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Thursday, January 30, 2020
The Misanthrope published in Live Encounters, February issue 2020
My friend David Rigsbee opens the February issue of Live Encounters, so typical of him, writing about another writer whom he admires... I've said this before, generosity of spirit in this fashion, for me, is one of the sure hallmarks of a writer of quality, as David assuredly is. Another sign, and it comes from the same selfless servitude to his art, is the fact that he also translates, Dante in his case... So a respect for tradition, craft and the importance of the Other inhabiting different languages...appreciating difference, and the importance of multiple cultures... all of these further hallmarks of a true writer, in my opinion. David Rigsbee, like so many of his generation, is engaged politically, socially and, of course, artistically.
Other familiar names in this issue to me are John W. Sexton and Richard Krawiec, the latter whom I met through David, Richard comes also from/lives in North Carolina. Richard, as well as being a poet, is a novelist and an editor, running a publishing firm and an online magazine ( One ). While John is based down in Kerry, the Kingdom, but who has also strong links to my hometown of Cork. While Richard has edited some of my work, he published a broadsheet of six of my sonnets from Henry Street Arcade, for example, I have in my own turn have had the pleasure of including a smaple of John's work in an anthology which I edited - The Gladstone Readings. But John and I go back further, he was responsible for getting me my first paid reading gig down in Cork when my first book came out in 2014 - The Elm Tree.
Mark Ulyseas is the man behind Live Encounters, a wonderful editor and free spirit he is too. I have never had the pleasure of meeting Mark but he has published quite a fair bit of my writing up to now, and we have had a good time of it so far... Mark and I are kindred spirits, and I see us journeying forward together as long as Live Encounters is around, hopefully...
I'm including the link below so you can read my latest publication The Misanthrope which is a poem I wrote for my son Liam who lives in Paris, his home city which is going through some considerable turmoil at the moment. I wrote this poem for Liam after having visited him in Paris two years ago. Eamon Mag Uidhir, poet and editor of Flare, was kind enough to film me reading the poem last night in the Lord Edward pub last night, opposite Christchurch Cathedral. I really enjoyed reading this poem aloud. I hope you enjoy it too...
https://liveencounters.net/le-poetry-writing-2020/02-february-pw-2020/peter-oneill-the-misanthrope/?fbclid=IwAR2WcB2ecwZ3LvUCEp9Jz9iZLitfY7sRFeWlLIupvtIR-
https://www.dropbox.com/s/9w2wumqh35tjs7x/VID_20200129_200055.mp4?dl=0&fbclid=IwAR2f5lvVAVZpUf15P_MU54XCLs5pd1m_QiWxo7mcnkpK7OaWt_Yjckhd7Hc
Sunday, January 26, 2020
The Crown of Pain - Some Transversions from Les Fleurs Du Mal by Baudelaire
The
Crown of Pain
Some
Transversions
From
Charles
Baudelaire’s
Les
Fleurs du Mal
A
note of the transversions
I first published The Enemy – Transversions from
Charles Baudelaire in 2015 ( Lapwing ). I used the term transversions very explicitly
in the title and a note in the preface explaining what I meant by the term, distinguishing
what I was doing as opposed to merely ‘translating’. Trans being indicative of
change, verse being self- explanatory, so literally ‘changing verse’, or
perhaps better ‘changed verse’… Well, the idea was quite clear. Literal
translation was an impossibility, so change was the order of the day. Version
not being ideal either because what one was attempting to do was render to the
original as fully possible in ones own language, but also updating to make
further comprehensible for the contemporary reader.
Take
the transversion of the poem Sisina in the cycle of poems published here
and which I have transversed as Wonder Woman. In place of the name Théroigne which according
to my Flammarion notes is a reference to Théroigne de Mericourt ( 1762 – 1817)
who was involved in the French revolution in 1792, the poem makes reference to
a particular incident which happened upon a staircase. This same woman appears
in the famous French historian Michelet’s Histoire de la Révolution francais,
and she also appears in the poet Lamartine’s Histoire des Girondins. Baudelaire
was inspired apparently by a drawing by the artist Raffet depicting the
incident and which was published by Pommier & Pichois. As the historical
connection would be completely lost on contemporary readers, I have supplanted
it with the reference to the movie Wonder Woman. You have to choose your
battles. I was particularly impressed by the character in the film while
watching it with my ten- year old daughter, as I thought it was a very good
role model for young girls. This, I believe, is in direct accordance with the
symbolism and underlining metaphor in the poem.
Baudelaire’s reference is to another actress, Elisa Neri, who played the
role of Théroigne, from what I understand, in theatrical productions during
Baudelaire’s day. The poet came into contact with her through his attachment to
Mme Sabatier who was to have such an impact on him. I am of course referencing
the climax of the Marvel movie when Wonder Woman, played by Gal Gadot, confronts
Ares the God of War.
Much
in the same way, I have changed the title of the whole book Les Fleurs du
Mal – traditionally translated as The Flowers of Evil to The
Crown of Pain. Why? My transversions of Baudelaire’s work are made for the
21st century. Whereas, in 19th century France, that of
Baudelaire’s time, when his book cam out, evil was a term which still had some
significance. Yet, a century and a half has passed and in this time we have
seen two world wars, the second culminating in almost the systematic
annihilation of a whole people. And now, in the 21st century,
sociologists have had to include the term omnicide to that of genocide, in
relation to human activities which are now decimating whole continents of
wildlife, one only has to look at Australia today. So, evil, as Hannah Arendt
well knew, was a mere platitude when compared to the banality of human indifference
in the face of complete and utter horror.
In
the same way, while working on these transversions over the years, I hope to
transverse the complete Fleurs du Mal, it soon appeared quite apparent
to me that pain, not evil, was the underlying theme unifying the whole body of
work and that Baudelaire’s suffering, in other words his inherent masochism had
to be drawn out much more than it previously had, if indeed one wanted people
to read his work in a different way. That is to say in a novel way, far from the
stereotypical readings of the translations which are constantly been made. For
Baudelaire, as I was told by one of the editors of one of the most respected
periodicals involved in translation, is one of the most translated figures
these days. And for what? if you are not going to get readers to re-engage with
him, making him relevant to today?
Peter
O’Neill
26/01/2020
Le Tonneau de la Haine
La Haine est le tonneau
des pâles Danaïdes;
La Vengeance éperdue aux bras rouges et forts
À beau précipiter dans ses ténèbres vides
De grands seaux pleins du sang et des larmes des morts,
La Vengeance éperdue aux bras rouges et forts
À beau précipiter dans ses ténèbres vides
De grands seaux pleins du sang et des larmes des morts,
Le Démon fait des trous
secrets à ces abîmes,
Par où fuiraient mille ans de sueurs et d'efforts,
Quand même elle saurait ranimer ses victimes,
Et pour les pressurer ressusciter leurs corps.
Par où fuiraient mille ans de sueurs et d'efforts,
Quand même elle saurait ranimer ses victimes,
Et pour les pressurer ressusciter leurs corps.
La Haine est un ivrogne au
fond d'une taverne,
Qui sent toujours la soif naître de la liqueur
Et se multiplier comme l'hydre de Lerne.
Qui sent toujours la soif naître de la liqueur
Et se multiplier comme l'hydre de Lerne.
— Mais les buveurs heureux
connaissent leur vainqueur,
Et la Haine est vouée à ce sort lamentable
De ne pouvoir jamais s'endormir sous la table.
Et la Haine est vouée à ce sort lamentable
De ne pouvoir jamais s'endormir sous la table.
A Barrelful of Hatred
Vengeance
is distracted by a woman’s strong arms
Holding
up the mythic Barrel of the Danaid’s,
Precipitating
into the void of darkness
Bearing
bucketloads of blood and all the tears of the dead.
The
demons wove discreet holes into the veils covering the abyss
Where
a thousand years of their sweat and effort have flown,
Wherein
they would somewhere roam
Resuscitating
the dead only to bleed them out again.
Hatred
is like a drunk in the backroom of some bar
Who
always senses a latent oncoming thirst
Multiplying
like the Hydra-headed beast of Lerna.
But happy drinkers know
and recognise their conqueror,
While all Hate is
doomed to its lamentable faith;
Never knowing when to let
sleeping dogs lie.
Le Flacon
II est de forts parfums
pour qui toute matière
Est poreuse. On dirait qu'ils pénètrent le verre.
En ouvrant un coffret venu de l'Orient
Dont la serrure grince et rechigne en criant,
Est poreuse. On dirait qu'ils pénètrent le verre.
En ouvrant un coffret venu de l'Orient
Dont la serrure grince et rechigne en criant,
Ou dans une maison déserte
quelque armoire
Pleine de l'âcre odeur des temps, poudreuse et noire,
Parfois on trouve un vieux flacon qui se souvient,
D'où jaillit toute vive une âme qui revient.
Pleine de l'âcre odeur des temps, poudreuse et noire,
Parfois on trouve un vieux flacon qui se souvient,
D'où jaillit toute vive une âme qui revient.
Mille pensers dormaient,
chrysalides funèbres,
Frémissant doucement dans les lourdes ténèbres,
Qui dégagent leur aile et prennent leur essor,
Teintés d'azur, glacés de rose, lamés d'or.
Frémissant doucement dans les lourdes ténèbres,
Qui dégagent leur aile et prennent leur essor,
Teintés d'azur, glacés de rose, lamés d'or.
Voilà le souvenir enivrant
qui voltige
Dans l'air troublé; les yeux se ferment; le Vertige
Saisit l'âme vaincue et la pousse à deux mains
Vers un gouffre obscurci de miasmes humains;
Dans l'air troublé; les yeux se ferment; le Vertige
Saisit l'âme vaincue et la pousse à deux mains
Vers un gouffre obscurci de miasmes humains;
II la terrasse au bord
d'un gouffre séculaire,
Où, Lazare odorant déchirant son suaire,
Se meut dans son réveil le cadavre spectral
D'un vieil amour ranci, charmant et sépulcral.
Où, Lazare odorant déchirant son suaire,
Se meut dans son réveil le cadavre spectral
D'un vieil amour ranci, charmant et sépulcral.
Ainsi, quand je serai
perdu dans la mémoire
Des hommes, dans le coin d'une sinistre armoire
Quand on m'aura jeté, vieux flacon désolé,
Décrépit, poudreux, sale, abject, visqueux, fêlé,
Des hommes, dans le coin d'une sinistre armoire
Quand on m'aura jeté, vieux flacon désolé,
Décrépit, poudreux, sale, abject, visqueux, fêlé,
Je serai ton cercueil,
aimable pestilence!
Le témoin de ta force et de ta virulence,
Cher poison préparé par les anges! liqueur
Qui me ronge, ô la vie et la mort de mon coeur!
Le témoin de ta force et de ta virulence,
Cher poison préparé par les anges! liqueur
Qui me ronge, ô la vie et la mort de mon coeur!
The
Flask
There
are strong perfumes for which all matter
Is
porous. You’d think they might penetrate the glass.
While
opening some oriental casket
Whose
lock grimaces and balks before crying out,
Or,
in a deserted house in some old armoire
Full
of the acrid odour of time, blackened with soot,
Where
you might find an old flask
In
which pulses the soul of one still alive.
A
thousand thoughts sleep, funerary crystals,
Gently
trembling in the leaden darkness
Spreading
their wings finding their essence,
Azure
tinted, crystalized rose, burnished tears.
And
so the memory stirs gathering voltage
From
the troubled air; the eyes close; vertigo
Seizes
the vanquished soul and pushed by both hands
Towards
the obscure abyss of human miasms.
They
terrace there on the edge of a secular gulf
Where
foul smelling Lazarus rips his shroud,
Mute
in his awakening like the spectral corpse
Of
a rancid love, charming and sepulchral.
Like
so, when I become lost to memory
Among
men, just like in the corner of some sinister
Old armoire where someone last left me,
Like
some decrepit, dirty, abject, dusty old vicious flask.
I
will be your coffin, amiable pestilence.
A
testament to your force and violence.
Dear
poison prepared by the angels, the liquor
Which
gnawed at both the life and death of my heart.
Le Poison
Le vin sait revêtir le
plus sordide bouge
D'un luxe miraculeux,
Et fait surgir plus d'un portique fabuleux
Dans l'or de sa vapeur rouge,
Comme un soleil couchant dans un ciel nébuleux.
D'un luxe miraculeux,
Et fait surgir plus d'un portique fabuleux
Dans l'or de sa vapeur rouge,
Comme un soleil couchant dans un ciel nébuleux.
L'opium agrandit ce qui
n'a pas de bornes,
Allonge l'illimité,
Approfondit le temps, creuse la volupté,
Et de plaisirs noirs et mornes
Remplit l'âme au delà de sa capacité.
Allonge l'illimité,
Approfondit le temps, creuse la volupté,
Et de plaisirs noirs et mornes
Remplit l'âme au delà de sa capacité.
Tout cela ne vaut pas le
poison qui découle
De tes yeux, de tes yeux verts,
Lacs où mon âme tremble et se voit à l'envers...
Mes songes viennent en foule
Pour se désaltérer à ces gouffres amers.
De tes yeux, de tes yeux verts,
Lacs où mon âme tremble et se voit à l'envers...
Mes songes viennent en foule
Pour se désaltérer à ces gouffres amers.
Tout cela ne vaut pas le
terrible prodige
De ta salive qui mord,
Qui plonge dans l'oubli mon âme sans remords,
Et charriant le vertige,
La roule défaillante aux rives de la mort!
De ta salive qui mord,
Qui plonge dans l'oubli mon âme sans remords,
Et charriant le vertige,
La roule défaillante aux rives de la mort!
The Poison
Wine
can often redress the most sordid dive
With
its miraculous luxury and re-invigorate,
More so than any fabled gateway,
Through
the alchemy of its reddish vapour
Like
a Sun setting in the nebulous sky.
Opiates
can broaden the expanse of any borders,
Further
infuse the unlimited,
Deepen
time, aid the voluptuary,
And
further enhance the dark and mournful pleasures
Which
the soul mirrors at full capacity.
But
all of this is nothing compared to the poison which flows
From
your eyes, your emerald eyes,
Those
twin lakes which further unhinge one…
Causing
my dreams to escalate in a screaming riot
To
desalinate the bitter gulfs which encroach.
Again,
all of this is nothing to the atrocious prodigy
Of
the saliva parting from your lips,
Through your parting kiss, remorselessly
Infecting
to the point of a hallucinatory vertigo
The
defective roulette played out on the tide of Death.
Sisina
Imaginez Diane en galant
équipage,
Parcourant les forêts ou battant les halliers,
Cheveux et gorge au vent, s'enivrant de tapage,
Superbe et défiant les meilleurs cavaliers!
Parcourant les forêts ou battant les halliers,
Cheveux et gorge au vent, s'enivrant de tapage,
Superbe et défiant les meilleurs cavaliers!
Avez-vous vu Théroigne,
amante du carnage,
Excitant à l'assaut un peuple sans souliers,
La joue et l'oeil en feu, jouant son personnage,
Et montant, sabre au poing, les royaux escaliers?
Excitant à l'assaut un peuple sans souliers,
La joue et l'oeil en feu, jouant son personnage,
Et montant, sabre au poing, les royaux escaliers?
Telle la Sisina! Mais la
douce guerrière
À l'âme charitable autant que meurtrière;
Son courage, affolé de poudre et de tambours,
À l'âme charitable autant que meurtrière;
Son courage, affolé de poudre et de tambours,
Devant les suppliants sait
mettre bas les armes,
Et son coeur, ravagé par la flamme, a toujours,
Pour qui s'en montre digne, un réservoir de larmes.
Et son coeur, ravagé par la flamme, a toujours,
Pour qui s'en montre digne, un réservoir de larmes.
Wonder Woman
Imagine
Diana and her gallant retinue
Charging
through the forests bursting through the thickets,
Mane
and throat to the wind, drunk on uproar,
Superbly
defiant the best riders!
Have
you seen Wonder Woman, lover of carnage,
Happily
defending the down-trodden,
Cheek
and eye aflame, enfevered in her role,
Assaulting,
sword and shield in hand, the staircase?
Just
like Gal Jadot! But the gentle warrior
Is
as much a charitable soul as she is a seasoned killer;
Her
courage, panicking in the explosions and drums,
Is
to know when to put aside weapons before suppliants,
And
her heart, ravaged by both fire and pain, is always,
For
those who have some dignity, also a reservoir of tears.
Harmonie du soir
Voici venir les temps où
vibrant sur sa tige
Chaque fleur s'évapore ainsi qu'un encensoir;
Les sons et les parfums tournent dans l'air du soir;
Valse mélancolique et langoureux vertige!
Chaque fleur s'évapore ainsi qu'un encensoir;
Les sons et les parfums tournent dans l'air du soir;
Valse mélancolique et langoureux vertige!
Chaque fleur s'évapore
ainsi qu'un encensoir;
Le violon frémit comme un coeur qu'on afflige;
Valse mélancolique et langoureux vertige!
Le ciel est triste et beau comme un grand reposoir.
Le violon frémit comme un coeur qu'on afflige;
Valse mélancolique et langoureux vertige!
Le ciel est triste et beau comme un grand reposoir.
Le violon frémit comme un
coeur qu'on afflige,
Un coeur tendre, qui hait le néant vaste et noir!
Le ciel est triste et beau comme un grand reposoir;
Le soleil s'est noyé dans son sang qui se fige.
Un coeur tendre, qui hait le néant vaste et noir!
Le ciel est triste et beau comme un grand reposoir;
Le soleil s'est noyé dans son sang qui se fige.
Un coeur tendre, qui hait
le néant vaste et noir,
Du passé lumineux recueille tout vestige!
Le soleil s'est noyé dans son sang qui se fige...
Ton souvenir en moi luit comme un ostensoir!
Du passé lumineux recueille tout vestige!
Le soleil s'est noyé dans son sang qui se fige...
Ton souvenir en moi luit comme un ostensoir!
Night
of Harmony
Here
comes the night when the stems vibrate
And
every flower burns like incense;
Sounds and perfumes permeate the air,
A
melancholy waltz plays languorously vertiginous!
Every
flower burns like incense;
The
violin trembles like an afflicted heart;
A
melancholy waltz plays languorously vertiginous!
The
sky is beautifully sad like a great repository.
The
violin trembles like an afflicted heart;
A
tender heart craves the great black abyss!
The
sky is beautifully sad like a great repository.
The
sun is drowning in its own blood which freezes.
A
tender heart craves the great black abyss,
The
vestiges of a once luminous past are shifting!
The
sun is drowning in its own blood which freezes.
The
memory of you in me still struggles like a monster.
Omnicide
Omnicide*
My
ten -year old daughter took a day off school last week
Due
to depression over what happened in Australia.
Greta
Thunberg is her hero;
No
One is too Small to Make a Difference.
I
told her I will buy her the little Penguin this week.
Nobody
listened to kids when I was growing up,
And
we all knew that grown- ups were idiots.
You
just had to look at history!
Now,
they have an all- female led government in Finland.
Again,
Scandinavian! They seem to have it
All
figured out up there. Put it down to
Scandi-
Noire Syndrome. Only the ones
Who
live in an ideal society can dream up, by necessity,
The
very worst Hells - which is why their old men are finally silent.
* Omnicide is a term coined by the Sociologist Danielle Celermajer in an attempt to define recent events in Australia.
Sunday, January 19, 2020
XLVII.- Night of Harmony ( From The Crown of Pain - Les Fleurs Du Mal by Baudelaire )
XLVII.
– Night of Harmony
Here
comes the night when the stems vibrate
And
every flower burns like incense;
Sounds and perfumes permeate the air,
A
melancholy waltz plays languorously vertiginous!
Every
flower burns like incense;
The
violin trembles like an afflicted heart;
A
melancholy waltz plays languorously vertiginous!
The
sky is beautifully sad like a great repository.
The
violin trembles like an afflicted heart;
A
tender heart craves the great black abyss!
The
sky is beautifully sad like a great repository.
The
sun is drowning in its own blood which freezes.
A
tender heart craves the great black abyss,
The
vestiges of a once luminous past are shifting!
The
sun is drowning in its own blood which freezes.
The
memory of you in me still struggles like a monster.
Innana - poem from Mallus published in SurVision
With the Belgian poet & rapper CeeJay in L'Etiquette
cave a vin sur l'Ile Saint Louis a Paris
commemorative reading for Baudelaire, 2017.
Another poem from Mallus finds a home, this time in the biannual online surrealist magazine SurVision edited by Anatoly Kudryavitsky. A big thank you to him. Curiously, the poem which gets its title from the Persian Goddess of Love and War, rather like Athena in ancient Greece, was published the day the Iranians fired a salvo of missiles at an American army base in Iraq some days ago in retaliation for the assassination of their Chief General Qasem Soleimani...
http://www.survisionmagazine.com/Issue6/peteroneill.htm
Saturday, January 18, 2020
The Sad Page Three Girl
Fitzgerald's Park, Cork
This poem was written in the mid-nineties in Cork, so around twenty five years ago! That makes you think... I was a very young man in my mid to late twenties. Jesus!.. Water on the old proverbial Lee now. But, I remember that I was staying in some old bedsit on Wellington Road, I was on the first floor just above the door of this old house, very grand affair at one time, digs for English officers I believe at one time ; the barracks just up on the hill behind it. But, while I was living there it was just full of single men. Typical bedsit land. The area had been in the news at the time as there had been a murder in the environs, the day I moved into this particular building Gardai were looking for body parts in the parking area... I kid you not. So, yes, a colourful kind of place alright.
Anyway, I was just back from France and my head was full of Rimbaud and Raymond Chandler and, well other things too... its in the title
https://the-scum-gentry-alternative-arts.com/peter-o-neill-poetry-page-3-girl/
A word about the publisher The Scum Gentry. There is a great need for publishers like this in Ireland. It is run by Ross Breslin who is a young writer himself and is very much trying to keep true to the spirit of punk in the seventies. So, punk-lit. This movement was in direct contrast to the 'perfect' poem school of the eighties and which continues to dominate in official poetry journals in a lot of countries, but particularly here in Ireland. Anyway, not going to get into all that now...
Monday, January 13, 2020
XLVI. – Dawn ( Transversion from Baudelaire's The Crown of Pain - Les Fleurs du Mal )
XLVI.
The Dawn
Whenever
burnished dawn passes through the sluices
Clarifying
debauchery, by a strange and vengeful process
Ideals
upheld by society also prowl
And
the brutal vertigo induced by the angels awakes.
From
this phenomenon the inaccessible azure
Can
terrace a man who dreams and so is prone to suffer,
For
his sport lies in reaching deep into the abyss.
And
so, dear Goddess, lucid and pure,
On
the smoking debris of such senseless orgies
Your
memory becomes clearer, rosier and more charming,
At
least to the fevered vision of one who is spiralling.
To
such a setting the sun nourishes the morning lamps,
And
so, always the vanquisher, your phantom appears
Resplendent
and like dark matter unbounded.
Sunday, January 12, 2020
LIX. - Wonder Woman - transversion of a sonnet by Baudelaire from The Crown of Pain
LIX.
– Wonder Woman
Imagine
Diana and her gallant retinue
Charging
through the forests bursting through the thickets,
Mane
and throat to the wind, drunk on uproar,
Superbly
defiant the best riders!
Have
you seen Wonder Woman[1],
lover of carnage,
Happily
defending the down-trodden,
Cheek
and eye aflame, enfevered in her role,
Assaulting,
sword and shield in hand, the staircase?
Just
like Gal Jadot[2]!
But the gentle warrior
Is
as much a charitable soul as she is a seasoned killer;
Her
courage, panicking in the explosions and drums,
Is
to know when to put aside weapons before suppliants,
And
her heart, ravaged by both fire and pain, is always,
For
those who have some dignity, also a reservoir of tears.
[1] In place of the name Théroigne
which according to my Flammarion notes is a reference to Théroigne de Mericourt
( 1762 – 1817) who was involved in the French revolution in 1792, the poem
makes reference to a particular incident which happened upon a staircase. This
same woman appears in the famous French historian Michelet’s Histoire de la
Révolution francais, and she also appears in the poet Lamartine’s Histoire
des Girondins. Baudelaire was inspired apparently by a drawing by the
artist Raffet depicting the incident and which was published by Pommier &
Pichois. As the historical connection would be completely lost on contemporary
readers, I have supplanted it with the reference to the movie Wonder Woman. You
have to choose your battles. I was particularly impressed by the character in
the film while watching it with my ten- year old daughter, as I thought it was
a very good role model for young girls. This, I believe, is in direct
accordance with the symbolism and underlining metaphor in the poem.
[2] Baudelaire’s reference is to
another actress, Elisa Neri, who played the role of Théroigne, from what I
understand, in theatrical productions during Baudelaire’s day. The poet came
into contact with her through his attachment to Mme Sabatier who was to have
such an impact on him. I am of course referencing the climax of the Marvel
movie when Wonder Woman, played by Gal Gadot, confronts Ares the God of War.
Saturday, January 11, 2020
Freedom, sonnets, form and the importance of numbers ( 3/4)
Detail from The Taking of Christ by Caravaggio
in the National Gallery of Ireland
Freedom
Freedom
is a cage, embrace the bars.
Consider
it, did you ever ask to be born?
Were
you ever personally consulted in the matter?
And
what about death? apart from the obvious-
Suicide
was for Camus the ultimate
Expression
of human freedom –
Again,
what freedom do you have?
Even
breathing, again it is out of your control,
Apart
from regulating; your heartbeat the same!
You
see, you are on autopilot my friend.
Now,
take any other part of your anatomy…
Yes.
Think about it? So, you see,
There
is very little freedom there.
Freedom
is a cage, embrace the bars.
I’ve
been meaning to write the above poem for a long time. I had the aphorism which
begins and ends the poem for a long time now and I just needed the right idea
to come along so I could sandwich it, as it were. The formulation follows another
fourteen liner which was published by Fly on the Wall Press in the UK
just before Christmas last year. This brings me to the sonnet as form, again.
Normally,
I follow a 4/4/3/3 variation in verse, even when I’m not, if you get me.
I
wrote an essay recently about the importance of the numbers 3 and 4 in ancient
Hebraic geometry and its significance for both Joyce and Beckett in relation to
Finnegans Wake and Comment c’est/How It Is. Their interest goes
back to people like Leonardo Da Vinci and Vitruvius who were concerned as both
scientists and artists about the ratio of perfect forms, wo/man being one in
terms of physical beauty.
The
number four is symbolic of God, or total knowledge. The solid shape being
robust enough to withstand the pressures of the world. Three then being
synonymous, at least for thinkers like Beckett according to my research, with
human knowledge, or human capacity. In other words, somewhat to be found lacking… the
missing quarter!
To
return to sonnets. The opening eight lines usually treat some theme, lofty
enough, usually. Love or freedom being typical. Both transcendent notions,
evocative of “God”, or the unlimited beyond if you prefer, In other words,
somewhat out of the reach of us poor mortals. The last two verses then, in the 3/3, bringing the theme crashing back to earth, grounding us in reality. Hence the
almost kick in the teeth punchline effect of a good sonnet. Baudelaire was a
genius at it. Of course, he had vision. Man was doomed from the very beginning,
in his eyes…
A
note on this post, and others like it. This post is only temporary, as I will
be taking it down as soon as I decide which journal or magazine I decide to
send it out to. I have been doing this now for some time. This is the ‘benefit’,
if I may call it that, of following my blog. As you will get access to material
that you would not have if you were only to look at it from time to time, as it
were!
This
poem is taken from malus the collection I am currently working on. So
far three poems have been published from it. One, as mentioned, in the UK
another, written in French, in France, and most recently another has been published
in a biannual online international surrealist journal here in Dublin. But that is
another story
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