web analytics

Oscar Wilde – A Sonnet on Approaching Italy

I reached the Alps: the soul within me burned
Italia, my Italia, at thy name:
And when from out the mountain’s heart I came
And saw the land for which my life had yearned,
I laughed as one who some great prize had earned:
And musing on the story of thy fame
I watched the day, till marked with wounds of flame
The turquoise sky to burnished gold was turned,
The pine-trees waved as waves a woman’s hair,
And in the orchards every twining spray
Was breaking into flakes of blossoming foam:
But when I knew that far away at Rome
In evil bonds a second Peter lay,
I wept to see the land so very fair.
Oscar Wilde, Turin, 1877

Oscar Wilde’s Villanelles

Previously on this blog you have found and read If I Could Tell You by W. H. Auden. It was a villanelle, a poetic form adopted by the English poetry in the 18th c. To England it came from Italy and Spain via France where it was known, respectively, as villanella, villancico, and villanelle. In all three countries it was a dance-song implying pastoral notes in the text. In the English-language literature, however, where it became one of the favourite genres, villanelle has practically abandoned its rustic roots. The poets, including Oscar Wilde, W. H. Auden, and Dylan Thomas pondered much more philosophical themes than their continental predecessors.

Below are two villanelles by Oscar Wilde. One is addressed to the ancient Greek Theocritus, celebrating the work of the great bucolic poet. Another is dedicated to Pan (Faun), a Greek mythological character, “the goat-foot God“.

Theocritus

William Holman Hunt, Amaryllis, 1884

O singer of Persephone!
In the dim meadows desolate
Dost thou remember Sicily?

Still through the ivy flits the bee
Where Amaryllis lies in state;
O Singer of Persephone!

Simaetha calls on Hecate
And hears the wild dogs at the gate;
Dost thou remember Sicily?

Still by the light and laughing sea
Poor Polypheme bemoans his fate;
O Singer of Persephone!

And still in boyish rivalry
Young Daphnis challenges his mate;
Dost thou remember Sicily?

Slim Lacon keeps a goat for thee,
For thee the jocund shepherds wait;
O Singer of Persephone!
Do thou remember Sicily?

Pan

-1-

O goat-foot God of Arcady!
This modern world is grey and old,
And what remains to us of thee?

Mikhail Vrubel, Pan, 1899

No more the shepherds lads in glee
Throw apples at thy wattled fold,
O goat-foot God of Arcady!

Not through the laurels can one see
Thy soft brown limbs, thy beard of gold,
And what remains to us of thee?

And dull and dead our Thames would be,
For here the winds are chill and cold,
O goat-foot God of Arcady!

Then keep the tomb of Helice,
Thine olive-woods, thine vine-clad wold,
And what remains to us of thee?

Though many an unsung elegy
Sleeps in the reeds our rivers hold,
O goat-foot God of Arcady!
Ah, what remains to us of thee?

-2-

Ah, leave the hills of Arcady,
Thy satys and their wanton play,
This modern world hath need of thee.

No nymph or Faun indeed have we,
For Faun and nymph are old and grey,
Ah, leave the hills of Arcady!

This is the land where liberty
Lit grave-browed Milton on his way,
This modern world hath need of thee!

A land of ancient chivalry
Where gentle Sidney saw the day,
Ah, leave the hills of Arcady.

This fierce sea-lion of the sea,
This England lacks some stronger lay,
This modern world hath need of thee!

Then blow some trumpet loud and free,
And give thine oaten pipe away,
Ah, leave the hills of Arcady!
This modern world hath need of thee!

Arthoughts

I am thinking of one artist. Like him, I am not interested in goblins and airy castles. Certainly, there is certain beauty in all this, but I need real people. And it is them whom I want to write about. 

Schnittke was prepared to break his neck but to find the fusion of classical and popular music. “A Paganini” sounds even more Paganini than the latter’s work. 
 
Mario Vargas Llosa writes cinematic novels. Kurt Vonnegut was the master of telegraphic style. Peter Greenaway makes films like a painter. 
 
“Art is a lie”. “All art is quite useless”. “Culture neither saves, nor justifies anyone”. “This illusion is the only reality”. 
 
In reverse order, these phrases belong to Maugham, Sartre, Wilde, and Picasso. But art and culture is the mirror in which the man looks. It is the portrait of Dorian Gray that grows older, while its sitter remains youthful. Mankind constantly rejuvenates itself, every day it becomes younger; meanwhile the paintings perish and statues lose body parts in fires, floods, and bombings. We admiringly gaze at the heads without noses and armless torsos. Is there any wonder that Death exists not only because its mystery is unfathomable but because it remains unnoticed?  
 
Original Russian text
Я вспоминаю одного художника. Как и ему, мне не интересны гоблины и воздушные замки. Безусловно, во всем этом есть своя прелесть, но мне нужны живые люди. И писать я хочу о них же. 
 
Шнитке собирался свернуть шею, но найти-таки способ соединять классическую и популярную музыку. “К Паганини” звучит еще более как Паганини, чем все произведения последнего. 
 
Марио Варгас Льоса пишет кинематографичные романы. Курт Воннегут – мастер телеграфного стиля. Гринуэй снимает кино, как живописец. 
 
“Искусство – ложь”. “Все искусство практически не нужно”. “Культура никого ни от чего не спасает, да и не оправдывает”. “Вот эта-то иллюзия и есть единственная реальность”. 
 
Это сказали, в обратном порядке, Моэм, Сартр, Уайльд, Пикассо. Но культура и искусство – это зеркало, в которое глядится человек. Это портрет Дориана Грэя, стареющий по мере того, как сохраняет молодость модель. Человечество все время обновляется, каждый день оно становится моложе; а в это же время в пожарах, наводнениях и бомбежках погибают картины и теряют части тела статуи. Мы восхищаемся, глядя на головы без носов и безрукие торсы. Стоит ли удивляться, что Смерть существует не только потому, что ее тайна непостижима, но и потому, что ее не замечают?
 
Image credit: Wikimedia

Tweeji: How Afterlife Embraced the Virtual World


As we know, celebrities flock to Twitter to avoid the middle men, be they tabloids or paparazzi. Presumably, they want to speak to their audience directly. But it looks like even the Heaven is eagerly embracing the idea of social interaction and microblogging. Welcome Tweeji, the place where you can meet the dead celebrities who tweet.

Ever wondered why you send your prayers to Jesus with no avail? You may ask him this question directly, but chances are, right now he’s very busy recording a CD with Tupac Shakur. Oscar Wilde is contemplating life in his famous witticisms. Dante Alighieri, the author of The Divine Comedy, is travelling with Virgil somewhere in the Inferno’s bowles, which may explain why he is yet to notice Jesus. (I am secretly waiting to see his beloved Beatrice making an entry). Martin Heidegger is immersed in Hoelderlin, but tells Hannah Arendt that she is ever so close to him. Henry Miller is his usual sexual inspiration, while Confucius spreads the common wisdom in short rhymed messages. And Samuel Johnson, in the 195th year since his birth, revealed himself as an acquaintance of The Stone Roses. (I am sure The Stone Roses fans are pleased).

In all time of Twitter being around, this is surely the most daring addition to the myriad of Twitter-based fun applications. Tweeji certainly takes things to a totally new level where reality and virtual existence blur to the point of creepiness. Or maybe it just reminds us that there is life in the upper spheres. The strangest thing may be, of course, that Jesus and Buddha are considered “celebrities”… but they did have a human side to themselves, after all. And in the age when Beatles and the like have evidently been more popular than Jesus, isn’t that a call to leave the Church behind and speak directly to the “fans”?

London: Impression du Matin (Wilde and Graham)

The Thames nocturne of blue and gold
Changed to a Harmony in grey:
A barge with ochre-coloured hay
Dropped from the wharf: and chill and cold

The yellow fog came creeping down
The bridges, till the houses’ walls
Seemed changed to shadows, and St Paul’s
Loomed like a bubble o’er the town.

Then suddenly arose the clang
Of waking life; the streets were stirred
With country waggons: and a bird
Flew to the glistening roofs and sang.

But one pale woman all alone,
The daylight kissing her wan hair,
Loitered beneath the gas lamps’ flare,
With lips of flame and heart of stone.

Illustration: Thomas Graham, Alone in London (1904). St Paul’s can actually be seen at the very background.

error: Sorry, no copying !!