So farewell, then,
Wigan Athletic.
You weren’t
Athletic enough,
Apparently.
Keith’s mum says
Wigan is not
In the Midlands.
But she’s wrong.
Obviously.
by Peter Coles (aged nearly 50).
Follow @telescoperSo farewell, then,
Wigan Athletic.
You weren’t
Athletic enough,
Apparently.
Keith’s mum says
Wigan is not
In the Midlands.
But she’s wrong.
Obviously.
by Peter Coles (aged nearly 50).
Follow @telescoperAs I often do when I’m at a bit of a loose end, I just picked up a book of poems and dived in at random, which took me straight to the following sonnet by John Milton. I therefore stumbled upon a phrase “(“they also serve who only stand and wait”) which is is such common usage that I had never really thought about where it might have come from. Anyway, this is as nearly perfect an example of a Petrarchean (or Italian) sonnet as you could wish for, although the meaning is often been misinterpreted simply as an encouragement to be passive. Seen in its proper context, it seems to me that what Milton is saying is more like “Don’t be frustrated by what you can’t do, because God also knows your limitations, just do whatever you can – even if it’s not much”. As far as I know the poem is undated, but was presumably written after 1644 when Milton began to lose his eyesight. It could even be as late as 1655 by which time he was completely blind.
When I consider how my light is spent
Ere half my days in this dark world and wide,
And that one talent which is death to hide
Lodged with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide,
“Doth God exact day-labour, light denied?”
I fondly ask. But Patience, to prevent
That murmur, soon replies: “God doth not need
Either man’s work or his own gifts: who best
Bear his mild yoke, they serve him best. His state
Is kingly; thousands at his bidding speed
And post o’er land and ocean without rest:
They also serve who only stand and wait.”
by John Milton (1608-1674)
Follow @telescoperSo farewell, then,
Herschel
Space
Observatory.
You were named after
William Herschel,
Who lived
During the reign of
George III.
The mad King
Who went blind,
Then died.
You went blind
Then died.
But there the
Similarity
Ends.
You ran out
Of Helium;
He had no
Need of He.
And he was neither
In Space
Nor an
Observatory,
So forget
It.
by Peter Coles (aged 49 11/12).
Follow @telescoperI just returned from my first experience of Court, at least in the sense of that word that applies to the University of Sussex. It was quite different to what I had imagined, especially because it included three research talks. One of them, by Dr Sara Crangle of the School of English was about the Engagement Diaries of Virginia Woolf (many of which have been acquired by the University). This talk began with a fascinating preamble focussed on a short quote from The Critic as Host by J. Hillis Miller. This revolved around the curious shared etymology of “host” and “guest” and their common relationship to “hostia” the latin word meaning a sacrifice or a victim. Being fascinated by the origin and evolution of words I thought I’d have a look for a bit more of the context so here is an extended discussion.
“Parasite” is one of those words which calls up its apparent “opposite.” It has no meaning without that counterpart. There is no parasite without its host. At the same time both word and counterword subdivide and reveal themselves each to be fissured already within themselves and to be, like Unheimlich, unheimlich, an example of a double antithetical word. Words in “para,” like words in “ana” have this as an intrinsic property, capability, or tendency. “Para” as a prefix in English (sometimes “par”) indicates alongside, near or beside, to the side of, alongside, beyond, wrongfully, harmfully, unfavorably, and among. The words in “para” form one branch of the tangled labyrinth of words using some form of the Indo-European root per, which is the “base of prepositions and pre-verbs with the basic meaning of ‘forward,’ ‘through,’ and a wide range of extended senses such as ‘in front of ,’ ‘before,’ ‘early,’ ‘first,’ ‘chief,’ ‘toward,’ ‘against,’ ‘near,’ ‘at,’ ‘around.’”
I said words in “para” are one branch of the labyrinth of “pers,” but it is easy to see that the branch is itself a miniature labyrinth. “Para” is an “uncanny” double antithetical prefix signifying at once proximity and distance, similarity and difference, interiority and exteriority, something at once inside a domestic economy and outside it, something simultaneously this side of the boundary line, threshold, or margin, and at the same time beyond it, equivalent in status and at the same time secondary or subsidiary, submissive, as of guest to host, slave to master. A thing in “para” is, moreover, not only simultaneously on both sides of the boundary line between inside and outside. It is also the boundary itself, the screen which is at once a permeable membrane connecting inside and outside, confusing them with one another, allowing the outside in, making the inside out, dividing them but also forming an ambiguous transition between one and the other. Though any given word in “para” may seem to choose unequivocally or univocally one of these possibilities, the other meanings are always there as a shimmering or wavering in the word which makes it refuse to stay still in a sentence, like a slightly alien guest within the syntactical closure where all the words are family friends together. Words in “para” include: parachute, paradigm, parasol, the French paravent (screen protecting against the wind), and parapluie (umbrella), paragon, paradox, parapet, parataxis, parapraxis, parabasis, paraphrase, paragraph, paraph, paralysis, paranoia, paraphernalia, parallel, parallax, parameter, parable, paresthesia, paramnesia, paregoric, parergon, paramorph, paramecium, Paraclete, paramedical, paralegal–and parasite.
“Parasite” comes from the Greek, parasitos, etymologically: “beside the grain,” para, beside (in this case) plus sitos, grain, food. “Sitology” is the science of foods, nutrition, and diet. “Parasite” was originally something positive, a fellow guest, someone sharing the food with you, there with you beside the grain. Later on, “parasite” came to mean a professional dinner guest, someone expert at cadging invitations without ever giving dinners in return. From this developed the two main modern meanings in English, the biological and the social. A parasite is (1) “Any organism that grows, feeds, and is sheltered on or in a different organism while contributing nothing to the survival of its host”; (2) “A person who habitually takes advantage of the generosity of others without making any useful return.” To call a kind of criticism “parasitical” is, in either case, strong language.
A curious system of thought, or of language, or of social organization (in fact all three at once) is implicit in the word parasite. There is no parasite without a host. The host and the somewhat sinister or subversive parasite are fellow guests beside the food, sharing it. On the other hand, the host is himself the food, his substance consumed without recompense, as when one says, “He is eating me out of house and home.” The host may then become the host in another sense, not etymologically connected. The word “Host” is of course the name for the consecrated bread or wafer of the Eucharist, from Middle English oste, from Old French oiste, from Latin hostia, sacrifice, victim.
If the host is both eater and eaten, he also contains in himself the double antithetical relation of host and guest, guest in the bifold sense of friendly presence and alien invader. The words “host” and “guest” go back in fact to the same etymological root: ghos-ti, stranger, guest, host, properly “someone with whom one has reciprocal duties of hospitality.” The modern English word “host” in this alternative sense comes from the Middle English (h)oste, from Old French, host, guest, from Latin hospes (stem hospit-), guest, host, stranger. The “pes” or “pit” in the Latin words and in such modern English words as “hospital” and “hospitality” is from another root, pot, meaning “master.” The compound or bifurcated root ghos-pot meant “master of guests,” “ one who symbolizes the relationship of reciprocal hospitality,” as in the Slavic gospodic, Lord, sir, master. “Guest,” on the other hand, is from Middle English gest, from Old Norse gestr, from ghos-ti, the same root for “host.” A host is a host. The relation of household master offering hospitality to a guest and the guest receiving it, of host and parasite in the original sense of “fellow guest,” is inclosed within the word “host” itself. A host in the sense of a guest, moreover, is both a friendly visitor in the house and at the same time an alien presence who turns the home into a hotel, a neutral territory. Perhaps he is the first emissary of a host of enemies (from Latin hostis [stranger, enemy]), the first foot in the door, to be followed by a swarm of hostile strangers, to be met only by our own host, as the Christian deity is the Lord God of Hosts. The uncanny antithetical relation exists not only between pairs of words in this system, host and parasite, host and guest, but within each word in itself. It reforms itself in each polar opposite when that opposite is separated out, and it subverts or nullifies the apparently unequivocal relation of polarity which seems the conceptual scheme appropriate for thinking through the system. Each word in itself becomes separated by the strange logic of the “para,” membrane which divides inside from outside and yet joins them in a hymeneal bond, or allows an osmotic mixing, making the strangers friends, the distant near, the dissimilar similar, the Unheimlich heimlich, the homely homey, without, for all its closeness and similarity, ceasing to be strange, distant, dissimilar.
Interesting!
If I had my way with violent men
I’d simmer them in oil,
I’d fill a pot with bitumen
And bring them to the boil.
I execrate the terrorist
And those who harbour him,
And if I weren’t a moralist
I’d tear them limb from limb.
Fanatics are an evil breed
Whom decent men should shun;
I’d like to flog them till they bleed,
Yes, every mother’s son,
I’d like to tie them to a board
And let them taste the cat,
While giving praise, oh thank the Lord,
That I am not like that.
For we should love the human kind,
As Jesus taught us to,
And those who don’t should be struck blind
And beaten black and blue;
I’d like to roast them in a grill
And listen to them shriek,
Then break them on the wheel until
They turned the other cheek.
by Roger Woddis (1917-1993)
Follow @telescoperI’ve been planning for some time to post the lyrics of the song The Bravery of being out of Range by Roger Waters (ex Pink Floyd) as a response to the ongoing covert war being waged by the United States, which has claimed thousands of innocent lives in Pakistan and elsewhere. The terrible events at the Boston Marathon yesterday reminded me of this intention. Violence always begets violence, but the circle becomes all the more vicious when the agressor doesn’t have to display a jot of personal courage. And that goes just as much to those who planted the bombs in Boston as those who aim the drones in Pakistan. Regardless of whether the Boston bombs had anything to do with American policy, when violence is made easy there’s bound to be more of it.
You have a natural tendency
To squeeze off a shot
You’re good fun at parties
You wear the right masks
You’re old but you still
Like a laugh in the locker room
You can’t abide change
And you’re home on the range
You opened the suitcase
Behind the old workings
To show off the magnum
You deafened the canyon
A comfort a friend
Only upstaged in the end
By the Uzi machine gun
Does the recoil remind you
Remind you of sex
Old man what the hell you gonna kill next
Old timer, who you gonna kill next
I looked over Jordan and what did I see
Saw a U.S. Marine in a pile of debris
I swam in your pools
And lay under your palm trees
I looked in the eyes of the Indian
Who lay on the Federal Building steps
And through the range finder over the hill
I saw the front line boys popping their pills
Sick of the mess they find on their desert stage
And the bravery of being out of range
Yeah the question is vexed
Old man what the hell you gonna kill next
Old timer who you gonna kill next
Hey bartender, over here
Two more shots
And two more beers
Sir, turn up the TV sound
The war has started on the ground
Just love those laser guided bombs
They’re really great for righting wrongs
You hit the target, win the game
From bars 3,000 miles away
3,000 miles away
We play the game
With the bravery of being out of range
We zap and maim
With the bravery of being out of range
We strafe the train
With the bravery of being out of range
We gain terrain
With the bravery of being out of range
We play the game
With the bravery of being out of range
And sometimes it happens that you are friends and then
You are not friends,
And friendship has passed.
And whole days are lost and among them
A fountain empties itself.
And sometimes it happens that you are loved and then
You are not loved,
And love is past.
And whole days are lost and among them
A fountain empties itself into the grass.
And sometimes you want to speak to her and then
You do not want to speak,
Then the opportunity has passed.
Your dreams flare up, they suddenly vanish.
And also it happens that there is nowhere to go and then
There is somewhere to go,
Then you have bypassed.
And the years flare up and are gone,
Quicker than a minute.
So you have nothing.
You wonder if these things matter and then
As soon you begin to wonder if these things matter
They cease to matter,
And caring is past.
And a fountain empties itself into the grass.
by Brian Patten (b. 1946)
Follow @telescoperIt’s Good Friday, and it’s also a hundred years to the day since the birth of the great Welsh poet, R.S. Thomas. I thought I’d mark the centenary in a small way by posting one of his most famous poems, A Blackbird Singing
It seems wrong that out of this bird,
Black, bold, a suggestion of dark
Places about it, there yet should come
Such rich music, as though the notes’
Ore were changed to a rare metal
At one touch of that bright bill.
You have heard it often, alone at your desk
In a green April, your mind drawn
Away from its work by sweet disturbance
Of the mild evening outside your room.
A slow singer, but loading each phrase
With history’s overtones, love, joy
And grief learned by his dark tribe
In other orchards and passed on
Instinctively as they are now,
But fresh always with new tears.
I loved thee, though I told thee not,
Right earlily and long,
Thou wert my joy in every spot,
My theme in every song.
And when I saw a stranger face
Where beauty held the claim,
I gave it like a secret grace
The being of thy name.
And all the charms of face or voice
Which I in others see
Are but the recollected choice
Of what I felt for thee.
by John Clare (1793-1864).
Follow @telescoper
A time there was – as one may guess
And as, indeed, earth’s testimonies tell –
Before the birth of consciousness,
When all went well.
None suffered sickness, love, or loss,
None knew regret, starved hope, or heart-burnings;
None cared whatever crash or cross
Brought wrack to things.
If something ceased, no tongue bewailed,
If something winced and waned, no heart was wrung;
If brightness dimmed, and dark prevailed,
No sense was stung.
But the disease of feeling germed,
And primal rightness took the tinct of wrong;
Ere nescience shall be reaffirmed
How long, how long?
by Thomas Hardy (1840-1928)
Follow @telescoper