"One ought, every day at least, to hear a little song, read a good poem, see a fine picture
and, if possible, speak a few reasonable words." ~Goethe

~ also, if possible, to dwell in "a house where all's accustomed, ceremonious." ~Yeats

Monday, April 28, 2025

Indoor Rocks

INDOOR ROCKS
~ ACCUSTOMED, CEREMONIOUS ~
Ellie & Aidan's treasure stash
(one of many)
containing numerous indoor rocks.
Kitti's Courage ~ Forever Rocks
These good luck rocks in my car are souvenirs
from Ben & Sam's sleepover at St. John the Divine
Junior high field trip ~ New York City ~ 2004

For many years now, my friend Jan and I have sustained an ongoing conversation about the role of rocks that come into our lives, sometimes bringing luck and stability, other times discomfort and consternation, but always providing a tactile connection to the universe. We keep them in a pocket, in a drawer, in the car, on the window ledge. If they get lost, we grieve their disappearance, then take up another favorite -- a new one is never far.

Jan's Forever ~ Between Rocks
are from the Word Garden
at the Highlights Foundation Retreat Center
More from Jan:
We Are On A Rock ~ Access ~ Pocket

Literary Connections

Starting with two collections of "indoor rocks"

1.
"She is sitting at the desk where Hamnet kept his collection of pebbles in four pots. He liked to tip them out periodically and sort them in different ways. She is peering into each pot, observing that the last time he arranged them, he did so by colour, not size" (245).
Hamnet
by Maggie Farrell


2.
"I have saved two white stones,
whiter than any I have seen,
found in a patch of emerald green,
two white stones have I . . .
All these things I love best
I have kept in this old chest,
sorted and counted hundreds of nights
they all have given me a thousand delights.
Who can say how much they are worth?
For they are the miracles of the Earth
."
[click to hear Johnny Whitaker sing: @ 57:15]

from the 1969 movie of The Littlest Angel


These two fictional boys, the Littlest Angel and young Hamnet (based on Shakespeare's real son) share the pastime of sorting and re-sorting their favorite pebbles and rocks (and other assorted items) sometimes by color, sometimes by size. Likewise, the real life Sir Isaac Newton recalls the childhood diversion of searching out pebbles and shells at the seashore. The little brother in Julie Otsuka's story has a souvenir from the sea -- "his lucky blue stone" -- but instead of a treasure box or a series of sorting pots, he keeps everything in his pockets.

3.
While living in the Japanese internment camp in Utah, the little brother is given "a small red Swiss Army knife" for Christmas. He "carried the knife with him in his pocket wherever he went. Sometimes, when he was running, he could hear it clacking against his lucky blue stone from the sea and for a moment he felt very happy. His pockets were filled with good things" (92, emphasis added).
When the Emperor Was Divine
by Julie Otsuka

4.
I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the sea-shore, and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay all undiscovered before me.”
~ Isaac Newton ~

As does Newton, the next three writers combine the imagery of rocks with that of water. Kingsolver says that love is not the rock, love is the water, because water is stronger. Kind of like scissors, paper, stone. Armin adds romance and language, writing the name of a loved one on a rock in a river. Maclean expands into another dimension: the mystery of the universe. The rocks he describes are "from the basement of time," and "Under the rocks are words." Kind of like "In the beginning was the Word!

5.
"Love is no granite boulder, praised
for its size. It's the water that parts
around it, moving mountains
."

by Barbara Kingsolver
from the poem "How to Be Married"
in How to Fly (In Ten Thousand Easy Lessons)


6.
And remember how I wrote your name
On the rocks down by the river Seine


by Armin van Buuren
from the song "Looking For Your Name"

7.
"Eventually, all things merge into one, and a river runs through it. The river was cut by the world's great flood and runs over rocks from the basement of time. On some of those rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs. I am haunted by waters.”

by Norman Maclean (1902 - 1990)
from A River Runs Through It

8.
And because we all still believe
in Mother Earth and lucky rocks . . .

My Lucky Rock

I said to a squirrel,
“What is that
you are carrying?”
and he said,

“It is my lucky rock;
isn’t it pretty?”
I held it and said,
“Indeed.”

I said to God,
“What is this earth?”
And God said,

“It is my lucky rock;
isn’t it wondrous?”

Yes, indeed.


by Tukaram (c 1598 - 1650)
17th Century Saint and Poet
From what is now the modern-day state of
Maharashtra, India


9.
Not forgetting The Lorax

Next Fortnightly Post
Wednesday, May 14th

Between now and then, read

THE QUOTIDIAN KIT ~ See Lucky Rock & Rocky Road
my shorter, almost daily blogs
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogsppot.com

Monday, April 14, 2025

Sitting Down to Read Keats

KEATS READING SHAKESPEARE
~ ACCUSTOMED, CEREMONIOUS ~
1821 Portrait of John Keats
by Joseph Severn (1793-1879)
Oil on canvas ~ London, National Portrait Gallery


On Sitting Down to Read King Lear Once Again

O golden-tongued Romance with serene lute!
Fair plumed Syren! Queen of far away!
Leave melodizing on this wintry day,
Shut up thine olden pages, and be mute:
Adieu! for once again the fierce dispute,
Betwixt damnation and impassion'd clay
Must I burn through; once more humbly assay
The bitter-sweet of this Shakespearian fruit.

Chief Poet! and ye clouds of Albion,
Begetters of our deep eternal theme,
When through the old oak forest I am gone,
Let me not wander in a barren dream,
But when I am consumed in the fire,
Give me new Phoenix wings to fly at my desire.


John Keats (1795 – 1821)
[More on QK & FN]


To Humbly Assay

Keats has combined techniques from both the Petrarchan and the Spenserian sonnet forms in "On Sitting Down to Read King Lear Once Again." The sonnet is true Petrarchan in that it contains a definite octave and a definite sestet, and the rhyme scheme of the octave follows the traditional Petrarchan pattern: abbaabba. At this point, after the octave, the sonnet taks the traditional "turn," and there is a turn in the technique as well. Rather than choose any of the variable sestet patterns associated with Petrarchan sonnets, Keats switches to the Spenserian sestet rhyme scheme: cdcdee.

The sonnet concludes with another irregularity: the final line is not written in iambic pentameter (as are the first thirteen); it is in iambic hexameter, an Alexandrine appropriately split with a caesura: "Give me new Phoenix sings / to fly at my desire." Though this extra syllable is not characteristic of the Spenserian sonnet, it is characteristic of the 9-line Spenserian stanza which always concludes with an Alexandrine.

The form of any sonnet is related to its content. Of major importance in this sonnet are the apostrophes which begin both the octave ("O Golden-Tongues Romance with serene lute!") and the sestet ("Chief Poet!"). In the octave, Keats introduces the problem to be dealt with, the conflicting merits of Romance and Tragedy. The reference to Romance, in the initial apostrophe, is clear. He addresses Romance, only to bid it "Adieu!" Romance is "golden" and "fair," but the day is "wintry," so he feels compelled to turn to tragedy. The reference to tragedy is not as explicit, but surely "the fierce dispute / Betwixt damnation and impassion'd clay" is the antithesis of anything romantic.

In this sonnet, Keats identifies our human tragedy as Byron does: "we are cooped in clay." Cooped in clay and filled with passions, we only ensure our damnation if we give in to passion. I think this is the "dispute" that Keats refers to. These lines are also his description of the play King Lear, and, though the title says "to Read," the verb has now become "to burn":

Adieu! for once again the fierce dispute,
Betwixt damnation and impassion'd clay
Must I burn through; once more humbly assay
The bitter-sweet of this Shakespearian fruit.

"Burn" is the verb for the comprehension of tragedy, while in earlier lines "melodizing" is the verb of romance. Also, the poet orders Romance to "Leave melodizing." It is Romance not he who is acting, but now he must act. Tragedy does not serenade nor present itself to him -- he must "burn through" it.

The exchange of the common verb read for the startling burn takes on even more significance if we glance ahead to the final image of the Phoenix consumed in fire. Keats has chosen one of the few things we know of that is never subject to damnation. The Phoenix may suffer in death, but not in afterlife. There is no time to punish or damn the Phoenix, for it must live afresh immediately.

The final image in the octave is inescapable in its appeal to our physical taste of bitter-sweet as well as our emotional grasp on the bitter-sweetness of human tragedy. Surprisingly but appropriately, Keats has picked something earthly, something of clay with which to compare the play -- a piece of fruit. This is another surprising exchange for the more common image of the written word as immortal, a fixed monument. Of course, fruit may be immortal in the same sense that the Phoenix is -- their shared cycle of continual regeneration: flowering, ripening, falling to the ground, then beginning again.

In the sestet, the sonnet turns with the Poet's address to Shakespeare. But it is imperative to notice that the apostrophe runs on beyond the exclamation point: "Chief Poet! and ye clouds of Albion." The reference to Albion, the old Celtic and wonderfully nostalgic name for England, is the poet's way of once more including the Romance he denounced in the octave. Shakespeare and Albion, Tragedy and Poetry: he beseeches them both, recognizing that they both are "Begetters of our deep eternal theme."

Still, the reader is inclined to conclude that his vote is finally cast for tragedy. For is not the "barren dream" he wishes to avoid the very Romance he ordered to "be mute"? He wants instead the fire. He wants to "burn through" tragedy and have another chance to "fly at his desire," perhaps this time without threat of damnation. As a Phoenix he will "burn through" the "fierce dispute betwixt damnation and impassioned clay. In this way does the sestet answer the octave.

My favorite painting of King Lear:
Cordelia's Portion (c. 1866)
by Ford Madox Brown (1821 - 1893)
English painter of moral and historical subjects
loosely connected to the Pre-Raphaelite Brotherhood
To the left are the malevolent sisters, Goneril & Regan, staring each other down; and kneeling at their feet, the Dukes of Cornwall & Albany, Lear's corrupt sons-in-law. To the right, are the fickle Duke of Burgandy; dear Cordelia, Pure of Heart, whose "love's more richer than her tongue," and the loyal King of France. In the center is King Lear, dejected, misguided; and at his feet, the Map of the Kingdom, divided. In this painting, the Fool is only a minor character. You can see his blue hood if you look closely behind the dark - haired sister. [More on QK & FN]

Next Fortnightly Post
Monday, April 28th

Between now and then, read

THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogsppot.com