On most occasions when I post one of Shakespeare’s sonnets I don’t comment on the content or meaning, preferring to let you all make your own interpretation. This one, however, think deserves some discussion. At first reading it appears to be describing the poet’s love for a feminine-looking young man, and that has led to the interpretation that it was written about one of the many actors that played female roles on the Elizabethan stage. That could well be the case, of course, but it’s not at all obvious to me that this is describing sexual desire for said gender-bending individual. In fact, if you study this sonnet carefully you will find numerous puns and a liberal dose of sexual innuendo so I rather think this is just a bit of fun, rather than a serious discussion of the bard’s sexuality. The reference to “prick” in the penultimate line is obvious, but there’s also “nothing” in the previous line which Shakespeare often uses as a euphemism for a vagina. An even more clever and playful element is the existence of an extra unstressed syllable in each line (making 11 instead of the usual 10 in iambic pentameter), suggesting something added, fairly obviously a penis; the suggestion is that nature made this beautiful person as a woman but then added the “one thing” referred to in the poem.
Anyway, what I love most about this particular sonnet is its humour and ambivalence. That’s probably also why I enjoyed watching the Ladyboys of Bangkok so much on my birthday. So I hereby dedicate this post to them!
A woman’s face with nature’s own hand painted,
Hast thou the master mistress of my passion,
A woman’s gentle heart but not acquainted
With shifting change as is false women’s fashion,
An eye more bright than theirs, less false in rolling:
Gilding the object whereupon it gazeth,
A man in hue all hues in his controlling,
Which steals men’s eyes and women’s souls amazeth.
And for a woman wert thou first created,
Till nature as she wrought thee fell a-doting,
And by addition me of thee defeated,
By adding one thing to my purpose nothing.
But since she pricked thee out for women’s pleasure,
Mine be thy love and thy love’s use their treasure.
Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.
Art thou pale for weariness
Of climbing heaven, and gazing on the earth,
Wandering companionless
Among the stars that have a different birth,—
And ever-changing, like a joyless eye
That finds no object worth its constancy?
Now you hear what the house has to say. Pipes clanking, water running in the dark, the mortgaged walls shifting in discomfort, and voices mounting in an endless drone of small complaints like the sounds of a family that year by year you’ve learned how to ignore.
But now you must listen to the things you own, all that you’ve worked for these past years, the murmur of property, of things in disrepair, the moving parts about to come undone, and twisting in the sheets remember all the faces you could not bring yourself to love.
How many voices have escaped you until now, the venting furnace, the floorboards underfoot, the steady accusations of the clock numbering the minutes no one will mark. The terrible clarity this moment brings, the useless insight, the unbroken dark.
Never let me lose the marvel of your statue-like eyes, or the accent the solitary rose of your breath places on my cheek at night. I am afraid of being, on this shore, a branchless trunk, and what I most regret is having no flower, pulp, or clay for the worm of my despair. If you are my hidden treasure, if you are my cross, my dampened pain, if I am a dog, and you alone my master, never let me lose what I have gained, and adorn the branches of your river with leaves of my estranged Autumn.
This poem is from a collection called Sonetos del amor oscuro (“Sonnets of Dark Love”), which contains the last verses ever written by Lorca. They were written to a young man, with whom the poet had a secret love affair, whose identity remained unknown until earlier this year (2012) when letters and other documents were found which revealed him to be the (then) 19-year old Juan Ramírez de Lucas.
A few days ago an article appeared on the BBC website that discussed the enduring appeal of Sherlock Holmes and related this to the processes involved in solving puzzles. That piece makes a number of points I’ve made before, so I thought I’d update and recycle my previous post on that theme. The main reason for doing so is that it gives me yet another chance to pay homage to the brilliant Jeremy Brett who, in my opinion, is unsurpassed in the role of Sherlock Holmes. It also allows me to return to a philosophical theme I visited earlier this week.
One of the things that fascinates me about detective stories (of which I am an avid reader) is how often they use the word “deduction” to describe the logical methods involved in solving a crime. As a matter of fact, what Holmes generally uses is not really deduction at all, but inference (a process which is predominantly inductive).
In deductive reasoning, one tries to tease out the logical consequences of a premise; the resulting conclusions are, generally speaking, more specific than the premise. “If these are the general rules, what are the consequences for this particular situation?” is the kind of question one can answer using deduction.
The kind of reasoning of reasoning Holmes employs, however, is essentially opposite to this. The question being answered is of the form: “From a particular set of observations, what can we infer about the more general circumstances that relating to them?”.
And for a dramatic illustration of the process of inference, you can see it acted out by the great Jeremy Brett in the first four minutes or so of this clip from the classic Granada TV adaptation of The Hound of the Baskervilles:
I think it’s pretty clear in this case that what’s going on here is a process of inference (i.e. inductive rather than deductive reasoning). It’s also pretty clear, at least to me, that Jeremy Brett’s acting in that scene is utterly superb.
I’m probably labouring the distinction between induction and deduction, but the main purpose doing so is that a great deal of science is fundamentally inferential and, as a consequence, it entails dealing with inferences (or guesses or conjectures) that are inherently uncertain as to their application to real facts. Dealing with these uncertain aspects requires a more general kind of logic than the simple Boolean form employed in deductive reasoning. This side of the scientific method is sadly neglected in most approaches to science education.
In physics, the attitude is usually to establish the rules (“the laws of physics”) as axioms (though perhaps giving some experimental justification). Students are then taught to solve problems which generally involve working out particular consequences of these laws. This is all deductive. I’ve got nothing against this as it is what a great deal of theoretical research in physics is actually like, it forms an essential part of the training of an physicist.
However, one of the aims of physics – especially fundamental physics – is to try to establish what the laws of nature actually are from observations of particular outcomes. It would be simplistic to say that this was entirely inductive in character. Sometimes deduction plays an important role in scientific discoveries. For example, Albert Einstein deduced his Special Theory of Relativity from a postulate that the speed of light was constant for all observers in uniform relative motion. However, the motivation for this entire chain of reasoning arose from previous studies of eletromagnetism which involved a complicated interplay between experiment and theory that eventually led to Maxwell’s equations. Deduction and induction are both involved at some level in a kind of dialectical relationship.
The synthesis of the two approaches requires an evaluation of the evidence the data provides concerning the different theories. This evidence is rarely conclusive, so a wider range of logical possibilities than “true” or “false” needs to be accommodated. Fortunately, there is a quantitative and logically rigorous way of doing this. It is called Bayesian probability. In this way of reasoning, the probability (a number between 0 and 1 attached to a hypothesis, model, or anything that can be described as a logical proposition of some sort) represents the extent to which a given set of data supports the given hypothesis. The calculus of probabilities only reduces to Boolean algebra when the probabilities of all hypothesese involved are either unity (certainly true) or zero (certainly false). In between “true” and “false” there are varying degrees of “uncertain” represented by a number between 0 and 1, i.e. the probability.
Overlooking the importance of inductive reasoning has led to numerous pathological developments that have hindered the growth of science. One example is the widespread and remarkably naive devotion that many scientists have towards the philosophy of the anti-inductivist Karl Popper; his doctrine of falsifiability has led to an unhealthy neglect of an essential fact of probabilistic reasoning, namely that data can make theories more probable. More generally, the rise of the empiricist philosophical tradition that stems from David Hume (another anti-inductivist) spawned the frequentist conception of probability, with its regrettable legacy of confusion and irrationality.
In fact Sherlock Holmes himself explicitly recognizes the importance of inference and rejects the one-sided doctrine of falsification. Here he is in The Adventure of the Cardboard Box (the emphasis is mine):
Let me run over the principal steps. We approached the case, you remember, with an absolutely blank mind, which is always an advantage. We had formed no theories. We were simply there to observe and to draw inferences from our observations. What did we see first? A very placid and respectable lady, who seemed quite innocent of any secret, and a portrait which showed me that she had two younger sisters. It instantly flashed across my mind that the box might have been meant for one of these. I set the idea aside as one which could be disproved or confirmed at our leisure.
My own field of cosmology provides the largest-scale illustration of this process in action. Theorists make postulates about the contents of the Universe and the laws that describe it and try to calculate what measurable consequences their ideas might have. Observers make measurements as best they can, but these are inevitably restricted in number and accuracy by technical considerations. Over the years, theoretical cosmologists deductively explored the possible ways Einstein’s General Theory of Relativity could be applied to the cosmos at large. Eventually a family of theoretical models was constructed, each of which could, in principle, describe a universe with the same basic properties as ours. But determining which, if any, of these models applied to the real thing required more detailed data. For example, observations of the properties of individual galaxies led to the inferred presence of cosmologically important quantities of dark matter. Inference also played a key role in establishing the existence of dark energy as a major part of the overall energy budget of the Universe. The result is now that we have now arrived at a standard model of cosmology which accounts pretty well for most relevant data.
Nothing is certain, of course, and this model may well turn out to be flawed in important ways. All the best detective stories have twists in which the favoured theory turns out to be wrong. But although the puzzle isn’t exactly solved, we’ve got good reasons for thinking we’re nearer to at least some of the answers than we were 20 years ago.
Full many a glorious morning have I seen
Flatter the mountain-tops with sovereign eye,
Kissing with golden face the meadows green,
Gilding pale streams with heavenly alchemy;
Anon permit the basest clouds to ride
With ugly rack on his celestial face,
And from the forlorn world his visage hide,
Stealing unseen to west with this disgrace:
Even so my sun one early morn did shine
With all triumphant splendor on my brow;
But out, alack! he was but one hour mine;
The region cloud hath mask’d him from me now.
Yet him for this my love no whit disdaineth;
Suns of the world may stain when heaven’s sun staineth.
From time to time I’ve posted bits of poetry on this blog by H.P. Lovecraft, an author of fantasy, horror and science fiction stories that I discovered as a teenager and which made a big and lasting impression on me.
I never thought Lovecraft was a great writer, actually. At times his prose style is truly excruciating. But he was clearly a person with a remarkable imagination and he did write some genuinely frightening stories. He also had a big influence on many subsequent horror writers and film-makers.
It was only in later life that I started to read collections of his poetry, which is also uneven in quality but among which there are many gems. They’ve proved quite popular when I’ve posted them on here too, perhaps because quite a few of the followers of this blog also know Lovecraft’s stories.
But last night I came across this revolting poem, which reveals a side of H.P. Lovecraft’s character of which I was previously unaware. Its charming title is On the Creation of Niggers:
When, long ago, the gods created Earth In Jove’s fair image Man was shaped at birth. The beasts for lesser parts were next designed; Yet were they too remote from humankind. To fill the gap, and join the rest to Man, Th’Olympian host conceiv’d a clever plan. A beast they wrought, in semi-human figure, Filled it with vice, and called the thing a Nigger.
It being a lovely day in Copenhagen yesterday I decided to go for a long walk. My destination was the famous Assistens Kirkegård which is in the Nørrebro district of the city. You might think that was a rather morbid choice of place to go for a stroll in the sunshine, but actually it’s not that way at all. It’s actually a rather beautiful place, a very large green space criss-crossed by tree-lined paths. We British have a much more reserved attitude to cemeteries than the Danes seem to have, at least judging by yesterday; joggers and cyclists pass through Assistens Cemetery at regular intervals, and many people were having picnics or just sunbathing between the gravestones. And of course there were many tourists wandering around, myself included. I found this matter-of-fact attitude to the dead rather refreshing, actually.
Incidentally, I was also surprised to see a number of Jewish burials among the Christian ones. I don’t know if this happens in British graveyards.
Part of the attraction of Assistens Kirkegård – the name derives from the fact that it was originally an auxiliary burial place, outside the main city, designed to take some of the pressure off the smaller cemeteries in the inner areas – is the large number of famous people buried there. The cemetery is extremely large (about 25 hectares), and the maps don’t show the locations of all the famous people laid to rest there, but I did find quite a few.
Here for example is the memorial to one of the most famous Danes of all, Hans Christian Andersen
Going by the number of signposts pointing to it, this must be one of the most popular sites for visitors to the cemetery, along with the grave of the philosopher Søren Kierkegaard. One can also quite easily locate the memorial which marks the last resting place of Niels Bohr and various other members of his family:
But it’s not only Danes that are buried here. There’s a corner of one plot occupied by a number of famous American Jazz musicians, including pianist Kenny Drew and, most famously of all, tenor saxophonist Ben Webster whose gravestone is rather small, but clearly very well tended, no doubt by a Danish jazz lover:
Unfortunately, I was unable to locate one of the graves I wanted to find, that of the great HeldentenorLauritz Melchior. I was surprised to find his name was absent from the main index. I know he was cremated and his ashes buried there, and I even found a picture of his memorial on the net, but the cemetery is so large that without further clues I couldn’t find it. I’ll have to go back on a subsequent visit after doing a bit more research.
It’s very interesting that some of the smaller graves are extremely well-tended whereas many of the more opulent memorials are in a state of disrepair. My ambition is to be forgotten as quickly as possible after my death so the idea of anyone erecting some grandiose marble monument on my behalf fills me with horror, but I have to say I do find graveyards are strangely comforting places. Rich and poor, clever and stupid, ugly and beautiful; death comes to us all in the end. At least it’s very democratic.
And after about three hours strolling around in the cool shade of the trees in Assistens Kirkegård the thought did cross my mind there still seems to be plenty of room…
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