Friday, August 29, 2008

David

David Hebrew: דָּוִד, Standard Dawid Tiberian Dāwîḏ, Arabic: داوود or داود, Dāwūd, "beloved"), was the second king of the united Kingdom of Israel according to the Hebrew Bible/Old Testament. He is depicted as a righteous king—although not without fault—as well as an acclaimed warrior, musician and poet (he is traditionally credited with the authorship of many of the Psalms). The biblical chronology places his life c.1037 - 967 BC, his reign over Judah c.1007 - 1000 BC, and over Judah and Israel c.1000 - 967 BC.[1] An alternative transliteration of the Hebrew name David is Daveed as found in the Strong's Exhaustive Concordance of the King James Bible in the Hebrew Lexicon.

More here.

Thursday, August 21, 2008

Fall readings and schedule

Just a reminder that the texts for our reading this fall will include Samuel I and II and the beginning of Kings from the Old Testament.


An excellent edition of the entire epic tale is Robert Alter's The David Story: A Translation with Commentary of 1 and 2 Samuel.








The text of the Eliot recommended by Paul is the The Waste Land, Norton Critical Edition.

First meeting will be Wed., Sept. 3, 1 - 3 p.m. at the Fruitville.

All meetings WEDNESDAYS 1:00 P.M. to 3:00 P.M.

September 3

September 10

September 24

October 1

October 8

October 22

November 5

November 26

December 3

December 10

December 31

Wednesday, August 20, 2008

Dead Sea Scroll on Stone

JERUSALEM — A three-foot-tall tablet with 87 lines of Hebrew that scholars believe dates from the decades just before the birth of Jesus is causing a quiet stir in biblical and archaeological circles, especially because it may speak of a messiah who will rise from the dead after three days.
...

Much of the text, a vision of the apocalypse transmitted by the angel Gabriel, draws on the Old Testament, especially the prophets Daniel, Zechariah and Haggai. New York Times.

A different sort of Genesis story

This has nothing directly to do with either the David story, or the roots of Modernism, but as a remarkable effort to represent the current state of our knowledge of human migration, it's "context" nonetheless.

Wednesday, May 28, 2008

Paradiso I: A new translation

This translation of Paradiso I is from an unpublished work in progress by Peter D'Epiro, author of Sprezzatura: 50 Ways Italian Genius Shaped the World, What are the Seven Wonders of the World?and most recently The Book of Firsts: 150 World Changing People and Events from Caesar Augustus to the InternetMany thanks to the author for permission to post it here.

The glory of the One who moves all things
Penetrates through the universe, and shines
In one part more and in another less.
Within the heaven that most receives His light
Was I, and saw such things as who descends
From there has neither wit nor power to tell—
Because, in drawing near to its desire,
Our understanding enters such a depth
That it must leave the memory behind.
Nevertheless, as much of the holy realm                 10
As I could treasure up within my mind
Shall now be made the subject of my song.

O good Apollo, for this final task
Make of me such a vessel of your power
As you require for your beloved laurel.
Up to this point, one summit of Parnassus
Has served me well, but now I need them both,
Entering on the arena that remains.
Come into my breast and, there within me, breathe,
As once, on that occasion when you drew                20
Marsyas from the scabbard of his limbs.
O power divine, but grant me of yourself
So much that I may figure forth the shadow
Of the blest realm imprinted in my mind,
And you shall see me come to your chosen tree
And crown myself beneath it with those leaves
Of which my theme and you will make me worthy.
So seldom, father, are they gathered now
For triumphing of Caesar or of poet—
The fault and bitter shame of human wills—            30
That certainly the Peneian bough begets
New joy within the joyous Delphic god
Whenever it makes any long for it.
A tiny spark gives rise to mighty flames.
Perhaps by my example sweeter voices
Will offer prayer, and Cyrrha may respond.

Through different points the lantern of the world
Rises on mortals, but through that which joins
Four circles with three crosses, it sets forth
Upon a better course and in conjunction                     40
With better stars, tempering the wax of the world
And stamping it more after its own fashion.
Its entrance by a portal near that point
Had made it morning there and evening here—
That hemisphere all bright, the other dark—
When I saw Beatrice turned to her left
And looking at the sun—no eagle ever
Fixed so intent a gaze upon its orb.
And as a second ray will issue from
The first and, by reflection, reascend,                         50
Just like a pilgrim yearning for his home,
So by her action, which my eyes infused
Into my mind, was my own action guided:
Against our wont I gazed upon the sun.
So much is granted to our powers there
That here is not, by virtue of the place,
Made as the proper home of humankind.
I could not bear it long, yet not so briefly
As not to see it sparkling all around,
Like iron that comes molten from the fire--                60
And suddenly it seemed that day to day
Was added, as if He who has the power
Had decked the heavens with a second sun.


Wholly intent upon the eternal wheels
Were Beatrice’s eyes: on her I fixed
My own, when I had lowered them from there.
Gazing on her, I was transformed within,
Like Glaucus when he tasted of the herb
That made him a companion of the sea gods.
Transcendence of humanity cannot                       70
Be told in words; thus let the example stand
For those to whom His grace reserves the experience.

If I was only then that part of me
Which You created last—O Love that rule
The heavens—You know, who raised me with your light.

And when the wheeling that You, being desired,
Render eternal had drawn me to itself
By the harmony You temper and distribute,
So vast a portion of the sky appeared
Enkindled by the flaming sun that never                         80
Did rain or river make so broad a lake.
The newness of the sound and the great light
Aroused in me such keenness of desire
To know their cause as I had never felt.
And she, who saw me as I saw myself,
To set my agitated mind at ease,
Opened her lips before I framed my question,
Saying to me: “You make yourself obtuse
With false surmise, so that you cannot see
What you would see if you had cast it off.                       90
You are not now on earth, as you believe;
For lightning, fleeing from its proper site,
Moves not so fast as you return to yours.”

If I was freed from one perplexity
By the brief words she uttered with a smile,
I yet was more entangled in a new one,
And so I said: “I was content to rest
From one great wonder—now I wonder how
I rise above these lighter substances.”


And she, when she had heaved a sigh of pity      100
And bent her eyes upon me with the look
A mother casts on her delirious child,
Began to say: “All things that are, have order
Among themselves: this order is the form
That makes the universe resemble God.


The higher creatures here behold the trace
Of the Eternal Excellence, which is
The end for which that system was created.
Within this order that I now explain,
All natures are inclined by different lots--                    110
Some to their principle nearer, some less near.
And so it is they move to different ports
On the great sea of being, and each one
Receives the instinct that will bear it on.
This instinct bears the fire toward the moon;
This is the motive force in mortal hearts;
This holds the earth together and makes it one.
And not only do the arrows of this bow
Shoot creatures void of all intelligence,
But those endowed with intellect and love.                   120
The Providence ordaining all these things
Makes ever quiet with Its light the heaven
In which the sphere with the greatest speed revolves.
And to that place, as to a site decreed,
The virtue of that bow-string bears us on,
Which, shooting, always aims at joyful targets.

But truly, as a shape will often not
Accord with the intention of the art
When material is deaf in its response,
The creature too will sometimes leave this course,       130
Because it has the power, thus impelled,
To swerve aside and aim its journey elsewhere.
And just as sometimes fire from a cloud
Falls downward, even so the primal impulse,
Diverted by false pleasure, turns toward earth.
If I can judge correctly in these matters,
You should not wonder at your rising more
Than at a stream that falls from a mountain top.
The wondrous thing would be if, free from hindrance,
You would have settled down below, just as                 140
A fire that is still would be a marvel.”

And then she turned her gaze toward heaven again.

Wednesday, March 12, 2008

Wednesday, February 06, 2008

Apokalypse



Given the heavily Apocalyptic burden of the late cantos of the Purgatorio, it is worth noting this amazing set of blockbook illustrations of the Apocalypse from the 15th century. Via AKMA.

Sunday, January 27, 2008

Homage from Longfellow

A sonnet on the Purgatorio:

With snow-white veil and garments as of flame,

She stands before thee, who so long ago

Filled thy young heart with passion and the woe

From which thy song and all its splendors came;

And while with stern rebuke she speaks thy name,

The ice about thy heart melts as the snow

On mountain heights, and in swift overflow

Comes gushing from thy lips in sobs of shame.

Thou makest full confession; and a gleam,

As of the dawn on some dark forest cast,

Seems on thy lifted forehead to increase;

Lethe and Eunoë -- the remembered dream

And the forgotten sorrow -- bring at last

That perfect pardon which is perfect peace.


One of six sonnets about The Comedy composed by H.W. Longfellow -- he was translating the entire poem at the time.

Numerical Concinnity

Shaw shares a link to this interesting look at number in the Comedy:

Monday, January 07, 2008

About reading

A writer and a teacher of literature who happens to be a friend offered some thoughts about reading -- how it might be taught through the event of reading in the classroom:
Am I interested, excited, moved by what I have read, enough to think it is important for my students to understand it?

Really? Sincerely?

Can I locate the source of my excitement, of what is important, of what has meaning in what I and these students just read?

Can I explain it to my students so that they understand something of what it means, of why it is important, why it moves me?

If the answer to any of these questions is no, do not teach.

If the answer to all of these is yes, here is how you teach your students to read:

You select for discussion a passage or a text that you care about, that you see as important, and you talk about it truthfully, candidly, thoughtfully, and you show them how you got what you got out of it. If they follow you, they will get more out of it than you gave them, because they will learn from and make use of your example of how to read. Oh, and by the way that means you have to know your way around the text.

You ask open-ended questions, none of that "Socratic Dialogue" bullshit.

You encourage students to try to form their own questions about what they read -- to define their own problems n their own words. You don't tell them this necessarily, but defining the problem you are having with a text can solve about 80 percent of it. And then you answer their questions.

You don't judge their words. You respond to them with thoughtfulnes, care, and respect, establishing a lucid relationship between their question and the text. Because when they tell you they don't understand, that is the frontier of the humanitiies.

If you make this conversation interesting and rich, if you give a sense that the material has untapped riches and **that they have as much of a right to get at in their way as anybody else**, they will learn to read.

Give them permission to skim over the hard parts if they must, and urge them to make note of anything interesting -- page number, phrase, written out passage, comment on it, just so they can find it if they need to talk about it or write about it. In discussion, keep referring the conversation back to the text: as in "Well, let's see again what XXX actually says." Because it's good to remember that the actual text is different from your idea of it at any given moment.

Honestly I do not think it is necessary to do more. If you don't believe you can teach the material on the merits of its inherent interest you just should find something you can care about or get out of teaching.

Everything else just gets people tangled up in all the apparatus and then they feel even more cut off from the author and his/her material. All you are doing is giving it to them as a gift, not even as a gift, as something they already own.

Reading is experience, it is an activity like thinking; it isn't a method. There is no system for getting it, just reading one thing after another.

Monday, December 24, 2007

Purgatorio 31-33: Masque and Mystery



As we find ourselves in the dark wood of the final cantos of Purgatorio, several have related the triumphal procession, the sacred army, the griffin and the dumbshow of canto 32 to masques and mystery plays.

In an email, Mussy offers the thought that these forms of "entertainment" are
important for a study of Dante because embedded in this masque are many of the ideas Dante has been working toward not to be dismissed as silly childlike entertainment to convey surface churchy notions, though in a way it does that too. He counted on the masque form as a familiar experience of his time I believe.
We should pause to consider why, upon the culmination of the long journey ending in the Earthly Paradise and the "unmediated" vision of the face of Beatrice, Dante chooses to present these final cantos in a mode reminiscent of animal fable and other popular forms.

Mussy also offers this citation:

miracle play or mystery play,form of medieval drama that came from dramatization of the liturgy of the Roman Catholic Church. It developed from the 10th to the 16th cent., reaching its height in the 15th cent. The simple lyric character of the early texts, as shown in the Quem Quœritis, was enlarged by the addition of dialogue and dramatic action. Eventually the performance was moved to the churchyard and the marketplace. Rendered in Latin, the play was preceded by a prologue or by a herald who gave a synopsis and was closed by a herald's salute. When a papal edict in 1210 forbade the clergy to act on a public stage, supervision and control of presenting the plays passed into the hands of the town guilds, and various changes ensued. The vernacular language replaced Latin, and scenes were inserted that were not from the Bible. The acting became more dramatic as characterization and detail became more important. Based on the Scriptures from the creation to the Second Coming and on the lives of the saints, the plays were arranged into cycles and were given on church festival days, particularly the feast of Corpus Christi, lasting from sunrise to sunset. Each guild was responsible for the production of a different episode. With simple costumes and props, guild members, who were paid actors, performed on stages equipped with wheels (see pageant); each scene was given at one public square and drawn on to its next performance at another, while a different stage succeeded it. Named after the towns in which they were performed, the principal English cycles are the York Plays (1430–40), the longest, containing 48 plays; the Towneley or Wakefield Plays (c.1450, in Yorkshire); the Coventry Plays (1468); and the Chester Plays (1475–1500). The Passion play is the chief modern example of the miracle play. The French mystère distinguished those plays containing biblical stories from those about the lives of the saints. The auto, the medieval religious drama in Spain, was acted concurrently with the secular drama throughout the Golden Age and into the 18th cent. Calderón was the greatest composer of the auto sacramental, which dealt with the mystery of the Mass in allegory. In Italy the laudi were basically choral in form and so distinguished from the later sacre rappresentazioni, which became lavish artistic productions comparable to the French mystère.

See K. Young, The Drama of the Medieval Church (2 vol., 1933); and anthologies ed. by A. W. Pollard (8th ed. 1927) and V. F. Hopper and G. B. Lahey (1962).

Sunday, December 02, 2007

Purgatorio 29-31


John D. Sinclair notes an underlying relation within Purgatorio 29 - 31:
The twenty-ninth canto is occupied with revelation; . . . it is all public and impersonal. The next two cantos are the most intimately personal in the Divine Comedy. The pageant . . . is as if forgotten during the interview between Beatrice and Dante. Yet the thirtieth and thirty-first cantos are not only relevant but essential to the matter of the twenty-ninth. Revelation is not revelation unless it reveals a man to himself . . ..

One might quibble with some of Sinclair's terms, but his general point seems worth bearing in mind: the divine pageant, Scripture, enters the sacred wood, bringing light, seeming to reenact, in its Veni, sponsa de Libano and Benedictus qui venit, three moments of Biblical history: the prophetic promises of the Old Testament, the entrance of Christ in Jerusalem, and the Second Coming. For men who read the Word in the dark wood of the world, these are separate moments turning around the central fact of the junction of man and God, the marriage of Heaven and Earth. But from the perspective Beatrice brings sub specie aeternitate -- a point that underlies Augustine's confession of time, of history, and of Scripture -- these three epochs of human history, past, present and future -- are one indivisible moment.

For Dante the individual, Beatrice played a role not unlike that of Christ: she appears to him in the flesh, igniting an ardent love and devotion; she dies - the central fact that Dante misread, mistaking her change of form for the termination of her being; she returns, shows him his error, and the roots of his error in his soul, and in that recognition he begins his journey across Lethe to see the face of Beatrice, in whose eyes can be seen the reflected image of the Gryphon.


How far have we come from the union of Ouranos and Gaia in Hesiod's Theogony?