One day the landscape will pass through me

From Pascal Quignard’s A Terrace in Rome (Terrasse a Rome).  I only have the Wakefield Press translation from a few years ago – this passage is from pg.60.

“Leaving the shadow of the cliffs, we were dazzled by the glittering of the sun and the waves, the reflections of houses and boasts as far as the eyes could see. Abraham Van Berchem put his hand on the engraver’s shoulder.  He said: “in getting old, it becomes more and more difficult to tear oneself away from the splendor of the landscape one passes through.  The skin, worn out by wind and age, stretched by fatigue and many joys, the various kinds of body hair, tears, fluids, nails, and hair that have fallen to the ground like dead leaves and twigs, allow the soul to emerge and lose itself more and more beyond the limits of the skin.  The final flight is, in truth, only a dispersion.  The older I get, the more I feel at ease everywhere.  I do not inhabit my body so much anymore.  I feel my death coming someday soon.  I feel my skin becoming much too thin and more porous.  I say to myself: One day the landscape will pass through me.”

Tiens, mon enfant, je ne vois que moi qui aie toujours raison

From the Memoires de Madame de Staal-Delaunay (in the Temps retrouve edition, pg128)

[The reputation] I won in society, however, brought me some return of the Duchess de la Ferte’s good graces.  My first successes annoyed her, but at last public approval brought around her own … It was following the return of her good graces that she said to me one day: “Look here, my child, I see no one except myself who is always right.”  This speech has served – more than any precept – to teach me mistrust of myself.  And I recall it every time I am tempted to believe that I am right.

Cependant ce que j’avais gagne dans le monde m’attira quelques retours des bonnes graces de la duchesse de la Ferte.  Mes premiers succes la piquerent; mais enfin le suffrage public ramena le sien … ce fut depuis le retour de ses bonnes graces qu’elle me dit un jour: “Tiens, mon enfant, je ne vois que moi qui aie toujours raison.” Cette parole a servi, plus qu’aucun precepte, a m’apprendre la defiance de soi-meme; et je me la rappelle toutes les fois que je suis tentee de croire que j’ai raison

ἔνθα διαγνῶναι χαλεπῶς ἦν ἄνδρα ἕκαστον

The truce and burial of the dead in Iliad 8.420.  The scene generally is touching but all the more so for the specific detail that ‘Priam did not allow his people to weep’ – which I can’t help but contrastingly connect with the lengthy lament for Hector at the end of the work.  There’s also the unifying parallelism of the final six lines here.

And Helios just now was striking the fields
climbing heaven from the soft-gliding, deep-flowing ocean.
And [the armies] met one another.
There it was difficult to distinguish each man,
but washing off the blooded gore with water
and shedding warm tears they lifted them onto carts.
But great Priam did not allow his people to weep. They in silence
heaped the corpses on pyres, grieving in their hearts,
and after they had burned them they went to holy Ilium.
So likewise on the other side the well-greaved Achaeans
heaped the corpses on pyres, grieving in their hearts,
and after they had burned them they went to their hollow ships.

Ἠέλιος μὲν ἔπειτα νέον προσέβαλλεν ἀρούρας
ἐξ ἀκαλαρρείταο βαθυρρόου Ὠκεανοῖο
οὐρανὸν εἰσανιών: οἳ δ᾽ ἤντεον ἀλλήλοισιν.
ἔνθα διαγνῶναι χαλεπῶς ἦν ἄνδρα ἕκαστον:
ἀλλ᾽ ὕδατι νίζοντες ἄπο βρότον αἱματόεντα
δάκρυα θερμὰ χέοντες ἀμαξάων ἐπάειραν.
οὐδ᾽ εἴα κλαίειν Πρίαμος μέγας: οἳ δὲ σιωπῇ
νεκροὺς πυρκαϊῆς ἐπινήνεον ἀχνύμενοι κῆρ,
ἐν δὲ πυρὶ πρήσαντες ἔβαν προτὶ Ἴλιον ἱρήν.
ὣς δ᾽ αὔτως ἑτέρωθεν ἐϋκνήμιδες Ἀχαιοὶ
νεκροὺς πυρκαϊῆς ἐπινήνεον ἀχνύμενοι κῆρ,
ἐν δὲ πυρὶ πρήσαντες ἔβαν κοίλας ἐπὶ νῆας.

I’m a tired, cold, sardonic, bookish sort of chap, I felt

From Antal Szerb’s Musings in the Library in the collection Love in a Bottle.  The narrator, a Hungarian scholar living in Paris, begins to develop an attachment to a visiting Hungarian student he had introduced to the Bibliotheque Nationale.  Telling himself he should act in the spirit of one of his literary favorites – Casanova – he hopes to force a seduction by keeping her out past her residence’s 1am closed-for-the-night deadline, only to find out along the way that she’s been aiming for him for much longer.

“Ilonka, I am so dreadfully ashamed of myself.  And I haven’t given you a thought these past two years.  In fact, for the last two years I haven’t thought about anyone.  Even now I find it difficult to think of anyone but myself.  Tell me, will I ever be able to make up for my shortcomings? I see myself as a sort of water man.”
“What sort of water man?”
“The one they pulled out of the lake at Ferto.  He had grown membranes between his fingers and forgotten how to speak.  His name was Istok Hany.”
“You don’t have to say anything.  And you’ve nothing to make up for.  Those two years were wonderful for me.  I was never alone, and I loved you the way adolescent girls do.  And now I am almost grown up, and a university student, I can travel on my own, and I’ve come to Paris to be with you …. But Tamas, what’s the matter? That’s the third time you’ve looked at your watch.  My god, I’m not late, am I?”
“Not just yet, Ilonka.”
“What’s the time?”
“Just enough for you to get there in a taxi.  It’s ten to one.”
What can I say? I’m not Casanova.  Perhaps if I’d been a few years younger and less broken-down, I would have taken the gamble …. but principally, of course … if she hadn’t confessed her feelings.  But once she had? It would take more than a little bit of love and a miniscule amount of audacity.  The whole thing had become too much for me.
I’m a tired, cold, sardonic, bookish sort of chap, I felt.  It was no good.  I just wasn’t up to the occasion.  Like Janos Arany when summoned by the maiden, I answered: “It’s too late. I’m going home.”

A greater nuisance to mankind than any of those monsters they subdued

From Section III: A Digression Concerning Critics of Jonathan Swift’s A Tale of a Tub:

The third and noblest sort is that of the true critic, whose original is the most ancient of all.  Every true critic is a hero born, descending in a direct line from a celestial stem, by Momus and Hybris, who begat Zoilus, who begat Tigellius, who begat Etcætera the elder, who begat Bentley, and Rymer, and Wotton, and Perrault, and Dennis, who begat Etcætera the younger.

And these are the critics from whom the commonwealth of learning has in all ages received such immense benefits, that the gratitude of their admirers placed their origin in heaven, among those of Hercules, Theseus, Perseus, and other great deservers of mankind.  But heroic virtue itself hath not been exempt from the obloquy of evil tongues.  For it hath been objected that those ancient heroes, famous for their combating so many giants, and dragons, and robbers, were in their own persons a greater nuisance to mankind than any of those monsters they subdued; and therefore, to render their obligations more complete, when all other vermin were destroyed, should in conscience have concluded with the same justice upon themselves, as Hercules most generously did, and hath upon that score procured for himself more temples and votaries than the best of his fellows.  For these reasons I suppose it is why some have conceived it would be very expedient for the public good of learning that every true critic, as soon as he had finished his task assigned, should immediately deliver himself up to ratsbane or hemp, or from some convenient altitude, and that no man’s pretensions to so illustrious a character should by any means be received before that operation was performed.

DETUR DIGNISSIMO

From ‘the bookseller’s’ dedication of Jonathan Swift’s Tale of a Tub to Lord Somers:

I should now, in right of a dedicator, give your Lordship a list of your own virtues, and at the same time be very unwilling to offend your modesty; but chiefly I should celebrate your liberality towards men of great parts and small fortunes, and give you broad hints that I mean myself.  And I was just going on in the usual method to peruse a hundred or two of dedications, and transcribe an abstract to be applied to your Lordship, but I was diverted by a certain accident.  For upon the covers of these papers I casually observed written in large letters the two following words, DETUR DIGNISSIMO, which, for aught I knew, might contain some important meaning.  But it unluckily fell out that none of the Authors I employ understood Latin (though I have them often in pay to translate out of that language).  I was therefore compelled to have recourse to the Curate of our Parish, who Englished it thus, Let it be given to the worthiest; and his comment was that the Author meant his work should be dedicated to the sublimest genius of the age for wit, learning, judgment, eloquence, and wisdom.  I called at a poet’s chamber (who works for my shop) in an alley hard by, showed him the translation, and desired his opinion who it was that the Author could mean.  He told me, after some consideration, that vanity was a thing he abhorred, but by the description he thought himself to be the person aimed at; and at the same time he very kindly offered his own assistance gratis towards penning a dedication to himself.  I desired him, however, to give a second guess.  Why then, said he, it must be I, or my Lord Somers.  From thence I went to several other wits of my acquaintance, with no small hazard and weariness to my person, from a prodigious number of dark winding stairs; but found them all in the same story, both of your Lordship and themselves.  Now your Lordship is to understand that this proceeding was not of my own invention; for I have somewhere heard it is a maxim that those to whom everybody allows the second place have an undoubted title to the first.

 

πεδίον τὸ Ἀλήϊον οἶος ἀλᾶτο

From Glaucon’s retelling of his grandfather Bellerophon’s life in Iliad 6.150-210:

ἀλλ᾽ ὅτε δὴ καὶ κεῖνος ἀπήχθετο πᾶσι θεοῖσιν,
ἤτοι ὃ κὰπ πεδίον τὸ Ἀλήϊον οἶος ἀλᾶτο
ὃν θυμὸν κατέδων, πάτον ἀνθρώπων ἀλεείνων


But when even that one became hateful to all the gods,
Then he wandered over the Aleian plane alone
devouring his own spirit, shunning the path of men.

 

This is the locus classicus for histories of depression and melancholy in the western heritage, but I’ve never before noticed the wordplay between Ἀλήϊον and ἀλάομαι – and likely also  ἀλεείνω in the following line (which Diomedes echoes in his response as well).  A small but curious Homeric flourish that could maybe be tied to a conception of wandering – being away from home and social support networks – as an activity only voluntarily undertaken by someone unstable.  Which then bleeds to the question of whether the Iliadic and Odyssean traditions are directly or indirectly in dialogue here – the Iliad expressing a traditional view the Odyssey later works to overwrite.  On that point I’m most curious about the diction of the final line, especially the opening ὃν θυμὸν κατέδων which has for me the feel of an Odyssean refrain, especially the thematic metaphor of κατέδων.

Contemple de nouvelles bâtisses aux moindres élans de ton âme

From the opening section of Marcel Schwob’s Le Livre de Monelle:

Le désir même du nouveau n’est que l’appétence de l’âme qui souhaite se former.

Et les âmes rejettent les formes anciennes ainsi que les serpents leurs anciennes peaux.

Et les patients collecteurs d’anciennes peaux de serpent attristent les jeunes serpents parce qu’ils ont un pouvoir magique sur eux.

Car celui qui possède les anciennes peaux de serpent empêche les jeunes serpents de se transformer.

Voilà pourquoi les serpents dépouillent leur corps dans le conduit vert d’un fourré profond; et une fois l’an les jeunes se réunissent en cercle pour brûler les anciennes peaux.

Sois donc semblable aux saisons destructrices et formatrices.

Bâtis ta maison toi-même et brûle-la toi-même.

Ne jette pas de décombres derrière toi; que chacun se serve de ses propres ruines.

Ne construis point dans la nuit passée. Laisse tes bâtisses s’enfuir à la dérive.

Contemple de nouvelles bâtisses aux moindres élans de ton âme.

Pour tout désir nouveau fais des dieux nouveaux.


The very desire for the new is only the hunger of the soul seeking to form itself anew.

And souls throw off the old forms as serpents their old skins.

And the patient collectors of old serpent skins sadden the young serpents because they have a magical power over them.

For he who possesses the old skins prevents the young serpents from transforming themselves.

Here is why serpents shed their skins in the green trench of a deep thicket. And once a year the young gather in a circle to burn their old skins.

Be therefore like the seasons of destruction and formation.

Build your house yourself and burn it down yourself.

Do not throw debris behind you.  Let each make use of his own ruins.

Do not build in the night that has passed.  Let your buildings escape adrift.

Contemplate new buildings at the slightest impulses of your soul.

For every new desire create new gods.

The more it looks like Queer Street, the less I ask

From Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr. Hyde:

“And you never asked about the—place with the door?” said Mr.
Utterson.

“No, sir: I had a delicacy,” was the reply. “I feel very strongly about putting questions; it partakes too much of the style of the day of judgment. You start a question, and it’s like starting a stone. You sit quietly on the top of a hill; and away the stone goes, starting others; and presently some bland old bird (the last you would have thought of) is knocked on the head in his own back-garden and the family have to change their name. No, sir, I make it a rule of mine: the more it looks like Queer Street, the less I ask.”

“A very good rule, too,” said the lawyer.