Category Archives: Birthdays

Boris Pasternak

httpv://www.youtube.com/watch?v=nQZFhyKNUbA&feature=related

The conclusion of Pasternak’s translation of King Lear (with English subtitles).  Lear’s “howl” speech begins at the six minute mark.

Today is Boris Pasternak‘s birthday (1890-1960).

Frye cites Pasternak in The Modern Century to distinguish between an ideologically enforced “stupid realism” and a fully liberated “revolutionary realism”:

It seems clear that an officially approved realism cannot carry on the revolutionary tradition of Goya and Daumier.  It is not anti-Communism that makes us feel that the disapproved writers, Daniel and Babel and Pasternak, have most to say to us: on the contrary, it is precisely such writers who best convey the sense of Russians as fellow human beings, caught in the same dilemma that we are.  Revolutionary realism is a questioning, exploring, searching, disturbing force: it cannot go over to established authority and defend the fictions which may be essential to authority, but are never real. (CW 11, 33-4)

Elizabeth Bishop and Nova Scotia

Great Village school, circa 1910

From an article in The Telegraph:

Nova Scotia is where Bishop discovered her preoccupation with pattern, process and form. Even then she was weighing up aesthetics and arrangements: “The summer before school began was the summer of numbers, chiefly number eight … Four and five were hard enough but I think I was in love with eight.” When she got stuck on “g” she decided with characteristic independence of judgment that “My alphabet made a satisfying short song, and I didn’t want to spoil it.”

The plain and forthright music of her poems comes from another childhood influence: “My Nova Scotian grandmother was a great hymn singer. I grew up with those sounds, and, in fact, still have hundreds of them floating around in my head.”

The hard brightness of the light in Nova Scotia concentrates its colours. The iridescent firs, blazing red barns and luminous bare fields explain why Bishop writes so often of this landscape as if it were painted: “You know about the Bay of Fundy and its tides, I imagine, that go out for a hundred miles or so and then come in with a rise of 80 feet. The soil is all dark terracotta color, and the bay, when it’s in, on a bright day, is a real pink; then the fields are very pale lime greens and yellows and in back of them the fir trees start, dark blue-green. It is the richest, saddest, simplest landscape in the world … ”

You can visit the Elizabeth Bishop Society of Nova Scotia’s centenary blog here .

Amy Lowell

httpv://www.youtube.com/watch?v=ciZNzKa4kDU

Amy Lowell’s “Meeting-House Hill”

Today is Amy Lowell‘s birthday (1874-1925).

From The Well-Tempered Critic:

The free verse imagists of the 1920s issued manifestos saying that poetry should be objective, visual, concentrated, precise, hard, clear, and rendering particulars exactly.  As with a good deal of poetry written to a theory, the theory was a compensation for the practice: what imagism mainly produced was precisely the opposite, an associative hypnotic chant based on various devices of repetition. (CW 21, 364)

Frye on Elizabeth Bishop

Elizabeth Bishop’s childhood home in Great Village, Nova Scotia.  The parlour in which “First Death in Nova Scotia” is set is to the right.  The skylight is over Bishop’s tiny bedroom: it was there as late as 1998 and may still be there.

Further to Michael’s earlier post: Frye does have this reference to Bishop in one of his sets of autobiographical notes:

Elizabeth Bishop and the left hand drive—roads hardly wide enough to have two sides. The red, blue and yellow roads, the last a dirt track through the bush. Still, variety of makes of cars, words like Willys-Knight can still throw me into a nostalgic trance. (CW 25, 30)

The “left-hand drive” reference is explained in one of Frye’s reminiscences in the talk he gave at Moncton’s Centennial Celebration a few months before his death:

I was at a dinner at Harvard University seated beside a poet named Elizabeth Bishop, who was a New Englander with a summer cottage in Nova Scotia. She spent half her time in Nova Scotia, so much so that one or two Americans suggested Canadians really ought to make her Canada’s national poet. I think it was a bit of a problem for her too to decide whether she was Canadian or American, and she finally solved the problem by going to live in Brazil. However, she came back to Harvard. She was a very shy person and was very chagrined at being put beside me, because she was frightened by strangers of all kinds. She said, ‘I haven’t read any of your books.” I said, “Well, I haven’t read them either. I’ve only proofread them.” Then she stared at me a while longer, and she said, “When was it that New Brunswick changed over from a left hand to a right hand drive.” “Well,” I said loudly and confidently, “September 1920.” I realized afterward that I had almost certainly got the date wrong. But what I do remember was the fact happening and my mother’s comment that they were going to have trouble with the horses, especially the milk team horses. In any case, whether I got the date right or not, it must have been around that time that the province discovered that there was a difference between the left hand and the right hand on the road.

So far as I remember in 1919 or 1920, there were no paved roads in the province, and the roads were really paths through the woods. They were not exactly blazed trails, but you followed the road by tracing the colored bands that were painted around the telephone poles. The Red Band Road went down the St. John Valley through St. John to Moncton and from there to Sackville and Cape Tormentine. The Blue Band Road started here at the corner of Main and Botsford and went up the east coast around Tracadie to Campbellton. And the Yellow Band Road started at St. Andrews and went northeasterly through Fredericton and Newcastle to Bathurst. Later on, when I acquired a bicycle, I found myself tracing other of these paths through the woods, exploring what were at the time practically nothing but trails––the McLaughlin Road, roads in Albert County––and going out to the gorge and other outlying parts of Moncton. It was a solitary exercise, but it was by no means lonely, because each road was an adventure, and it had the feeling of a kind of Hansel and Gretel exploration about it. Naturally, as a city grows, more and more of its residential areas turn into commercial areas––things like Trans Canada Highways and airports and so on make the old paths through the woods totally obsolete. (CW 25, 48-9)

(Photo via The Elizabeth Bishop Society of Nova Scotia)

Elizabeth Bishop

httpv://www.youtube.com/watch?v=QnR1x64WOjQ

Elizabeth Bishop reading “The Fish”

Today is Elizabeth Bishop‘s birthday (1911-1979).

I am lucky enough to have been in her childhood home in Great Village, Nova Scotia, and her mountainside villa in Ouro Preto, Brazil.  In both instances, her bedroom was the smallest room in the house.

Frye never wrote about Bishop. (See Bob Denham’s correction in the post above.)  But he did meet her at Harvard in 1975, when she was writer-in-residence and he was the Charles Eliot Norton lecturer (those lectures later became The Secular Scripture).  According to John Ayre, they were seated together at dinner one night and “swapped tales” of their Maritime upbringing, she in Nova Scotia and he in New Brunswick. (Northrop Frye: A Biography, 347)

After the jump, “First Death in Nova Scotia.”

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Charles Dickens

httpv://www.youtube.com/watch?v=eXyo68s-f1E

The opening sequence of David Lean’s film adaptation of Great Expectations

Today is Charles Dickens‘s birthday (1812-1870).

Frye’s plangent account of the creative absurdity of literature in “Dickens and the Comedy of Humours” — this is an extraordinary paragraph, even for him:

I used the word “absurd” earlier about Dickens’s melodramatic plots, suggesting that they were creatively and not incompetently absurd.  In our day the word “absurd” usually refers to the absence of purpose or meaning in life and experience, the so-called metaphysical absurd.  But for literary criticism the formulating of the theory of the absurd should not be left entirely to disillusioned theologians.  In literature it is design, the forming and shaping power, that is absurd.  Real life does not start nor stop; it never ties up loose ends; it never manifests meaning or purpose except by blind accident; it is never comic or tragic, ironic or romantic, or anything else that has shape.  Whatever gives form and pattern to fiction, whatever technical skill keeps us turning the pages to get to the end, is absurd, and contradicts our sense of reality.  The great Victorian realists subordinate their story-telling skill to their representative skill.  Theirs is a dignified, leisurely vehicle that gives us time to look at the scenery.  They have formed our stock responses to fiction, so that even when travelling at the much higher speed of drama, romance, or epic we still keep trying to focus our eyes on the incidental and transient.  Most of us feel that there is something else in Dickens, something elemental, yet unconnected with either realistic clarity or philosophical profundity.  What it is connected with is a kind of story that fully gratifies the hope expressed, according to Lewis Carroll, by the original Alice, that “there will be some nonsense in it.”  The silliest character in Nicholas Nickleby is the hero’s mother, a romancer who keeps dreaming of impossible happy endings for her children.  But the story itself follows her specifications and not those of the sensible people.  The obstructing humours in Dickens are absurd because they have overdesigned their lives.  But the kind of design that they parody is produced by another kind of energy, and one which insists, absurdly and irresistibly, that what is must never take precedence over what ought to be.  (CW 17, 307-8)

Bob Marley

httpv://www.youtube.com/watch?v=tzkG6Xu6lUE&feature=fvwrel

A gorgeous live version of “No Woman, No Cry” fom the Legend album.  Still gives me chills to hear the audience singing from the opening bar before Bob even gets started.

Today is Bob Marley‘s birthday (1945-1981).  His deeply peaceful instincts, inspired by a full commitment to Rastafari, seemed to match his musical genius:

I don’t have prejudice against meself. My father was a white and my mother was black. Them call me half-caste or whatever. Me don’t dip on nobody’s side. Me don’t dip on the black man’s side nor the white man’s side. Me dip on God’s side, the one who create me and cause me to come from black and white.

Frye on peace and choosing life in conversation with David Cayley:

We’ve gone though history thinking of peace as meaning that the war has stopped, and consequently, a lot of people, when you use a word like “peace,” say, “Well, the world of peace sounds awfully dull.  There’d be nothing to do if there’s nothing to fight about.” What I go for is “Blake’s I will not cease from mental fight / Till we have built Jerusalem.”  God says in Deuteronomy, “I have set before you life and death . . . therefore choose life.” [30:19].  Well, nobody, with all respect to God, could possibly say that that was a logical “therefore.” A lot of people choose life choose it only because they have got into the habit of living.  They find it easier to do that than to break clear of it.  Others will choose life, but when life becomes an act of choice, then there’s the question of what you’re goint to do with it, what direction you’re to go in.  (CW 24, 1001-2)


Weil and “Attention”

Because it is Simone Weil’s birthday today and events in Egypt are steadily turning from bad to worse, here are some quotes from her to remind us of what we need to remember when it comes to the suffering of others:

The capacity to give one’s attention to a sufferer is a very rare and difficult thing; it is almost a miracle; it is a miracle.

Equality is the public recognition, effectively expressed in institutions and manners, of the principle that an equal degree of attention is due to the needs of all human beings.

Those who are unhappy have no need for anything in this world but people capable of giving them their attention.

(Photo montage via Line Street Productions)

Simone Weil

Today is Simone Weil‘s birthday (1909-1943).

From The Great Code:

In our day Simone Weil has found the traditional doctrine of the Church as the Body of Christ a major obstacle — not impossibly the major obstacle — to her entering it.  She points out that it does not differ enough from other metaphors of integration, such as the class solidarity metaphor of Marxism, and says:

“Our true dignity is not to be parts of a body. . . . It consists in this, that in the state of perfection which is the vocation of each one of us, we no longer live in ourselves, but Christ lives in us; so that through our perfection . . . becomes in a sense each one of us, as he is completely in each host.  The hosts are not a part of his body.”

I quote this because, whether she is right or wrong, and whatever the theological implications, the issue she raises is a central one in metaphorical vision, or the application of metaphors to human experience.  We are born, we said, within the pre-existing social contract out of which we develop what individuality we have, and the interests of that society take priority over the interests of the individual.  Many religions, on the other hand, in their origin, attempt to be recreated societies built on the influence of a single individual: Jesus, Buddha, Lao Tzu, Mohammed, or at most a small group.  Such teachers signify, by their appearance, that there are individuals to whom a society should be related, rather than the other way around.  Within a generation or two, however, this new society has become one more social contract, and the individuals of the new generations are once again subordinated to it.

Paul’s conception of Jesus as the genuine individuality of the individual, which is what I think Simone Weil is following here, indicates a reformulating of the central Christian metaphor in a way that unites without subordinating, that achieves identity with and identity as on equal terms.  The Eucharistic image, which she also refers to, suggests that the crucial event of Good Friday — the death of Christ on the cross — is one with the death of everything else in the past.  The swallowed Christ, eaten, divided, and drunk, in the phrase of Eliot’s Gerontion, is one with the potential individual buried in the tomb of the ego during the Sabbath of time and history, where it is the only thing that rests.  When this individual awakens and we pass to resurrection and Easter, the community with which he is identical is no longer a whole of which he is a part, but another aspect of himself, or, in the traditional metonymic language, another person of his substance. (CW 19, 119-20)

Norman Mailer

httpv://www.youtube.com/watch?v=O3vTu99Vpd8

Norman Mailer on William F. Buckley’s Firing Line in 1968.  Much of the dialogue sounds like it was written by a precocious grad student suffering from a hangover and the trots.

Today is Norman Mailer‘s birthday (1923-2007).

Frye in a 1968 interview.

Smyth: What about other critics who are less disciplined?  I’m thinking of Mailer.

Frye: But Mailer is not a critic.  He’s a novelist.  He has a creative mind. When he speaks in the role of the critic, he reflects the confusions that a person who is not really a critic gets into.  I think that we’ve found over and over again in the history of literature that some of the world’s greatest poets have also been the most confused people in their reaction to the current political scene.  The reason is that they are concerned with so fundamentally different a job that they really shouldn’t be asked to pronounce in these areas.  (CW 24, 67)

The rest of the Buckley/Mailer interview after the jump.

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