HOW BAD IS THE DEVIL?

Mantegna 466

At the very end of his life, Andrea Mantegna inscribed the answer to the question on the tree in this delicate cameo-painting of Delilah snipping away at Samson’s hair — as if the fountain next to the tree weren’t clarification enough.

If it’s hard to read the words on the tree, you can click on the tree itself to read them more easily — and if that’s still not enough you can click yet again on the bigger picture. Then it’s a piece of cake — that is, the riddle’s a piece of cake, not the beautiful, dignified, introspective young woman trimming the hair of her grizzled, old, pumped-up and psyched-out lover, the act that reduces all men to the divine fools they are destined to be. Because the Divine Fool is the true message of the Samson story, it seems to me, that is if you read the details of the story very carefully — or, alternatively, if you carefully and exhaustively read your own life, or even read me if you know where to look — which is why I am writing what follows, to find out.

I’m going to leave some space on that now, for reflection.

[ADDED A WEEK LATER]

My reflections on Mantegna’s dictum, foemina diabolo tribus assibus est mala peior, are developed day by day in the Comments below, and if you are interested in such things I hope you will be able to read them with as much hope for an answer as I posted them. On the other hand, if you’re impatient you can skip ahead to a specific discussion of HOW BAD IS THE DEVIL IN THE END.  But fasten your seat belts as you scroll down, because jumping ahead is going to make for a very fast ride!

And those of you who start at the beginning, be warned as well: the discussion that follows thrives on hair-pins and other sticky corners, and very often paints itself into untenable places as well — I do hope you’ll be charitable and forgive me for all the dead-ends. I’m an Old Father William, and all I can tell you is that this is how it goes. Indeed, that’s part of the riddle of knowing where you are in the space you inhabit, and it doesn’t much matter whether it’s on earth, in space, buried in your own person or in some other idea or dimension, or perhaps even suited up in a New Age space-vehicle transitting infinity to arrive where you actually are, like in Carl Sagan’s Contact.

Wrapped up in your own cocoon like Eve, in other words, even if you’re a man and not yet ready to be that beautiful, powerful, and fey. Or a snake with your own tail in your mouth like Satan in the Garden of Eden — indeed, you may even be impatient enough to want to go straight to the discussion for men and women who are no longer inhabitants of the Garden of Eden but would like to know what really happened back then.

……….1.) CLICK HERE TO START AT THE BEGINNING OF THE END.

Or if, like most of my friends, you’re more interested in my own demise as a soi-disant angel and poet yet again you can begin at that end:

……….2.) CLICK HERE FOR THE END OF WHAT WAS ACHIEVED IN THIS THREAD.

Or if you’re really impatient and just want to know what happens at the various ends:

……….3.) CLICK HERE FOR THE SECOND TO LAST POSTSCRIPT.

And finally, if you don’t want to begin at any end but just keep on fooling around like Old Father William:

……….4.) CLICK ON THE END OF HIS NOSE TO SEE HOW EVERYTHING GOES.

Christopher Woodman,
Chiang Mai, March 3rd, 2016
….

THIS THREAD IS CONTINUED IN THE COMMENTS THAT FOLLOW.

 

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ONE FOR SORROW, TWO FOR JOY

Piero de la Farncesca 475..Piero della Francesca, Nativity (1475) (you can click on it to see the birds better)

…..
……………………..POST HOC, ERGO PROPTER HOC

………………………..“Two magpies,” she wrote him
………………………………….on shore again in February.

………………………..He propped them up above
………………………………….the herb jars in the galley

………………………..all that winter while she
………………………………….traveled overland in Africa—

………………………..others hung there too, almost
………………………………….a dozen as the days lengthened

………………………..and the bright green shoots
………………………………….shone like spring in porthole pots.

………………………..He lay more naked in his letters then
………………………………….but the light-sick moths powdered

……………………….his thighs, made his eyes
………………………………….dapple and water as if he missed her.

………………………..Then she wrote again about
………………………………….small birds that migrate pole to pole

………………………..and told him he really ought
………………………………….to have more Arctic dreams.

………………………..It was then he began to notice
…………………………………the way the sheets twisted oh so

………………………..tight like water-wings about him.
………………………………….He wrote her twice to Porto Ferraio

………………………..but the letters came back
………………………………….to an empty berth and bits

………………………..of white silk on the bulwarks
………………………………….as if he’d undressed or cracked

………………………..in the terrible rush of the hatch—
………………………………….the brightness of a sheltered reach

………………………..perhaps, the ease with which
………………………………….mayflies rise on the silvery stream.

…………………………………………………..~

I was encouraged to find this list of popular references to my Latin title, which I feel sure will cause difficulties sooner or later — and now I know there are even children out there who can stand up for me. So I’m not so hard after all.

The second episode of The West Wing, titled “Post Hoc, Ergo Propter Hoc”, makes use of the phrase.

In the first episode of the third season of The Big Bang Theory, “The Electric Can Opener Fluctuation”, Sheldon Cooper states to his mother that she is committing this logical fallacy.

In the Dinosaur Comics comic titled Post Hoc Ergo Propter Hoc, T-Rex points out this logical fallacy committed by Utahraptor.

Tim Minchin explains this phrasing in his 2010 comedy special “Ready For This.”

The thirteenth episode from the sixth and final season of “Crossing Jordan” uses “Post Hoc, Ergo Propter Hoc” as the title of the episode.

In ‘Fortune,’ a season 10 episode of Smallville, Dr. Emil Hamilton, while being tortured by Amos Fortune for information, quotes the phrase and then explains its meaning.
…….

But will these viewers ask themselves “post hoc, ergo propter hoc?” when they re-evaluate their own lives as this poem re-evaluates my own? And will they suspect it’s in fact a love poem, or will they just know it’s a nativity at sea or at least somewhere on or near the surface of water?

And what about the magpies in both? One is all very well, like in the painting, but the “dozen” in the poem? Will they worry about that, because it’s my fondest hope they will?

…………………………………………………..~

This is a very small poem in a very small style, indeed as bare and simple as a Piero della Francesca painting, and as dependent on faith. That means your faith, the faith you have in yourself, the viewer, not in Jesus or Mary or anything like that but just in how much faith you are able to bring to whatever you see without rhyme or reason, like that tiny little bird on the left, or the big one on the stable roof for that matter, which is unmistakably a magpie. How still can you rest as you view two birds like that, for example, how long can you hold your gaze without blinking, without starting all over again to define what you see in relation to who you are, where you stand, what you expect, and what you know about me? Can you do that? Can you rest in uncertainties when you don’t even know who a poem is by or what it’s getting at? Can you trust yourself, in other words, and not just rush in to either explain it away, or appropriately file it ditto?

Like the poem of Gennadiy Aygi I quoted a few weeks ago and nobody seems to have noticed? Or Pierre Puvis de Chavannes?

Can you be as quiet and uncritical as that? Even if, as in my case, I’m the poet and I’m not Russian or French?

Or what if a friend sent you this poem because he or she wanted you to have it. Would you hold back the joy or the sorrow?

Christopher Woodman

………THE COMMENTS THAT FOLLOW DEVELOP THE THREAD

BORDANDO el MANTO TERRESTRE by Remedios Varo

Remedios Varo“Bordando el Manto Terrestre” [ Embroidering the Earth’s Mantle ] (1961) by Remedios Varo.

The Cowpattyhammer management apologizes for having closed “Make It New!” so abruptly.

One of the casualties was that we never got a chance to look at this painting by the Spanish-Mexican painter and anarchist, Remedios Varo. The title means “Embroidering the Earth’s Mantle,” and the imagery is probably the closest we got to the “secret” that was such an important part of the discussion. My own feeling is that with the exception of the sculpture of the tall Aborigine woman and her daughter that introduced the previous thread, this extraordinary painting was probably the most relevant.

You can click here to look at the painting in more detail. Once you have moved in, the definition of the graphic is quite high so you can zoom in as much as you like. Indeed, I’d be very interested to hear what you see.

In addition, if there are any matters arising from the previous thread do feel free to comment below — the management is very grateful to the increasing numbers of people who visited the site in the last weeks of the discussion, and would be very pleased to have more feedback.
………………

NOTICE March 11th, 2014:
Thread Closed for Comments.

This thread is now closed for comments — 1 less than 80 is a lot, and I hope very much that those of you who have not had the opportunity to dip into it further will take the chance to do so.

The thread was designed to deal with some of the issues that were left hanging at the end of the previous thread, “Make It New,” which ended upside down in the grass. Those issues are stalled for the moment, needless to say, but I think the final discussion of Emily Dickinson’s “haunted house” imagery probably took us as far as we could go anyway, under the circumstances.

Christopher Woodman

………THE COMMENTS THAT FOLLOW DEVELOP THE THREAD

MAKE IT NEW!

 Aborigine Woman

                               Many thanks to AUSTRAVELPHOTOGRAPHY for the photo. 

People have always felt the world was going down the tubes — from “hey, look at her!” to “ubi sunt,” indeed long before anybody ever thought to make it new!

One of the cultures I most admire is that of the indigenous people of Australia. What culture has ever produced greater artists, richer myths, or more healing images? Yet when they lost their past, all 30,000 years of it, it took just a few decades to bankrupt them entirely, economically, culturally, emotionally and spiritually. On the other hand, the tragedy was caused as much by our culture’s inability to cope with change as it was with theirs. They couldn’t deal with us any more than we could deal with them, a heart-breaking impasse for everybody involved right to the end, and still with us.

Two observations on “Make It New” with regard to the gifts of these extraordinary people.  The Australian aborigines were always in a sense  “contemporary” — they were “cartoon” artists, after all, and every image and artifact they made was “pop” in the sense that everybody was a fan, everybody loved it, read it and danced to it. Secondly, their culture didn’t change — for whatever reason they were locked in a time-warp, as we might say looking out into space, and as a result nothing ever became “dated” what is more “old fashioned” for them. “Make it new?” Why everything was new already!

I make these observations very much without blame — Jared Diamond’s Guns, Germs and Steel confirmed what I had always suspected, that the Australian aborigines’ lack of ‘development’ had nothing whatever to do with inferior genes, hands or minds. On the other hand, they didn’t “change” at all in our sense — but that’s not quite the same as I have come to understand the word in Buddhist terms. The Buddha insisted over and over again that denying change was as self-destructive as any form of greed, control or domination. Anicca, or “impermanence” as it’s usually translated when the sutras are rendered in English, is the only certainty in life, says the Buddha, and holding on to things as if they weren’t going to change is the root of all suffering. That’s the fundamental Buddhist teaching, in fact, that Change and the inevitable Suffering that arises out of it are the fundamental truths of all being.

What’s really different about our times, it seems to me, is what is happening to time itself — the speed of change, as if we were already strapped in the rocket that will deliver us from our dwindling planet into the arms of space. Try this to put our own sense of time in perspective: I never even heard of television until I was 8 and didn’t live with a set until I was 42! Even more astonishing, I learned all my maths and physics without a calculator, sailed all over the world without a GPS or other electronic aid, and didn’t touch a computer keyboard until I was 52, the same age at which I published my first poem. And if that last one doesn’t put the word “dated” into perspective for a poet in America, what does?

But we’ll come back to that.

I just want to add that I’m not a Buddhist, whatever that might mean, and feel very strongly that in the light of eternity there are other “universal truths” beside Change and Suffering. Indeed, one of the reasons the aborigines are so important to me is that they tell me more than any other people I have ever encountered about who I really am — particularly as I look in the mirror on my birthday, not a pretty sight at all at 74. But then the old wizened aborigine that looks back at me over my shoulder tells me that nothing that really matters is ever outdated. Change is nothing in the light of eternity, he tells me — and I don’t mean by that Heaven or Eternal Life, God forbid, or indeed anything my new-age friends in white call ‘Spiritual.’ I mean eternity in the sense that I believe Einstein imagined it, or Stephen Hawking in his space-age body, our own little naked good-fella in Cambridge, grappling with the dreaming that’s Cern.

Do you think when the first white man arrived in Australia an aboriginal would have had a problem showing him a God-particle? Had the white man been able to ask, that is? Had he had the intelligence or expertise to navigate that sort of thinking?

And of course, had the good-fella been willing to betray such truths by sharing them with such a big, crude, ignorant stranger?

Christopher Woodman

………THE COMMENTS THAT FOLLOW DEVELOP THE THREAD

THE MYSTERY OF BARABAR & THE MARABAR CAVES

“Having seen one such cave, having seen three, four, fourteen, twenty-four, the visitor returns…uncertain whether he has had an interesting experience or a dull experience or any experience at all. He finds it difficult to discuss the caves, or to keep them apart in his mind…”……………………………………E. M. Forster, A Passage to India

Click on the cave to expand it, and give thanks to Tim Makins for his beautiful and informative site. This particular cave is called ‘Vadathika’ and is at Barabar north of Gaya in Bihar State, one of four carved in granite at the behest of the great Buddhist Emperor Asoka (269-232 B.C.).

…………………….what are they?

…………………who goes into them?

………………what comes out of them?

“… An entrance was necessary, so mankind made one.

“…But elsewhere, deeper in the granite, are there certain chambers that have no entrances? Chambers never unsealed since the arrival of the gods? Local report declares that these exceed in number those that can be visited, as the dead exceed the living – four hundred of them, four thousand or million. Nothing is inside them, they were sealed up before the creation of pestilence or treasure; if mankind grew curious and excavated, nothing, nothing would be added to the sum of good or evil. One of them is rumoured within the boulder that swings on the summit of the highest of the hills; a bubble-shaped cave that has neither ceiling nor floor, and mirrors its own darkness in every direction infinitely. If the boulder falls and smashes, the cave will smash too – empty as an Easter egg. The boulder because of its hollowness sways in the wind, and even moves when a crow perches upon it; hence its name and the name of its stupendous pedestal: the Kawa Dol.”
………………………………………………………….E. M. Forster, A Passage to India

……“If the doors of perception were cleansed everything would appear to man
…….as it is, infinite.  For man has closed himself up till he sees all things thro’ 
…….
narrow chinks of his cavern.”.
.
…………….                            …
William Blake, The Marriage of Heaven and Hell

My mind enters here, William Blake’s ‘Sconfitta,’ among many other dark cavern-like places — including the cave in A Passage to India, of course, and still asking not just about Adela and Dr Aziz but about Morgan. For this was in fact E.M.Forster’s last novel, as hard as that may be to believe. 1924.

In 1964 I was a Research Student at King’s College and he sat at the High Table every evening. Everyone called him just “Morgan,” and I wondered at his smallness, availability and shyness. Or 1965, maybe, or 1966? — I was so troubled with entrances, with drugs, sex, music, speed as in over the ground, and children, lots of them, and of course Leavis, Lewis, Yehudi Menuhin playing all six Solo Sonatas and Partitas in King’s College Chapel, visions in Fiesole in August and nightmares in the orchard at Grantchester in October, Beatles-live the same evening at a cinema on Regent St. with the locals — no, I don’t remember when. And even more important, my first entrances elsewhere and beyond, as troubling as any Marabar Cave and as easy to get into yet hard to get out of in one piece.

So what happens anyway?

Christopher Woodman

KIM, KIPLING & KAMAKURA

………..“He lived in a life wild as that of the Arabian Nights, but
………..missionaries and secretaries of charitable societies could
………..not see the beauty of it.” ………..

Each of the first three chapters of Kim (1901-2) is introduced by a stanza from Kipling’s poem, “The Buddha at Kamakura,” which he wrote after a visit to Japan in 1892. It’s by no means his best poem, but it’s certainly one of the most detailed and challenging ones he ever wrote on the subject of East and West from a religious point of view. Needless to say, the poem must have interested Kipling a lot for him to have selected stanzas from it for such a crucial introduction.

And they’re not easy ones either, so Kipling must have wanted readers to spend some time figuring out what they meant. Most importantly, they’re not about exotic adventure in India, or even about India, for that matter, but rather move toward the quieter, deeper, more universal themes in Kim, many of which would be new to readers even today.

Kamakura is the 44 foot high, 800 year old bronze Amitaba Buddha near Tokyo so much loved by the people of Japan — ‘Amitaba’ is  the Japanese Buddha of love, a ‘Savior Buddha,’ really, and closely related in his origins to the female goddess Kwan Im in China. Kipling makes sure the reader knows it is precisely this Buddha and this place he is referring to by introducing Chapter I with the phrase, “And there is a Japanese idol at Kamakura“–  and of course the word “idol” was intended to provoke a negative response. The verses, on the other hand, succeed in doing just the opposite — which, I would argue, is precisely why they are there.…………………………………

…………………………………………..Kim,  Chapter I:
………………………………….O ye who tread the Narrow Way
………………………………….By Tophet -flare to Judgment Day,
………………………………….Be gentle when the ‘heathen’ pray
………………………………….To Buddha at Kamakura!

………………………………………….Kim,  Chapter II:
………………………………….And whoso will, from Pride released,
………………………………….Contemning neither creed nor priest,
………………………………….May feel the Soul of all the East
………………………………….About him at Kamakura.

………………………………………….Kim,  Chapter III:
………………………………….Yea, voice of every Soul that clung
………………………………….To life that strove from rung to rung
………………………………….When Devadatta’s rule was young,
………………………………….The warm wind brings Kamakura.

The first stanza tries to soften Christian distaste for other religions by appealing to the warm atmosphere at Kamakura.  Both “Tophet-flare” and “Judgement Day” are harsh Biblical allusions that contrast strongly with the gentle peace embodied in the place, Kamakura, and of course in the last line of every stanza in the poem. Chapter Two’s stanza, on the other hand,  praises Western, non-orthodox free-thinkers who take pride in their open-mindedness to “other creeds” (this is the age of “Spritualism,” don’t forget, Theosophy, Anthroposophy, and there were big personalities involved  in those movements too, needless to say).  The appeal to these two, diametrically opposed groups of people at the beginning of the novel shows the degree to which Kipling’s own heart was engaged in quite a different spriritual dimension in Kim.

The third introductory stanza is much more ambiguous. Devadatta was a very close disciple of the Buddha who actually rejected the Master’s “Middle Way,” preferring to stay behind in the old elitist spiritual life as an ascetic in the forest. Devadatta did not join the Buddha in his later, more gentle, holistic phase, and there is even a legend that he tried to kill the Buddha to prevent him from attaining Enlightenment. The stanza seems to suggest that whoever such people are, they are conservative and therefore unwilling, or not yet ready, in any case,  to move on. They belong to an earlier world order.

In fact, Kipling did not include this 3rd stanza in the full version of “The Buddha at Kamakura,” which he first published in 1892 in an article in the Times called “The Edge of the East,” an article specifically about Japan. The poem as a whole was eventually added to the collection called The Five Nations in 1903,  two years after the publication of Kim. In that version he included the following, much easier, more straightforward stanza, part of which is also quoted in the body of the first chapter of Kim, so we’re in the same place:

…………………………………Yea, every tale Ananda heard,
…………………………………Of birth as fish or beast or bird,
…………………………………While yet in lives the Master stirred,
…………………………………The warm wind brings Kamakura.

Ananda was the closest friend of the Buddha, if one would dare to say that about the Buddha, implying as it does some attachment on his part as well. In any case, this stanza would seem to celebrate the supportive presence of the Buddha in the pre-conscious mind,  so to speak, i.e. in those beings who have not yet had the chance to experience life as a fully conscious human being.

This is mainly just a hunch, but my feeling is that Kipling was addressing in both these last two stanzas the vast majority of Westerners, busy people too set in their ways to understand Eastern spiritual practices in their hearts. He seems to be saying that with a little help they could still come to respect and even be inspired by devotion like that shown to Amitaba Buddha at Kamakura, which has certainly proven to be true in our times.

The overall message in the introductory stanzas is one of love and respect for all people who worship out of the heart, whatever their creed or the form of their worship. It is indeed a blessing to find yourself among such devoted people, the poem says, so “be gentle” and respect them. “Feel the Soul of all the East
,” open yourselves up to “the warm wind of Kamakura.”

An extraordinary message for 1892, or anytime!

Christopher Woodman

…………………………………………… “Kamakura
…………Great Buddha, with an enlarged detail of a man standing on the hands.”
……………….Photo published in Brinkley’s Japan, a Guide Book (ca. 1890).


…………………………………The Buddha at Kamakura
………………………….“And there is a Japanese idol at Kamakura”

…………………………………O ye who tread the Narrow Way
…………………………………By Tophet -flare to Judgment Day,
…………………………………Be gentle when the ‘heathen’ pray
…………………………………To Buddha at Kamakura!

…………………………………To him the Way, the Law, apart,
…………………………………Whom Maya held beneath her heart,
…………………………………Ananda’s Lord, the Bodhisat,
…………………………………The Buddha of Kamakura.

…………………………………For though he neither burns nor sees,
…………………………………Nor hears ye thank your Deities,
…………………………………Ye have not sinned with such as these,
…………………………………His children at Kamakura.

…………………………………Yet spare us still the Western joke
…………………………………When joss-sticks turn to scented smoke
…………………………………The little sins of little folk
…………………………………That worship at Kamakura.

…………………………………The grey-robed, gay-sashed butterflies
…………………………………That flit beneath the Master’s eyes.
…………………………………He is beyond the Mysteries
…………………………………But loves them at Kamakura.

…………………………………And whoso will, from Pride released,
…………………………………Contemning neither creed nor priest,
…………………………………May feel the Soul of all the East
…………………………………About him at Kamakura.

…………………………………Yea, every tale Ananda heard,
…………………………………Of birth as fish or beast or bird,
…………………………………While yet in lives the Master stirred,
…………………………………The warm wind brings Kamakura.

…………………………………Till drowsy eyelids seem to see
…………………………………A-flower ‘neath her golden htee
…………………………………The Shwe-Dagon flare easterly
…………………………………From Burmah to Kamakura,

…………………………………And down the loaded air there comes
…………………………………The thunder of Thibetan drums,
…………………………………And droned — “Om mane padme hums ” —
…………………………………A world’s-width from Kamakura.

…………………………………Yet Brahmans rule Benares still,
…………………………………Buddh-Gaya’s ruins pit the hill,
…………………………………And beef-fed zealots threaten ill
…………………………………To Buddha and Kamakura.

…………………………………A tourist-show, a legend told,
…………………………………A rusting bulk of bronze and gold,
…………………………………So much, and scarce so much, ye hold
…………………………………The meaning of Kamakura?

…………………………………But when the morning prayer is prayed,
…………………………………Think, ere ye pass to strife and trade,
…………………………………Is God in human image made
…………………………………No nearer than Kamakura?

……………………………………………………………………..Rudyard Kipling, 1892

EAST IS EAST AND WEST IS WEST

Mandalay

By the old Moulmein Pagoda, lookin’ lazy at the sea,
There’s a Burma girl a-settin’, and I know she thinks o’ me;
For the wind is in the palm-trees, and the temple-bells they say:
“Come you back, you British soldier; come you back to Mandalay!”
………….. Come you back to Mandalay,
………….. Where the old Flotilla lay:
………….. Can’t you ‘ear their paddles chunkin’ from Rangoon to Mandalay?
………….. On the road to Mandalay,
………….. Where the flyin’-fishes play,
………….. An’ the dawn comes up like thunder outer China ‘crost the Bay!

‘Er petticoat was yaller an’ ‘er little cap was green,
An’ ‘er name was Supi-yaw-lat — jes’ the same as Theebaw‘s Queen,
An’ I seed her first a-smokin’ of a whackin’ white cheroot,
An’ a-wastin’ Christian kisses on an ‘eathen idol’s foot:
………….. Bloomin’ idol made o’mud —
………….. Wot they called the Great Gawd Budd —
………….. Plucky lot she cared for idols when I kissed ‘er where she stud!
………….. On the road to Mandalay . . .

When the mist was on the rice-fields an’ the sun was droppin’ slow,
She’d git ‘er little banjo an’ she’d sing “Kulla-lo-lo!
With ‘er arm upon my shoulder an’ ‘er cheek agin’ my cheek
We useter watch the steamers an’ the hathis pilin’ teak.
………….. Elephints a-pilin’ teak
………….. In the sludgy, squdgy creek,
………….. Where the silence ‘ung that ‘eavy you was ‘arf afraid to speak!
………….. On the road to Mandalay . . .

But that’s all shove be’ind me — long ago an’ fur away,
An’ there ain’t no ‘busses runnin’ from the Bank to Mandalay;
An’ I’m learnin’ ‘ere in London what the ten-year soldier tells:
“If you’ve ‘eard the East a-callin’, you won’t never ‘eed naught else.”
………….. No! you won’t ‘eed nothin’ else
………….. But them spicy garlic smells,
………….. An’ the sunshine an’ the palm-trees an’ the tinkly temple-bells;
………….. On the road to Mandalay . . .

I am sick o’ wastin’ leather on these gritty pavin’-stones,
An’ the blasted Henglish drizzle wakes the fever in my bones;
Tho’ I walks with fifty ‘ousemaids outer Chelsea to the Strand,
An’ they talks a lot o’ lovin’, but wot do they understand?
………….. Beefy face an’ grubby ‘and —
………….. Law! wot do they understand?
………….. I’ve a neater, sweeter maiden in a cleaner, greener land!
………….. On the road to Mandalay . . .

Ship me somewheres east of Suez, where the best is like the worst,
Where there aren’t no Ten Commandments an’ a man can raise a thirst;
For the temple-bells are callin’, an’ it’s there that I would be —
By the old Moulmein Pagoda, looking lazy at the sea;
………….. On the road to Mandalay,
………….. Where the old Flotilla lay,
………….. With our sick beneath the awnings when we went to Mandalay!
………….. On the road to Mandalay,
………….. Where the flyin’-fishes play,
………….. An’ the dawn comes up like thunder outer China ‘crost the Bay!

………………………………………………………………..Rudyard Kipling (1890)

LOTUS BORN

Padmasambhava —the Lotus Born

.

………………..DIE LOTOSBLUME

………………..Die Lotosblume ängstigt
………………..Sich vor der Sonne Pracht,
………………..Und mit gesenktem Haupte
………………..Erwartet sie träumend die Nacht.

………………..Der Mond, der ist ihr Buhle,
………………..Er weckt sie mit seinem Licht,
………………..Und ihm entschleiert sie freundlich
………………..Ihr frommes Blumengesicht.

………………..Sie blüht und glüht und leuchtet,
………………..Und starret stumm in die Höh;
………………..Sie duftet und weinet und zittert
………………..Vor Liebe und Liebesweh.

……………………………………………….Heinrich Heine

………………..THE LOTUS

………………..The anxious lotus flower
………………..Avoids the bright sun’s light,
………………..She bows her head and dreaming
………………..Awaits the fall of night.

………………..The moon her nightly lover
………………..Awakens her secret place,
………………..And she unveils in his presence
………………..Her shyly blooming face.

………………..She blooms and glows and glistens,
………………. With silent gaze fixed above,
………………..Her scent, her tears, and the trembling
………………..For love and the great pain of love.

……………………………………………….Heinrich Heine
……………………………………………….trans. W.F.Kammann
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Schumann’s setting of the poem is brilliant.

The music starting Sie blueht … rises until the word zittert when it falls back trembling. The last line descends over and over rising slightly only to descend deeper ending on the low note with the word “Weh.”(Pain).

Romantic, orgasmic, the music and poem combine to expose the shy desire of the poet which meets only with rejection and great pain.

The 1965 version by Rita Streich gives you a sense of the song.

The lotus rises above the mud and slime of the pool, yet depends on it for its existence. A symbol of the enlightened mind, the lotus gives birth to Buddhas.

Om Mani Padme Hum.

W.F.Kammann

THE POET’S SEVEREST CRITIC: Happy New Year!

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The Temple Boy Who’s Not There

………………O, Flatbush Bill’s
………………the Steinway grand
………………of soup and barrel organs—
………………never short on time or change
………………he’s like a man made man
………………on his toes all the time,
………………a flyweight cockerel
………………stretching out the limits of each night
………………like a massive tenor in full flight
………………or temple gong so boozed
………………and tendrilled mothers
………………light their morning fires by the
………………rumble, cooking in the dark for several lives
………………of hungry monks and temple brats
………………just to share the merit—

………………whereas none of them can hold
………………a candle to our bowlful Bill’s
………………Brooklyn breadth
………………………………………..and warble.

………………So when the monks at Wat Phra Singh
………………offered him the post of Temple Boy
………………I wrote this poem
………………so they would know what
………………not to expect
………………or how to rise, or even bow,
…………………………………………………before him!

………………Yes, he’s better west, this Mister Bill—
………………the east’s too trim for so much
………………common sense and willingness to volunteer
………………or even rest
…………………………………at full stretch—

………………coast, I’d say, choir master fiend
………………and rabble rouser—
…………………….homeless husband,
………………………………bubble buster,
………………saffron cockney on a Buddha barrow,
………………mighty long-armed-dharma duster-upper!

………………Damn, I say, let him
………………rest upon his lusty laurel laughter—
………………toast, and share it!

……………………………………………………..Christopher Woodman, 12/31/2010

______________________

Flatbush Bill is another Scarriet survivor.  Author of its all time most popular threads, Pop Goes the Weasel and Ich Weiss Nicht,  he was formerly a welfare activist, choirmaster, and leading member of the NY Tibet Society.  He is now a priest in Mexico and the poet’s severest critic.

In Southeast Asia, the Buddhist faithful, mainly mothers, get up very early every morning to cook special meals for the monks who file by the house barefoot at 6am on their daily alms round. The women fill the bowls and then kneel down for a blessing. No word is spoken during the whole exchange, and nobody serves what is more is served.

Wat Phra Singh is one of the most active and beautiful Buddhist Temples in the North of Thailand.

Ich weiss nicht, was soll es bedeuten dass ich so traurig bin

 

Lyric Poetry

Sung to the lyre, it has a certain fascination. American lyrics from Irish ballads to Emily Dickinson to Annie Finch. Whitman, that lyric maelstrom. What about Heine? Could any man write these lyrics now? Is lyric poetry only written by women today? And then there’s Dylan (Bob) with the “lowest form” of lyric: the song lyric.

Most poetry is lyric, isn’t it?

W.F.Kammann

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………………………………….Harlem

………………………………….What happens to a dream deferred?

………………………………….Does it dry up
………………………………….like a raisin in the sun?
………………………………….Or fester like a sore—
………………………………….And then run?
………………………………….Does it stink like rotten meat?
………………………………….Or crust and sugar over—
………………………………….like a syrupy sweet?

………………………………….Maybe it just sags
………………………………… like a heavy load.

………………………………….Or does it explode?

………………………………………………………………..Langston Hughes

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