Monday, 19 August 2024

A Diptych on the Creation of Man

A Question

 
A voice said, Look me in the stars 
And tell me truly, men of earth, 
If all the soul-and-body scars
Were not too much to pay for birth.

~ Robert Frost. Text from Archive.org

Imagines mortis the dance of death 0102 The creation of Eve The fall of man PK-P-127.375 - recto

Matins

 
Unreachable father, when we were first
exiled from heaven, you made
a replica, a place in one sense
different from heaven, being
designed to teach a lesson: otherwise
the same--beauty on either side, beauty
without alternative--Except
we didn't know what was the lesson. Left alone,
we exhausted each other. Years
of darkness followed; we took turns 
working in the garden, the first tears
filling our eyes as earth 
misted with petals, some
dark red, some flesh colored--
We never thought of you
whom we were learning to worship.
We merely knew it wasn't human nature to love
only what returns love.

~ Louise Glück, The Wild Iris (London: Carcanet, 1992), p 3

Wednesday, 14 August 2024

A Diptych on Dreaming of Home

Two poems that go together when I think about my experiences of home across seven cities in three countries.

Where We Are

i envy those
who live in two places:
new york, say, and london;
wales and spain;
l.a. and paris;
hawaii and switzerland. 

there is always the anticipation
of the change, the chance that what is wrong
is the result of where you are. i have
always loved both the freshness of
arriving and the relief of leaving. with
two homes every move would be a homecoming.
i am not even considering the weather, hot
or cold, dry or wet: i am talking about hope. 

Gerald Locklin, source, Good Poems, p. 286

Stepping Out of Poetry

What would you give for one of the old yellow streetcars
rocking toward you again through the thick snow?

What would you give for the feeling of joy as you climbed
up the three iron steps and took your place by the cold window?

Oh, what would you give to pick up your stack of books
and walk down the icy path in front of the library?

What would you give for your dream
to be as clear and simple as it was then
in the dark afternoons, at the old scarred tables? 
 
~ Gerald Stern, Good Poems, p. 328

Saturday, 10 August 2024

Furious Wings

The Dragon and the Undying

All night the flares go up; the Dragon sings
And beats upon the dark with furious wings;
And, stung to rage by his own darting fires,
Reaches with grappling coils from town to town;
He lusts to break the loveliness of spires,
And hurls their martyred music toppling down. 

Orphrey (trim) fragment showing St Margaret (15th Century), Landesmuseum für Kunst und Kulturgeschichte, Münster

Yet, though the slain are homeless as the breeze,
Vocal are they, like storm-bewilder'd seas.
Their faces are the fair, unshrouded night,
And planets are their eyes, their ageless dreams.
Tenderly stooping earthward from their height,
They wander in the dusk with chanting streams,
And they are dawn-lit trees, with arms up-flung,
To hail the burning heavens they left unsung.

February 1916

Siegfried Sassoon, The War Poems (London, 1983), p. 23

Sunday, 4 August 2024

Learning New Words with Lymond: D is for Decorticate

Welcome to our fourth episode of  Learning New Words with Lymond, in which I blog my way through the rare and obscure words used in Dorothy Dunnett's The Game of Kings. The first of the six books in the Lymond Chronicles, Game of Kings follows the eventful return of its eponymous character, a fictional Scottish nobleman named Francis Crawford of Lymond, to mid-sixteenth century Scotland. Described on the back of my copy as "a scapegrace of crooked felicities and murderous talents, possessed of a scholar's erudition and a tongue as wicked as rapier," Lymond is one of the great (anti)heroes of fiction, and Dunnett's writing is one of my personal touchstones: baroque, playful, savage, and dazzling intricate. Frequent use of rare and obsolete words are one of the principal ways in which which this complexity is achieved.

In these posts, I aim to enjoy my favourite sesquipedalians. What do these words mean? Why do they make sense in context? How do they enhance our understanding and enjoyment of what is happening in the story? I hope this provides me--and any fellow Dunnett fans who stumble on these posts--two opportunities.

  1. To learn new words!
  2. To bask in the beauty and complexity of Dunnett's writing.

This occasional series wends its through the alphabet from A to Z.

We continue with words beginning with the letter 'd'...

dammar

He was bearded like a Dammar pine, of the fashion of prophets and pards, one hair sitting here, another there. p. 429

A type of pine tree yielding resin; depending on the species of tree, used to make resin, varnish, or a substitute for pitch in caulking ships. The needles and branches don't look especially beard-like to me but then neither does the proverbial beard of the pard (panther). (OED)

dancetté

The moon copied on the cobbles the profile of all the new, high houses: the thatched gables and uncertain slates and the dancetté roofs; and the gutters ran in and out of the shadows like pied and silvery eels. p. 533

Another architectural term, usually used to refer to "zigzag or chevron moulding" (OED); it's found in Francis Grose's The Antiquities of Scotland to describe zigzag ornament around a door (if you've ever seen the doorways of Norman church or cathedral, you've probably seen this). It's the beauty of the gutters in the nighttime, of all things, that gets me. "Pied and silvery eels." Glorious.

decorticate

If I allowed any one of your dear old friends now on Crawfordmuir to hear this they would decorticate you like an onion, and you'd deserve it. Next time I shall inform them myself. Is that clear? p. 255 
It's clear from context that decorticate is a fancy word for 'peel'; it also means "to remove the bark, rind, or husk from; to strip of its bark." Figuratively, it is also a verb meaning "to expose," "to flay," or "to divest of what conceals" (OED). Will Scott here is getting upbraided by Lymond for attempting to meet in secret with his father (something the rest of Lymond's followers don't know about); so even though the literal meaning is clearly intended, the figurative one also applies in two different senses for the scene's two secrets.
 

decumbiture

Sitting before the fire, a sweet and ample version of pink and gold, was Molly. Divorced from the glittering background of the Ostrich, the shining hair and limpid eyes were emblems of innocence: she looked as if she had been attending decumbitures all her life. p. 295

A fancy word for a sickbed; also describes the act of taking to a sickbed, or the time at which one does so, or even just lying down in general. Also an astrological term for a figure set up when a person takes to their sickbed, which can predict whether they recover. (OED) This seems like a fun word to keep in store for the next time I come down with a terrible cold and am feeling especially vile.

dempster

Abandoning sense, revenge, and the role of complacent dempster and letting reason fly like a hag through the night wind, Richard Crawford struck off through the darkness, plunging over myrtle and bracken and torn boughs and boulders, between thorn and furze and blurred trees and low thickets, in the direction last taken by his brother. p. 454

Dempster is a medieval word for a judge; in early modern Scotland, a dempster was the clerk in the courtroom who pronounced the sentence handed down by the judge. (OED) Richard Crawford's stubborn effort to save his brother despite himself is one of my favourite sections of the novel. Also, "letting reason fly like a hag through the night wind" is a delight of a simile.

divot

"All right, but remember, although you've bought the rights of fuel, feal, and divot, I shan't be lying here like an upset sheep forever." p. 461 
I added this word to the list because divot is clearly not being used in its most common meaning, a small dent or hole. The phrase "feal and divot" is from Scottish law, "a rural servitude, importing a right in the proprietor of the dominant tenement to cut and remove turf for fences or for thatching or covering houses or the like purposes, within the dominant lands." (OED) An interesting insight into Lymond's feelings about needing his brother's care to get well.   

douce

"Don't be deceived," said Lymond with equal dryness. "That's only remorse because he bit me and I didn't bite back. He'll settle in time into a decent, douce Buccleuch." p. 460

A medieval from Norman French adjective meaning "sweet, pleasing or gentle"; in its Old French (12th century) usage, it also means "well-behaved, prudent". (OED) Having matured in Lymond's following, Will Scott has a different future in store.

dub

Dod, d'ye need a dub and a whistle? p. 510

More fun with old and obsolete meanings of words! It's the "beat of a drum; the sound of a drum when beaten." (OED) Will Scott, having twice failed to intervene in Lymond's trial, is being gently mocked by his father for his failure. 

Dumyat

"You're so small. I have something for you, my lady, but it's like Abbey Craig speaking to Dumyat. Perhaps, if you'll allow me, we should settle our differences first." p. 228

Dumyat is hill in central Scotland; Abbey Craig, nearby, is less than half its height. An utterly charming small scene between Agnes Herries, a young heiress with romantic notions of how she wants to be wooed, and her husband-to-be, who is indulging them. You don't get many moments of pure fluff and cuteness in a Dunnett novel, but this is one of them.

dwale

"And then food. Is he choosy? We could manage stavesacre and dwale, with a little fool's parsley and half a thorn apple, stewed, with toadstools." p. 368

Dwale is the late medieval and early modern name for deadly nightshade (belladonna); every single plant listed here is poisonous. Kate Somerville, speaking here to her husband about keeping Lymond captive in their house, is still angry about the theft of her family's livestock and the interrogation of her daughter.