Showing posts with label Awake. Show all posts
Showing posts with label Awake. Show all posts

26.5.18

Song Of Myself, XXXIII, by Walt Whitman



Walt Whitman cannot hide his character
Being wise cannot be hidden
the same as being simpleminded.






Space and Time! now I see it is true, what I guess’d at,
What I guess’d when I loaf’d on the grass,
What I guess’d while I lay alone in my bed,
And again as I walk’d the beach under the paling stars of the morning.

My ties and ballasts leave me, my elbows rest in sea-gaps,
I skirt sierras, my palms cover continents,
I am afoot with my vision.

By the city’s quadrangular houses—in log huts, camping with lumbermen,
Along the ruts of the turnpike, along the dry gulch and rivulet bed,
Weeding my onion-patch or hoeing rows of carrots and parsnips, crossing savannas, trailing in forests,
Prospecting, gold-digging, girdling the trees of a new purchase,
Scorch’d ankle-deep by the hot sand, hauling my boat down the shallow river,
Where the panther walks to and fro on a limb overhead, where the buck turns furiously at the hunter,
Where the rattlesnake suns his flabby length on a rock, where the otter is feeding on fish,
Where the alligator in his tough pimples sleeps by the bayou,
Where the black bear is searching for roots or honey, where the beaver pats the mud with his paddle-shaped tail;
Over the growing sugar, over the yellow-flower’d cotton plant, over the rice in its low moist field,
Over the sharp-peak’d farm house, with its scallop’d scum and slender shoots from the gutters,
Over the western persimmon, over the long-leav’d corn, over the delicate blue-flower flax,
Over the white and brown buckwheat, a hummer and buzzer there with the rest,
Over the dusky green of the rye as it ripples and shades in the breeze;
Scaling mountains, pulling myself cautiously up, holding on by low scragged limbs,
Walking the path worn in the grass and beat through the leaves of the brush,
Where the quail is whistling betwixt the woods and the wheat-lot,
Where the bat flies in the Seventh-month eve, where the great gold-bug drops through the dark,
Where the brook puts out of the roots of the old tree and flows to the meadow,
Where cattle stand and shake away flies with the tremulous shuddering of their hides,
Where the cheese-cloth hangs in the kitchen, where andirons straddle the hearth-slab, where cobwebs fall in festoons from the rafters;
Where trip-hammers crash, where the press is whirling its cylinders,
Wherever the human heart beats with terrible throes under its ribs,
Where the pear-shaped balloon is floating aloft, (floating in it myself and looking composedly down,)
Where the life-car is drawn on the slip-noose, where the heat hatches pale-green eggs in the dented sand,
Where the she-whale swims with her calf and never forsakes it,
Where the steam-ship trails hind-ways its long pennant of smoke,
Where the fin of the shark cuts like a black chip out of the water,
Where the half-burn’d brig is riding on unknown currents,
Where shells grow to her slimy deck, where the dead are corrupting below;
Where the dense-starr’d flag is borne at the head of the regiments,
Approaching Manhattan up by the long-stretching island,
Under Niagara, the cataract falling like a veil over my countenance,
Upon a door-step, upon the horse-block of hard wood outside,
Upon the race-course, or enjoying picnics or jigs or a good game of base-ball,
At he-festivals, with blackguard gibes, ironical license, bull-dances, drinking, laughter,
At the cider-mill tasting the sweets of the brown mash, sucking the juice through a straw,
At apple-peelings wanting kisses for all the red fruit I find,
At musters, beach-parties, friendly bees, huskings, house-raisings;
Where the mocking-bird sounds his delicious gurgles, cackles, screams, weeps,
Where the hay-rick stands in the barn-yard, where the dry-stalks are scatter’d, where the brood-cow waits in the hovel,
Where the bull advances to do his masculine work, where the stud to the mare, where the cock is treading the hen,
Where the heifers browse, where geese nip their food with short jerks,
Where sun-down shadows lengthen over the limitless and lonesome prairie,
Where herds of buffalo make a crawling spread of the square miles far and near,
Where the humming-bird shimmers, where the neck of the long-lived swan is curving and winding,
Where the laughing-gull scoots by the shore, where she laughs her near-human laugh,
Where bee-hives range on a gray bench in the garden half hid by the high weeds,
Where band-neck’d partridges roost in a ring on the ground with their heads out,
Where burial coaches enter the arch’d gates of a cemetery,
Where winter wolves bark amid wastes of snow and icicled trees,
Where the yellow-crown’d heron comes to the edge of the marsh at night and feeds upon small crabs,
Where the splash of swimmers and divers cools the warm noon,
Where the katy-did works her chromatic reed on the walnut-tree over the well,
Through patches of citrons and cucumbers with silver-wired leaves,
Through the salt-lick or orange glade, or under conical firs,
Through the gymnasium, through the curtain’d saloon, through the office or public hall;
Pleas’d with the native and pleas’d with the foreign, pleas’d with the new and old,
Pleas’d with the homely woman as well as the handsome,
Pleas’d with the quakeress as she puts off her bonnet and talks melodiously,
Pleas’d with the tune of the choir of the whitewash’d church,
Pleas’d with the earnest words of the sweating Methodist preacher, impress’d seriously at the camp-meeting;
Looking in at the shop-windows of Broadway the whole forenoon, flatting the flesh of my nose on the thick plate glass,
Wandering the same afternoon with my face turn’d up to the clouds, or down a lane or along the beach,
My right and left arms round the sides of two friends, and I in the middle;
Coming home with the silent and dark-cheek’d bush-boy, (behind me he rides at the drape of the day,)
Far from the settlements studying the print of animals’ feet, or the moccasin print,
By the cot in the hospital reaching lemonade to a feverish patient,
Nigh the coffin’d corpse when all is still, examining with a candle;
Voyaging to every port to dicker and adventure,
Hurrying with the modern crowd as eager and fickle as any,
Hot toward one I hate, ready in my madness to knife him,
Solitary at midnight in my back yard, my thoughts gone from me a long while,
Walking the old hills of Judæa with the beautiful gentle God by my side,
Speeding through space, speeding through heaven and the stars,
Speeding amid the seven satellites and the broad ring, and the diameter of eighty thousand miles,
Speeding with tail’d meteors, throwing fire-balls like the rest,
Carrying the crescent child that carries its own full mother in its belly,
Storming, enjoying, planning, loving, cautioning,
Backing and filling, appearing and disappearing,
I tread day and night such roads.

I visit the orchards of spheres and look at the product,
And look at quintillions ripen’d and look at quintillions green.

I fly those flights of a fluid and swallowing soul,
My course runs below the soundings of plummets.

I help myself to material and immaterial,
No guard can shut me off, no law prevent me.

I anchor my ship for a little while only,
My messengers continually cruise away or bring their returns to me.

I go hunting polar furs and the seal, leaping chasms with a pike-pointed staff, clinging to topples of brittle and blue.

I ascend to the foretruck,
I take my place late at night in the crow’s-nest,
We sail the arctic sea, it is plenty light enough,
Through the clear atmosphere I stretch around on the wonderful beauty,
The enormous masses of ice pass me and I pass them, the scenery is plain in all directions,
The white-topt mountains show in the distance, I fling out my fancies toward them,
We are approaching some great battle-field in which we are soon to be engaged,
We pass the colossal outposts of the encampment, we pass with still feet and caution,
Or we are entering by the suburbs some vast and ruin’d city,
The blocks and fallen architecture more than all the living cities of the globe.







I am a free companion, I bivouac by invading watchfires,
I turn the bridegroom out of bed and stay with the bride myself,
I tighten her all night to my thighs and lips.

My voice is the wife’s voice, the screech by the rail of the stairs,
They fetch my man’s body up dripping and drown’d.

I understand the large hearts of heroes,
The courage of present times and all times,
How the skipper saw the crowded and rudderless wreck of the steam-ship, and Death chasing it up and down the storm,
How he knuckled tight and gave not back an inch, and was faithful of days and faithful of nights,
And chalk’d in large letters on a board, Be of good cheer, we will not desert you;
How he follow’d with them and tack’d with them three days and would not give it up,
How he saved the drifting company at last,
How the lank loose-gown’d women look’d when boated from the side of their prepared graves,
How the silent old-faced infants and the lifted sick, and the sharp-lipp’d unshaved men;
All this I swallow, it tastes good, I like it well, it becomes mine,
I am the man, I suffer’d, I was there.

The disdain and calmness of martyrs,
The mother of old, condemn’d for a witch, burnt with dry wood, her children gazing on,
The hounded slave that flags in the race, leans by the fence, blowing, cover’d with sweat,
The twinges that sting like needles his legs and neck, the murderous buckshot and the bullets,
All these I feel or am.

I am the hounded slave, I wince at the bite of the dogs,
Hell and despair are upon me, crack and again crack the marksmen,
I clutch the rails of the fence, my gore dribs, thinn’d with the ooze of my skin,
I fall on the weeds and stones,
The riders spur their unwilling horses, haul close,
Taunt my dizzy ears and beat me violently over the head with whip-stocks.

Agonies are one of my changes of garments,
I do not ask the wounded person how he feels, I myself become the wounded person,
My hurts turn livid upon me as I lean on a cane and observe.

I am the mash’d fireman with breast-bone broken,
Tumbling walls buried me in their debris,
Heat and smoke I inspired, I heard the yelling shouts of my comrades,
I heard the distant click of their picks and shovels,
They have clear’d the beams away, they tenderly lift me forth.

I lie in the night air in my red shirt, the pervading hush is for my sake,
Painless after all I lie exhausted but not so unhappy,
White and beautiful are the faces around me, the heads are bared of their fire-caps,
The kneeling crowd fades with the light of the torches.

Distant and dead resuscitate,
They show as the dial or move as the hands of me, I am the clock myself.

I am an old artillerist, I tell of my fort’s bombardment,
I am there again.

Again the long roll of the drummers,
Again the attacking cannon, mortars,
Again to my listening ears the cannon responsive.

I take part, I see and hear the whole,
The cries, curses, roar, the plaudits for well-aim’d shots,
The ambulanza slowly passing trailing its red drip,
Workmen searching after damages, making indispensable repairs,
The fall of grenades through the rent roof, the fan-shaped explosion,
The whizz of limbs, heads, stone, wood, iron, high in the air.

Again gurgles the mouth of my dying general, he furiously waves with his hand,
He gasps through the clot Mind not me—mind—the entrenchments.


26.2.18

I Know, You Walk--

by Hermann Hesse

Doesn't Hermann Hesse look pretty?  Straw was in fashion back in 19
Born in the German Empire, when the Germans 
had no empire, Hesse didn't win the 1946 
Nobel Prize in Literature for his fashion sense.  
Looks good though!


I walk so often, late, along the streets,
Lower my gaze, and hurry, full of dread,
Suddenly, silently, you still might rise
And I would have to gaze on all your grief
With my own eyes,
While you demand your happiness, that's dead.

I know, you walk beyond me, every night,
With a coy footfall, in a wretched dress
And walk for money, looking miserable!
Your shoes gather God knows what ugly mess,
The wind plays in your hair with lewd delight---
You walk, and walk, and find no home at all.




25.8.16

as freedom is a breakfastfood

by e. e. cummings



E.E. Cummings dressed in his First World War military
uniform. WWI was far more psychologically damaging
than the Second World War or, arguably, any other war since
because it was fought in packed trenches with little to no territorial
gains or losses as a result of the introduction of machine guns
and the blatant, constant use of chemical weapons, specifically
mustard gas. Near the end of the war, roaring, mammoth-like
tanks appeared on the battlefields, steamrolling barbwire
and plowing over trenches.  Even though the weaponry
mounted on the original tanks wasn't very effective,
the psychological effect upon morale was significant
in virtue of the loud rumble of their engines, their
seeming disregard for infantry fire, not to mention their
sheer size and the fact that most had never seen one before.
With enemy infantry charging behind the tanks, shielded,
the ensuing disarray was often enough to lead to an onslaught.
The nickname The War to End All Wars owes its existence
to the inhumane gruesomeness of the conflict.  In the end,
however, WWI wasn't won via territorial gains, but rather
by a flanking strategy that successfully cut-off the supply lines
pivotal to the survival of frontline troops of Germany and
the Austria-Hungary Empire.  Edward Estlin Cummings'
palpable zest and love of life is the result of having experienced
one of the most terrifying chapters in human history.  For more
information on the Era and its impact on Cumming's poetry,
read "since feeling is first" and the accompanying essay.




as freedom is a breakfastfood
or truth can live with right and wrong
or molehills are from mountains made
—long enough and just so long
will being pay the rent of seem
and genius please the talentgang
and water most encourage flame

as hatracks into peachtrees grow
or hopes dance best on bald men’s hair
and every finger is a toe
and any courage is a fear
—long enough and just so long
will the impure think all things pure
and hornets wail by children stung

or as the seeing are the blind
and robins never welcome spring
nor flatfolk prove their world is round
nor dingsters die at break of dong
and common’s rare and millstones float
—long enough and just so long
tomorrow will not be too late

worms are the words but joy’s the voice
down shall go which and up come who
breasts will be breasts thighs will be thighs
deeds cannot dream what dreams can do
—time is a tree(this life one leaf)
but love is the sky and i am for you
just so long and long enough





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For a review of the background to the life, poetic style, and historical context that shaped E. E. Cummings' exceptional body of work, please read the brief essay immediately after the following poem—



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You may also enjoy these other poems by Edward Estlin Cummings:






10.12.15

Children, by Henry Wadsworth Longfellow



Henry Wadsworth Longfellow taught at  Harvard University, having garnered instant praise for his early poetry collections.
Henry Wadsworth Longfellow (b. 1807 - d. 1882),
Harvard professor and lifelong poet who experimented
with many styles throughout his production, including Free Verse.
He garnered instant fame with his first poetry books,
Voices of the Night (1939) and Ballads and Other Poems (1841).
"Children" is part of Birds of Passage and was written in 1858.



Come to me, O ye children!
  For I hear you at your play,
And the questions that perplexed me
  Have vanished quite away.

Ye open the eastern windows,
  That look towards the sun,
Where thoughts are singing swallows
  And the brooks of morning run.

In your hearts are the birds and the sunshine,
  In your thoughts the brooklet's flow,
But in mine is the wind of Autumn
  And the first fall of the snow.

Ah! what would the world be to us
  If the children were no more?
We should dread the desert behind us
  Worse than the dark before.

What the leaves are to the forest,
  With light and air for food,
Ere their sweet and tender juices
  Have been hardened into wood,—

That to the world are children;
  Through them it feels the glow
Of a brighter and sunnier climate
  Than reaches the trunks below.

Come to me, O ye children!
  And whisper in my ear
What the birds and the winds are singing
  In your sunny atmosphere.

For what are all our contrivings,
  And the wisdom of our books,
When compared with your caresses,
  And the gladness of your looks?

Ye are better than all the ballads
  That ever were sung or said;
For ye are living poems,
  And all the rest are dead.



(Note: The theme of the dichotomy Dead / Alive, otherwise referred to as Awake / Asleep, is the most prevalent and celebrated theme among the best remembered works of the great poets of history.  This theme is anchored in millennia-old archetypes and conveys a hidden psychological message about the state of mind in which it is best to live.  Most of the poems posted on this website express that theme in one way or another; such is the case in, for example, Walt Whitman's "O Me! O Life!"e.e. cummings's "since feeling is first", Robert Frost's "The road not taken", John Donne's "Death be not proud", and William Shakespeare's "Sonnet 69" and "Sonnet 94".

This very same theme may also be found frequently among the lyrics of contemporary popular music, and its presence seems to correlate with whether a song will still be played [and/or held in high esteem] decades after its composition and initial release.  For an example of this trend, and an accompanying analysis, see Ever wonder what Hotel California means?)

15.9.15

Some truths can only be stated in hidden ways



WARNING:  Do not stare at these images for longer than 5 minutes.  Staring at one for 15 minutes will change your color perception for several months.  This may make you curious, but please DON'T DO IT. See the McCollough Effect for more information.




Human perception is fragile and all-too-flexible because of the way neural connections work, mainly their speed and the velocity of any (and every) neural network's rate of change.


As we live in rigidly structured societies, with thousands of clear and unbreakable rules that cannot be ignored (e.g., get naked in public and see what happens!  No, I'm kidding....please don't!), there are some basic human truths, truths of nature, that can barely be stated and, when they are expressed, they must be hidden deep within metaphors.  The following is a clear example:



(For mobile users who cannot see the video embedded above, please click https://www.youtube.com/watch?v=pVegpypXN1I)


"Know Thyself" was inscribed at the forecourt of the Temple of Apollo at Delphi.  Visitors to Delphi looking for advice from their Oracle, the greatest oracle that has ever existed, would find this message along their way.  I strongly urge you to follow it ---  Know yourself!

A little known fact about the Oracle of Delphi (which sheds light into the reality of psychics) is that visitors to it were made to wait for days before they finally entered to hear the advice they were seeking.  The visitors almost always left the Oracle baffled, perplexed, and astounded by the quality of the advice they received. What they didn't know is that the Oracle of Delphi would send out scouts immediately when a person arrived to gather as much information as they possibly could about that person.  There was nothing magical about the psychics at all.  It was their due diligence and long training and experience that made the Oracle of Delphi the most sacred and most influential oracle that has ever existed.


In the words of Walt Whitman:

You will hardly know who I am or what I mean,
But I shall be good health to you nevertheless,
And filter and fibre your blood.

Failing to fetch me at first keep encouraged,
Missing me one place search another,
I stop somewhere waiting for you.


Published in Leaves of Grass, Final "Deathbed Edition", 1892.


17.7.15

Ever wonder what Hotel California means?


The writers of this song explained that they were trying to describe the Soul of a typical California, that is, a slave under the spell of the American Dream, striving to live (or actually living) the high life in the background of the 1970s.  It is, in essence, a song about life and death, which is why Hotel California is consistently ranked among the Top 50 songs of all time if not among the Top 10

The reason that it ranks so high is because it is one of the better approaches to the theme of the living and the dead (also known as the awake and the asleep).  That dichotomy is also the most prevalent theme among the greater works of poetry of all time.

There are many interpretations of the meaning of this song online, but they are largely biased because of religious viewpoints.  In fact, many interpretations rely on the dubious presupposition that the members of The Eagles were devil worshipers.  There is no grounds to this claim.  Sadly, I haven't found a single interpretation out there that analyzes the flurry of metaphors that the song contains in detail and in sequence.  Being that the case, I am providing such an analysis below.




For Mobile users who cannot see the video above, here is Hotel California with lyrics.


"Hotel California"

On a dark desert highway, cool wind in my hair
Warm smell of colitas, rising up through the air
Up ahead in the distance, I saw a shimmering light
My head grew heavy and my sight grew dim
I had to stop for the night
There she stood in the doorway;
I heard the mission bell
And I was thinking to myself,
"This could be Heaven or this could be Hell"
Then she lit up a candle and she showed me the way
There were voices down the corridor,
I thought I heard them say...



Term Meaning: Colitas = Little tails, or what is left over from a marihuana joint.

Interpretation of stanza


The first verse represents life's journey, specifically in the Southern California backdrop.  In our natural state, we are fully alive and in touch with nature.  The second verse represents temptation to dissociate, in this case embodied by the use of drugs.  The third and fourth verse depict the disconnection to nature.  The fourth and fifth verse provide the added meaning that, by adapting to society, we lose our natural state and begin the journey into dying in life or being among the living dead.  This meaning is further entrenched by what follows in the stanza, especially "This could be Heaven or this could be Hell".  The impact of religion and spirituality on the process of dying or disconnecting from nature is highlighted by the expressions "I heard the mission bell" and "she lit up a candle", both of which have a connection to the practice of Christianity.

-----

Welcome to the Hotel California
Such a lovely place (Such a lovely place)
Such a lovely face
Plenty of room at the Hotel California
Any time of year (Any time of year)
You can find it here


Interpretation of stanza


The chorus changes both times it appears in the song.  In both occasions, it highlights the attraction to beauty.  In this case, however, it also emphasizes that anyone and everyone can live at the Hotel California.  The final two verses represent the possibility of living the high life.

In common dream interpretations, a house represents oneself, such that dreaming of things happening in a house is the same as dreaming of things one is struggling with in one's self.  In sharp contrast, a hotel implies an impermanent abode, a transitional place that is not your own and does not represent you.  However, as will be seen in the end of the song, this is a hotel from which you can never escape.  The message implied is that those souls living in that hotel will never be alive (or in contact with their nature) again.

----

Her mind is Tiffany-twisted, she got the Mercedes bends
She got a lot of pretty, pretty boys she calls friends
How they dance in the courtyard, sweet summer sweat.
Some dance to remember, some dance to forget.
So I called up the Captain,
"Please bring me my wine"
He said, "We haven't had that spirit here since nineteen sixty nine"
And still those voices are calling from far away,
Wake you up in the middle of the night
Just to hear them say...


Term meaning:  Tiffany-twisted = Tiffany's is a luxury store.  The term implies that her mind has been warped by the pursuit of luxury.

Interpretation of stanza 


The first verse implies the warping of the mind by the pursuit of luxury.  The second verse points to the dissolution of the relation of friendship, friendship being replaced by proximity because of sexual attraction.  The third and fourth verses point out the psychological state of the people living at the Hotel California. "Some dance to remember, some dance to forget" but none dance to dance or to live; they are all living in the past in their minds, when they were closer to their natural state.

The next three verses have perplexed most people since the song came out.  The main male character asks for wine but the Captain, the person in charge, replies that they don't have that "spirit".  Anyone that knows their alcohol knows that wine is not in the spirit class of alcoholic beverages.  So what is this referring to?  The answer is that it refers to Dionysus, the god of wine, who is also, by the way, the god of living in and getting drunk off of nature (he is, thus, also the god of epiphany).  Dionysus plays a large role in Friedrich Nietzsche's vitalist philosophy and in his concept of the superman.  In the vitalist Nietzschean philosophy, the values of Dionysus have been in a constant metaphoric struggle with those of Apollo, the god of the sun, who also represents appearances or what you can see.

What about the voices at the end of the stanza?  They are the ghosts, the living dead, currently residing at the Hotel California.

----

Welcome to the Hotel California
Such a lovely place (Such a lovely place)
Such a lovely face
They livin' it up at the Hotel California
What a nice surprise (what a nice surprise)
Bring your alibis

Interpretation of stanza


This version of the chorus starts off the same as the last one, by emphasizing the attraction to beauty and beautiful things.  The fourth verse once again poses the idea that they are living the high life.  However, the last two verses add a different meaning altogether, brought home by the final verse "Bring your alibis".  What are alibis?  They are excuses or defenses.  Why is such a word placed in this context?  The answer lies mostly in the next two stanzas.  The occupants of the Hotel California must bring their excuses and psychological defenses so as to not return to a state of being alive, of being in touch with their own nature.

----

Mirrors on the ceiling,
The pink champagne on ice
And she said "We are all just prisoners here, of our own device"
And in the master's chambers,
They gathered for the feast
They stab it with their steely knives,
But they just can't kill the beast.

Interpretation of stanza


This is the stanza that has provided fodder for Christians to paint The Eagles as a bunch of devil worshipers.  It is also the best and strongest stanza in the entire song.  It is divided into two scenes, the first described in the first 3 verses and the second described in the final 4.

The first scene describes the likes of a motel room ready for sex to happen in it.  The woman tells him the truth of the situation they are in, that they are just prisoners there because of the way they've lived their lives.  They have detached themselves from nature, out of their own doing based on the life decisions they have made and the values that have guided their actions.

The second scene returns to the Nietzschean themes that permeate this song and indeed make it one of the great ones.  The reference to a "master" is a reference to the distinction between Master Morality and Slave Morality, best explained in Nietzsche's The Genealogy of Morals (see, in particular, Part 2).  The masters, in this case, are ready to feast by bringing down the Slave mindset; however, no matter how much they attack that beast, they fail to kill it, and so the Hotel and its prisoners keep going on with their shiny but ultimately vacuous lives.  This meaning is further emphasized in the last stanza.

----

Last thing I remember, I was
Running for the door
I had to find the passage back
To the place I was before
"Relax, " said the night man,
"We are programmed to receive.
You can check-out any time you like,
But you can never leave! "

Interpretation of stanza


The main character becomes frightened realizing that he has made erroneous life choices that now appear to have him trapped.  "I had to find the passage back to the place I was before" is a reference to childhood, when he was more in touch with nature, before being conditioned to like and follow the things that ultimately led him to be among the sleeping in life or the living dead.  The night man catches him and tells him to relax.  Who is the night man?  He is death itself, a figure not unlike Hades, the god of the underworld.  The night man goes ahead and explains why they are all stuck there: "We are programmed to receive".  That's how the brain works!  And what have these people filled it with?  Glitter... yet all that glitters is not gold.  Now our main character is stuck in a situation in which he can check out from the Hotel California all he wants, but he is simply bound to repeat the same psychosocial pattern he has been repeating.  It is too late to awake and become alive.  The voices will continue to lure him from far away. 

Welcome to the Hotel California!

4.7.15

since feeling is first, by e.e. cummings



Edward Estlin Cummings at Joy Farm in New Hampshire, the peaceful place where he got to enjoy life after being a Prisoner of War during World War I
Edward Estlin Cummings enjoying life at his
Joy Farm in New Hampshire.  Only having seen
the worst humanity had to offer was he able
to write some of the most beautiful, loving,
yet still socially conscious poems of all time.


since feeling is first
who pays any attention to the syntax of things
will never wholly kiss you;

wholly to be a fool
while Spring is in the world

my blood approves,
and kisses are better fate
than wisdom
lady i swear by all flowers. Don't cry
-the best gesture of my brain is less than
your eyelids' flutter which says

we are for each other: then
laugh, leaning back in my arms
for life's not a paragraph

And death i think is no parenthesis




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Originally published in is 5 by E. E. Cummings.  Since it isn't public domain yet, you can read about half of the poems contained therein by clicking here.

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e.e. cummings (without capital letters as he did not like capital letters much) was born in Cambridge, Massachusetts, on October 14, 1894.  He died on September 3, 1962, being the second most widely read poets in the United States after Robert Frost [read some of his poems], as great a poet and wonderful counterpart precisely because they almost represent polar opposites insofar as style, tone and thematic content.

After completing undergraduate studies and a Masters of Arts at Harvard University by 1916, Edward Estlin Cummings enlisted as a volunteer ambulance driver during World War I.  Five months later, he was detained on suspicion of espionage by French authorities.  The consistent and constant vitalist message in his poetry, his enduring love of life, is likely a product of having witnessed the "War to End All Wars".

Of course, the "War to End All Wars" did not end all wars and, in fact, led to an even deadlier and longer one, World War II, only two decades later.  However, contrary to popular belief, World War I was far more gruesome for participants than was WWII.  The reason for this is largely technological. On the one hand, airplanes were still too basic to provide any decisive advantage, and tanks only came into existence near the end of that war, invented by the English and quickly replicated by everyone else, but these were too few, clunky and slow to permit the quick troop movements seen during the Second World War.

First World War tanks were bulky, slow, loud machines that scared men in the trenches.
World War I tank.  These roaring machines were so noisy
and scary that their tactical effect was more psychological
than anything else.  Just imagine being holed up in a tench
and seeing one of these buzzing machines you had never seen before
coming toward you and ignoring the many lines of barbed wire.

On the other hand, the machine gun had been perfected and great strides had been made in artillery, mortars, and in chemical warfare, particularly mustard gas, against which early gas masks afforded little protection.

Machine guns were the primary force that decided the bloody and frustrating course of World War I
Machine guns were the decisive force during during World War I.
Here you see infantry employing them in trench warfare
while wearing gas masks because of the frequent use
of chemical warfare as a means to advance from trench to trench.


The result was that the First World War was largely a trench war that was basically a stalemate where troops would advance with many losses from one trench to the next only to have a counterattack drive them back from that trench to where they had come from.  The use of toxic gas had two purposes: not only did it provide a cloud of cover that impeded proper aiming by machine guns, it also killed or severely injured the troops holed up in the trench that was being advanced towards.

Life in the trenches during the First World War was arguably the most miserable experience ever had in the history of warfare
Photograph of World War I infantrymen spending their days
 in trenches covered by sandbags and protected by barbed wire.


The First World War only ended because the Allied Powers managed to successfully flank the Central Power's trench lines, cutting off their front line troops from receiving supplies.  This maneuver led to a Conditional Surrender or Capitulation by the Central Powers (i.e., Germany, the Austria-Hungary Empire, Bulgaria, and the Ottoman Empire), unlike the end of World War II which was concluded in an Unconditional Surrender.

Allied Powers, Central Powers, and their colonies when the First World War began
World map of the Allied Powers, the Central Powers,
and their colonies, at the onset of World War I.  Allies shown
in green; Central Powers shown in orange, and neutral territories
are displayed in gray. Russia withdrew from the war in 1917,
ceding the territories the Central Powers had managed to occupy
following the Bolshevik Revolution and their need
to focus on internal affairs as their new state restructured.
The United Socialist Soviet Republics would get back control
over these territories following World War II.


The conditions set by the Allied Powers (i.e., the British Empire, France, Italy, and Japan) split the Austria-Hungary into two separate states, spelled the end of the Ottoman Empire, but the conditions were harshest against Germany, being considered the main culprit.  These included large territorial transfers, of particular importance are Alsace-Lorraine going to France and most of Western Prussia going to the establishment of the nation of Poland.  However, it was the large economic reparations imposed on Germany that led to its economic collapse soon afterwards and allowed the Nazi Party's rise to power.  Not surprisingly, one of Hitler's first orders of business was to violate the Treaty of Versailles via a surprise re-militarization in 1936 of the Rhineland; moreover, the German invasion of Poland on September 1939 marks the beginning of the Second World War.  Allied cowardice permitted it all, and Hitler would later say "If France had then marched into Rhineland, we would have had to withdraw with our tail between our legs", a hypothetical event that would have likely prevented WWII altogether because the French army was still overwhelmingly larger and better equipped than Germany's given that the latter had just begun the rebuilding of their military strength.

Germany's territorial extension from the onset of WWI to the end of WWII
Click to Enlarge.
German territory at onset of World War I
and the remaining territory at the end of
World War II, in gray at top, in blue at bottom.
The reunification of Germany did not occur
until 1990, following the 1989 fall of the Berlin Wall.


History aside, the psychological effects of the dehumanizing nature of World War I and the mass and unusually cruel deaths that were everyone to be seen had a profound influence on e.e. cummings' celebration of life, living, and the vitality in all of us that most people either hinder or ignore.


Otto Dix (1924) "Shock Troops Advance under Gas".
Otto Dix participated in what is known as Germany's
cultural Golden Age during the decade of the 1920s.


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Read more poems by Edward Estlin Cummings.



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