Doubling

“When I Have Fears”

-John Keats (1818)

When I have fears that I may cease to be

Before my pen has gleaned my teeming brain,

Before high-pilèd books, in charactery,

Hold like rich garners the full ripened grain;

When I behold, upon the night’s starred face,

Huge cloudy symbols of a high romance,

And think that I may never live to trace

Their shadows with the magic hand of chance;

And when I feel, fair creature of an hour,

That I shall never look upon thee more,

Never have relish in the faery power

Of unreflecting love—then on the shore

Of the wide world I stand alone, and think

Till love and fame to nothingness do sink.

 

“Mezzo Cammin*”

-Henry Wadsworth Longfellow (1842)

Written at Boppard on the Rhine August 25, 1842,
Just Before Leaving for Home

Half of my life is gone, and I have let

The years slip from me and have not fulfilled

The aspiration of my youth, to build

Some tower of song with lofty parapet.

Not indolence, nor pleasure, nor the fret

Of restless passions that would not be stilled,

But sorrow, and a care that almost killed,

Kept me from what I may accomplish yet;

Though, half-way up the hill, I see the Past

Lying beneath me with its sounds and sights,—

A city in the twilight dim and vast,

With smoking roofs, soft bells, and gleaming lights,—

And hear above me on the autumnal blast

The cataract** of Death far thundering from the heights.

*from the first line of Dante’s Divine Comedy: “Nel mezzo del cammin di nostra vita” (“Midway upon the journey of our life”).

**A large waterfall

As you can see, these are two poems. I will now proceed to analyze them, so if you don’t enjoy that sort of thing, you can leave now. TAT

Both poems generally seem to have to do with the lack of importance our lives have on the world through the passage of time. For the first poem, the writer chooses to first describe fame, then love, and finally how it all does not matter in the end. In the second poem, the passage of time is described first, followed by their lack of achievements linked to their attachments and fallen dreams, wrapping back around to the past.

In the first poem, the speaker tells of how they feel afraid that their existence does not matter, leading to them worrying about all that could happen until everything really does disappear.

I feel like the message the author in this poem is trying to convey is that you shouldn’t worry about what could happen and instead should focus on what is happening in the present so as to not let opportunities slip through your fingers.

In the second poem, the speaker’s chances have already slipped away because they were too focused on their attachments (it is not clear if it was to a person or an object). They allowed themselves to only pay attention to the past and, as a result, destroyed their own future.

For this poem, the author seems to be trying to convey that too much attachment to the past can ruin your life, so you should keep some awareness for the future as well as your present.

When comparing the two, both authors are warning against worrying or becoming too attached to a time period in your life, whether it has already happened, is occurring, or might come to pass. I must admit that this is a very broad generalization of the messages of the two poems, but it is the main connecting bridge that I am able to observe.

Conveniently, there is a lovely essay prompt that goes with these two poems (ToT) that goes something like this:

In the two poems below, Keats and Longfellow reflect on similar concerns. Read the poems carefully. Then write an essay in which you compare and contrast the two poems, analyzing the poetic techniques each writer uses to explore his particular situation.

Sooo… poetic techniques? Diction, ethos, pathos, logos, symbols…. (lol, just kidding 😉 )

Anyway, this isn’t really that obvious, but both poems are really one giant sentence. These giant sentences both end with a semblance of finality that everything will have no point to it if certain conditions are (or are not) met.

Too broad? Okay, well in the first poem, the speaker mentions that they would “stand alone, and think/ till love and fame to nothingness sink”, which seems pretty clear to me. and in the second poem, the speaker describes how they will hear the waterfall “of Death far thundering from the heights”, which I have interpreted to mean that as they look back on the past and feel regretful as their death approaches. When people die, it is commonly assumed that their time in the world of the living is over and, for people who don’t believe in an afterlife, that their existence disappears, whether quickly or over time, when their friends and relatives are long gone.

While the first poem does not name any time period in particular, it is made clear by the wording and tense that the speaker was too worried about what could be to realize what they were missing in the present. The second poem is the opposite in that the speaker directly names the past as a source of the problem; although, the problem is disguised as an obsession with the present.

If I were to organize this essay, I would have it as follows:

  • Interesting Introduction (?)
    • Thesis: In John Keats’ “When I Have Fears” and Henry Wadsworth Longfellow’s “Mezzo Cammin”, they address the tendency of people to disregard the present in favor of other times.
  • Body Paragraph 1: Attachment to periods of time
    • Topic Sentence: In both poems, the speaker is obsessed with thoughts of a period in their life other than the one that decides their future… the present.
    • Poem 1: no longer see love, not achieve goals, before making progress -> lost opportunities
    • Poem 2: passage of time w/out realization, strong attachment (sorrow and caring), image of past -> fallen dreams, lost opportunities
    • Comparison of Both
  • Body Paragraph 2: Sentence Structure
    • Topic Sentence: Interestingly enough, the structure of the two poems reflect the  thought patterns of the speakers.
    • Poem 1: thoughts of future -> things lost
    • Poem 2: thoughts of things lost -> reasons why, regret
    • Comparison of Both: analysis of punctuation and placement
  • Body Paragraph 3 (can be excluded): Word Choice (diction~ >:) )
    • Topic Sentence: Both poems describe different causes of a similarly catastrophic result in the speakers’ lives; however, pinpointing the exact cause and effect is not as simple as it may first appear.
    • describe imagery and effects of certain choices of description
    • Poem 1: garners, hand of chance, fair creature (lover), relish (& faery power), love
    • Poem 2: Mezzo Cammin (title, Dante’s Comedy is a poem that has to do with the soul’s journey towards God (source: Wikipedia)), indolence, aspirations (dreams), “a care that almost killed” (possible suicide?), lofty parapet, “Past” (possibly capitalized to emphasize and draw attention)
    • Comparison (as usual :3 )
  • Good Conclusion (lol)

 

Grass Ties

john-william-waterhouse-ophelia-1345239159_b

Ophelia (1894)

So, while searching for images inspired by Hamlet, I came across this painting of Ophelia by John William Waterhouse.

Apparently, it is not his only painting of Ophelia, as he has, at the very least, two others. One made in 1889 and the other in 1910.

jww_ophelia_1889

Ophelia (1889)

ophelia_1910

Ophelia (1910)

There is a third that is called Gather Ye Rosebuds, which may or may not be a study of Ophelia as well.

gather_ye_rosebuds_-_ophelia

Gather Ye Rosebuds or Ophelia (a study) (1908)

I will be mostly speaking about the first painting in this post, but I thought it was interesting that he had so many different interpretations. (My source for the above was Wikipedia 😉 )

So, this painting (see right to refresh your memory 🙂 ) john-william-waterhouse-ophelia-1345239159_bappears to depict Ophelia before her death, described by the words:

There is a willow grows askant the brook

That shows his hoar leaves in the glassy stream:

Therewith fantastic garlands did she make

Of crowflowers, nettles, daisies, and long purples,

I know that the quote kind of cuts off… but, I thought this excerpt best fit the image that Waterhouse depicted in his painting. Although, cornflowers, daisies, and nettles seem to be what most of her garlands are made of. I really don’t see any long purples.

long purples

nettles

crowflower?

Okay, to be honest I’m not entirely sure which flower is supposed to be a crowflower, but I think that the picture I found is the safest bet, so I went with it.

I left out a picture of a daisy since they are a pretty common symbol/image/flower used nowadays in pretty much everything you can think of. (Example: typical bouquets/gift baskets, as a cute/girly image for marketing products, etc.)

The exact medium of this painting is oil on canvas, and I believe it is held in a private collection at present, but my sources (the Internet, all-powerful and all-knowing) could be wrong (I didn’t check to see when the information was last updated).

I read somewhere on the World Wide Web that his three paintings of Ophelia represent the events leading up to her death (her youth, when she was in love, and when she went insane), so that might point towards why each painting seems to be an almost completely different interpretation of Ophelia and what she is supposed to be like.

Anyway, I like Waterhouse’s depictions of Ophelia because he emphasizes her close relationship to nature and flowers, making her a much more interesting character than if you just read the play without analyzing it (which makes her seem much more bland). In fact, I didn’t quite realize her connection with nature until after I saw all three of these paintings together.

Also, you know how Hamlet’s famous “to be or not to be” speech is supposed to be about him contemplating suicide? Well, looking at this painting one way, it almost seems like Ophelia is going through the same thing with her aloofness and separation from the rest of the world. Looking at it another way, it might seem like Ophelia’s eventual fate (if you believe she committed suicide) was because of a loss of her will to live after her father was killed by Hamlet, who was supposed to love her and whom she may or may not have loved. And her aloofness in the painting is not caused by her contemplating her demise, but about her contemplating her love for Hamlet, or even her following through with her brother and fathers’ requests for her to stay away from him.

If you do not believe she committed suicide, but rather fell into the water by accident during her madness, this scene explains why she would have been there in the first place: because it was a favorite place of hers to rest and maybe enjoy the scenery, to be at peace. Maybe it even calmed her down to be there. (See? Nature.)

If you do not believe she committed suicide and do not believe she was really crazy, this scene could depict her moments before she died and it may have been that she was pushed in to the water (murdered) by Horatio (who was sent to watch her by Claudius) or even Claudius himself because they viewed her as a hindrance. They may even have knocked her over the head first, which would explain why, if she was not truly insane, she was unable to save herself before she drowned.

Another option is that her food was poisoned, which led to her falling into the water. After all, I’m sure all of us who have read Hamlet are very aware of Claudius’ love for poisons. Claudius may even have foreseen that it would enrage Laertes (her brother) further, and took steps to ensure that Ophelia would not survive long after her father’s death.

I say all this, but it’s all pure speculation. Since Ophelia’s death is not explicitly explained in the play, all of these are equally possible in my mind, and there are even more possibilities that I have left unexplored. In the end, it all comes down to which scenario you choose to believe.

Yet Another Unrecognized Person

I found this person by looking at one of those top 10 lists that I don’t really care for. I was hoping I could write about another brilliant, but widely unrecognized woman because I am a moderate feminist at heart, but sadly none of their stories jumped out at me (except for maybe Empress Myeonseong, but her story made me sad, so I decided against depressing myself).

In the end, I chose #10, Nicolas Steno, to discuss in this post. Not because he was the first you see at the top of the page (although, that is a tempting thing to do), but because he was a scientist, despite being an influential Bishop and having a lot of religious zeal, which I thought that was interesting.

Nicolas Steno… *cough* Niels Stensen (Latinized: Nicolaus Stenonis/Stenonius)… was born on the 11th of January, in the year of 1638. He was the son of a Lutheran goldsmith, and later, the stepson of another goldsmith.

For much of his life, he was on the move, traveling across Europe, and came into contact with many prominent physicians and scientists, which influenced him to make important scientific discoveries using his powers of observation.

At the time, “scientific questions were mostly answered by appeal to ancient authorities” and Steno’s observations often “differed from traditional doctrines” (Wikipedia). Even so, he often questioned them, trusting his own observations, and as a result, “his investigations and his subsequent conclusions on fossils and rock formation have led scholars to consider him one of the founders of modern stratigraphy and modern geology” (Wikipedia).

In 1667, he converted to Catholicism and soon after, “his interest for natural sciences rapidly waned giving way to his interest in theology” (Wikipedia).

In 1675, he had decided to become a priest and “was ordained in the Catholic clergy in Easter”, four months later (Wikipedia). He was later “appointed by Pope Innocent XI Vicar Apostolic of Nordic Missions and Titular Bishop of Titopolis” (Wikipedia). After his death (December 5, 1686), he was “venerated as a Saint” and later “beatified by Pope John Paul II (in 1988)” (Wikipedia).

In short, he made full use of his eyes and his mind to understand and learn more about the world around him, while maintaining a powerful faith the entire time.

https://en.wikipedia.org/wiki/Nicolas_Steno

Transcendentalism In Short

Wikipedia defines transcendentalism as “a religious and philosophical movement that developed during the late 1820s and ’30s in the Eastern region of the United States as a protest against the general state of spirituality and, in particular, the state of intellectualism at Harvard University and the doctrine of the Unitarian church as taught at Harvard Divinity School”

In other words, transcendentalism was a movement that disliked any form of authority and felt that religious hierarchies strayed away from the true methods and teachings of the religion (specifically Christianity). It was also known as Light Romanticism, so if you were ever wondering who the opposite of the Dark Romantics were; here they are!

Dark Romanticism and Light Romanticism actually have a lot in common (they really liked spending time in nature), except Light Romantics don’t believe in the supernatural and they also feel that the unknown and “higher” things in life can be discovered and understood by humans (the “lesser beings”).

Key transcendentalists include Henry David Thoreau, Walt Whitman, and Ralph Waldo Emerson. You can find signs of transcendentalism in popular works today from Star Wars (especially the one with the ewoks) to The Lion King.

Not too much today, but I’ll try to come up with more for next time. May the force (fourth) be with you!