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In Search of a Phoenix: Petrarca’s Servants

Francesco Petrarca (or Petrarch) is well-known to us as one of the major Italian poets, one of the “three fountains” of Italian Renaissance poetry as Dante, Petrarch and Boccaccio are sometimes called. His unrequited devotion to madonna Laura is a subject of a vast critical research. However, much of Petrarca’s character may remain hidden from us, unless we turn to his letters. Rerum Familiarium (Letters on Familiar Matters), written between 1325 and 1366 and organised in twenty-four books between 1345 and 1366, is a living testament of intellectual and creative ability of this famous poet, but more than that, the letters show us a very witty, even humorous man. At the very end of the third volume of Rerum Familiarium there are over 10 letters addressed to the great men of the past, including Cicero, Seneca, Homer, and Livy; Petrarch was also known for giving antique names to some of his friends, whereby there are epistoles to Olympio and Socrates in this collection. One of the letters greatly reminded me of myself: in it Petrarch complained to his correspondent that he was inundated with his own papers and drafts that were scattered all over his house so much so that he decided to burn them. My own drafts are to be found absolutely everywhere, but I am yet to be inundated.

The collection may leave one wondering how good it must indeed have been in the 14th c. from the intellectual point of view. The letters reveal an important aspect of a shared scholarship, and although we do not see the letters by or from Petrarch’s correspondents, one has to assume that the current of quotations and references was flowing both ways. One can also not find enough praise for the translator, Aldo S. Bernardo, although, as he noted in the preface, this work was in part triggered by the deteriorating knowledge of Latin among the Renaissance students. On the other hand, thanks to him, everyone who doesn’t know Latin, can dive into the boundless sea of Petrarch’s epistolary work.

As I said, however, the letters also show us the “down-to-earth” Petrarch. Not in one of them does he compain about the age, the servants, and we even hear that his cobbler and taylor didn’t listen to him (much to his annoyance) when he requested that his garments should be of bigger size. The letter quoted below gives a great example of this “worldly” side of the poet’s character.

Petrarca to Sennuccio di Firenze (Rerum Familiarium, IV, no. 14)

I have in my home three pairs of servants, or, to speak more modestly, of lower class friends, or, to tell the truth, of domestic enemies. Of the first pair one is far too simple and the other is far too shrewd. Of the second, one is rendered useless by his childishness and the other by his age. Of the third, one is mad and the other is shamefully lazy, and as in Cicero’s saying in a letter to Socrates, one is in need of a bridle, the other of a spur. Faced with such opposition I used to attempt to correct the situation, but now I sit as a simple spectator, nor can I stop wondering at the minds of those who regard mobs of servants as something glorious, and are commonly found in the company of those whom they feed, delighting, that is, in the company of their domestic underminers. It is enough for you to know my need, nor do I believe that you expect me to beg you for help. If by chance there should appear anywhere in rather humble straits a spirit whose age and conduct are moderate, you will have found a man in whom such qualities as I seek are to be found – I would not say perfectly but tolerably – and who could be not my servant but my colleague, friend, and master. Yet I fear that I seem to be committing you to a search for a Phoenix which usually is reborn only after 500 years, exists singly in all the world, and isn’t known to us in the West. Farewell.

 

A Student Lamentation (And the Fizzy Drink Man)


A Student Lamentation, originally uploaded by loscuadernosdejulia.

I think one of the biggest differences that struck me upon coming to study in England in 2003 was an almost complete absense of graffiti on the desks at the study rooms and in the library. Well, five years later the things seem to have changed, as both photos plainly illustrate. In truth, since the start of this academic year I have seen several phone numbers and random phrases inscribed on the desks, but the desk I happened to sit at this afternoon was too precious to ignore. One commentator lamented the state of female beauty at the medical faculty, while another unveiled to us a new kind of hunk, who’s got the jars of Fanta, Coke, and 7UP implanted in his otherwise flat stomach. All in all, both graffitis are funny, witty, and entertaining, which I, my student years still fairly fresh in my memory, can delight in. But one can only wonder what will happen when the entire desk will be covered with scriptures and drawings, and the visitor, instead of reading, will innocently succumb to browsing the surface of the desk…

A Man Revised

When Computers Are Useful

I woke up at 5.40 this morning with a strange feeling of wanting to stay in bed but not wanting to sleep. As I gradually dragged myself out of bed and to the kitchen to make a cup of tea, it was 7am, and I resolved to go to the library at 9. There are two projects I am working on now, and although a lot of research has already been done, there is still a lot to do, so visiting the library is a rather lovely necessity.

And thus, I was sitting on the sofa, drinking hot tea with lemon, when I decided to go do some work on the computer before I leave the house. The desktop loaded, and I saw the clock. It was 7.45.

I double-checked. You see, before I went on the computer I checked the time on my mobile, and it was 8.45. But no, it was 7.45 all around. I realised that I’d forgotten to put the clock one hour back.

This is not to dispute (or refute) the more regular usefulness of computers. But it is lovely to know that, while a human being forgets to do something, the machine does it automatically and can remind the human being of what needs to be done. I’d really hate to stand outside the library on a rainy Sunday morning.

So, thanks to computers! And double-check your own clocks and watches, if you haven’t yet.

Irises (Lawrence and Van Gogh)

D. H. Lawrence, Scent of Irises (from Amores, New York: 1916).

A faint, sickening scent of irises
Persists all morning. Here in a jar on the table
A fine proud spike of purple irises
Rising above the class-room litter, makes me unable
To see the class’s lifted and bended faces
Save in a broken pattern, amid purple and gold and
sable.

I can smell the gorgeous bog-end, in its breathless
Dazzle of may-blobs, when the marigold glare overcast
you
With fire on your cheeks and your brow and your
chin as you dipped
Your face in marigold bunch, to touch and contrast
you,
Your own dark mouth with the bridal faint lady-smocks,
Dissolved in the golden sorcery you should not
outlast.

You amid the bog-end yellow incantation,
You sitting on the cowslips of the meadow above,
Me, your shadow on the bog-flame, flowery may-blobs,
Me full length in the cowslips, muttering you love;
You, your soul like a lady-smock, lost, evanescent,
You with your face all rich, like the sheen of a dove.

You are always asking, do I remember, remember
The butter-cup bog-end where the flowers rose up
And kindled you over deep with a cast of gold?
You ask again, do the healing days close up
The open darkness which they drew us in,
The dark which then drank up our brimming cup.

You upon the dry, dead beech-leaves, in the fire of
night
Burnt like a sacrifice; you invisible;
Only the fire of darkness, and the scent of you!
– And yes, thank God, it is still possible
The healing days shall close the darkness up
Wherein we fainted like a smoke or dew.

Like vapour, dew, or poison. Now, thank God,
The fire of night has gone, and your face is ash
Indistinguishable on the grey, chill day;
The night has burnt us out, at last the good
Dark fire burns on untroubled, without clash
Of you upon the dead leaves saying me Yea.

Illustration: Vincent van Gogh, Irises (1890).

Links: D. H. Lawrence – Celebrating a Literary Life: an excellent resource for “students, academic researchers and members of the general public with an interest in Lawrence and his work“. Includes a virtual tour of Lawrence’s landmark place in Nottinghamshire.

The Attitudes to Corporal Punishment

Following on from Max Ernst who peeked on Our Lady punishing the Child – here are two instances of attitude to corporal punishment. The poem Nieman kan mit gerten by the Middle High German lyric poet Walther von der Vogelweide (left) was probably composed at the turn of the 12th-13th cc. I have known it in Russian long before I began to study Medieval and Early Modern History, but here is a good English translation below. As the translator Graeme Dunphy notes, this gnomic poem has got a nice palindromic structure, i.e. every stanza consists of eight lines repeated from 1st to 4th and back, from 4th to 1st.

As close as they are to our hearts today, in his own time Vogelweide’s words had generally fallen on deaf ears, and a very different attitude (or rather practice) is commemorated in the frescoes at the apsidal chapel at Sant’Agostino in San Gimigniano, near Siena in Italy. The cycle of frescoes known as The Episodes from Life of St Augustine was composed between 1464 and 1465 by Benozzo Gozzoli and a few of his pupils, and The School of Tagaste (right) on the north wall is particularly well-known, for its representation of a teaching practice. If we suppose that Walther’s poem could be composed about 1200, then it is indeed striking how forward-thinking he had been, and how little had changed 265 years later!

More on:

San Gimignano

Sant’Agostino

Fresco cycle of St Augustine by Benozzo Gozzoli (1464-1465)

Walther von der Vogelweide, Neiman kan mit gerten (transl. by Graeme Dunphy)

No-one can obtain
Good children by the cane.
To those in whom true virtues grow
A word is mightier than a blow.
A word is mightier than a blow
To those in whom true virtues grow.
Good children by the cane
No-one can obtain.
A guard upon your tongue!
Good counsel for the young!
Throw the bolt across the door,
Let wicked words escape no more.
Let wicked words escape no more,
Throw the bolt across the door.
Good counsel for the young:
A guard upon your tongue!
A guard upon your eyes!
Always this is wise!
Let them see whatever’s good,
Shield them from what’s coarse and rude.
Shield them from what’s coarse and rude,
Let them see whatever’s good.
Always this is wise:
A guard upon your eyes!
A guard upon your ears!
A fool is what he hears!
If opened up to words ill-bred,
They’ll bring dishonour on your head.
They’ll bring dishonour on your head
If opened up to words ill-bred.
A fool is what he hears;
A guard upon your ears!
A guard upon all three!
They’re prone to be too free.
Tongue, eyes, ears are often base,
Inviting scandal and disgrace.
Inviting scandal and disgrace,
Tongue, eyes, ears are often base.
They’re prone to be too free.
A guard upon all three!

Quotes: Walter Pater on Art and Philosophy

Philosophiren, says Novalis, ist dephlegmatisiren vivificiren. The service of philosophy, of speculative culture, towards the human spirit is to rouse, to startle it into sharp and eager observation. Every moment some form grows perfect in hand or face; some tone on the hills or the sea is choicer than the rest; some mood of passion or insight or intellectual excitement is irresistibly real and attractive for us, – for that moment only. Not the fruit of experience, but experience itself, is the end. A counted number of pulses only is given to us of a variegated, dramatic life. How may we see in them all that is to be seen in them by the finest senses? How shall we pass most swiftly from point to point, and be present always at the focus where the greatest number of vital forces unite in their purest energy?
To burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life. In a sense it might even be said that our failure is to form habits: for, after all, habit is relative to a stereotyped world, and meantime it is only the roughness of the eye that makes any two persons, things, situations, seem alike. While all melts under our feet, we may well catch at any exquisite passion, or any contribution to knowledge that seems by a lifted horizon to set the spirit free for a moment, or any stirring of the senses, strange dyes, strange colours, and curious odours, or work of the artist’s hands, or the face of one’s friend. Not to discriminate every moment some passionate attitude in those about us, and in the brilliancy of their gifts some tragic dividing of forces on their ways, is, on this short day of frost and sun, to sleep before evening. With this sense of the splendour of our experience and of its awful brevity, gathering all we are into one desperate effort to see and touch, we shall hardly have time to make theories about the things we see and touch. What we have to do is to be for ever curiously testing new opinions and courting new impressions, never acquiescing in a facile orthodoxy of Comte, or of Hegel, or of our own. Philosophical theories or ideas, as points of view, instruments of criticism, may help us to gather up what might otherwise pass unregarded by us. “Philosophy is the microscope of thought.” The theory or idea or system which requires of us the sacrifice of any part of this experience, in consideration of some interest into which we cannot enter, or some abstract theory we have not identified with ourselves, or what is only conventional, has no real claim upon us.

 

One of the most beautiful passages in the writings of Rousseau is that in the sixth book of the Confessions, where he describes the awakening in him of the literary sense. An undefinable taint of death had always clung about him, and now in early manhood he believed himself smitten by mortal disease. He asked himself how he might make as much as possible of the interval that remained; and he was not biassed by anything in his previous life when he decided that it must be by intellectual excitement, which he found just then in the clear, fresh writings of Voltaire. Well! we are all condamnes, as Victor Hugo says: we are all under sentence of death but with a sort of indefinite reprieve – les hommes sont tous condamnes a mort avec des sursis indefinis: we have an interval, and then our place knows us no more. Some spend this interval in listlessness, some in high passions, the wisest, at least among “the children of this world,” in art and song. For our one chance lies in expanding that interval, in getting as many pulsations as possible into the given time. Great passions may give us this quickened sense of life, ecstasy and sorrow of love, the various forms of enthusiastic activity, disinterested or otherwise, which come naturally to many of us. Only be sure it is passion–that it does yield you this fruit of a quickened, multiplied consciousness. Of this wisdom, the poetic passion, the desire of beauty, the love of art for art’s sake, has most; for art comes to you professing frankly to give nothing but the highest quality to your moments as they pass, and simply for those moments’ sake.

Walter Pater, The Renaissance

Manuel Alvarez Bravo on Art and Technology

The question of art is not a question of spontaneous feelings. It is not a question of emotionality, but of the knowledge of how to make things, how to realise something consciously. Everything functions in the brain. Even art. And, since one keeps developing and gaining an understanding of a work of art, the question of art is always a question of culture.
 
The photographer receives what he is given. […] Technology develops and the individual is given more possibilities. But he is neither better nor worse because of those possibilities. […] The question of technology has nothing to do with new or old apparatus or methods. The question is only about the capacity of man to acquire culture and express it. It would never occur to me to do digital work in photography, because I have – within myself – my own development.
 
Technological advances are double-edged. What a marvel, the automobile! […] But what happens? The individual becomes more dependent on the automobile, and the automobile needs other phenomena to keep it going, and very soon it becomes a great muddle. Eventually, as we have more and more inventions, the individual becomes more and more separated from society. He stays more and more in his house, among his books, within himself.

Like many other photoartists, Alvarez Bravo drew inspiration from painting and literature. Below are the two fine examples. First is Lucy, his new take on the image of St Lucy (whose attribute was her eyes that were poked during the tortures). I chose the 16th c. painting by Domenico di Pace Beccafumi (1484-1551), although Alvarez Bravo clearly had more to say in his photo, and this is not a mere ‘resemblance’ of eyes to nipples. Frederic Kaufman whose extensive interviews with the photographer made up an introduction to Aperture monograph about Alvarez Bravo (Manuel Alvarez Bravo: Photographs and Memories (Aperture, Vol 147)) recalls a visit to the house where the master was born. The building in 20, Guatemala, right behind the cathedral, by the 1990s housed two commercial stalls on the ground floor. In one of these, Kaufman says, ‘I sink my hands into a bowl of glass eyeballs‘. These were “saint’s eyes”, and on the plate in the photo we probably see such a pair.

Another is Big Fish Eat Little Ones, titled almost precisely after a 1556 painting by Pieter Bruegel the Elder Big Fish Eat Little Fish.

Blog Action Day 2008: Poverty and Art

I think I took Blog Action Day 2008 message really close to heart this year – for I decided, Los Cuadernos being an arts blog, to research the representation of poverty in art. The research, which was and wasn’t painstaking at the same time, opened up a curious situation, as far as poverty was concerned.

Thomas Nichols’s recent book The Art of Poverty, although an interesting study, highlights precisely this ambiguity in art’s response to poverty. Arguably, there is a difference between pauperism and poverty. They don’t necessarily equal. One may assume that a beggar and vagabond could once be a peasant or worker, but this is not necessarily the case. And so, for my study I chose to draw attention precisely to peasants, house workers and labourers, who don’t beg or wander but are barely making their ends meet.

And here I, who never really researched into sacred (or religious) art, was very surprised and amused to realise that very rarely did painters depict Jesus as a carpenter. In the vast sea of Nativities, Miracles, Crucifixions, and Resurrections there was scarcely an image which would show Our Lord engaged in physical labour. The large picture by John Everett Millais Christ in the House of His Parents didn’t actually show Jesus working, but we nevertheless see him among people who are clearly workers. Surprisingly or not, the painting was decried by none other but Charles Dickens, who found Jesus too ugly, and Maria to be more repulsive than the most repellent tart in Paris. And even though Dickens would later take his words back, his initial reaction survives as the testimony of attitude to both Pre-Raphaelites and – Jesus in the house of a carpenter.

A similar fate in the guise of harsh criticism had befallen Gustave Courbet’s Stone-breakers, which scandalised the Parisian salon of 1850, and Eugene Delacroix’s Massacre of Chios (1824). And the conclusion one draws, after studying all the different images, which timeline spans good six centuries, is that there was a strong inclination to avoid depicting the physical labour and extreme hardships. This is understandable, on the one hand, for man always wants to elevate himself above his quotidian existence. But, on the other hand, art, rather often than not, seems to equal other means of escapism. And therefore, throughout those six centuries we mostly see peasant merriments, bucolic scenes with peasants and shepherds, we see poor classes drinking, resting, smoking, playing cards, and brawling, but very rarely do we see them working physically, let alone actually living, e.g. visiting courts, or taking their children to foster homes.

Poverty and physical labour are inextricably associated, and one is astonished to see that, while imitating life in some ways, painting as art was also masking the areas of life that weren’t pleasant to see. The role of painting can be compared to the role of frescoes in the church: frescoes elucidated the Scripture, while paintings were to elucidate the society.

The images of beggars were a popular subject, for they allowed for a light-hearted humour or moralistic discourses, or else for making the alms-giving people feel good about themselves. However, it seems that it was easier to be either rich – ostensibly or moderately – or to be on the fringe of the society, or indeed, an outcast. Either way, in the nascent or established bourgeois society these two extremes were more favourable, for they clearly showed the degree of God’s love for a subject. The poor classes, like peasantry and workers, seemed to be a difficult case: they worked hard – but were still poor. The art for the most part responded by downplaying their poverty or suffering from it. It may have done so unintentionally, by just describing what was in front of the eyes. In front of the eyes were, indeed, the “jolly beggars”, even when they were actually working. But, transferred onto canvas, the laughing and drinking folk had been taken for granted. And it is perhaps the true irony of the story that the mainstream society chose to draw attention to its extreme – beggars and vagabonds who were outsiders – while practically turning the blind eye to the poorer classes who were nevertheless the members of the society.

http://blogactionday.org/js/bdba435919dabd3bfef9cd5dc17e82451fc49df9

Parole, and Paul Ennis on Heidegger and the Word

I wrote The Word in 2006, and then it took two years and a Dublin Heidegger student to write a review of it. Paul Ennis is writing a Ph.D. thesis on Heidegger, “mostly on topological concerns, but also trying to work out authenticity“. As I admitted in the comment to his post, I am not as good a student of this philosopher as Paul evidently is. In fact – and it even surprised me to an extent – I recently found some Heidegger-esque thoughts about language and its expressive potential in one of my paper notebooks that date back to 2004, whereas I first read Wozu dichter? in 2006. I suppose this means why I was so taken by this essay in the first place, even though it seems that by 2006 I’d forgotten about those jotted thoughts of mine.

I should be quick to say that I read several of his works, but invariably, the reason why I’m also so interested is because since 2003 my modus vivendi has been bilingual and multicultural in the widest sense of the word. I have also been taking considerable interest in Translation Theory, and Heidegger’s conclusions intrigue me because I am immediately aware that, when I read his works in Russian or English, I read the interpreted Heidegger. And while I don’t doubt the skill of his translators, I nevertheless understand that there are stylistical and interpretative differences between the German and English languages. The matter is all the trickier because Heidegger in those essays is concerned about poetry, and we all know how difficult it is to translate a poem.

Paul’s enthusiastic response to The Word enthused me, too, and I left a rather long comment on the post in his blog. Being a Sagittarius, hence ruled by Jupiter, I do have this strong inclination to Philosophy, on the one hand, and abundance, on the other, and in that comment the two happily came together. I think this frightens people off sometimes, but thankfully, Paul is now intrepidly answering the comments to that post. I am really grateful to him for this, especially because I have been following his blog, too. Another Heidegger Blog is tightly focused on Heidegger, the various themes in his work, and the response to Heidegger’s work both by his and our contemporaries. The only real problem methinks with Arts and Humanities blogs is that their authors often tend to do something else in life (like earning money to support the body, writing dissertations, and such like), whereas the thought requires time and – contrary to whatever we may think – some physical effort, especially when writing is concerned.

Discussion about Heidegger and The Word
.

I contemplated recently the use of language once again, which resulted in the poem that I titled in Italian, after Mina’s song. Both poem and its translation were impromtu, but when I read the text over I realised there was yet another link to Heidegger’s text. In Wozu dichter? again he speaks about the man being a “merchant” (apologies, I’m relying on the Russian text) who constantly measures things without ever knowing their true value. While the English translation is very faithful to the original, I substituted the Russian for “words” (слова) with the French “paroles”. The reason is simple: the Russian poem is titled after Mina’s song in Italian which was famously covered in French by Dalida. It made sense to highlight this in the translation, which can also elucidate the interpretative facility of language.

Paroles, paroles

Paroles, paroles… Is there a price to words,
Or their value is indeed invented,
When scales are used to measure their worth
To give to someone as a gift or credit,
To which the weights are always other words?

Paroles, paroles… From underneath their face
A subject lurks, occasional and silent,
Escaping to the infinitive’s maze,
Abandoning the predicate’s confinement,
Confusing all superlatives in haste.

Paroles, paroles… I also live the words
But now, taking off my famous smile,
I think: do you have really any worth,
So usual, wise, eternal, versatile,
Or are you always words, but mere words?

English translation © Julia Shuvalova 2008.

error: Sorry, no copying !!