Centurion

Rock Steady

Old clay:
See Survivor sequence from 2013.

TBT: "The Sea-God Sailing"

Throwback Thursday?  Here's a poem of mine from high school that I recently (re)discovered:

THE SEA-GOD SAILING

When the wind's a howling, red-eyed scourge--
The surf beats out a dismal dirge
     And the rigging hums with a dire tune--
     There comes a-racing through mist and gloom
The lord of sea and surge.

The winter sky is fraught with grey,
In frozen heaps the storm clouds lay.
     So fill with ale your carven mug,
     In hearty gulps drink down that slug,
As he glides into the bay.

Aye, drain that mug to the king of the sea,
Before whose prow the troubled waters flee.
     To Manannan, the Celtic one,
     Besides whose ship the dolphins run,
For the sea's true son is he.

And like the wilful, wind-swept waters wide,
Indomitable as the turning tide,
     Wild and daring as the untamed surge--
     Until the oceans very verge
His sturdy sloop doth ride.

While Neptune and his kin doth sleep--
Sung in their castles buried deep,
     Indolent in the languid seas,
     Lolling in the warm, southern breeze--
Manannan storms the ocean's briny keep.

For Manannan Mac Lir is he,
The warrior of the northern sea.
     With flaxen sail and ashen spar,
     The Celtic god doth make his war
With the legions of the sea.

In anger, the wayward sea attacks,
With swell and squall and ice that tracks.
     Yet closer to the wind he leads
     And braces the ocean's white-maned steeds,
And slides across their lathered backs.

Though the spray to ice in air doth turn,
And iron and flesh together coldly burn,
     He grips the tiller like a hearth,
     Through his frozen beard shines his mirth,
And strains at stem and stern.

Through the heart of a raging northern gale,
Pelted by the sling-stones of frosty hail,
     As to futile wrath turns the sea,
     Manannan, making his way with glee,
Tightens his grip and trims his sail.

In a stinging salt-spray haze he's whirled,
At him the wrath of waves is hurled--
     Over him they break, like soldiers on a wall,
     Above him the gulls, in brazen voices call--
And with a flag, his sail unfurled, he skims across the frozen world.

He turns his prow to the midnight land of sun and sea and sky,
And sails in the gleaming snow of the ice that will not die--
     Across the world's ridge, he slowly spreads his sails,
     And beaches his boat on the barren backs of whales,
And gulls about him fly.

As the wind, Manannan is free.
He sails across the sullen sea,
     And though the proud waters permit no track,
     Mac Lir, with a cloak from a leathern sack,
Is master there, aye master, for all eternity.

--Matthew Duckworth
from Unrecognized Poems of Literary Merit
by Mrs. Covell's A-P English Class
1978-1979.

--I just found this old volume in a box in my study, recently pulled out of the garage.
Juvenilia, by any other name . . . .

Swell: Captive in Clay

The Captive, Unbound (Nisus):
sculpture mix; shino and transparent brown glazing;
copper wire, beaten.

Looking back: 07/18/13

Here's a link you may like if you like this shot--the full graphic-visual scenario--
"Surviving the Shipwreck".

Byron: "An Erring Spirit From Another Hurled"

Here’s a passage from Lord Byron’s “Lara”, that sequel to “The Corsair”, in which the Miltonic basis of that literary paradigm ‘The Byronic Hero’ can be seen in the first lines of Part 18.  I think we hear a little Pope, Johnson, and Shakespeare in the passage too, but shaken and twisted in that English Romantic hurlyburly of a soul.    Or, that’s what I think.

Here’s the passage, Parts 17 and 18 from Canto I of “Lara”, borrowed from the Project Gutenberg edition:


XVII.
In him inexplicably mixed appeared
Much to be loved and hated, sought and feared;
Opinion varying o'er his hidden lot,
In praise or railing ne'er his name forgot:
His silence formed a theme for others' prate—
They guessed—they gazed—they fain would know his fate.
What had he been? what was he, thus unknown,
Who walked their world, his lineage only known?
A hater of his kind? yet some would say,
With them he could seem gay amidst the gay;
But owned that smile, if oft observed and near,
Waned in its mirth, and withered to a sneer;
That smile might reach his lip, but passed not by,
Nor e'er could trace its laughter to his eye:
Yet there was softness too in his regard,
At times, a heart as not by nature hard,
But once perceived, his Spirit seemed to chide
Such weakness, as unworthy of its pride,
And steeled itself, as scorning to redeem
One doubt from others' half withheld esteem;
In self-inflicted penance of a breast
Which Tenderness might once have wrung from Rest;
In vigilance of Grief that would compel
The soul to hate for having loved too well.

XVIII.
There was in him a vital scorn of all:
As if the worst had fallen which could befall,
He stood a stranger in this breathing world,
An erring Spirit from another hurled;
A thing of dark imaginings, that shaped
By choice the perils he by chance escaped;
But 'scaped in vain, for in their memory yet
His mind would half exult and half regret:
With more capacity for love than Earth
Bestows on most of mortal mould and birth.
His early dreams of good outstripped the truth,
And troubled Manhood followed baffled Youth;
With thought of years in phantom chase misspent,
And wasted powers for better purpose lent;
And fiery passions that had poured their wrath
In hurried desolation o'er his path,
And left the better feelings all at strife
In wild reflection o'er his stormy life;
But haughty still, and loth himself to blame,
He called on Nature's self to share the shame,
And charged all faults upon the fleshly form
She gave to clog the soul, and feast the worm:
Till he at last confounded good and ill,
And half mistook for fate the acts of will:
Too high for common selfishness, he could
At times resign his own for others' good,
But not in pity—not because he ought,
But in some strange perversity of thought,
That swayed him onward with a secret pride
To do what few or none would do beside;
And this same impulse would, in tempting time,
Mislead his spirit equally to crime;
So much he soared beyond, or sunk beneath,
The men with whom he felt condemned to breathe,
And longed by good or ill to separate
Himself from all who shared his mortal state;
His mind abhorring this had fixed her throne
Far from the world, in regions of her own:
Thus coldly passing all that passed below,
His blood in temperate seeming now would flow:
Ah! happier if it ne'er with guilt had glowed,
But ever in that icy smoothness flowed!
'Tis true, with other men their path he walked,
And like the rest in seeming did and talked,
Nor outraged Reason's rules by flaw nor start,
His Madness was not of the head, but heart;
And rarely wandered in his speech, or drew
His thoughts so forth as to offend the view.

Introducing Fern Capel

I'll quote a lengthy paragraph from the first chapter of Jan Siegel's Prospero's Children.  I am tempted to quote something about the elemental mermaid from the rather gripping, rather fantastic prologue, but the novel really gets going with the introduction of our main character: so sensible, so grounded Fernanda Capel.

That was the beginning, she decided long afterward.  The meeting at the gallery, the sense of menace, the picture.  The incident seemed trivial enough at the time but it left her feeling vaguely perturbed, as if the outlying penumbra of some far-flung shadow had brushed the borderline of her bright safe world, or she had caught a few isolated notes of an eerie music which would soon come booming from every corner of the universe, obliterating all other sound.  The events of that extraordinary and terrifying summer became perhaps easier to assimilate because she was in some sort prepared: from the moment of that initial encounter an unfamiliar atmosphere began to seep into her life, unsettling her, unbalancing her cultivated equilibrium, making her vulnerable, unsure, receptive to change.  She was sixteen years old, well-behaved, intelligent, motivated, a product of the Eighties in which she lived, viewing the world with a practical realism engendered by the early death of her mother and the responsibilities which had devolved on her as a result of it.  Her father's easygoing manner had acquired its undercurrent of anxiety from that time, left alone with a small daughter and smaller son, but it was Fern who had gradually taken charge of the household, trading au pair for housekeeper, seeing the bills were paid, bossing her surviving parent, attempting to boss her younger brother.  She had coasted through puberty and adolescence without rebellion or trauma, avoiding hard drugs, excessive alcohol, and underage sex.  Her future was carefully planned, with no room for surprises.  University; a suitable career; at some point, a prudent marriage.  She thought of herself as grown-up but behind the sedate facade she was still a child, shutting out the unknown with illusions of security and control.  That summer the illusions would be dissipated and the unknown would invade her existence, transforming the self-possessed girl into someone desperate, frightened, uncertain, alone--the raw material of an adult.


--Jan Siegel, Prospero's Children, A Del Rey Book, Random House: New York, 2001.  Pages 16-17.

Now some will say that there's far too much telling and not enough showing in the above paragraph, and I can see the point of such an observation.  I can also see the point of laying out the larger trajectory of Fern's summer, her transformation, in one such paragraph and then devoting three hundred pages to the How of that summer, that transformation.  Desperation, fright, uncertainty, isolation: those are crucial ingredients of the stew of life, the factors without which we may never mature.

Fern Capel's career spans three books: Prospero's Children, The Dragon Charmer, and The Witch Queen.  I recall reading somewhere that Jan Siegel was interested in taking the child-hero of the classics of the fantasy field--the Narnia books, The Dark is Rising books, and so forth--from that special, fantastic, and haunted childhood into adulthood.  For as we all know, stories never really end, not even when the books are unwritten . . . .

Passages: Lord Byron's "A Fresher Growth"

The beings of the mind are not of clay;

Essentially immortal, they create

And multiply in us a brighter ray

And more belov'd existence: that which Fate

Prohibits to dull life, in this our state

Of mortal bondage, by these spirits supplied,

First exiles, then replaces what we hate;

Watering the heart whose early flowers have died,

And with a fresher growth replenishing the void.

--Lord Byron, from Canto IV of "Childe Harold's Pilgrimage"

The merest sampling, but a stanza that called to me, as it were.

I hadn't realized how much I miss my Byron--with all the wit, the satire, the wild stories, and the heart, the absolute heart--until I finished Dorothy Dunnett's Checkmate, the final novel in the Francis Crawford of Lymond Chronicles, her own oft-maligned, oft-misunderstood, oh so witty, skilled, and wilful Byronic hero.

I'll have to put my copies of Childe Harold's Pilgrimage and Don Juan a bit closer to hand in the evenings.