Since my youth I have loved books and have had a predilection for quiet

From The Poetry of T’ao Ch’ien (translator Hightower, Oxford 1970 – though good luck finding a copy). For some reason while I mostly ignore the biographical traditions of the western classics, I’m always genuinely charmed by the sketches of eastern authors. First here is the autobiographical piece translated as The Gentleman of the Five Willow Trees:



I don’t know where this gentleman was born and I am not sure of his name, but beside his house were five willow trees, from which he took his nickname. He was of a placid disposition and rarely spoke. He had no envy of fame or fortune. He was fond of reading, without puzzling greatly over difficult passages. When he came across something to his liking he would be so delighted he would forget his meals. By nature he like wine, but being poor could not always come by it. Knowing the circumstances, his friends and relatives would invite him over when they had wine. He could not drink without emptying his cup, and always ended up drunk, after which he would retire, unconcerned about what might come. He lived alone in a bare little hut which gave no adequate shelter against rain and sun. His short coat was torn and patched, how cooking pots were frequently empty, but he was unperturbed. He used to write poems for his own amusement, and in them can be seen something of what he thought. He had no concern for worldly success, and so he ended his days.


And from his Testament to his sons:


Since my youth I have loved books and have had a predilection for quiet. When I opened a scroll and found something to my liking, I would be so delighted I would forget mealtime; and when I watched the trees weaving their shade and heard the birds changing their song with the season, I was filled with joy. Lying under the north window in the fifth or sixth month with an intermittent cool breeze coming through, it seemed to me that I was living in the time of the sage Emperor Fu-hsi.


From the preface to poem 62, here titled The Return:


Because of my poverty an uncle offered me a job in a small town, but he region was still unquiet and I trembled at the thought of going away from homme. However, P’eng-tse was only thirty miles from my native place, and the yield of the fields assigned the magistrate was sufficient to keep me in wine, so I applied for the office. Before many days had passed, I longed to give it up and go back home. Why, you may ask. Because my instinct is all for freedom, and will not brook discipline or restraint. Hunger and cold may be sharp, but this going against myself really sickens me. Whenever I have been involved in official life I was mortgaging myself to my mouth and belly, and the realization of this greatly upset me. I was deeply ashamed that I had so compromised my principles, but I was still going to wait out the year, after which I might pack up my clothes and slip away at night.

As in a dream, when languid sleep seals eyes in our night-time rest

From Aeneid 12.908-918, as Turnus is hunted down by Aeneas. Virgil here borrows and improves on a Homeric image from Achilles’ pursuit of Hector:

ac velut in somnis, oculos ubi languida pressit
nocte quies, nequiquam avidos extendere cursus
velle videmur et in mediis conatibus aegri
succidimus; non lingua valet, non corpore notae
sufficiunt vires nec vox aut verba sequuntur:
sic Turno, quacumque viam virtute petivit,
successum dea dira negat. tum pectore sensus
vertuntur varii; Rutulos aspectat et urbem
cunctaturque metu letumque instare tremescit,
nec quo se eripiat, nec qua vi tendat in hostem,
nec currus usquam videt aurigamve sororem.

As in a dream, when languid sleep seals eyes in our night-time
Rest, we’re aware, in ourselves, of desperately wanting to reach out
Into some purpose or course; but strength, in the midst of our efforts,
Fails us. We feebly slump. Our tongues will not function, our usual
Bodily powers don’t support us. No sound, no words find expression.
Such was Turnus’s plight. Whatever attempt at heroic
Action he made, the grim goddess frustrated. Conflicting emotions
Whirl through his heart as he stares at Rutulians, stares at the city,
Hesitates, frightened, and shakes at the sight of the menacing javelin,
Sees no place to pull back to, no force to deploy on his foeman,
No sign at all of his chariot or of its driver, his sister.

Iliad 22.199-201 in the Loeb text and translation. The translation obscures what is a common Homeric composition technique but may be a more conscious element here to imitate the fuzzy quality of dreams – there are no names, only pronouns :

ὡς δ᾿ ἐν ὀνείρῳ οὐ δύναται φεύγοντα διώκειν·
οὔτ᾿ ἄρ᾿ ὁ τὸν δύναται ὑποφεύγειν οὔθ᾿ ὁ διώκειν·
ὣς ὁ τὸν οὐ δύνατο μάρψαι ποσίν, οὐδ᾿ ὃς ἀλύξαι.

And as in a dream a man can not pursue one who flees before him—the one can not flee, nor the other pursue—so Achilles could not overtake Hector in his fleetness, nor Hector escape

I have sung women in three cities but it is all one

Because Cino’s sonnet put me in mind of it, here is Ezra Pound’s Browning-esque Cino:

CINO
Italian Campagna 1309, the open road

Bah! I have sung women in three cities,
But it is all the same;
And I will sing of the sun.

Lips, words, and you snare them,
Dreams, words, and they are as jewels,
Strange spells of old deity,
Ravens, nights, allurement:
And they are not;
Having become the souls of song.

Eyes, dreams, lips, and the night goes.
Being upon the road once more,
They are not.
Forgetful in their towers of our tuneing
Once for Wind-runeing
They dream us-toward and
Sighing, say, “Would Cino,
Passionate Cino, of the wrinkling eyes,
Gay Cino, of quick laughter,
Cino, of the dare, the jibe,
Frail Cino, strongest of his tribe
That tramp old ways beneath the sun-light,
Would Cino of the Luth were here!”

Once, twice, a year—
Vaguely thus word they:
“Cino?” “Oh, eh, Cino Polnesi
The singer is’t you mean?”
“Ah yes, passed once our way,
A saucy fellow, but …
(Oh they are all one these vagabonds),
Peste! ’tis his own songs?
Or some other’s that he sings?
But you, My Lord, how with your city?”

But you “My Lord,” God’s pity!
And all I knew were out, My Lord, you
Were Lack-land Cino, e’en as I am,
O Sinistro.

I have sung women in three cities.
But it is all one.
I will sing of the sun.
… eh? … they mostly had grey eyes,
But it is all one, I will sing of the sun.

“’Polio Phoibee, old tin pan, you
Glory to Zeus’ aegis-day,
Shield o’ steel-blue, th’ heaven o’er us
Hath for boss thy lustre gay!

’Polio Phoibee, to our way-fare
Make thy laugh our wander-lied;
Bid thy ‘fulgence bear away care.
Cloud and rain-tears pass they fleet!

Seeking e’er the new-laid rast-way

To the gardens of the sun …”
…….
I have sung women in three cities
But it is all one.

I will sing of the white birds
In the blue waters of heaven,
The clouds that are spray to its sea.

For it is always one and the same beauty that binds and trammels me

A very Proustian sentiment in a sonnet of Cino da Pistoia‘s – explaining his apparent inconstancy. Rime CXV in the Barbi edition with the Boyde and Foster translation:

Dante, ever since harsh exile made me a wanderer from my birthplace and put a distance between me and the most exquisite beauty that ever the infinite Beauty fashioned, I have gone grieving about the world, a poor wretch disdained by death; but when I’ve found near me any beauty like to that one, I’ve said it was this one that wounded my heart. Nor – though I expect no help – have I ever left those first pitiless arms from which a well-grounded despair releases me: for it is always one and the same beauty that binds and trammels me; and this perforce delights me in whatever is like it in beauty in many different women.

Poi ch’i’ fu’, Dante, dal mio natal sito
fatto per greve essilio pellegrino
e lontanato dal piacer più fino
che mai formasse il Piacer infinito,

io son piangendo per lo mondo gito
sdegnato del morir come meschino,
e s’ho trovato a lui simil vicino,
dett’ho che questi m’ha lo cor ferito.

Né da le prime braccia dispietate,
onde ’l fermato disperar m’assolve,
son mosso perch’aiuto non aspetti;

ch’un piacer sempre me lega ed involve,
il qual conven che a simil di beltate
in molte donne sparte mi diletti.

Rerumque ignarus imagine gaudet

From the conclusion of Aeneid 8, following Virgil’s description of Aeneas’ new shield:

Talia per clipeum Volcani, dona parentis,
miratur rerumque ignarus imagine gaudet,

Such things on Vulcan’s shield, a parent’s gift,
does he admire and, though ignorant of the substance, he enjoys the depiction

The phrase in the title may be the first Latin I ever learned since my grandfather- who would always explain images and iconography but never inside galleries – quoted it at me whenever I had questions on the spot. The translation is what I recall of his.

Just as the shimmering light from a watery surface in bronze-lipped Cauldrons

A famous metaphor of mental processes from Aeneid 8.18-25 (Ahl’s translation below):

Talia per Latium. quae Laomedontius heros
cuncta videns magno curarum fluctuat aestu,
atque animum nunc huc celerem nunc dividit illuc
in partisque rapit varias perque omnia versat:
sicut aquae tremulum labris ubi lumen aënis
sole repercussum aut radiantis imagine lunae
omnia pervolitat late loca, iamque sub auras
erigitur summique ferit laquearia tecti.

Such is the tally of Latium’s ills. Once Laomedon’s kinsman
Drinks in this vision, the hero is swept on a swell of emotions,
Scurrying thoughts into this or that channel of choice and decision,
Surging in random directions, examining every perspective,
Just as the shimmering light from a watery surface in bronze-lipped
Cauldrons—itself but reflected sun, or the radiant, mirrored
Face of the moon—ripples all round a room, leaps up through the yielding
Air where it flickers on fretted beams panelled high on the ceiling.

Which is a certain imitation of Apollonius’ Argonautica 3.750-760 (in Race’s now Loeb translation):

But by no means had sweet sleep overtaken Medea, because in her longing for Jason many anxieties kept her awake, as she dreaded the great strength of the oxen that were going to make him die a horrid death in the field of Ares. Over and over the heart within her breast fluttered wildly, as when a ray of sunlight bounds inside a house as it leaps from water freshly poured into a cauldron or perhaps into a bucket, and quivers and darts here and there from the rapid swirling—thus did the girl’s heart tremble in her breast.

ἀλλὰ μάλ᾿ οὐ Μήδειαν ἐπὶ γλυκερὸς λάβεν ὕπνος·
πολλὰ γὰρ Αἰσονίδαο πόθῳ μελεδήματ᾿ ἔγειρεν
δειδυῖαν ταύρων κρατερὸν μένος, οἷσιν ἔμελλεν
φθίσθαι ἀεικελίῃ μοίρῃ κατὰ νειὸν Ἄρηος.
πυκνὰ δέ οἱ κραδίη στηθέων ἔντοσθεν ἔθυιεν,
ἠελίου ὥς τίς τε δόμοις ἐνιπάλλεται αἴγλη
ὕδατος ἐξανιοῦσα, τὸ δὴ νέον ἠὲ λέβητι
ἠέ που ἐν γαυλῷ κέχυται, ἡ δ᾿ ἔνθα καὶ ἔνθα
ὠκείῃ στροφάλιγγι τινάσσεται ἀίσσουσα·
ὣς δὲ καὶ ἐν στήθεσσι κέαρ ἐλελίζετο κούρης.

But also a partial recollection of an image in Lucretius (4.211-213, Rouse’s Loeb text and translation)

that as soon as the brightness of water is laid in the open air under a starry sky, at once the serene constellations of the firmament answer back twinkling in the water

quod simul ac primum sub diu splendor aquaiponitur, extemplo caelo stellante serenasidera respondent in aqua radiantia mundi.

But nothing is more delightful than to possess lofty sanctuaries serene

The opening of Book 2 of Lucretius’ De Rerum Natura (Loeb text and translation):

Pleasant it is, when on the great sea the winds trouble the waters, to gaze from shore upon another’s great tribulation: not because any man’s troubles are a delectable joy, but because to perceive what ills you are free from yourself is pleasant. Pleasant is it also to behold great encounters of warfare arrayed over the plains, with no part of yours in the peril. But nothing is more delightful than to possess lofty sanctuaries serene, well fortified by the teachings of the wise, whence you may look down upon others and behold them all astray, wandering abroad and seeking the path of life:—the strife of wits, the fight for precedence, all labouring night and day with surpassing toil to mount upon the pinnacle of riches and to lay hold on power. O pitiable minds of men, O blind intelligences! In what gloom of life, in how great perils is passed all your poor span of time! not to see that all nature barks for is this, that pain be removed away out of the body, and that the mind, kept away from care and fear, enjoy a feeling of delight!

Suave, mari magno turbantibus aequora ventis,
e terra magnum alterius spectare laborem;
non quia vexari quemquamst iucunda voluptas,
sed quibus ipse malis careas quia cernere suave est.
suave etiam belli certamina magna tueri
per campos instructa tua sine parte pericli.
sed nil dulcius est bene quam munita tenere
edita doctrina sapientum templa serena,
despicere unde queas alios passimque videre
errare atque viam palantis quaerere vitae,
certare ingenio, contendere nobilitate,
noctes atque dies niti praestante labore
ad summas emergere opes rerumque potiri.
o miseras hominum mentes, o pectora caeca!
qualibus in tenebris vitae quantisque periclis
degitur hoc aevi quodcumquest! nonne videre
nil aliud sibi naturam latrare, nisi utqui
corpore seiunctus dolor absit, mensque fruatur
iucundo sensu cura semota metuque?

Since this all tends to the modern ear to sound more elitist and self-congratulatory than Lucretius intended (especially pulled from context), I’ll call on Henri Bergson for something of a general defense of Lucretius’ overall intent (The Philosophy of Poetry: The Genius of Lucretius, pg 51-52):

Unable to see anything in the universe except cumulative or compensatory forces and convinced that whatever is results naturally and inevitably from whatever has been, Lucretius takes pity on the human race. Man stands helpless in the face of blind, unchanging forces that are and will continue throughout eternity to be at work. Man is the accidental product of a wretched combination of atoms brought temporarily together by inexorably natural laws and destined eventually to be torn apart by the same forces. Does he have a purpose in the universe? We think that matter was made for us, as if we were not subjected to its selfsame laws. We think that friendly or jealous gods protect or persecute us, as if unpredictable alien forces could intervene in nature, or as if we were not borne along in the all-embracing stream by the inexorable laws of matter. That is the source of Lucretius’ melancholy and of his compassion for mankind.
From the same source, according to him, mankind must seek its sweetest consolations. Whoever complains of his fate is ignorant of the true nature of things; he imagines that he has struggled and cries as if defeated. If he reflected and raised himself to the “serene regions” of philosophy, he would understand that any complaint is useless and out of place, for nature inexorably follows her course without taking note of him.

It’s been a long, long, long time

52 years ago today we got the – for me – greatest of George Harrison’s hymns:

It’s been a long, long, long time
How could I ever have lost you
When I loved you?

It took a long, long, long time
Now I’m so happy I found you
How I love you

So many tears I was searching
So many tears I was wasting, oh, oh

Now I can see you, be you
How can I ever misplace you?
How I want you
Oh, I love you
You know that I need you
Oh, I love you

For dolts admire and love everything more which they see hidden amid distorted words

Lucretius (1.641-44), speaking of Heraclitus but applicable to many of us:

omnia enim stolidi magis admirantur amantque,

inversis quae sub verbis latitantia cernunt,

veraque constituunt quae belle tangere possunt

auris et lepido quae sunt fucata sonore.

The Loeb (Rouse, smith revision) gives:

For dolts admire and love everything more which they see hidden amid distorted words, and set down as true whatever can prettily tickle the ears and all that is varnished over with fine-sounding phrases.

The verb in the final line – fucare – is mainly used of painting or the application of cosmetics (which in Roman usage had a negative sense, often with associations of trickery and deceit). That the metaphor is a mixing of senses – sight (fucata) and sound (sonore) – allows Lucretius to first mock Heraclitus’ style in imitation and then indulge in its poetic richness to his own benefit.

The robb’d that smiles steals something from the thief

Some polonian platitudes from Othello (1.3), as the Duke soothes Brabantio over Desdemona’s elopement:

DUKE OF VENICE
Let me speak like yourself, and lay a sentence,
Which, as a grise or step, may help these lovers
Into your favour.
When remedies are past, the griefs are ended
By seeing the worst, which late on hopes depended.
To mourn a mischief that is past and gone
Is the next way to draw new mischief on.
What cannot be preserved when fortune takes
Patience her injury a mockery makes.
The robb’d that smiles steals something from the thief;
He robs himself that spends a bootless grief.

I want to connect the bolded line with Juvenal 10.22 (cantabit vacuus coram latrone viator – ‘the empty-handed traveler will sing in the robber’s face’) but it feels too weak a link.

At least Brabantio gets his own back in his reply:

BRABANTIO
So let the Turk of Cyprus us beguile;
We lose it not, so long as we can smile.
He bears the sentence well that nothing bears
But the free comfort which from thence he hears,
But he bears both the sentence and the sorrow
That, to pay grief, must of poor patience borrow.
These sentences, to sugar, or to gall,
Being strong on both sides, are equivocal:
But words are words; I never yet did hear
That the bruised heart was pierced through the ear.
I humbly beseech you, proceed to the affairs of state.