Archive for the Literature Category

Love and Tensor Algebra

Posted in Poetry with tags , on August 8, 2011 by telescoper

I’m off travelling for a few days to a conference, of which more anon (assuming I succeed in connecting to the interwebs while I’m away). It will do me some good to change location after the terrible week I’ve just had. Anyway, I thought I’d leave you with a whimsical poem while I’m travelling. It’s a bit silly, I know, but I like it. It’s called Love and Tensor Algebra and it was written by Stanislaw Lem.

Come, let us hasten to a higher plane
Where dyads tread the fairy fields of Venn,
Their indices bedecked from one to n
Commingled in an endless Markov chain!

Come, every frustum longs to be a cone
And every vector dreams of matrices.
Hark to the gentle gradient of the breeze:
It whispers of a more ergodic zone.

In Riemann, Hilbert or in Banach space
Let superscripts and subscripts go their ways.
Our asymptotes no longer out of phase,
We shall encounter, counting, face to face.

I’ll grant thee random access to my heart,
Thou’lt tell me all the constants of thy love;
And so we two shall all love’s lemmas prove,
And in our bound partition never part.

For what did Cauchy know, or Christoffel,
Or Fourier, or any Boole or Euler,
Wielding their compasses, their pens and rulers,
Of thy supernal sinusoidal spell?

Cancel me not – for what then shall remain?
Abscissas some mantissas, modules, modes,
A root or two, a torus and a node:
The inverse of my verse, a null domain.

Ellipse of bliss, converge, O lips divine!
the product of four scalars it defines!
Cyberiad draws nigh, and the skew mind
Cuts capers like a happy haversine.

I see the eigenvalue in thine eye,
I hear the tender tensor in thy sigh.
Bernoulli would have been content to die,
Had he but known such a^2 cos 2 phi!

Il Convitato di Pietra

Posted in Literature, Opera with tags , , , , on August 7, 2011 by telescoper

As regular readers of this blog will know, I have a – sometimes excessive –  interest in the origin and meaning of words. It’s not something that many people share, but I think language is a fascinating thing, in the way that it evolves so that words and phrases take on different nuances.

It’s not just in English that this happens, of course. The other day I received in a brochure about Welsh National Opera’s forthcoming production of  Don Giovanni (for which I’ve already got first-night tickets). I’ll no doubt post a review in due course, but probably the most famous scene of what is arguably Mozart’s greatest opera is near the end of Act II when the statue of the murdered Comendatore arrives to claim Don Giovanni’s soul, with the words

Don Giovanni a cenar teco
m’invitasti e son venuto!

(Don Giovanni, you invited me to dine with you and I have come!) It’s a stunning scene from the point of view of both music and drama, and can also be genuinely frightening when done well.

Here’s an example from Youtube, with the doom-laden basso profundo of Kurt Moll as the Comendatore

Some years ago in Nottingham I went to see Don Giovanni performed by the Lithuanian National Opera. It was a nice but unremarkable production until it reached the Comendatore scene. The arrival of the ghostly figure is preceded by an ominous knocking sound which, in this production, emanated from offstage, to the right, as the audience watched. The cast all looked in this direction, as did all the audience. But it was a classic piece of stage misdirection. Suddenly, the music announced the arrival of the statue, a spotlight flashed on and there was the Comendatore already in centre stage. It took me completely by surprise and I gasped audibly, to the obvious disapproval of the team of old ladies sitting in the row in front of me, who shook their heads and tutted. I had  seen Don Giovanni before, and knew exactly what was coming, but was still scared..

Anyway, that’s not really the point of this post. At a conference some years ago I was talking to an Italian colleague of mine and he told me something I found fascinating, which is that the Comendatore scene had led to an idiomatic expression in Italian Il Convitato di Pietra (“The Stone Guest”) which is in quite common usage.

In fact there  are other works that allude to this phrase including an earlier opera called Don Giovanni o Il Convitato di Pietra and a later play by Pushkin called The Stone Guest.

So what does it mean? It’s not quite the same as the Comendatore scene would suggest. In Italian it is given as

(una) presenza incombente ma invisibile, muta, e perciò inquietante e imprevedibile, che tutti conoscono ma che nessuno nomina

which I’ll translate with my feeble Italian as

an impending but invisible  presence, dumb and therefore disturbing and unexpected, which everyone knows but no-one names

In other (English) words, “The Stone Guest” is someone who’s not actually present – at least not physically – but who nevertheless manages to cast some sort of a shadow over the proceedings. I’m sure we can all think of occasions when this would have been a very apt phrase but there seems to be no English equivalent. It’s not quite the same as the Elephant in the Room, but has some similarity.

Now that I’ve had a chance to think, though, perhaps there is an English equivalent. A person who is perpetually absent but despite that exerts baleful influence on those present? A name connected with stone?

It’s got to be Keith Mason….

Light breaks where no sun shines

Posted in Poetry with tags , on July 31, 2011 by telescoper

Light breaks where no sun shines;
Where no sea runs, the waters of the heart
Push in their tides;
And, broken ghosts with glow-worms in their heads,
The things of light
File through the flesh where no flesh decks the bones.

A candle in the thighs
Warms youth and seed and burns the seeds of age;
Where no seed stirs,
The fruit of man unwrinkles in the stars,
Bright as a fig;
Where no wax is, the candle shows its hairs.

Dawn breaks behind the eyes;
From poles of skull and toe the windy blood
Slides like a sea;
Nor fenced, nor staked, the gushers of the sky
Spout to the rod
Divining in a smile the oil of tears.

Night in the socket rounds,
Like some pitch moon, the limits of the globes;
Day lights the bone;
Where no cold is, the skinning gales unpin
The winter’s robes;
The film of spring is hanging from the lids.

Light breaks on secret lots,
On tips of thought where thoughts smell in the rain;
When logics die,
The secret of the soil grows through the eye,
And blood jumps in the sun;
Above the waste allotment the dawn halts.

by Dylan Thomas (1914-1953)

Hidden Flame

Posted in Poetry with tags , on July 28, 2011 by telescoper

I feed a flame within, which so torments me
That it both pains my heart, and yet contents me:
‘Tis such a pleasing smart, and I so love it,
That I had rather die than once remove it.

Yet he, for whom I grieve, shall never know it;
My tongue does not betray, nor my eyes show it.
Not a sigh, nor a tear, my pain discloses,
But they fall silently, like dew on roses.

Thus, to prevent my Love from being cruel,
My heart ‘s the sacrifice, as ’tis the fuel;
And while I suffer this to give him quiet,
My faith rewards my love, though he deny it.

On his eyes will I gaze, and there delight me;
While I conceal my love no frown can fright me.
To be more happy I dare not aspire,
Nor can I fall more low, mounting no higher.

by John Dryden (1631-1700).

A Refusal to Mourn

Posted in Poetry with tags , , on July 24, 2011 by telescoper

This poem by Dylan Thomas, arguably his greatest, was first published just after the end of the Second World War and was written after Thomas heard news of a young girl who had burned to death when the house she was in was set on fire during an air raid. The full title is A Refusal to Mourn the Death by Fire of a Child in London.

The idea behind the poem is complex, and its message double-edged,  but Thomas finds a perfect balance between horror and sadness, and between indignation and heartbreak. Children shouldn’t have to die, and neither should anyone else whose life is cut short by another’s hand, but we have to accept that they can and do.  There’s no consolation to be found in mourning  and in any case it’s hypocritical to favour one death with elegies, when suffering is so widespread. The best we can do is allow the dead some dignity.

During my delayed journey yesterday I passed some of the time by following the reaction on Twitter to the terrible events in Norway. I wish I hadn’t. Such events bring out the ghloulish worst in some people, and the worst of the worst is always to be found on the internet. Going online is sometimes like lifting the lid on a cesspit.

I was going to post something myself, but having realised that I don’t really care much for what other people think about this, I can see no point in adding to the blizzard of opinion. Far better to post this, which expresses everything I might have aspired to say far more eloquently than I ever could.

Never until the mankind making
Bird beast and flower
Fathering and all humbling darkness
Tells with silence the last light breaking
And the still hour
Is come of the sea tumbling in harness

And I must enter again the round
Zion of the water bead
And the synagogue of the ear of corn
Shall I let pray the shadow of a sound
Or sow my salt seed
In the least valley of sackcloth to mourn

The majesty and burning of the child’s death.
I shall not murder
The mankind of her going with a grave truth
Nor blaspheme down the stations of the breath
With any further
Elegy of innocence and youth.

Deep with the first dead lies London’s daughter,
Robed in the long friends,
The grains beyond age, the dark veins of her mother,
Secret by the unmourning water
Of the riding Thames.
After the first death, there is no other.

Please Fire Me

Posted in Poetry with tags , , on July 22, 2011 by telescoper

Here comes another alpha male,
and all the other alphas
are snorting and pawing,
kicking up puffs of acrid dust

while the silly little hens
clatter back and forth
on quivering claws and raise
a titter about the fuss.

Here comes another alpha male–
a man’s man, a dealmaker,
holds tanks of liquor,
charms them pantsless at lunch:

I’ve never been sicker.
Do I have to stare into his eyes
and sympathize? If I want my job
I do. Well I think I’m through

with the working world,
through with warming eggs
and being Zenlike in my detachment
from all things Ego.

I’d like to go
somewhere else entirely,
and I don’t mean
Europe.

by Deborah Garrison

The force that through the green fuse drives the flower

Posted in Poetry with tags on July 19, 2011 by telescoper

The force that through the green fuse drives the flower
Drives my green age; that blasts the roots of trees
Is my destroyer.
And I am dumb to tell the crooked rose
My youth is bent by the same wintry fever.

The force that drives the water through the rocks
Drives my red blood; that dries the mouthing streams
Turns mine to wax.
And I am dumb to mouth unto my veins
How at the mountain spring the same mouth sucks.

The hand that whirls the water in the pool
Stirs the quicksand; that ropes the blowing wind
Hauls my shroud sail.
And I am dumb to tell the hanging man
How of my clay is made the hangman’s lime.

The lips of time leech to the fountain head;
Love drips and gathers, but the fallen blood
Shall calm her sores.
And I am dumb to tell a weather’s wind
How time has ticked a heaven round the stars.

And I am dumb to tell the lover’s tomb
How at my sheet goes the same crooked worm.

by Dylan Thomas (1914-1953)

P.S. This has been among my list of poems to post for some time now, and only today I find that cosmic variance have beaten me to it!

 

The Perils of Modern Living

Posted in Poetry, The Universe and Stuff with tags , , , on July 15, 2011 by telescoper

Well up above the tropostrata
There is a region stark and stellar
Where, on a streak of anti-matter
Lived Dr. Edward Anti-Teller.

Remote from Fusion’s origin,
He lived unguessed and unawares
With all his antikith and kin,
And kept macassars on his chairs.

One morning, idling by the sea,
He spied a tin of monstrous girth
That bore three letters: A. E. C.
Out stepped a visitor from Earth.

Then, shouting gladly o’er the sands,
Met two who in their alien ways
Were like as lentils. Their right hands
Clasped, and the rest was gamma rays.

by Prof. Harold P. Furth (1930-2002)

Come, Night

Posted in Poetry with tags , on July 13, 2011 by telescoper

Come, night; come, Romeo; come, thou day in night;
For thou wilt lie upon the wings of night
Whiter than new snow on a raven’s back.
Come, gentle night, come, loving, black-brow’d night,
Give me my Romeo; and, when he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun.

From Romeo and Juliet, Act III Scene 2, by William Shakespeare.

The Knife Man

Posted in History, Literature with tags , , , , , , , , , , , on July 9, 2011 by telescoper

It looks set to be the proverbial wet weekend here in Cardiff and I’m waiting for a pause in the rain before going out to do my Saturday shopping. Having done the crossword already, I should be cleaning the house but instead I thought I’d post a quick comment about the fascinating book I’ve just finished reading.

The Knife Man, by Wendy Moore, is an account of “The Extraordinary Life and Times of John Hunter, Father of Modern Surgery”. It’s a measure of my ignorance about medical history that I didn’t even know who John Hunter was when I started reading this, although I had heard of the Hunterian Museum without realising who it was named after.

I won’t give a lengthy account of Hunter’s biography; that’s done very well elsewhere on the net and indeed in the book, which I thoroughly recommend. It is worth emphasizing, however, what a remarkable man he was. Born in Scotland in 1728, he didn’t go to University and received no formal medical training. He went to London in 1748 in order to become assistant to his brother William, a noted surgeon at the time. John’s primary rsponsibility was to help with the dissection of human cadavers during William’s anatomy classes. He soon became fascinated by anatomy and himself became extremely adept at dissection. He received some medical training in London, had a spell as an army surgeon and eventually set up a private medical practice in London at which he ran his own anatomy classes for paying students. He became one of the top surgeons in London and attended to the needs of many prominent Georgian figures, including King George III.

But, as impressive as it was, his medical career wasn’t the most remarkable thing about Hunter’s life. His interests extended far beyond human anatomy and from an early age he was an avid collector of all sorts of animals, alive and dead. As he became wealthier through his medical practice and lectures he spent increasing amounts of cash on acquiring rare specimens, which he usually dissected in order to understand them better. He also collected specimens of diseased human organs, bones, and fossils. There was a very dark side to this work too. The grisly business of acquiring fresh human human corpses led him to make connections with graverobbers. Worse, he also experimented on human specimens, usually members of London’s poor. He did pay them for their pains, but that’s hardly the point.

Hunter’s studies led him to conclude – years before Darwin – that species were not fixed and immutable but that animal populations altered over time, with some creatures becoming extinct. Although he doesn’t seem to have used the word “evolution”, his work in this area was certainly heading in that direction. He was made a Fellow of the Royal Society in 1767.

Above all I think what stands out about Hunter was that he pioneered the use of the scientific method in the field of medicine. His lack of formal training meant that he wasn’t steeped in the dogma or orthodox medicine which had led to many bizarre and/or dangerous practices. One wonders what chain of reasoning had led doctors to suppose that pumping tobacco smoke into a patient’s anus using specially constructed bellows could possibly have any therapeutic value!

Hunter learned primarily from experience. He knew, for example, that major surgery in Georgian times was very likely to kill the patient. There were no anaesthetics, so death by shock was a strong possibility. Loss of blood was a danger, too, unless the operation was completed extremely quickly. Moreover, doctors at the time – Hunter included – had no idea about how infections were spread and surgeons would often operate with instruments encrusted with the blood of previous victim. In the (unlikely) event of a patient surviving the agony of, say, an amputation, they would probably die of  some form of infection within a few days anyway. Hunter’s policy in the light of all this was to refuse to operate unless the situation was truly desperate.

For example, when Hunter was an army surgeon, the prevailing attitude to gunshot wounds was that the bullet had to be removed at all costs. Moreover, it was believed that gunpowder was poisonous, so entry wounds were usually “enlarged” to remove tissue that had been blackened or burnt. One day, a group of British soldiers had come under fire and several had been badly injured. They escaped the ambush and holed up in a farmhouse, where they were found a few days later. One had two bullets in his thigh, another had one in his chest. However, although seriously ill, all were still alive. Hunter knew that if men in that condition had been brought into his field hospital and operated on in the usual manner, they would all almost certainly have died. After this experience Hunter was extremely reluctant to operate at all on battlefield injuries unless they were immediately life-threatening, and often decided to let nature take its course with flesh wounds.

The Knife Man contains many more examples of Hunter’s pionering use of empirical evidence in medicine and, as such, is well worth reading by anyone interested in the scientific method. It also provides a fascinating insight into life in Georgian London. Notable characters appear in extremely unexpected ways in Hunter’s story:

  • James Boswell made frequent visits to Covent Garden  in order to the employ the services of local prostitutes, which was apparently quite normal for Georgian gentry, as was the consequence – a lifelong problem with gonorrhea, which Hunter tried to treat him for.
  • Hunter attended the birth of George Gordon (later Lord) Byron, who was born with a congenital deformity,  possibly a club foot. Hunter told his mother that it could probably be cured if he wore a specially constructed boot during infancy, but she didn’t take his advice.
  • Joseph Haydn was a frequent visitor to the Hunter residence during his time in London; he even wrote set some poems by Anne Hunter (John’s wife) to music. There were rumours of an affair, in fact. He also suffered from a nasal polyp, about which he sought Hunter’s advice. When the nature of the required surgery was explained to him, Haydn decided not to have it operated on.

I could give more examples, but that’s 1000 words, and it’s now sunny outside, so you’ll have to go and read the book, which I  recommend heartily. However, I really should point out that it’s not for the squeamish. The primitive surgical procedures deployed in the 18th Century are described in excrutiating detail and parts of the book make for very uncomfortable reading. If you don’t think you can cope with a detailed account of an operation, without anaesthetic,  to remove stone from a patient’s bladder, then perhaps this isn’t a book for you!