Lucan's Pharsalia and Manilius's Astronomica illustrates progressive thinking. Pharsalia sheds light onto an era which was born for blood. Grotesque accounts of violence, brutality, and chaos reflect a time of savagery while dipicting relevent themes which would illuminate a western way of thinking in time to come. Lucan's writing was a reflection of practical thinking in terms of the interaction of characters, the pursuit of power, and things relating to attainable value or worth, such as glory as a result of war and conflict. This writing is earth-centric. Lucan's writing is based on the life of the time, by which many fundamental issues are reflected within the literature. Pharsalia is a political poem which could be considered a very modernized aspect of poetry and perhaps ahead of its time. Aside from the dominant themes of war, deceit, passion, and revenge- all of which are very people or state oriented, the poetry focuses mainly on what could be considered Fact- attainable, physical, monetary things whereas literature such as Astronomica had quite the opposite agenda. This literature was born from theory. In the midevil period, poetry like Pharsalia made sense, however Manilius's focus was a dramatic step away from Fact, which would lead the modern audience into a comparision of Fact and Fiction. Manilius brought to light the idea of the universe with its mystique and phenomena, writing about star signs and horoscopes and detailing zodiacal geography. Astronomica is a poem which incorporates a scientific element, taking the audience on a path very different than the typical genre of the time. It is romantic within its science and, although elaborate and eccentric, it adds an element of humour to a time when humour was overshadowded by death and darkness. While Pharsalia illuminates characters in realistic roles, idealizing glory and heroism and articulating the circumstances of the time in terms of violence and war, Astronomica adds an element of the uknown. It is within this unknown which adds a sense of glory and intrigue into the uknown. It adds humour and lightness and takes its audience out of the real and into the surreal in order show that there is life beyond armour, beyond the cruelty, beyond the bloodshed. This literature engages us to use our minds in a creative light, away from the norm of sensible and typical...away from the 'what is, is what shall be' way of thinking.
Tuesday, November 30, 2004
Monday, November 29, 2004
something on Taxonomy
On the topic of boredom and the classification of literature and genres, I found this to be an interesting way of looking at what we're discussing...a more systematic and scientific approach, the idea of taxonomy (of life, and of literature)...
(dictionary reference)
Taxonomy of Life
The taxonomic organization of species is hierarchical. Each species belongs to a genus, each genus belongs to a family, and so on through order, class, phylum, and kingdom. Associations within the hierarchy reflect evolutionary relationships, which are deduced typically from morphological and physiological similarities between species. So, for example, species in the same genus are more closely related and more alike than species that are in different genera within the same family.
Modern taxonomy recognizes five kingdoms, into which the estimated five million species of the world are divided. This table presents a familiar organism from each kingdom and the names of the taxonomic groups to which it belongs.
(like in literature, poetry, other forms of art, and so on...)
Notes toward a Taxonomy of Literature, by Bob Grumman
"While on the internet I've been exposed to a good number of highly intelligent literary discussions. But they've also been full of confused thinking, generally because of what I consider to be their participants' taxonomical ignorance and/or indifference. This has annoyed me, finally, into the following Laying-Down of the Law Concerning the Classification of Literary Works.I begin with Verbal Expression. At the simplest level, there are two kinds: Oral Verbal Expression, or Speech, and Written Verbal Expression, or Writing. I divide the former into Declamation and Stagework, depending on the degree of physical action involved in its presentation. Declamation is that which, for practical purposes, is all speech; stagework that whose effect is seriously reduced if not acted out. Generally, declamation is performed by a single voice, stagework by more than one, but neither is an absolute requirement. As far as I can tell, there is no need for any parallel division of writing."
He goes on to discuss the various categories of classification of literature, see link below. I thought this was interesting because we can compare literary genres, as well as scientific genres and subjects, as well as (and the list goes on) - we naturally classify things, it is human instinct, a part of our intellegence. If you continue on to see his classifications, it is surprising how many he includes and interesting to visually see, the divisions which separate them.
http://www.geocities.com/SoHo/Cafe/1492/lit-tax.html
(dictionary reference)
Taxonomy of Life
The taxonomic organization of species is hierarchical. Each species belongs to a genus, each genus belongs to a family, and so on through order, class, phylum, and kingdom. Associations within the hierarchy reflect evolutionary relationships, which are deduced typically from morphological and physiological similarities between species. So, for example, species in the same genus are more closely related and more alike than species that are in different genera within the same family.
Modern taxonomy recognizes five kingdoms, into which the estimated five million species of the world are divided. This table presents a familiar organism from each kingdom and the names of the taxonomic groups to which it belongs.
(like in literature, poetry, other forms of art, and so on...)
Notes toward a Taxonomy of Literature, by Bob Grumman
"While on the internet I've been exposed to a good number of highly intelligent literary discussions. But they've also been full of confused thinking, generally because of what I consider to be their participants' taxonomical ignorance and/or indifference. This has annoyed me, finally, into the following Laying-Down of the Law Concerning the Classification of Literary Works.I begin with Verbal Expression. At the simplest level, there are two kinds: Oral Verbal Expression, or Speech, and Written Verbal Expression, or Writing. I divide the former into Declamation and Stagework, depending on the degree of physical action involved in its presentation. Declamation is that which, for practical purposes, is all speech; stagework that whose effect is seriously reduced if not acted out. Generally, declamation is performed by a single voice, stagework by more than one, but neither is an absolute requirement. As far as I can tell, there is no need for any parallel division of writing."
He goes on to discuss the various categories of classification of literature, see link below. I thought this was interesting because we can compare literary genres, as well as scientific genres and subjects, as well as (and the list goes on) - we naturally classify things, it is human instinct, a part of our intellegence. If you continue on to see his classifications, it is surprising how many he includes and interesting to visually see, the divisions which separate them.
http://www.geocities.com/SoHo/Cafe/1492/lit-tax.html
Saturday, November 20, 2004
"and then a hero comes along...with the strength to carry on"
Hero's are almost always associated with combat. In midevil times heroism was the conquering of land or man in the pursuit of glory. Today, hero's take many forms and continue to bare these virtues of success. Whether it be winning and fighting, or gaining and giving, there are many heros amonst us in everyday society. Many too, whose faces continue to go unrecognized.
The point is, heroism has root and shape throughout history as found in war or conquest which attributes wealth and power. This is evident today, however enlightened or modern thought extends heroism to individuals of many walks of life, from great authors to atheletes, to people battling illness, the idea of the 'fighter' remains, only in its extended context.
In ancient poetry, a 'hero' was regarded to have god-like virtues, a person or being by which exaggerated events are usually associated. Whatever the situation or threat be, the hero will be larger than it...the hero is larger than life. Wherever a drought, the hero is the rain which brings life again...the hero is always associated with greatness- in physique, in mind or in matter, the hero is the solution and the executor.
The concept of 'hero' is the projection of what we as people long to be- that we inherently desire to be good.
The irony that exists with the glorification of the hero (and this is often found in old English literature) is that, in order for the hero to be heroic, the hero most conquer something or someone else, which usually involves trauma in the form of war, violence, or deceit.
Historically, these attributes often go hand in hand (regardless of the idea that the fight for glory is between the good and the bad) the fact remains that these negative acts must happen in order for the man to become the hero, and as literature communicates, in order for the audience to conceptualize the idea of 'heroism'.
Today, the concept of hero takes on many different forms which helps us to make sense of our lives in terms of the choices we execute and pursue. In terms of midevil literature, the exaggeration of the hero lends itself to simple interpretation, which helps us understand the meaning behind heroism and relate it relative to our own lives. Where literature would defend the position of the armor-clad prince who had the strenth of a hundred and would intimidate and conquer all who stood in his way...we can visualize the concept and use a similar, more realistic belief system in which we can rise above hegemony...we can be good to our neighbour... that we can stand up for ourselves and even if the odds are against us, there is hope.
A hero defends his honour.
Heroism is the rose-cloured glass we look through, reaching and striving and giving hope. It is the romanticized version we wish to see in ourselves.
The point is, heroism has root and shape throughout history as found in war or conquest which attributes wealth and power. This is evident today, however enlightened or modern thought extends heroism to individuals of many walks of life, from great authors to atheletes, to people battling illness, the idea of the 'fighter' remains, only in its extended context.
In ancient poetry, a 'hero' was regarded to have god-like virtues, a person or being by which exaggerated events are usually associated. Whatever the situation or threat be, the hero will be larger than it...the hero is larger than life. Wherever a drought, the hero is the rain which brings life again...the hero is always associated with greatness- in physique, in mind or in matter, the hero is the solution and the executor.
The concept of 'hero' is the projection of what we as people long to be- that we inherently desire to be good.
The irony that exists with the glorification of the hero (and this is often found in old English literature) is that, in order for the hero to be heroic, the hero most conquer something or someone else, which usually involves trauma in the form of war, violence, or deceit.
Historically, these attributes often go hand in hand (regardless of the idea that the fight for glory is between the good and the bad) the fact remains that these negative acts must happen in order for the man to become the hero, and as literature communicates, in order for the audience to conceptualize the idea of 'heroism'.
Today, the concept of hero takes on many different forms which helps us to make sense of our lives in terms of the choices we execute and pursue. In terms of midevil literature, the exaggeration of the hero lends itself to simple interpretation, which helps us understand the meaning behind heroism and relate it relative to our own lives. Where literature would defend the position of the armor-clad prince who had the strenth of a hundred and would intimidate and conquer all who stood in his way...we can visualize the concept and use a similar, more realistic belief system in which we can rise above hegemony...we can be good to our neighbour... that we can stand up for ourselves and even if the odds are against us, there is hope.
A hero defends his honour.
Heroism is the rose-cloured glass we look through, reaching and striving and giving hope. It is the romanticized version we wish to see in ourselves.
Beowulf...Iliad...
Beowulf originated through the oral tradition, spreading folklore and great mythological tales through history. The funny thing is, the story is amazingly ludicrous to read. Or maybe that is too strong a statement…what I mean to say is, the story is exaggerated to the point of slapstick comedy. And I’m not big on that genre…actually, I’m not partial to sci-fi really at all…and I think that, being born in the 19th century, regardless of my personal and academic appreciation for literature and the arts, I distinctly tend over-embellished tales like Beowulf hard to take seriously.
Yes the literature is meant as a creative and eccentric tale to depict the idea of glory and heroism during the dark ages…and after my initial reaction I do take that into account, but I cannot help but cringe at the plot of the tale, regardless of its’ craftsmanship or eloquence.
Beowulf is an incredible account of heroism and mythology intertwined, a telling of enraged beasts disemboweling a kingdom and the man capable of ‘saving the day’, Beowulf himself. The tale is extreme. It is hard not notice the lack of ‘reality’ to the unfolding of events- such as Beowulf overtaking a beast of such vast proportion, especially his dismembering the beast. It was overly fantastic…
I am criticizing the plot and the events of the story which might be unfair as the genre of the tale indeed provides the expected forecast…
The literature was interesting in its elegant horror, its majestic imagination, and the underlying element of the fantastic. Exaggerated details or events such as his apparent swim from Sweden to Finland, or having the strength of thirty men and conquering the beasts. Alliteration and metaphor are used at length to communicate the themes in Beowulf which are very humane (aside from the abundance of violence) also somewhat revolutionary. Ideas included: That it is fulfilling to “help thy neighbour” and those in need, that one’s actions speak louder than one’s word, that good outlasts evil, and so on.
An elegancy rests in the way the tale takes the audience from Beowulf as a strapping and daring young man to the still courageous but aged, older version of himself, still attempting battle, still seeking heroism.
From...
“So becomes it a youth to quit him wellwith his father's friends, by fee and gift,that to aid him, aged, in after days,come warriors willing, should war draw nigh,liegemen loyal: by lauded deedsshall an earl have honor in every clan.”
To…
“Beowulf spake, and a battle-vow madehis last of all: "I have lived through manywars in my youth; now once again,old folk-defender, feud will I seek,do doughty deeds, if the dark destroyerforth from his cavern come to fight me!"”
As we are discussing Homer’s, The Iliad, this epic too shares common themes with that of Beowulf, an obvious thematic consistency being war, savagery and violence. Aside from the darkness the two share, the idea that glory and persistence pay off is evident, that you should seize the day and take advantage of your circumstances, and that glory and honour are everything. The idea and role of the hero and heroism play a leading role throughout both which reflect the morals of the time and give the audience a look into a dramatized version and description of human history as it were told through ideals and images of supernaturalism, mythology and human power… It will be interesting to pursue the Iliad further…
Yes the literature is meant as a creative and eccentric tale to depict the idea of glory and heroism during the dark ages…and after my initial reaction I do take that into account, but I cannot help but cringe at the plot of the tale, regardless of its’ craftsmanship or eloquence.
Beowulf is an incredible account of heroism and mythology intertwined, a telling of enraged beasts disemboweling a kingdom and the man capable of ‘saving the day’, Beowulf himself. The tale is extreme. It is hard not notice the lack of ‘reality’ to the unfolding of events- such as Beowulf overtaking a beast of such vast proportion, especially his dismembering the beast. It was overly fantastic…
I am criticizing the plot and the events of the story which might be unfair as the genre of the tale indeed provides the expected forecast…
The literature was interesting in its elegant horror, its majestic imagination, and the underlying element of the fantastic. Exaggerated details or events such as his apparent swim from Sweden to Finland, or having the strength of thirty men and conquering the beasts. Alliteration and metaphor are used at length to communicate the themes in Beowulf which are very humane (aside from the abundance of violence) also somewhat revolutionary. Ideas included: That it is fulfilling to “help thy neighbour” and those in need, that one’s actions speak louder than one’s word, that good outlasts evil, and so on.
An elegancy rests in the way the tale takes the audience from Beowulf as a strapping and daring young man to the still courageous but aged, older version of himself, still attempting battle, still seeking heroism.
From...
“So becomes it a youth to quit him wellwith his father's friends, by fee and gift,that to aid him, aged, in after days,come warriors willing, should war draw nigh,liegemen loyal: by lauded deedsshall an earl have honor in every clan.”
To…
“Beowulf spake, and a battle-vow madehis last of all: "I have lived through manywars in my youth; now once again,old folk-defender, feud will I seek,do doughty deeds, if the dark destroyerforth from his cavern come to fight me!"”
As we are discussing Homer’s, The Iliad, this epic too shares common themes with that of Beowulf, an obvious thematic consistency being war, savagery and violence. Aside from the darkness the two share, the idea that glory and persistence pay off is evident, that you should seize the day and take advantage of your circumstances, and that glory and honour are everything. The idea and role of the hero and heroism play a leading role throughout both which reflect the morals of the time and give the audience a look into a dramatized version and description of human history as it were told through ideals and images of supernaturalism, mythology and human power… It will be interesting to pursue the Iliad further…
Thursday, November 04, 2004
Our mental toolbox
Really, anything can be analyzed to death. We have a tenancy to analyze our behaviour... our thoughts... our dreams- to the point of exhaustion. This is natural, and this is what we do...we think things to death. So instinctive to our nature is criticism, theory, and personal philosophy, that we've cultured ourselves into exercising our analytic energy into a form of entertainment all on its' own. Like organized and thoughtful minds do, we search our mental rolodex for creative, applicable, and useful ways to systematically classify, divide, and separate ideas- people or things- in order to add layers of mystery, intrigue, and interest. All of us in one way or another, dip into this culture we've created. Whether it is criticizing a friend, discussing an article, contrasting reality shows, or merely looking out the window in wonderment of the changing seasons...we piece our thoughts and experiences together to form an unobvious understanding, because often, "the obvious" to us, isn't good enough.
Which, is good.
Being thoughtful makes us well. Being interested keeps us alive and full of spirit. In poetry and in writing in general, that element of 'obvious' is like a vial and acidic taste that we try so desperately to avoid. No one wants to be 'typical', or predictable, or even ordinary.
We are creative beings with absolute and great energy. Some of us harness this energy into profit-making markets; some of us pursue our dream jobs, some of us "work on the line", and some of us pursue the road less traveled. The one thing we have in common is the pursuit of ourselves. The allowance we give ourselves secretly or noticeably, the unspoken commitment that we are thoughtful human beings, creators, and cultivators, who will always have something to say.
This in mind, it only makes sense that we thrive within order. We keep our thoughts arranged in ways unexplained. We understand ourselves better than any, and that does not in any way, make us inaccessible. We classify what we intake, we have our personal systems which allow us to recall information or ideas, our memory abiding. We have set values and set goals, we know what is right and what is wrong, and we use these elements of our consciousness as the leading tools they are, to help us on our continuous interpretation of life and understanding.
We are constantly taking information and "putting a spin" on it. That spin, is our own idea or version of the information. Like broken telephone, you know the line, you pass it on, but you add a little flavour before you do...and so on...by the end of it, when the game is done, the message is usually radically different than it's beginning.
And so we continue to play with the mysteries of the world, we continue to play in theory. It is as entertaining as it is crucial. The only way to new knowledge is by believing in the mystery of the 'still to come'...we will always be thinking of the next thing. It's our human nature, it's what we do. It's what we do even if it's something we do, unsaid.
We are feeling and thinking human beings with alot to say, a lot to share, and a lot on our minds...
The beauty of thoughtful engagement is evident within our workplaces, our schools, our institutions...however, when it comes to analyzing literature or poetry, or any great works of creative art...this stringent aspect of ourselves becomes less attractive and somewhat vulgar.
You can classify to death. You can order yourself to death. The death of creativity, the death of - what was- art.
Now, that's a little strong. You won't actually kill-off a piece of art, or a work of literature, but you will kill-off the experience for yourself. The piece will still remain for the next person to consider, to ponder, to analyze, but you will have surgically removed its essence in the overkill of contemplation.
But then again, maybe that is the beauty you experience, not within the art itself, but within the process of your analyzation...that the act of thinking through the layers so intricately, so obsessively, was the necessary experience.
Either way, there exists that "overkill" element to classification of genres and systems. Yes, we do use these elements as tools to possess further understanding or to retrieve relevant information and ideas when necessary, however we can overuse these tools and wind up dissecting great beauty to the point of mutilating the experience entirely.
Which, is good.
Being thoughtful makes us well. Being interested keeps us alive and full of spirit. In poetry and in writing in general, that element of 'obvious' is like a vial and acidic taste that we try so desperately to avoid. No one wants to be 'typical', or predictable, or even ordinary.
We are creative beings with absolute and great energy. Some of us harness this energy into profit-making markets; some of us pursue our dream jobs, some of us "work on the line", and some of us pursue the road less traveled. The one thing we have in common is the pursuit of ourselves. The allowance we give ourselves secretly or noticeably, the unspoken commitment that we are thoughtful human beings, creators, and cultivators, who will always have something to say.
This in mind, it only makes sense that we thrive within order. We keep our thoughts arranged in ways unexplained. We understand ourselves better than any, and that does not in any way, make us inaccessible. We classify what we intake, we have our personal systems which allow us to recall information or ideas, our memory abiding. We have set values and set goals, we know what is right and what is wrong, and we use these elements of our consciousness as the leading tools they are, to help us on our continuous interpretation of life and understanding.
We are constantly taking information and "putting a spin" on it. That spin, is our own idea or version of the information. Like broken telephone, you know the line, you pass it on, but you add a little flavour before you do...and so on...by the end of it, when the game is done, the message is usually radically different than it's beginning.
And so we continue to play with the mysteries of the world, we continue to play in theory. It is as entertaining as it is crucial. The only way to new knowledge is by believing in the mystery of the 'still to come'...we will always be thinking of the next thing. It's our human nature, it's what we do. It's what we do even if it's something we do, unsaid.
We are feeling and thinking human beings with alot to say, a lot to share, and a lot on our minds...
The beauty of thoughtful engagement is evident within our workplaces, our schools, our institutions...however, when it comes to analyzing literature or poetry, or any great works of creative art...this stringent aspect of ourselves becomes less attractive and somewhat vulgar.
You can classify to death. You can order yourself to death. The death of creativity, the death of - what was- art.
Now, that's a little strong. You won't actually kill-off a piece of art, or a work of literature, but you will kill-off the experience for yourself. The piece will still remain for the next person to consider, to ponder, to analyze, but you will have surgically removed its essence in the overkill of contemplation.
But then again, maybe that is the beauty you experience, not within the art itself, but within the process of your analyzation...that the act of thinking through the layers so intricately, so obsessively, was the necessary experience.
Either way, there exists that "overkill" element to classification of genres and systems. Yes, we do use these elements as tools to possess further understanding or to retrieve relevant information and ideas when necessary, however we can overuse these tools and wind up dissecting great beauty to the point of mutilating the experience entirely.
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