  Here, Faye has just given her her will and Kate appears to be overcome with emotion and sorrow for the pall of death cast by such a thing.  What's really going on in her evil little mind?
  2. But there's a contradictory line after Faye insists the Kate drink the champagne: "Kate's chemistry screamed against the wine.  She remembered [what she did last time she got freaking tipsy], and she was afraid."  Afraid!?  Of what?  Is she actually afraid she might hurt Faye while inebriated?  That doesn't sound like her, especially considering the obviousness of her plotting.  What's she afraid of (and am I being too hard on her)?
  3. Is it the girl or the wine that does it in the end?

Chapter 20.3

  1. Why doesn't she just finish her off?  Is everything not in place and ready?
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