The Transformations of Lucius Apuleius, which was later renamed The Golden Ass (asinus aureus) by Saint Augustine, describes the protagonist Lucius' transformation from human to donkey form. The novel is full of earthly humour, comparable to the bawdy lyric of Chaucer. I have read the Robert Graves translation of this text and it is written in such down-to-earth prose that the modern reader will undoubtedly pick up on the farcical as well as the allegorical elements of the text.
The crux of the novel is: Apuleius falls in love with a slave girl after staying at a distinguished nobleman's house. He becomes acquainted with her and learns that the nobleman's wife is a witch capable of changing form. Lucius is interested in this magic and tries to change himself into a bird, but instead he mistakenly becomes an ass. A series of far-fetched events then occur, similar to that of Voltaire's Candide. Lucius is sold numerous times as a draught animal, he carries loot for thieves and crops for farmers. Each time he narrowly avoids death from beating or execution. An important part of this novel is Lucius' observations, as an animal he cannot intervene with human affairs but instead he listens and plans his escape from captivity.
It is revealed that the spell that keeps Lucius in the form of a donkey can only be broken by the ingestion of rose petals. Though he tries many times to find these flowers he is pulled away by his masters, this display of futility is deeply engaging and the reader develops sympathy for poor Lucius. The spell is finally broken after Lucius manages to escape his final master. He then beseeches the Egyptian goddess Isis. The goddess appears and breaks the spell, this is the end of the novel.
The Golden Ass is an example of Ovidian transformation, a theme that has captivated literature for centuries. Apuleius' comic tale is both witty and insightful, creating an interesting picture of the ancient slave trade as well as the value of morals and compassion.
Wednesday, 24 October 2012
Sunday, 7 October 2012
The Aeneid by Virgil
This, the greatest Latin epic, was written by Virgil over the course of many years. The influence of The Aeneid on western literature cannot be overstated, it is a story of war, exile and love. I could plunge into a lengthy essay about the historical context of the poem but Virgil's masterful narrative is such that the story explains itself.
I shall provide a basic outline of the plot; Aeneas, a citizen of Troy escapes from the invasion of the city by Greeks (c.f: The Trojan War). He embarks on a seven year journey to Carthage where he meets Queen Dido. The pair fall in love but as Aeneas is summoned by the gods to found a new city for the exiled Trojans, he must leave her behind. This is the tragic element of The Aeneid, Dido's suicide due to unrequited love and Aeneas' guilt and fear of his own fate, this is later mirrored by the death of Pallas and the cost of war, as discussed in Book 12. The poem continues with Aeneas visit to the underworld under the guidance of the Sibyl of Cumae, as well as further battles and encounters with Greek and other civilizations.
It is important to note here that Virgil wrote The Aeneid as a response to Homer's Odyssey. There are many parallels between the two texts and there is an abundant supply of commentary and criticism that aims to highlight this, however, The Aeneid does not require extensive knowledge of Greek and Latin texts, certainly the Penguin classics edition has a large glossary of Latin terms. The opening line 'I sing of arms and the man' is true of the text, Virgil gives reportage of Aeneas' adventures but maintains an exquisite poetic voice that is unwavering in its portrayal of the beauty of love and the horror of war.
The Aeneid is essential reading for those interested in the epic poem as, arguably, it is the source of all other epic poems, the very archetype of later works such as Dante and Longfellow. By reading The Aeneid, one can grasp at a vision of war that is both enthralling and reflective.
I shall provide a basic outline of the plot; Aeneas, a citizen of Troy escapes from the invasion of the city by Greeks (c.f: The Trojan War). He embarks on a seven year journey to Carthage where he meets Queen Dido. The pair fall in love but as Aeneas is summoned by the gods to found a new city for the exiled Trojans, he must leave her behind. This is the tragic element of The Aeneid, Dido's suicide due to unrequited love and Aeneas' guilt and fear of his own fate, this is later mirrored by the death of Pallas and the cost of war, as discussed in Book 12. The poem continues with Aeneas visit to the underworld under the guidance of the Sibyl of Cumae, as well as further battles and encounters with Greek and other civilizations.
It is important to note here that Virgil wrote The Aeneid as a response to Homer's Odyssey. There are many parallels between the two texts and there is an abundant supply of commentary and criticism that aims to highlight this, however, The Aeneid does not require extensive knowledge of Greek and Latin texts, certainly the Penguin classics edition has a large glossary of Latin terms. The opening line 'I sing of arms and the man' is true of the text, Virgil gives reportage of Aeneas' adventures but maintains an exquisite poetic voice that is unwavering in its portrayal of the beauty of love and the horror of war.
The Aeneid is essential reading for those interested in the epic poem as, arguably, it is the source of all other epic poems, the very archetype of later works such as Dante and Longfellow. By reading The Aeneid, one can grasp at a vision of war that is both enthralling and reflective.
Monday, 1 October 2012
The Metamorphoses by Ovid
This collection of stories told in hexametric epic verse is perhaps the defining work of all other tales of transformation and divine supernatural influence. Ovid was born circa 43 B.C in a small village near Rome, this was about the same period as the murder of Julius Caesar and the subsequent fall of Rome. The Metamorphoses are a re-telling of Greek and Roman myths and legends, Ovid describes humans being changed into animals as punishment for their sins or hubris against the gods. It is not necessary for the modern reader to have encyclopedic knowledge of ancient Rome to get a good understanding of what this work is about. Many of the books (or chapters) of the Metamorphoses are comparable to fables in which characters receive their just deserts as consequence for their actions.
One of my favourite stories is that of Narcissus and Echo (book III). A vain sixteen year old boy is obsessed with his looks, hence the term narcissism, he chases a young nymph called Echo, who he finds particularly attractive. She calls to him and her voice echoes but he cannot find her, he rests by a pool. One of Narcissus' jilted lovers than prays to Nemesis (goddess of revenge) that: 'may he himself love as I have loved him, without obtaining his beloved' (lines 521-22, book III). This prayer is answered, Narcissus stares at his reflection in the pond and falls in love with himself while Echo departs. Out of grief, he dies and his body is transformed into a flower which is, of course, the Narcissus daffodil.
The text is filled with curious stories like these which impart morals and common ideas which will be familiar to the modern reader. Not only this, but Ovid's fluid style and unerring narrative make for great reading, the hexameter verse is the perfect fit for the smooth rhythm and the language is both common and understandable yet filled with brilliant metaphor and colourful imagery.
Ovid has inspired a myriad writers of all genres, from Dante's epic verse to the magical realism of Salman Rushdie and of course James Joyce's epic Ulysses. The relevancy of the Metamorphoses cannot be understated, read this work if you ever wish to write a poem about transformation or magic.
One of my favourite stories is that of Narcissus and Echo (book III). A vain sixteen year old boy is obsessed with his looks, hence the term narcissism, he chases a young nymph called Echo, who he finds particularly attractive. She calls to him and her voice echoes but he cannot find her, he rests by a pool. One of Narcissus' jilted lovers than prays to Nemesis (goddess of revenge) that: 'may he himself love as I have loved him, without obtaining his beloved' (lines 521-22, book III). This prayer is answered, Narcissus stares at his reflection in the pond and falls in love with himself while Echo departs. Out of grief, he dies and his body is transformed into a flower which is, of course, the Narcissus daffodil.
The text is filled with curious stories like these which impart morals and common ideas which will be familiar to the modern reader. Not only this, but Ovid's fluid style and unerring narrative make for great reading, the hexameter verse is the perfect fit for the smooth rhythm and the language is both common and understandable yet filled with brilliant metaphor and colourful imagery.
Ovid has inspired a myriad writers of all genres, from Dante's epic verse to the magical realism of Salman Rushdie and of course James Joyce's epic Ulysses. The relevancy of the Metamorphoses cannot be understated, read this work if you ever wish to write a poem about transformation or magic.
Sunday, 9 September 2012
The Ballad of Reading Gaol by Oscar Wilde
The masterful wit of Oscar Wilde whose aphoristic quotes still remain popular today, is alive and well in this long poem, The Ballad of Reading Gaol. Here, Wilde recounts the horrors of the penal system (something which he had first hand experience from after being imprisoned for homosexual crimes). The poem tells the story of a soldier, Charles Woodridge, who was hanged for killing his wife. Wilde states that ' each man kills the thing he loves', rather than a display of sympathy for criminals, Wilde portrays a pessimistic view of the futility of chasing life's pleasures. The bitter irony of the poem and the resignation of the narrator; 'we did not care: we knew where we were' is somewhat tragic, considering Wilde's fall from society. However, Wilde maintains a strong narrative voice in this poem, describing the thoughts of the prisoners as well as the fate of the condemned man. The description of the 'weeping prison wall' is comparable to the 'thick-ribbed walls' described in Wordsworth's lyrical ballad, The Convict. Similarly, Jacques Rosseau's famous quote, that 'man is everywhere borne in chains' is highly relevant here, the oppression of the prisoners of Reading Gaol is such that there 'souls are in pain'. The condemned man is a figure of utter despair, there is no hope for redemption, the other prisoners are left ' to watch him as he tries to pray'. The comical humour of Wilde's previous work seems trivial to the sobering irony of this poem.
The internal rhymes and differing rhythmic patterns of this poem give a bouncy although somewhat disjointed feel. Each six line stanza feels like another moment waiting in prison, whilst the upbeat rhyme scheme lends a ballad-like feel. Although the poem reads like an upbeat song, the subject matter is grim and rife with despair, this was obviously Wilde's intent to create a bittersweet irony that would both shock the reader with its subject matter and satiate their poetic appetite.
The internal rhymes and differing rhythmic patterns of this poem give a bouncy although somewhat disjointed feel. Each six line stanza feels like another moment waiting in prison, whilst the upbeat rhyme scheme lends a ballad-like feel. Although the poem reads like an upbeat song, the subject matter is grim and rife with despair, this was obviously Wilde's intent to create a bittersweet irony that would both shock the reader with its subject matter and satiate their poetic appetite.
Thursday, 23 August 2012
A sample poem from my new collection
I am currently working on a new collection of poems. They will be of a suitably darker nature than my last collection (of which I am currently considering uploading, maybe to this blog or elsewhere), I intend to focus on the Emotional rather than the Cerebral. Thematically, the poems express darkness, isolation and fear. Although I often view these themes as portentous and sentimental, I intend to convey them in an oblique manner so as to avoid being overtly obvious in terms of subject matter. I am also toying with the idea of dividing the collection into two books, one intimate reflections, the other more objective observations.
Nevertheless, I offer here a sample verse from an, as yet, untitled poem:
Nevertheless, I offer here a sample verse from an, as yet, untitled poem:
Now is the season I feel accustomed
To the love I cultivated in winter.
I was bereft of all hope
As I wandered into the autumnal copse
Like the leaves, my heart withered.
Dejected and denied the harvest.
In the coldness, I warmed my spirit
With one vain thought of hope
Now I feel a heat emanating,
Though I know no response to give,
Only to burn until nothing remains
But ashes to been blown in new directions.
Wednesday, 8 August 2012
Ulysses, Episode VIV: Scylla and Charybdis
In this chapter, set in the National Library at 2pm, we see Stephen deliver his interpretations of Shakespearean works. Throughout Ulysses, there are references to many of Shakespeare's plays, perhaps most importantly among is Hamlet. The theme of ghosts that is prevalent in Ulysses is also a major part of Hamlet, that being the haunting of the protagonist by the ghost of his father. A myriad parodies may be drawn between the two works, most strikingly is Bloom's father who having committed suicide haunts Leopold's memory, particularly in the Hades episode. Similarly, the digressive nature of Bloom and Daedalus is comparable to the procrastination of Hamlet in exacting his revenge for the murder of his father.
Nevertheless, it is not necessary for the reader to know Shakespeare's play chapter and verse to get a good understanding of the discussion that takes place in this chapter. Many of the views expressed by Stephen and
John Eglington (the real-life librarian of the National library) are based on dubious pseudo-biographical works of Shakespeare's life (in truth, little is known about his personal life). Joyce satirizes this by making absurd claims such as 'whether Hamlet is Shakespeare or James I' (p.177). Also though, there are points raised that relate to the novel as a whole, Stephen asks: 'What is a ghost?' (p.180).
The episode references other plays such as King Lear, Othello, the Tempest and the Comedy of Errors as well as many others. Although this chapter may seem an unnecessary digression from the novel it is in fact a closer analysis of the story and its characters. Joyce does not simply compare Ulysses to a series of Shakespeare plays but instead integrates Shakespeare into the minds of the characters, the result of this is a cerebral critiquing of the plays. The psychological and spiritual elements of the plays are expressed through narrative streams of thought: hesouls, shesouls, shoals of souls. Engulfed with wailing creecries' (p.184).
Stephen gives a summarising remark about Shakespearean tragedy: 'Where there is a reconciliation there must have been a sundering' (p.185). This is a fitting epitaph both for Shakespeare and Ulysses, though Joyce's fractured narratives inhibit any solid reconciliation, there is a progressive structure to the novel that links episode to episode.
Nevertheless, it is not necessary for the reader to know Shakespeare's play chapter and verse to get a good understanding of the discussion that takes place in this chapter. Many of the views expressed by Stephen and
John Eglington (the real-life librarian of the National library) are based on dubious pseudo-biographical works of Shakespeare's life (in truth, little is known about his personal life). Joyce satirizes this by making absurd claims such as 'whether Hamlet is Shakespeare or James I' (p.177). Also though, there are points raised that relate to the novel as a whole, Stephen asks: 'What is a ghost?' (p.180).
The episode references other plays such as King Lear, Othello, the Tempest and the Comedy of Errors as well as many others. Although this chapter may seem an unnecessary digression from the novel it is in fact a closer analysis of the story and its characters. Joyce does not simply compare Ulysses to a series of Shakespeare plays but instead integrates Shakespeare into the minds of the characters, the result of this is a cerebral critiquing of the plays. The psychological and spiritual elements of the plays are expressed through narrative streams of thought: hesouls, shesouls, shoals of souls. Engulfed with wailing creecries' (p.184).
Stephen gives a summarising remark about Shakespearean tragedy: 'Where there is a reconciliation there must have been a sundering' (p.185). This is a fitting epitaph both for Shakespeare and Ulysses, though Joyce's fractured narratives inhibit any solid reconciliation, there is a progressive structure to the novel that links episode to episode.
Tuesday, 7 August 2012
Ulysses: Episode VIII: Lestrygonians
It's 1pm and Leopold Bloom is hungry. He walks around the environs of Trinity College, close to the river Liffey. The whole chapter is centred around the theme of food and hunger. The opening line describes: 'Pineapple rock, lemon platt, butter scotch' (p.144) and the peristalsis of Bloom's hungry gut is in rhythm with his brisk walking pace.
As he walks along, Bloom thinks of poetry and 'how poets write' (p.146). He conjures a couplet of verse relating to his hunger: 'the hungry famished gull /Flaps o'er the waters dull' (p.145). Bloom meets Mrs Breen and tells her about Dignam's funeral although, his thoughts are directed at the 'hot mockturtle vapours and steam of newbaked jampuffs rolypoly poured out of Harrisons' (p.150). The sensuous imagery that abounds this chapter is typical of Bloom's character.
Also within this chapter is a phrase that proves relevant to the novel as a whole. As Bloom walks by Trinity College, he contemplates the idea of coincidence whilst thinking of Parnell's brother and the Irish writer, A.E. Bloom reaches the conclusion that: 'Coming events cast their shadows before' (p.158). This notion of foreshadowing is crucial to the novel, Joyce repeats ideas and themes throughout Ulysses and thus casts a figurative shadow on the plot as it unfolds.
The chapter concludes with Bloom espying Blazes Boylan (of whom Bloom suspects is having an affair with his wife) walking towards him. Out of shame and disgust, Bloom diverts into the National Museum thinking: 'didn't see me perhaps' (p.175), before concluding; 'Safe!' (p.175).
As he walks along, Bloom thinks of poetry and 'how poets write' (p.146). He conjures a couplet of verse relating to his hunger: 'the hungry famished gull /Flaps o'er the waters dull' (p.145). Bloom meets Mrs Breen and tells her about Dignam's funeral although, his thoughts are directed at the 'hot mockturtle vapours and steam of newbaked jampuffs rolypoly poured out of Harrisons' (p.150). The sensuous imagery that abounds this chapter is typical of Bloom's character.
Also within this chapter is a phrase that proves relevant to the novel as a whole. As Bloom walks by Trinity College, he contemplates the idea of coincidence whilst thinking of Parnell's brother and the Irish writer, A.E. Bloom reaches the conclusion that: 'Coming events cast their shadows before' (p.158). This notion of foreshadowing is crucial to the novel, Joyce repeats ideas and themes throughout Ulysses and thus casts a figurative shadow on the plot as it unfolds.
The chapter concludes with Bloom espying Blazes Boylan (of whom Bloom suspects is having an affair with his wife) walking towards him. Out of shame and disgust, Bloom diverts into the National Museum thinking: 'didn't see me perhaps' (p.175), before concluding; 'Safe!' (p.175).
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