Showing posts with label Tranströmer. Show all posts
Showing posts with label Tranströmer. Show all posts

Sunday, February 19, 2012

EARTHLY PARADISE


FELINE PLEASURE

It happened on Valentine’s Day, or rather night. I “laid me down to sleep” and experienced a wave of total bodily delight just stretching out and feeling the coziness of being cocooned in my comforter. (Comforter! I love the word. Not the Holy Ghost, but something light and fluffy that keeps you warm.)

It was perhaps as close as I can ever come to mystical ecstasy. The revelation, alas, was modest: my favorite place in the world is my own bed. Not original, I know. Not even new to me, though for the first time confirmed by the feline pleasure of the body. But every bit of clarity counts. Old grudges against life have been falling into oblivion, the way one kind, supportive lover can heal the wounds caused by a number of previous narcissists.

GOD IS AFFECTION

A more original insight was that “God is affection” is something I could buy, were I to redefine God as well. I never cared for “God is love” – not only because it’s a cliché, but because love carries so much darkness. Even parental love is not free from narcissism and possessiveness, or from the desire to punish when expectations are not met and the child’s values and interests turn out to be “wrong.” Even when a parent tries to be tolerant, the disappointment in a mother’s or father’s face still shows and weighs on the child (regardless of the child’s age). Affection, on the contrary, seems entirely positive. Only affection can forgive and forget (love may forgive, but does it ever forget?) Only affection is not “ego-invested.” Tell me that God is affection. I could run into the arms of affection.

*

I’m going over Tranströmer again, in Bly’s marvelous volume, The Half-Finished Heaven. Just the title should alert us that a lively poetic sensibility has presided over this selection. Here is a passage from “Below Freezing”:

One can’t say it out loud, but there is a lot of repressed violence here. That’s why the furniture seems so heavy. And why it is so difficult to see the other thing present: a spot of sunlight that moves over the house walls and slips over the unaware forest of flickering faces, a biblical saying never set down: “Come unto me, for I am as full of contradictions as you.”

If only we had such an honest biblical saying. If only we stopped yearning for blind submission to a “great cause” and noticed the wonderful small beauties of a spot of sunlight slipping over the flickering faces. Now that is an image of affection.

THE JOY OF THE FOCUSED LIFE

One of the things I’ve learned by living and making mistakes (like posting on Facebook) is that I don’t want to spread myself too thin. I enjoy doing just a few things, but doing them well. I’ve just re-read the marvelous New York Times article on the benefits of concentration: http://www.nytimes.com/2009/05/05/science/05tier.html  Let me just toss some quotations your way:

William James: “My experience is what I agree to attend to.” You can lead a miserable life by obsessing on problems. Or you can recognize your brain’s finite capacity for processing information, accentuate the positive and achieve the satisfaction of . . . THE FOCUSED LIFE.

People don’t understand that attention is a finite resource, like money. Do you want to invest your cognitive cash on endlessly Twittering, [posting on Facebook], or Net surfing or couch potato-ing? You are constantly making choices, and your choices determine your experience."

Why is the focused life so conducive to happiness? Because it’s much more likely to include periods when we are in FLOW. Flow is also known as being “in the zone”; I prefer flow, a beautiful, liquid word that suits this state of being so immersed in what we are doing that we cease to be aware of time, self, and other such childish things.

It is a truth universally accepted that you can achieve flow even if you never learn how to pronounce Mihaly Tsikszentmihalyi.

Flow, like heaven and hell, is a state of mind. Milton: “The mind is its own place, and in itself / Can make a heaven of hell, a hell of heaven.”
























TROTSKY, PARADISE, HAPPY CHILDHOOD

On and off I’ve been reading a biography of Leon (or Lev, the Russian variant) Trotsky (real name: Leiba Davidovich Bronstein; a Moscow rabbi remarked, prophetically as rabbis seem to, “It’s Lev Trotsky who signs the mortgage, but it’s Leiba Davidovich Bronstein who will have to pay the price.”). No prophet of the ironies of history, it was Trotsky who said, “We want to create on this earth a real paradise for people.” The author of the biography, Robert Service, is hostile to Trotsky. Yet in the Introduction he also says, “More than any other leading Bolshevik he conserved in his head a vision of a future world where each man and woman would have the opportunity for self-fulfillment in service of the collective good. He proclaimed this with passion to the day he died” [assassinated in 1940 by a Stalinist agent].

The idea of that paradise on earth included free or nearly free access to education (including university education) and cultural life (by “nearly free” I mean that anyone could afford to go see an opera, for instance, and not just in terms of having to be content with the worst “student seats”). Now, I’d be the last to praise the Soviet system just because in Warsaw I could afford to go to the opera – or even because of free higher education and free medical care and other well-known features of socialism (which in its moderate form is not totalitarian, but can, and does, co-exist with democracy). Yes, that spoils you, but for the whole Eastern bloc the word became tainted with dictatorship.

It gives me a melancholy pause, the fact that the dream of the kind of paradise of earth that isn’t just the elimination of hunger and poverty, but also “the opportunity for self-fulfillment in service of the collective good,” is no longer spoken of. Oddly enough, the last time I read about it was in a class on Victorian literature, where I did a paper on Oscar Wilde’s The Soul of Man under Socialism (1891).

In it, he says, “Nobody will waste his life in accumulating things, and the symbols for things. One will live. To live is the rarest thing in the world. Most people exist, that is all.” Wilde imagined a system that would make it possible for everyone to realize their talents. Who, then, would do menial work? Wilde assumes that in the future, machines would: “The fact is that civilization requires slaves. The Greeks were quite right there. Unless there are slaves to do the ugly, horrible, uninteresting work, culture and contemplation become almost impossible. Human slavery is wrong, insecure, and demoralizing. On mechanical slavery, on the slavery of the machine, the future of the world depends.” (To this a woman writer replied that there will never be a machine that can change a baby’s diapers.)

Let me swerve even more and give you this little-known Wilde quotation: “Disobedience, in the eyes of any one who has read history, is man's original virtue. It is through disobedience that progress has been made, through disobedience and through rebellion.”

A quotation from Trotsky’s Autobiography that I can’t resist – its opening paragraphs:

Childhood is looked upon as the happiest time of life. Is that always true? No, only a few have a happy childhood. The idealization of childhood originated in the old literature of the privileged. A secure, affluent, and unclouded childhood, spent in a home of inherited wealth and culture, a childhood of affection and play, brings back to one memories of a sunny meadow at the beginning of the road of life. The grandees of literature, or the plebeians who glorify the grandees, have canonized this purely aristocratic view of childhood. But the majority of the people, if they look back at all, see, on the contrary, a childhood of darkness, hunger, and dependence. Life strikes the weak – and who is weaker than a child?

My childhood was not one of hunger and cold. My family had already achieved a competence at the time of my birth. But it was the stern competence of people still rising from poverty and having no desire to stop half-way. Every muscle was strained, every thought set on work and savings. Such a domestic routine leaves but a modest place for the children. We knew no need, but neither did we know the generosities of life – its caresses.

(I’m thrilled by the phrase “life’s caresses.” I feel infinitely grateful to my mother for flowers on the table. And for taking me to the High Tatra mountains during the Easter break, once, just to show me the wild crocus blooming in the snow.)

The passage by Trotsky is a translation from Russian, and an imperfect one, to put it mildly (I assume “competence” means “financial security”) – and yet Trotsky’s intelligence shines through. He was a born writer – later pages show a gift for vivid detail as well. He was a stylist; he could not bear writing an ugly sentence. If only he’d confined himself to writing, becoming a harmless novelist and/or essayist. I’m coming to the strange conclusion that an education in the arts might serve to keep the gifted from going into politics, where they could do real harm. But get a young man seriously interested in poetry, and he’ll be harmless. Poetry will keep him off the street, including Wall Street.

























Trotsky before he became Trotsky. If only he’d become a poet instead.

OLDER = HAPPIER

As for what Trotsky says about childhood, I don’t remember ever believing that it was the happiest time of life. Indeed, to quote Trotsky, “who is weaker than a child?” Has any child ever completely escaped bullying or being otherwise hurt by those bigger and stronger? There are wonderful moments in childhood, but the nightmarish part stays with us. People may want to be young again, but never to be a child again.

Incidentally, Lenin seems to have had the kind of affluent “happy childhood” that Trotsky mentions as the privilege of the few — including summers at his [Lenin’s] grandparents’ country estate.  


I grew up with the myth that youth is the happiest time of life. My parents and others gladly reminisced about their youth (until its sudden end with the outbreak of WWII). In novels and most movies, the protagonists were usually young, beautiful, and in love. Love songs were almost all about young love, before marriage (no song ever advised, “All you need is marriage”). Since I had a miserable youth, I thought I was a pathological exception. The confidences of women friends eventually made me see that a lot of us were “exceptions.” 

By now scores of studies have established that older adults are happier than younger adults. The older = happier relationship holds until the “elderly” stage sets in, with its accelerated aging and sickness. Thus, new research indicates that, on average, the years past fifty are the happiest time of life — and the seventies tend to be happier than the fifties. When time starts running out, people begin to revel in life. Seeing that the future is not what it used to be, they begin to live for the moment. This, maybe, is the happy second childhood, without the derogatory overtone. Or a kind of second adolescence, the way it should have been. Happiness! Not for pigs after all, but a sacred calling. Let’s enjoy it while we can.



**

Charles:

Another beautiful blog, effortlessly written.

Oriana:

Thank you. I’m glad it seems effortless. This one essentially was. I scribbled down “thoughts from all over,” and realized that they were all related to happiness in some way. One of those mysteries of how writing comes together. The less conscious effort, the better it is.

Another reason for the effortless feeling is that my mind has grown richer, I feel. I’ve gained clarity about my values, my real interests.  For me the danger is that I have such an abundance, I have to restrain myself from writing on and on.

Here is what Rilke says in his letters (My thanks to Lois Petit for posting this): For the more we are, the richer everything we experience is. And those who want to have a deep love in their lives must collect and save for it, and gather honey. 


Hyacinth:

You've said about what I would have said. I did find among my notes this: well-being equals happiness for me. An out of body experience I get from music or nature and art, as if I'm looking down on myself from an elevated place.

About childhood:

Childhood is so brief a thing

a time of crayons and comics and fireflies against
a blurred background of war, polio, breadlines; against

the undertow of fear, nightly shouting, thuds, the final
snores. Some childhood memories should be burned,

with respect, like a flag, full of stains and tears. And even
then we’d carry around the ashes. The end of childhood

is sudden. No longer scuffing through
the fragile architecture, now we are  responsible

for keeping things upright like building blocks.
And the rest of our lives we suffer a vague

homesickness for a time when we could believe
we left our missing sock in a dream.

**

Oriana:

It’s only in the recent decades that Western society started owning up to the fact that a lot of children have an unhappy childhood – some seriously so. Interestingly, this happened at the same time as child rearing became more affectionate and less oppressive. 

I wonder about the future generations: will they interact with electronic devices more so than with parents and peers?

Isn’t it time to admit that our Hyacinth is a better poet than Ruth Stone, for instance? Now, I’m glad that Ruth Stone got to be famous, but Hyacinth has more striking lines and more lyricism (not this particular poem, but those with nature imagery).

That the ending is fabulous goes without saying. I also especially like

. . .    Some childhood memories should be burned,

with respect, like a flag, full of stains and tears. And even
then we’d carry around the ashes.

~ how is that for an unexpected simile?

I wish Hyacinth could be declared a national treasure.


Ursula:

I just read your blog on happiness and childhood and was staggered by your declaration (in question form), that it was time that we (the greater WE), recognize Hyacinth as a better poet than Ruth Stone. I like Ruth Stone's work but Hyacinth’s strikes me in the heart far more often.

I concur, not that I would have ever thought of grading poets but I do think, setting aside publishers and width of reputation, that Hyacinth is greatly unvalued, perhaps somewhat by herself. What a warm fire you are.

Oriana:

Yes again on Hyacinth. Her craft is better too, tighter, more musical. Hyacinth has more lyricism by far. About Ruth Stone’s work some people would say, “This is not poetry” – but nobody would say this about Hyacinth’s work. We immediately know that it IS poetry.


The trouble is that it takes so much energy, even if we e-submit, to keep on submitting in a system that’s not efficient at recognizing quality. The whole marketing aspect is simply too much for someone who’d rather give it all to poetry itself.  But at least Hyacinth has gained local fame. This is supposed to be a growing new phenomenon: many poets are very good, but remain unknown at the national level. They enjoy a strong regional reputation, though. And after all, a region is like a small country. Think Lithuania. A poet this wonderful would not be ignored in Lithuania. Or rather, let’s not think about po-biz at all. Let’s simply love the poems and poets that we love. Let’s bless our luck in having her and her poems.


Scott:

Your statement about your bed being your favorite place reminded me of  mine: my chair in the living room beside a lamp stand where sit  several books that I am reading and a coaster for my coffee cup (a close second is looking out my French doors observing my bird feeder).  It brings to mind too that line about being surrounded by a 'warm  river of books and black coffee' in Robert Morgan's poem 'White  Autumn'.

Trotsky was an interesting fellow, a biography about him and the rest of the early Russian revolutionaries would make great reading; too bad they were not poets and chess players!

I can't help but concur with the 'oldest = happiest' conclusion. As I am almost 50, it is so much better being 50 than 15; to be secure in one’s own skin is a worthy goal I think.

Oriana:

OMG, what a nightmare: to be 15 again! On the other hand, I’d love to stop aging. In fact some rejuvenation would be wonderful, but we all know the irony of the human condition . . . it seems that life gets richer in various ways just as the body starts declining. Only today I had yet another profound insight that led to even more self-acceptance – but it was about something in the past, and I can only smile a melancholy smile at wisdom coming late, as usual (Hegel: “The owl of Minerva flies only at dusk”).

Alas, the revolutionaries were poets and chess-players only on the side; their true dedication was, naturally, to the revolution. I grew up with the portraits of Marx, Lenin, and Engels arranged like a new holy trinity in every classroom (Marx’s facial hair outclassed everyone else’s) – that’s why I say they feel like a family to me. Of course we studied the Communist Manifesto in high school, and knew the biography of Lenin in some detail (not about his mistress, to be sure).  We knew all kinds of details about the October Revolution – the warship “Aurora,” the Winter Palace, the fact that the Smolny Institute (the first revolutionary headquarters) used to be a boarding school for aristocratic girls – BUT! Trotsky was never mentioned, and we had no idea that the revolution would have never succeeded without him. Long after Stalin’s death, history books still never mentioned him. To do so would have been a thought crime, to use Orwell’s magnificent coinage.

As for the revolutionaries in general, it’s only now that I stop and think, stunned – these men, and some extraordinary women like Rosa Luxemburg (lots of streets in Poland were named after Rosa, since she grew up in Poland, and Polish remained the language of the heart for her) – these incredibly bold men and women decided that capitalism had to be overthrown, and eventually, thanks to superhuman-seeming will power (some would say: fanaticism) and courage and self-sacrifice (and, to be fair, their willingness to sacrifice others as well; Rosa was perhaps the least inclined that way, being pro-liberty and pro-democracy) – in the end, in some countries they succeeded. The results proved disastrous, but I’m stunned that the experiment was even tried! Maybe it had to be tried, so that we could see how a balanced approach is needed, with creative capitalism encouraged, but predatory capitalism restrained, and some mechanism in place to moderate the boom-bust cycle (already described by Marx).

Just a quick note on Trotsky. Trotsky started out as an anti-Bolshevist, correctly predicting that the “dictatorship of the proletariat” would soon turn into a dictatorship OVER the proletariat. Alas, Lenin had legendary powers of persuasion, and managed to convince Trotsky to join him. Not that Trotsky is to be excused for having been persuaded; once he starts defending, advocating, and in fact exercising “revolutionary terror,” he loses my sympathy. As one of his biographers put it, he was a brilliant man who became a “prisoner of an idea.”


Sunday, October 16, 2011

TRANSTROMER’S “FUNERAL GONDOLA”: POWER OF THE DEEP

Palazzo Vendramin on  Gran Canale; Richard Wagner died here

Letter to Ferdinand Taborszky, 1885 

First of all, dear friend, will you be so kind as to go to my house with Frau von Fabry? I stupidly forgot there—in the bedroom, not in the salon—the beautiful and revised copy of a composition for piano and violin or violoncello, together with the transcription of the same for pianoforte alone. The title is “La lugubre Gondola” (the funeral gondola). As though it were a presentiment, I wrote this élégie in Venice six weeks before Wagner’s death.


Now I should like it to be brought out by Fritzsch (Leipzig), Wagner’s publisher, as soon as I receive it from you in Weimar. Hearty greetings to your family.

Ever faithfully yours,
Liszt

Sorrow Gondola No. 2

I
Two old men, father- and son-in-law, Liszt and Wagner, are staying by the Grand Canal
together with the restless woman who is married to King Midas,
he who changes everything he touches to Wagner.
The ocean’s green cold pushes up through the palazzo floors.
Wagner is marked, his famous Punchinello profile looks more tired than before,
           his face a white flag.
The gondola is heavy-laden with their lives, two round trips and a one-way.

II
A window in the palazzo flies open and everyone grimaces in the sudden draft.
Outside on the water the trash gondola appears, paddled by two one-oared bandits.
Liszt has written down some chords so heavy, they ought to be sent off
to the mineralogical institute in Padua for analysis.
Meteorites!
Too heavy to rest, they can only sink and sink straight through the future all the way      down to the Brownshirt years.
The gondola is heavy-laden with the future’s huddled-up stones.

III
Peep-holes into 1990.
March 25th. Angst for Lithuania.
Dreamt I visited a large hospital.
No personnel. Everyone was a patient.

In the same dream a newborn girl
who spoke in complete sentences.

IV
Beside the son-in-law, who’s a man of the times, Liszt is a moth-eaten grand seigneur.
It’s a disguise.
The deep, that tries on and rejects different masks, has chosen this one just for him—
the deep that wants to enter people without ever showing its face.


Abbé Liszt is used to carrying his suitcase himself through sleet and sunshine
and when his time comes to die, there will be no one to meet him at the station.
A mild breeze of gifted cognac carries him away in the midst of a commission.
He always has commissions.
Two thousand letters a year!
The schoolboy who writes his misspelled word a hundred times
before he’s allowed to go home.
The gondola is heavy-laden with life, it is simple and black.

VI
Back to 1990.
Dreamt I drove over a hundred miles in vain.
Then everything magnified. Sparrows as big as hens
sang so loud that it briefly struck me deaf.
Dreamt I had drawn piano keys
on my kitchen table. I played on them, mute.
The neighbors came over to listen.

VII
The clavier, which kept silent through all of Parsifal (but listened),
finally has something to say.
Sighs . . .
 sospiri . . .
When Liszt plays tonight he holds the sea-pedal pressed down
so the ocean’s green force rises up through the floor and flows together with all the stone in the building.
Good evening, beautiful deep!
The gondola is heavy-laden with life, it is simple and black.

VIII
Dreamt I was supposed to start school but arrived too late.
Everyone in the room was wearing a white mask.
Whoever the teacher was, no one could say.

~ Tomas Transtromer, translation by Patty Crane, published in Blackbird, Fall 2011

**

A few preliminary notes:

Wagner married Cosima Liszt, Franz Liszt’s daughter, 24 years his junior. Thus Liszt officially became Wagner’s father-in-law, even though he and Wagner were very close in age (Liszt was only two years older).

Punchinello is a short, punch-bellied buffoon in Italian puppet shows.

The Wagner family went to Venice for the winter. Wagner died of a heart attack at the age of 69 on February 13, 1883 at Ca' Vendramin Calergi, a 16th century palazzo on the Grand Canal. Franz Liszt's two pieces for piano entitled La lugubre gondola (Die Trauergondel) evoke the passing of a black-shrouded funerary gondola bearing Richard Wagner's remains over the Grand Canal to Venice’s Santa Lucia railroad station. Wagner was buried in Bayreuth.

The piece that’s referred to as The Funeral Gondola Nr. 2 is basically a revised version of the already wonderful (in my opinion) first piece.

“Abbé Liszt” – in 1857, in a period of great sorrow in his life, Liszt joined a Franciscan order, and lived for a while at the Monastery of the Madonna of the Rosary in Rome. He did “receive the tonsure” (i.e. was officially a monk), but he was never a priest (Vivaldi, the “Red Priest,” really was a priest; by the way, Vivaldi was born in Venice and lived there most of his life).

While we associate Liszt with flamboyance and being the greatest pianist of his time, it’s a little known fact that he donated a lot of money to various charities, including the restoration of the Cologne Cathedral. After his mid-forties, he donated all his performance fees to charities. Though some prefer to think of him as a sinner rather than a saint, his later life leans to the latter. In a similar vein, it’s a mistake to dismiss Liszt as a mere virtuoso show-off. His late pieces have depth and musical daring.

I recommend listening to the Sorrow Gondola Nr. 1, with the marvelously evocative photos of Venice, including a historical photograph of the palazzo where Wagner died. Don’t miss this feast:


In his stunning Watermark, a book of musings about Venice, Brodsky remarked that Venice is the ideal city for dissolution. (Brodsky is buried in Venice.)

I would prefer “funeral gondola” as the title; I enjoy the specificity. This type of gondola is still in use.

A historical photo of an ornate funeral gondola 

**

Note the interweave of the scene of the funeral gondola’s passage with the present, which is rendered chiefly through the poet’s dreams. Baltics also uses the past-present interweave; likewise, I was reminded of Anne Carson’s stunning interweave in The Glass Essay.

Note that in all these cases, the technique involves close-up, i.e. a relatively “narrow slice” of life rather than a panorama. Thus we have “Emily in the parlor, brushing the carpet” in Glass Essay, and here “A window in the palazzo flies open and everyone grimaces in the sudden draft” and the repeated evocations of the gondola’s being simple and black.

My favorite passage:

When Liszt plays tonight he holds the sea-pedal pressed down
so the ocean’s green force rises up through the floor and flows
together with all the stone in the building.
Good evening, beautiful deep!
The gondola is heavy-laden with life, it is simple and black. 

 **

Tranströmer conflates the power of great music with the power of the elements in a lyrical manner that can work only in poetry. He trusts the beautiful deep. These are perhaps the most strange and beautiful lines in the whole poem, fusing music, the ocean, and the earth (stone):

When Liszt plays tonight he holds the sea-pedal pressed down
so the ocean’s green force rises up through the floor and flows
together with all the stone in the building.

*

I also greatly admire:

Wagner is marked, his famous Punchinello profile looks more tired than before,
           his face a white flag.
The gondola is heavy-laden with their lives, two round trips and a one-way.

 ~ especially “his face a white flag” – the flag of surrender, a sign that he knows he’s lost the battle for his life and is no longer struggling.

Note also this passage:

Beside the son-in-law, who’s a man of the times, Liszt is a moth-eaten grand seigneur.
It’s a disguise.
The deep, that tries on and rejects different masks, has chosen this one just for him—
the deep that wants to enter people without ever showing its face.

 **
 Stanza V, starting with Liszt’s carrying his own suitcase, has stayed with me as well:

Abbé Liszt is used to carrying his suitcase himself through sleet and sunshine
and when his time comes to die, there will be no one to meet him at the station.
A mild breeze of gifted cognac carries him away in the midst of a commission.
He always has commissions.
Two thousand letters a year!
The schoolboy who writes his misspelled word a hundred times
before he’s allowed to go home.
The gondola is heavy-laden with life, it is simple and black.

**

That “mild breeze of cognac” is a touch of humor that is even more evident in

Liszt has written down some chords so heavy, they ought to be sent off
to the mineralogical institute in Padua for analysis.
Meteorites!

~ and then the brilliant line about how they sink all the way to the future. The Nazis are invoked because Liszt’s piece with those heavy chords was meant as a tribute to Wagner, and Wagner got appropriated by the Nazis – but this is not the place to get into that controversy.

Tranströmer is fully modern in this poem; he doesn’t wish to distort reality just so that the homage to the two composers can appear more solemn. Thus the appearance of the trash gondola. That’s how life is, the beautiful and the ugly side by side.

Finally, note how the specificity of the Liszt and Venice parts contrasts with the anonymity present in the dreams: in a hospital, everyone is a patient and there is no medical personnel; in a school, both the students and the teachers are masked. Who, or what, is there to guide us, to comfort us?

The dream that I like best, however, is this one:

Dreamt I had drawn piano keys
on my kitchen table. I played on them, mute.
The neighbors came over to listen.

~ There is a desperate beauty in this: if there is no piano, just draw the piano keys on the table, start playing them, and people will come to listen.

**

Hyacinth:

Spent time reading and re-reading Transtromer about Wagner and Liszt. Fantastic writing. Don't you wish you could hear it in his native language. Love the sound of "sospiri" – Italian really does more with a word than English. I wonder what the word is in Swedish.

I especially love “the chord so heavy it sinks straight to the bottom.” I listened and that's how it sounds. Heavy as a meteorite. Also the piano keys drawn on the table. It reminds me of the movie where the pianist is hiding from the Nazis and there is a piano in his hiding place and all he can do is sit with his hands above the keys and pretend to play.

So poignant about Liszt: "he carries his own suitcase "and there will be no one to meet him at the station when the time comes.” It really presents the picture of how lonely dying is.

On another note I loved the description of Wagner as Punchinello. At our preschool we played a game "What can you do Punchinello, funny fellow what can you do, Punchinello in the shoe?" and the "It" child would clap their hands or whatever and all joined in. Not that relevant but it came to my mind. 


All the photos of Venice bring back memories and the funeral gondolas are eerie and beautiful.

**

Oriana:

I agree that it’s a fantastic poem. Actually I wanted it to be longer, to tell us more about Liszt and Wagner, and especially something about Cosima – all three were such interesting characters. And then the background of Venice and the image of the black funeral gondola. The interweave with dreams and “angst about Lithuania” was also excellent. Transtromer was opposed to the Soviet totalitarianism (note the persecuted composer in Baltics) and imperialism, which included the annexation of Latvia and Lithuania.

The movie you are referring to is Polanski’s “The Pianist,” based on the memoirs of Wladyslaw Szpilman. While in hiding, he was strictly forbidden to touch the piano – playing it would obviously draw attention to his presence in the apartment. And the movie audience knows how much he yearns to play. So he moves his fingers above the keys, never making a sound, though he hears the entire concerto in his head. It’s one of the most memorable scenes in the movie.

Liszt’s loneliness was alleviated by his involvement in music up to the very end. Music was his companion. That’s the special luck of musicians – even when not physically able to play, they can “play” their favorite pieces in their mind.

It’s fascinating that your preschool kept the Punchinello tradition alive, so to speak. The name sounds delightful. Which reminds me: yes, sospiri is marvelous, but “sighs” is a good onomatopoeic word – it just needs to be pronounced slowly.

Below: Cosima and Richard, 1872. Yes, poor Cosima had a large nose, after her father. She was also tall and thin; her nickname, during her teens, was “the stork.” But again I want yo to notice that one senses the love between these two. 
Charles:

When I was listening to Liszt's "...Gondola" and saw the pictures I got the feeling of moving in the gondola on the canal. Cosima must have been so interesting. Amazing blog. Love the way you write about history.

Oriana:

Venice flows in that music, dissolving in all the reflections. Here is the Venetian Carnival together with a brilliant performance of Vivaldi’s Winter. The Red Priest has been recorded more times than Beethoven. One fabulous comment on Youtube: “Heavy metal of the 17th century.”



Hyacinth’s description of the funeral gondolas applies to the whole city: “eerie and beautiful.” In this poem, however, Rilke reminds us that Venice was once a formidable naval power. “Old forest skeletons” refers to the alder pilings on which Venice was built.

LATE AUTUMN IN VENICE

Already the city no longer drifts
like a bait, catching the days as they surface.
The glassy palaces ring more brittle
against your gaze. And from the gardens

the summer hangs like a heap of marionettes,
headfirst, exhausted, done in.
But from the ground, out of old forest skeletons,
the will to power rises: as if overnight

the commander of the sea had to double
the galleys in the sleepy arsenal,
in order to tar the next morning breeze

with a fleet, which pushes out rowing
and then suddenly, all its flags dawning,
seizes the high wind, radiant and deadly.

~ R.M. Rilke, translated by Edward Snow
(with minor changes by Oriana)
 
(Oriana: I'm not sure about "deadly" -- ideally I'd like to say "fatal" but with its German pronunciation and meaning, accent on the second syllable for ideal closure, and "fatal" in the sense of charged with fate, like a fatal disease.)