SUPPORT FOR IMAGINING STORIES THROUGH MUSICAL RHYTHM
I have found the rhythm of Beethoven's Ninth Choral Symphony very supportive in helping imagine the story of The Green Snake and The Beautiful Lily.
With a good feel for the story, moving through the movements, the rhythm encouraged me to imagine the path of the story from beginning to end.
The beginning of the first movement enabled a theatre in the mind of the Ferryman "having" to transport the frivolous Will-o'- wisps across the River. Then subsequently through the successive movements the initial conversation between the Golden King and the Green Snake, the Woman with the basket rushing around, the youth becoming unconscious through the touch by the Lily, his gradual regaining of consciousness and development through conversation with the kings and the Man with the Lamp.
Finally, through Chorus, the (ode to) joy of two communities becoming one through the sacrifice of the Green Snake forming herself into a resplendent bridge between two communities on opposite sides of a River.
I sensed in this experience the ultimate communal benefit of the many diverse characters in the story gradually becoming able to "talk one to the other" as gesprach has been translated in a YouTube presentation of the story originating in America.
Revelations for ourselves through allowing this theatre of the mind to be present in our day to day lives is boundless.
Saturday 29 December 2018
Thursday 22 November 2018
THE RISING OF THE TEMPLE
This phase in the story is very much about the reaching of a very important time. A time which is felt and understood by a whole environment. Not necessarily spoken about, just known - understood.
Scarcely had the Beautiful Lily spoken - when she clasped the old Man still faster; for the ground began to move beneath them; the Youth and the old Woman also held one another; the Will-o'-wisps alone did not regard it.
You could feel plainly that the whole temple was in motion; as a ship that softly glides away from the harbour, when her anchors are lifted; the depths of the Earth seemed to open for the Building as it went along. It struck on nothing; no rock came in its way.
The old Man had just used the words "The Time is at Hand" when speaking with the Lily.
The old Man held the fair Lily fast and said to her: "We are now beneath the River; we shall soon be at the mark."
Ere long they thought the Temple made a halt; but they were in error; it was mounting upwards.
And now a strange uproar rose above their heads. Planks and beams in disordered combination now came pressing and crashing in at the opening of the dome. Lily and the Woman started to a side; the Man with the Lamp laid hold of the Youth and kept standing still. The little cottage of the Ferryman, - for it was this which the Temple in ascending had severed from the ground and carried up with it, - sank gradually down and covered the old Man and the Youth.
…………………………………………………………………………………….
What is being represented here by Goethe in this very imaginative scene?
Use of the words, for the third and final time in the story "The Time is at Hand." and "we shall soon be at the mark."
A significant moment in the continuing development of the characters, how they enjoin together as a community: one community instead of two separate ones. How is the "Time" known by the Man with the Lamp and what is the "mark" he speaks of? Please share thoughts.
This phase in the story is very much about the reaching of a very important time. A time which is felt and understood by a whole environment. Not necessarily spoken about, just known - understood.
Scarcely had the Beautiful Lily spoken - when she clasped the old Man still faster; for the ground began to move beneath them; the Youth and the old Woman also held one another; the Will-o'-wisps alone did not regard it.
You could feel plainly that the whole temple was in motion; as a ship that softly glides away from the harbour, when her anchors are lifted; the depths of the Earth seemed to open for the Building as it went along. It struck on nothing; no rock came in its way.
The old Man had just used the words "The Time is at Hand" when speaking with the Lily.
The old Man held the fair Lily fast and said to her: "We are now beneath the River; we shall soon be at the mark."
Ere long they thought the Temple made a halt; but they were in error; it was mounting upwards.
And now a strange uproar rose above their heads. Planks and beams in disordered combination now came pressing and crashing in at the opening of the dome. Lily and the Woman started to a side; the Man with the Lamp laid hold of the Youth and kept standing still. The little cottage of the Ferryman, - for it was this which the Temple in ascending had severed from the ground and carried up with it, - sank gradually down and covered the old Man and the Youth.
…………………………………………………………………………………….
What is being represented here by Goethe in this very imaginative scene?
Use of the words, for the third and final time in the story "The Time is at Hand." and "we shall soon be at the mark."
A significant moment in the continuing development of the characters, how they enjoin together as a community: one community instead of two separate ones. How is the "Time" known by the Man with the Lamp and what is the "mark" he speaks of? Please share thoughts.
Saturday 27 October 2018
ENTERING THE SANCTUARY
The Man with the Lamp said, in a respectful tone to the Will-o'-wisps, "Gentlemen, I will now show you the way and open you the passage; but you will do us an essential service, if you please to unbolt the door, by which the Sanctuary must be entered at present and which none but you can unfasten."
The Will-o'-wisps made a stately bow of assent and kept their place. The old Man went foremost into the rock, which opened at his presence; the Youth followed him, as if mechanically; silent and uncertain. Lily kept at some distance from him; the old Woman would not be left and stretched out her hand, that the light of her husbands Lamp might still fall on it. The rear was closed by the two Will-o'-wisps, who bent the peaks of their flames towards one another and appeared to be engaged in conversation.
They had not gone far till the procession halted in front of a large brazen door, the leaves of which were bolted with a golden lock. The Man now called upon the Will-o'-wisps to advance; who required small entreaty and with their pointed flames soon ate both bar and lock. The brass gave a loud clang, as the doors sprang suddenly asunder and the stately figures of the Kings appeared within the Sanctuary, illuminated by the entering Will-o'-wisps.
All bowed before these dread sovereigns, especially the Will-o'-wisps made a profusion of the daintiest reverences.
The Gold King asked, after a pause: "Whence come ye?"
The Man replied: "From the world."
The Silver King said, "Whither go ye?
The Man replied: "Into the world."
The Brazen King cried: What would ye with us?
The Man replied: "Accompany you."
The Composite King was about to speak when the Gold King addressed the Will-o'-wisps who had got too near him: "Take yourselves away from me, my metal was not made for you."
Thereupon they turned to the Silver King and clasped themselves about him and his robe glittered
beautifully in their yellow brightness.
The Silver King said: You are welcome but I cannot feed you; satisfy yourselves elsewhere and bring me your light."
They removed and gliding past the Brazen King, who did not seem to notice them, they fixed on the compounded King.
The Compounded King cried with a broken voice: "Who will govern the world?"
The Man replied: "He who stands upon his feet."
The Mixed King said: "I am he."
The Man replied: "We shall see, for the time is at hand."
The fair Lily fell upon the old Man's neck and kissed him cordially.
The fair Lily cried: "Holy Sage! A thousand times I thank thee; for I hear that fateful word the third time."
The Man with the Lamp said, in a respectful tone to the Will-o'-wisps, "Gentlemen, I will now show you the way and open you the passage; but you will do us an essential service, if you please to unbolt the door, by which the Sanctuary must be entered at present and which none but you can unfasten."
The Will-o'-wisps made a stately bow of assent and kept their place. The old Man went foremost into the rock, which opened at his presence; the Youth followed him, as if mechanically; silent and uncertain. Lily kept at some distance from him; the old Woman would not be left and stretched out her hand, that the light of her husbands Lamp might still fall on it. The rear was closed by the two Will-o'-wisps, who bent the peaks of their flames towards one another and appeared to be engaged in conversation.
They had not gone far till the procession halted in front of a large brazen door, the leaves of which were bolted with a golden lock. The Man now called upon the Will-o'-wisps to advance; who required small entreaty and with their pointed flames soon ate both bar and lock. The brass gave a loud clang, as the doors sprang suddenly asunder and the stately figures of the Kings appeared within the Sanctuary, illuminated by the entering Will-o'-wisps.
All bowed before these dread sovereigns, especially the Will-o'-wisps made a profusion of the daintiest reverences.
The Gold King asked, after a pause: "Whence come ye?"
The Man replied: "From the world."
The Silver King said, "Whither go ye?
The Man replied: "Into the world."
The Brazen King cried: What would ye with us?
The Man replied: "Accompany you."
The Composite King was about to speak when the Gold King addressed the Will-o'-wisps who had got too near him: "Take yourselves away from me, my metal was not made for you."
Thereupon they turned to the Silver King and clasped themselves about him and his robe glittered
beautifully in their yellow brightness.
The Silver King said: You are welcome but I cannot feed you; satisfy yourselves elsewhere and bring me your light."
They removed and gliding past the Brazen King, who did not seem to notice them, they fixed on the compounded King.
The Compounded King cried with a broken voice: "Who will govern the world?"
The Man replied: "He who stands upon his feet."
The Mixed King said: "I am he."
The Man replied: "We shall see, for the time is at hand."
The fair Lily fell upon the old Man's neck and kissed him cordially.
The fair Lily cried: "Holy Sage! A thousand times I thank thee; for I hear that fateful word the third time."
Saturday 15 September 2018
POTENTIAL SIGNIFICANCE OF GOETHE'S CHARACTERS IN THE PRESENT DAY
This Post explores the above reflective question - half way through the Story.
Goethe wrote the Fairy Tale - The Green Snake and The Beautiful Lily - at the time of the French Revolution in response to Schiller's essays about the moral plight of man. Goethe felt at home with imaginative story writing to portray a point. He did this through the nature, role and activities of the nineteen characters present in the Story.
Taken as a whole they formed a community. A community of very diverse individuals. At the beginning they were all travelling their own paths, quite unconnected with each other. By the end they were all one community, incredibly united, all using their talents in total harmony.
Schiller was concerned about how the lands and communities in the region we now call Europe would become healed, work and Be together. Goethe's response was through the Fairy Tale.
I publish this beginning of the Post straight away, the 16th of September, and will add to it over the coming weeks. If you have reflective questions within this context please ask them.
This Post explores the above reflective question - half way through the Story.
Goethe wrote the Fairy Tale - The Green Snake and The Beautiful Lily - at the time of the French Revolution in response to Schiller's essays about the moral plight of man. Goethe felt at home with imaginative story writing to portray a point. He did this through the nature, role and activities of the nineteen characters present in the Story.
Taken as a whole they formed a community. A community of very diverse individuals. At the beginning they were all travelling their own paths, quite unconnected with each other. By the end they were all one community, incredibly united, all using their talents in total harmony.
Schiller was concerned about how the lands and communities in the region we now call Europe would become healed, work and Be together. Goethe's response was through the Fairy Tale.
I publish this beginning of the Post straight away, the 16th of September, and will add to it over the coming weeks. If you have reflective questions within this context please ask them.
Friday 24 August 2018
TO THE RESCUE
The green Snake saw sailing high in the air, with purple-red feathers, the Prince's Hawk, whose breast was catching the last beams of the Sun. Shortly afterwards the Man with the Lamp was seen gliding towards them across the Lake, fast and smoothly, as if he had been travelling on skates. The Snake did not change her posture.
Lily rose and called to him: "What good spirit sends thee, at that moment when we were desiring thee and needing thee so much?"
The Man with the Lamp replied: "The spirit of my Lamp has impelled me and the Hawk has conducted me. My Lamp sparkles when I am needed and I just look about me in the sky for a signal; some bird or meteor points to the quarter towards which I am to turn. Be calm fairest maiden! Whether I can help, I know not; an individual helps not but he who combines himself with many at the proper hour. We will postpone the evil and keep hoping. Hold they circle fast,
continued he, turning to the Snake; then set himself upon a hillock beside her and illuminated the dead body, bring the little Bird hither-too and lay it in the circle!"
The maidens took the little corpse from the Basket, which the old Woman had left standing and did as he directed.
Meanwhile the Sun had set. The Snake and the old Man's Lamp began shining and the fair Lily's veil gave out a soft light. All were peaceful and calm, except the old Woman. In spite of the assurance of her husband, that her hand could diminish no farther, she asserted more than once, that if things went on thus, before midnight this noble member would vanish.
The Man with the Lamp had listened attentively to the conversation of the Flames (the Will-o'-wisps) and was gratified that Lily had been cheered in some measure and amused by it. And in truth, midnight had arrived they knew not how.
The Old Man looked to the stars and then began speaking: "We are assembled at the propitious hour; let each perform his task, let each do his duty and a universal happiness will swallow-up our individual sorrows, as a universal grief consumes individual joys."
At these words arose a wondrous hubbub; for all the persons in the party spoke aloud, each for himself, declaring what they had to do. Only the three maids were silent for they had fallen asleep.
The Man said to the Hawk: "Take the mirror and with the first sunbeam illuminate the three sleepers and awake them, with light reflected from above."
The Snake now began to move; she loosened her circle and rolled slowly, in large rings, forward to the River. The two Will-o'-wisps followed with a solemn air: you would have taken them for the most serious Flames in Nature.
The old Woman and her husband seized the Basket, whose mild light they had scarcely observed till now; they lifted it at both sides and it grew still larger and more luminous; they lifted the body of the Youth into it, laying the Canary-bird upon his breast; the Basket rose into the air and hovered above the old Woman's head and she followed the Will-o'-wisps on foot. The fair Lily took mops on her arm and followed the Woman; the Man with the Lamp concluded the procession and the scene was curiously illuminated by these many lights.
But it was with no small wonder that the party saw, when they approached the River, a glorious arch mount over it, by which the helpful Snake was affording them a glittering path. If by day they had admired the beautiful transparent precious stones, of which the Bridge seemed formed; by night they were astonished at its gleaming brilliancy.
On the upper side the clear circle marked itself sharp against the sky, below, vivid beams were darting to the centre exhibiting an airy firmness.
The procession moved slowly across the Bridge and the Ferryman who saw it from his hut afar off, considered with astonishment the gleaming circle and the strange lights which were passing over it.
No sooner had they reached the other shore, than the arch began, in its usual way, to swing up and down and with a wavy motion to approach the water. The Snake then came on land, the Basket placed itself upon the ground and the Snake again drew her circle round it.
The old Man stooped towards her and said: "What has thou resolved on?"
The Snake replied: "To sacrifice myself rather than be sacrificed. Promise me that thou wilt leave no stone on shore."
The old Man promised and said to the Lily: "Touch the Snake with thy left hand and thy lover with thy right."
Lily knelt and touched the Snake and the Prince's body. The latter in this instance seemed to come to life; he moved in the Basket, nay he raised himself into a sitting posture; Lily was about to clasp him; but the old Man held her back and himself assisted the Youth to rise and led him forth from the Basket and the Circle.
The Prince was standing; the Canary-bird was fluttering on his shoulder; there was life in both of them, but the spirit had not yet returned; the fair Youth's eyes were open, yet he did not see, at least he seemed to look on all without participation. Scarcely had their admiration of this incident a little calmed, when they observed how strangely it had fared in the meantime with the Snake.
Her fair taper body had crumbled into thousands and thousands of shining jewels: the old Woman reaching at her Basket had chanced to come against the Circle and of the shape or structure of the Snake there was now nothing to be seen, only a bright ring of luminous jewels was lying on the grass.
………………………………………………………………………………………
At this stage in the story everyone knows what to do. There are meaningful reflections and decisions by characters. There is a feeling of growth within them and the community they form.
How has this come about? What is Goethe encouraging to be "discovered?" One thing is certain he knew it would be different for different people.
The imagery he created is stunning and profound which makes it all the more important the reader or speaker of the text creates this theatre in their mind.
Finally, the focus of the previous two Posts upon the flow, rhythm and movement in speaking, consciously using the spirit of language to form speech sounds, was Marie Steiner-von Sivers life's work.
The green Snake saw sailing high in the air, with purple-red feathers, the Prince's Hawk, whose breast was catching the last beams of the Sun. Shortly afterwards the Man with the Lamp was seen gliding towards them across the Lake, fast and smoothly, as if he had been travelling on skates. The Snake did not change her posture.
Lily rose and called to him: "What good spirit sends thee, at that moment when we were desiring thee and needing thee so much?"
The Man with the Lamp replied: "The spirit of my Lamp has impelled me and the Hawk has conducted me. My Lamp sparkles when I am needed and I just look about me in the sky for a signal; some bird or meteor points to the quarter towards which I am to turn. Be calm fairest maiden! Whether I can help, I know not; an individual helps not but he who combines himself with many at the proper hour. We will postpone the evil and keep hoping. Hold they circle fast,
continued he, turning to the Snake; then set himself upon a hillock beside her and illuminated the dead body, bring the little Bird hither-too and lay it in the circle!"
The maidens took the little corpse from the Basket, which the old Woman had left standing and did as he directed.
Meanwhile the Sun had set. The Snake and the old Man's Lamp began shining and the fair Lily's veil gave out a soft light. All were peaceful and calm, except the old Woman. In spite of the assurance of her husband, that her hand could diminish no farther, she asserted more than once, that if things went on thus, before midnight this noble member would vanish.
The Man with the Lamp had listened attentively to the conversation of the Flames (the Will-o'-wisps) and was gratified that Lily had been cheered in some measure and amused by it. And in truth, midnight had arrived they knew not how.
The Old Man looked to the stars and then began speaking: "We are assembled at the propitious hour; let each perform his task, let each do his duty and a universal happiness will swallow-up our individual sorrows, as a universal grief consumes individual joys."
At these words arose a wondrous hubbub; for all the persons in the party spoke aloud, each for himself, declaring what they had to do. Only the three maids were silent for they had fallen asleep.
The Man said to the Hawk: "Take the mirror and with the first sunbeam illuminate the three sleepers and awake them, with light reflected from above."
The Snake now began to move; she loosened her circle and rolled slowly, in large rings, forward to the River. The two Will-o'-wisps followed with a solemn air: you would have taken them for the most serious Flames in Nature.
The old Woman and her husband seized the Basket, whose mild light they had scarcely observed till now; they lifted it at both sides and it grew still larger and more luminous; they lifted the body of the Youth into it, laying the Canary-bird upon his breast; the Basket rose into the air and hovered above the old Woman's head and she followed the Will-o'-wisps on foot. The fair Lily took mops on her arm and followed the Woman; the Man with the Lamp concluded the procession and the scene was curiously illuminated by these many lights.
But it was with no small wonder that the party saw, when they approached the River, a glorious arch mount over it, by which the helpful Snake was affording them a glittering path. If by day they had admired the beautiful transparent precious stones, of which the Bridge seemed formed; by night they were astonished at its gleaming brilliancy.
On the upper side the clear circle marked itself sharp against the sky, below, vivid beams were darting to the centre exhibiting an airy firmness.
The procession moved slowly across the Bridge and the Ferryman who saw it from his hut afar off, considered with astonishment the gleaming circle and the strange lights which were passing over it.
No sooner had they reached the other shore, than the arch began, in its usual way, to swing up and down and with a wavy motion to approach the water. The Snake then came on land, the Basket placed itself upon the ground and the Snake again drew her circle round it.
The old Man stooped towards her and said: "What has thou resolved on?"
The Snake replied: "To sacrifice myself rather than be sacrificed. Promise me that thou wilt leave no stone on shore."
The old Man promised and said to the Lily: "Touch the Snake with thy left hand and thy lover with thy right."
Lily knelt and touched the Snake and the Prince's body. The latter in this instance seemed to come to life; he moved in the Basket, nay he raised himself into a sitting posture; Lily was about to clasp him; but the old Man held her back and himself assisted the Youth to rise and led him forth from the Basket and the Circle.
The Prince was standing; the Canary-bird was fluttering on his shoulder; there was life in both of them, but the spirit had not yet returned; the fair Youth's eyes were open, yet he did not see, at least he seemed to look on all without participation. Scarcely had their admiration of this incident a little calmed, when they observed how strangely it had fared in the meantime with the Snake.
Her fair taper body had crumbled into thousands and thousands of shining jewels: the old Woman reaching at her Basket had chanced to come against the Circle and of the shape or structure of the Snake there was now nothing to be seen, only a bright ring of luminous jewels was lying on the grass.
………………………………………………………………………………………
At this stage in the story everyone knows what to do. There are meaningful reflections and decisions by characters. There is a feeling of growth within them and the community they form.
How has this come about? What is Goethe encouraging to be "discovered?" One thing is certain he knew it would be different for different people.
The imagery he created is stunning and profound which makes it all the more important the reader or speaker of the text creates this theatre in their mind.
Finally, the focus of the previous two Posts upon the flow, rhythm and movement in speaking, consciously using the spirit of language to form speech sounds, was Marie Steiner-von Sivers life's work.
Friday 13 July 2018
FLOW, RHYTHM AND MOVEMENT IN SPEAKING TEXTS
This Post concentrates upon the flow, rhythm and movement potentially inherent within the key sentence "Whether I can help, I know not; an individual helps not, but he who combines himself with many at the proper hour." explored in the last Post.
Being able to draw upon the potential flow, rhythm and movement when speaking can release rich, creative and imaginative speech sounds enabling both a listener and the individual speaking gain insight into the meaning of what is being said.
In the sentence in question the "flow" can be felt when the three distinct phrases within it, the first ending with the first "not;" the second ending with the second "not," and the third ending with "the proper hour", are consciously positioned within a figure 8 shape - a lemniscate. This is a powerful tool in the form of a shape to use to move through both in our minds and physically by walking it when considering potential past, present and future images.
The first phrase - "Whether I can help, I know not;" can have the quality of reflection upon "past" experience. The next, second phrase, "an individual helps not," has a feeling of the "present" about it. The third phrase - "but he who combines himself with many at the proper hour" has the quality of feeling forwards towards a potential future scenario - forward looking, forward thinking, experimental.
Using a figure 8, a lemniscate, the first "past" phrase and the third "future" phrase can be positioned within the circle at either end of the lemniscate, the figure 8 shape, with the second phrase representing the "present" being in the middle where the lines from the two circles of an 8 cross over.
In terms of movement, when physically moving through the figure 8 lemniscate shape it can be possible to consciously first enter into the past, return to the present and then move into the future, to help develop images for subsequent transformation into speech.
Vowel sounds can be placed on a continuum from the past to the future where the past is represented by the sounds Ah and eh and sounds representing the future being O and U. The sounds of O and U can reflect a forward moving wondering nature of what might or could be.
In contrast vowel sounds found within "Whether I can help," of Eh, for example, can be experienced as having a "steadfast" nature, being contained within wisdom gained from experience (to date) in life.
The phrase, "an individual helps not," is more matter of fact, based in the present moment - a "given", not for debate, just "is", is "now." The use of the vowel "i" through the many syllables present in the word "individual" supports a feeling of the Present. The vowel "i" is mid-way along the continuum from Ah, eh, ee, i, O, U from the Past to the Future - being in the Present.
Here, therefore, with the lemniscate shape and the vowel continuum of past, present and future sound qualities we have two ways of consciously forming rich, creative, strong and imaginative speech sounds for speaking. They are like golden cords. They are Not exclusively for help with reciting poetry or descriptive prose texts. They are ways, golden cords, of fundamental value to everyone in every, everyday contexts when speaking.
Please share your experiences through this Blog..
.
This Post concentrates upon the flow, rhythm and movement potentially inherent within the key sentence "Whether I can help, I know not; an individual helps not, but he who combines himself with many at the proper hour." explored in the last Post.
Being able to draw upon the potential flow, rhythm and movement when speaking can release rich, creative and imaginative speech sounds enabling both a listener and the individual speaking gain insight into the meaning of what is being said.
In the sentence in question the "flow" can be felt when the three distinct phrases within it, the first ending with the first "not;" the second ending with the second "not," and the third ending with "the proper hour", are consciously positioned within a figure 8 shape - a lemniscate. This is a powerful tool in the form of a shape to use to move through both in our minds and physically by walking it when considering potential past, present and future images.
The first phrase - "Whether I can help, I know not;" can have the quality of reflection upon "past" experience. The next, second phrase, "an individual helps not," has a feeling of the "present" about it. The third phrase - "but he who combines himself with many at the proper hour" has the quality of feeling forwards towards a potential future scenario - forward looking, forward thinking, experimental.
Using a figure 8, a lemniscate, the first "past" phrase and the third "future" phrase can be positioned within the circle at either end of the lemniscate, the figure 8 shape, with the second phrase representing the "present" being in the middle where the lines from the two circles of an 8 cross over.
In terms of movement, when physically moving through the figure 8 lemniscate shape it can be possible to consciously first enter into the past, return to the present and then move into the future, to help develop images for subsequent transformation into speech.
Vowel sounds can be placed on a continuum from the past to the future where the past is represented by the sounds Ah and eh and sounds representing the future being O and U. The sounds of O and U can reflect a forward moving wondering nature of what might or could be.
In contrast vowel sounds found within "Whether I can help," of Eh, for example, can be experienced as having a "steadfast" nature, being contained within wisdom gained from experience (to date) in life.
The phrase, "an individual helps not," is more matter of fact, based in the present moment - a "given", not for debate, just "is", is "now." The use of the vowel "i" through the many syllables present in the word "individual" supports a feeling of the Present. The vowel "i" is mid-way along the continuum from Ah, eh, ee, i, O, U from the Past to the Future - being in the Present.
Here, therefore, with the lemniscate shape and the vowel continuum of past, present and future sound qualities we have two ways of consciously forming rich, creative, strong and imaginative speech sounds for speaking. They are like golden cords. They are Not exclusively for help with reciting poetry or descriptive prose texts. They are ways, golden cords, of fundamental value to everyone in every, everyday contexts when speaking.
Please share your experiences through this Blog..
.
Tuesday 19 June 2018
LOOKING MORE CLOSELY AT SPEAKING THE TEXT
This Post concentrates upon how to experience, imagine and learn the most from Goethe's text of his Fairy Tale The Green Snake and the Beautiful Lily.
Studying one sentence closely and speaking it can, from that experience, reveal all manner of things.
In one sentence in the previous Post the Man with the Lamp and the Green Snake come to the rescue of the unconscious Prince and the distraught Lily. Goethe writes the following for the Man with the Lamp to speak:
"Whether I can help, I know not; an individual helps not, but he who combines himself with many at the proper hour."
The content of this sentence is like a riddle. Being consciously creative in speaking the sounds of the words Goethe wrote for the Man with the Lamp can start to unlock the riddle. As given in the previous Post The Man with the Lamp and the Green Snake find themselves coming to the rescue of the unconscious Prince.
In the above sentence the Man with the Lamp describes the value of joining with others in community endeavours, in contrast to an individual carrying out action on their own. The context in which this Fairy Tale was written was the time of the French Revolution and much unrest across what is now Europe. The Fairy Tale is a story written to encourage individuals work together, rather than alone, to rebuild (broken) communities.
A way of developing the imaginary nature of speaking the sentence is to "become" the Man with the Lamp. Imagine how he saw the Prince's hawk in the sky beckoning him to go to an unknown location on the earth.
Take the individual phrases in the sentence one by one. Imagine from our experience of being this character what was happening for him. When he says Whether I can help, I know not; for example: a real hesitation and doubt in his voice and gesture when speaking this phrase. The complete opposite of being assertive. A person questioning something with humility. The I is not coming from a distorted ego. The e vowel sound in help, together with a quiet gentle set of encompassing consonantal sounds of h, l, and p all contribute to leave the listener feeling that the speaker, the Man with the Lamp, is questioningly unsure.
Then the phrase an individual helps not necessitates a similar hesitancy in the pronouncing of the word individual. To affirm the intended purpose and meaning of the phrase and sentence as a whole that one individual is much less effective than an individual acting together with others. Placing of the sound of the word not needs particular care. It should not be experienced as negative or damning but simply as a quiet matter of fact.
In complete contrast, however, the phrase but he who combines himself with many is likely to be, intended by Goethe? to be upbeat, positive, hopeful, almost joyous, certainly excitement by the prospect and potential from individuals working together in unison with each other.
The key word in this phrase - combines - with its parallel enclosing movement and gesture creating the image of a bringing together of many. The first syllable com can be compared to the power and sound of a trumpet heralding a change, something new, a joy, a wonder. The force, power coming from full use of the vowel O being held firmly and resolutely by the two consonants c and m.
The word that follows, himself, best stands alone supporting there being a new, better way of working. The two syllables help the creating of this gesture and corresponding sounds. The two consonants m and f when used consciously from an image of a changed new character leave no doubt in what is meant and to be experienced.
Then finally the closing phrase of the sentence with many at the proper hour creates both as an image and whole essence of the story the value and necessity of combining and working with others, of all kinds, at the right time. Here you have diversity, respect and intuitively knowing when the time is right - the phrase "The Time is at Hand." being declared three separate times during the story.
Finally, envisage how to speak and move with the words in the phrase with many at the proper hour. To do so it essential to remain in the character of the Man with the Lamp - a wise man - in touch with universal truths and having the presence of mind and courage to declare them, most importantly, at the right time.
Sounds coming from speaking images from the words many and proper need to leave a picture in the listener for the former word of there being an active number of people. In the case of the latter word proper an uprightness, a feeling of safety and correctness using the short length of the sound of p.
Experiment with these ways of approaching and making the potential speech sounds from these twenty two words and the riddle of one sentence may well start to unfold - reveal itself.
In future Posts further ingredients of flow, rhythm and movement in creative speech will be added.
This Post concentrates upon how to experience, imagine and learn the most from Goethe's text of his Fairy Tale The Green Snake and the Beautiful Lily.
Studying one sentence closely and speaking it can, from that experience, reveal all manner of things.
In one sentence in the previous Post the Man with the Lamp and the Green Snake come to the rescue of the unconscious Prince and the distraught Lily. Goethe writes the following for the Man with the Lamp to speak:
"Whether I can help, I know not; an individual helps not, but he who combines himself with many at the proper hour."
The content of this sentence is like a riddle. Being consciously creative in speaking the sounds of the words Goethe wrote for the Man with the Lamp can start to unlock the riddle. As given in the previous Post The Man with the Lamp and the Green Snake find themselves coming to the rescue of the unconscious Prince.
In the above sentence the Man with the Lamp describes the value of joining with others in community endeavours, in contrast to an individual carrying out action on their own. The context in which this Fairy Tale was written was the time of the French Revolution and much unrest across what is now Europe. The Fairy Tale is a story written to encourage individuals work together, rather than alone, to rebuild (broken) communities.
A way of developing the imaginary nature of speaking the sentence is to "become" the Man with the Lamp. Imagine how he saw the Prince's hawk in the sky beckoning him to go to an unknown location on the earth.
Take the individual phrases in the sentence one by one. Imagine from our experience of being this character what was happening for him. When he says Whether I can help, I know not; for example: a real hesitation and doubt in his voice and gesture when speaking this phrase. The complete opposite of being assertive. A person questioning something with humility. The I is not coming from a distorted ego. The e vowel sound in help, together with a quiet gentle set of encompassing consonantal sounds of h, l, and p all contribute to leave the listener feeling that the speaker, the Man with the Lamp, is questioningly unsure.
Then the phrase an individual helps not necessitates a similar hesitancy in the pronouncing of the word individual. To affirm the intended purpose and meaning of the phrase and sentence as a whole that one individual is much less effective than an individual acting together with others. Placing of the sound of the word not needs particular care. It should not be experienced as negative or damning but simply as a quiet matter of fact.
In complete contrast, however, the phrase but he who combines himself with many is likely to be, intended by Goethe? to be upbeat, positive, hopeful, almost joyous, certainly excitement by the prospect and potential from individuals working together in unison with each other.
The key word in this phrase - combines - with its parallel enclosing movement and gesture creating the image of a bringing together of many. The first syllable com can be compared to the power and sound of a trumpet heralding a change, something new, a joy, a wonder. The force, power coming from full use of the vowel O being held firmly and resolutely by the two consonants c and m.
The word that follows, himself, best stands alone supporting there being a new, better way of working. The two syllables help the creating of this gesture and corresponding sounds. The two consonants m and f when used consciously from an image of a changed new character leave no doubt in what is meant and to be experienced.
Then finally the closing phrase of the sentence with many at the proper hour creates both as an image and whole essence of the story the value and necessity of combining and working with others, of all kinds, at the right time. Here you have diversity, respect and intuitively knowing when the time is right - the phrase "The Time is at Hand." being declared three separate times during the story.
Finally, envisage how to speak and move with the words in the phrase with many at the proper hour. To do so it essential to remain in the character of the Man with the Lamp - a wise man - in touch with universal truths and having the presence of mind and courage to declare them, most importantly, at the right time.
Sounds coming from speaking images from the words many and proper need to leave a picture in the listener for the former word of there being an active number of people. In the case of the latter word proper an uprightness, a feeling of safety and correctness using the short length of the sound of p.
Experiment with these ways of approaching and making the potential speech sounds from these twenty two words and the riddle of one sentence may well start to unfold - reveal itself.
In future Posts further ingredients of flow, rhythm and movement in creative speech will be added.
Saturday 26 May 2018
THE GREEN SNAKE AND THE MAN WITH THE LAMP TO THE RESCUE
The Green Snake saw sailing high in the air, with purple red feathers, the Prince's Hawk, whose breast was catching the last beams of the Sun. Shortly afterwards the Man with the Lamp was seen gliding towards them across the Lake, fast and smoothly, as if he had been travelling on skates. The Snake did not change her posture.
Lily rose and called to him: "What good spirit sends thee, at that moment when we were desiring thee and desiring thee so much?"
The Man with the Lamp replied: "The spirit of my Lamp has impelled me and the Hawk has conducted me. My Lamp sparkles when I am needed and I just look about me in the sky for a signal; some bird or meteor points to the quarter towards which I am to turn. Be calm, fairest Maiden! Whether I can help, I know not; an individual helps not but he combines himself with many at the proper hour. We will postpone the evil and keep hoping. Hold thy circle fast" continued he, turning to the Snake; then set himself upon a hillock beside her and illuminated the dead body. "Bring the little bird hither too and lay it in the circle!"
The maidens took the little corpse from the basket, which the old Woman had left standing and did as he directed.
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Is the key question and experience here to what degree the needs of others are felt, seen and acted upon, met, really listened to.
Goethe describes elsewhere in the text of the Tale how the light of the Lamp does not cast any shadow and how the light can only become present when a similar light is also present.
What could have been Goethe's intention in imagining and writing in this way at the time of the French Revolution where Schiller, to whom he was responding, was writing "Ode to Freedom" (Ode to Joy) similarly through verses 5 to 8:
Thy magic powers re- unite Deine Zauber binden weider
What custom's sword has divided Was der Mode Schwert geteilt
Beggars become Princes' brothers Bettler werden Fuerstenbrueder
Where thy gentle wing abides. Wo dein sanfter Fluegel weit.
The Green Snake saw sailing high in the air, with purple red feathers, the Prince's Hawk, whose breast was catching the last beams of the Sun. Shortly afterwards the Man with the Lamp was seen gliding towards them across the Lake, fast and smoothly, as if he had been travelling on skates. The Snake did not change her posture.
Lily rose and called to him: "What good spirit sends thee, at that moment when we were desiring thee and desiring thee so much?"
The Man with the Lamp replied: "The spirit of my Lamp has impelled me and the Hawk has conducted me. My Lamp sparkles when I am needed and I just look about me in the sky for a signal; some bird or meteor points to the quarter towards which I am to turn. Be calm, fairest Maiden! Whether I can help, I know not; an individual helps not but he combines himself with many at the proper hour. We will postpone the evil and keep hoping. Hold thy circle fast" continued he, turning to the Snake; then set himself upon a hillock beside her and illuminated the dead body. "Bring the little bird hither too and lay it in the circle!"
The maidens took the little corpse from the basket, which the old Woman had left standing and did as he directed.
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Is the key question and experience here to what degree the needs of others are felt, seen and acted upon, met, really listened to.
Goethe describes elsewhere in the text of the Tale how the light of the Lamp does not cast any shadow and how the light can only become present when a similar light is also present.
What could have been Goethe's intention in imagining and writing in this way at the time of the French Revolution where Schiller, to whom he was responding, was writing "Ode to Freedom" (Ode to Joy) similarly through verses 5 to 8:
Thy magic powers re- unite Deine Zauber binden weider
What custom's sword has divided Was der Mode Schwert geteilt
Beggars become Princes' brothers Bettler werden Fuerstenbrueder
Where thy gentle wing abides. Wo dein sanfter Fluegel weit.
Thursday 26 April 2018
LILY MEETS THE YOUTH PRINCE
This scene represents a key time in the story. Is the time right for the Youth Prince to meet the Lily?
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Meanwhile the fair one had been looking, with a satisfied aspect, at the strange onyx Mops. She bent down and touched him and at that instant Mops the dog started up. Gaily he looked around, ran hither and thither and at last, in his kindest manner, hastened to salute his benefactress. She took him in her arms and pressed him to her.
This scene represents a key time in the story. Is the time right for the Youth Prince to meet the Lily?
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Meanwhile the fair one had been looking, with a satisfied aspect, at the strange onyx Mops. She bent down and touched him and at that instant Mops the dog started up. Gaily he looked around, ran hither and thither and at last, in his kindest manner, hastened to salute his benefactress. She took him in her arms and pressed him to her.
Lily cried out: "Cold as thou art and though but a half-life works in thee, thou art welcome to me; tenderly will I love thee, prettily will I play with thee, softly caress thee and firmly press thee to my bosom."
She then let him go and played so daintily with him, running about innocently with him on the grass, with new rapture and joy, for all to see.
This cheerfulness, these graceful sports were interrupted by the entrance of the woeful Youth. He stepped forward, in his former guise and aspect; save that the heat of the day appeared to have fatigued him still more and in the presence of his mistress he grew paler every moment.
He bore upon his hand a Hawk, which was sitting quiet as a dove, with its body shrunk and its wings drooping.
Lily cried to the Youth: "It is not kind in thee to bring that hateful thing before my eyes, the monster, which today has killed my little singer."
The Youth replied: "Blame not the unhappy bird! - rather blame thyself and thy destiny and leave me to keep beside me the companion of my woe."
Meanwhile Lily continued playing with Mops. The Youth looked on in silence, with increasing anger; but when she took the odious beast, which seemed to him unutterably ugly, on her arm, pressed it to her white bosom and kissed its black snout with her heavenly lips, his patience altogether failed him.
Full of desperation the Youth exclaimed: "Must I, who by a baleful fate exist beside thee, perhaps to the end, in an absent presence; who by thee have lost my all, my very self; must I see before my eyes, that so unnatural a monster can charm thee into gladness, can awaken thy attachment, and enjoy the embrace? Shall I any longer keep wandering to and fro, measuring my dreary course to that side of the River and to this? No, there is still a spark of the old heroic spirit sleeping in my bosom; let it start this instant into its expiring flame! If stones may rest in thy bosom, let me be changed to stone; if thy touch kills, I will die by thy hands."
So saying he made a violent movement; the Hawk flew from his finger but he himself rushed towards the fair one; she held out her hands to keep him off and touched him only the sooner. Consciousness forsook him and she felt with horror the beloved burden lying on her bosom. With a shriek she started back and the gentle Youth sank lifeless from her arms upon the ground.
The misery had happened! The sweet Lily stood motionless gazing on the corpse. Her heart seemed to pause in her bosom and her eyes were without tears. Her silent despair did not look round for help; she knew not of any help.
On the other hand, the Snake bestirred herself the more actively; she seemed to mediate deliverance and in fact her strange movements served at least to keep away, for a little, the immediate consequences of the mischief. With her limber body, she formed a wide circle round the corpse and seizing the end of her tail between her teeth, she lay quite still.
Ere long Lily's three waiting-maids appeared and brought to her an ivory folding stool, a fire-coloured veil which rather decorated than concealed the fair Lily's head and her harp.
The Snake hissed faintly but audibly: "Who gets us the Man with the Lamp, before the Sun set?"
At this moment came the Woman with the Basket, panting and altogether breathless.
The Old Woman cried: "I am lost and maimed for life! See how my hand is almost vanished; neither Ferryman nor Giant would take me over, because I am the River's debtor; in vain did I promise hundreds of cabbages and hundreds of onions; they will take no more than three and no artichoke is now to be found in all this quarter."
The Snake said: "Forget your own care and try to bring help here; perhaps it may come to yourself also. Haste with your utmost speed to seek the Will-o'-wisps; it is too light for you to see them, but perhaps you will hear them laughing and hopping too and fro. If they be speedy, they may cross the Giant's shadow and seek the Man with the Lamp and send him to us."
The Woman hurried off at her quickest pace and the Snake seemed expecting as impatiently as Lily the return of the Flames. Alas! The beam of the sinking Sun was already gliding over the highest summits of the trees in the thicket and long shadows were stretching over lake and meadow; the Snake moved up and down impatiently and Lily dissolved in tears.
In this extreme need the Snake kept looking round on all sides; for she was afraid every moment that the sun would set and corruption penetrate the magic circle and the fair youth immediately moulder away.
At last she noticed sailing high in the air, with purple red feathers, the Prince's Hawk, whose breast was catching the last beams of the Sun. She shook herself with joy at this good omen; nor was she deceived; for shortly afterwards the Man with the Lamp was seen gliding towards them across the Lake, fast and smoothly, as if he had been travelling on skates.
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There is much happening here. Many Characters are involved. It feels significant. However, precisely what is that significance? What parallels may there be between what is happening here and how it is happening - within our lives and the societies we belong to.
There is an audio recording of this part of the Tale as Episode 11 on www.tgsatbl.blogspot.co.uk
Wednesday 21 March 2018
THE PROPHECY OF THE BRIDGE
We continue with Goethe's Tale where the Green Snake and the Beautiful Lily have a conversation about the coming of a Bridge over the River between two lands.
The good old dame, the old Woman, had listened with impatience to the fair Lily singing her ballad, which the fair Lily accompanied with her harp, in a way that would have charmed any other.
She was on the point of taking leave, when the arrival of the Green Snake again detained her. The Snake had caught the last lines of her singing a song and on this matter forthwith began to speak to comfort the fair Lily.
The Snake cried: "The prophecy of the Bridge is fulfilled! You may ask this worthy dame how royally the arch looks now. What formerly was untransparent jasper, or agate, allowing but a gleam of light to pass about its edges, is now become transparent precious stone. No beryl is so clear, no emerald so beautiful of hue."
We continue with Goethe's Tale where the Green Snake and the Beautiful Lily have a conversation about the coming of a Bridge over the River between two lands.
The good old dame, the old Woman, had listened with impatience to the fair Lily singing her ballad, which the fair Lily accompanied with her harp, in a way that would have charmed any other.
She was on the point of taking leave, when the arrival of the Green Snake again detained her. The Snake had caught the last lines of her singing a song and on this matter forthwith began to speak to comfort the fair Lily.
The Snake cried: "The prophecy of the Bridge is fulfilled! You may ask this worthy dame how royally the arch looks now. What formerly was untransparent jasper, or agate, allowing but a gleam of light to pass about its edges, is now become transparent precious stone. No beryl is so clear, no emerald so beautiful of hue."
The Lily said: "I wish you joy of it but you will pardon me if I regard the prophecy as yet unaccomplished. The lofty arch of your bridge can still but admit foot-passengers and it is promised us that horses and carriages and travellers of every sort shall, at the same moment, cross the bridge in both directions. Is there not something said too, about pillars, which are to arise of themselves from the waters of the River?"
The old Woman still kept her eyes fixed on her hand; she here interrupted their dialogue and was taking leave when:
The Lily said: "Wait a moment and carry my little bird with you. Bid the lamp change it into topaz; I will enliven it by my touch; with your good Mops it shall form my dearest pastime: but hasten, hasten; for, at sunset, intolerable putrefaction will fasten on the hapless bird and tear asunder the fair combination of its form forever."
The old Woman laid the little corpse, wrapped in soft leaves, into her basket and hastened away.
The Snake said, recommencing their interrupted dialogue, "However it may be, the Temple is built."
The Lily replied: "But it is not at the River."
The Snake said: It is yet resting in the depths of the Earth. I have seen the Kings and conversed with them."
Lily inquired: "But when will they arise?"
The Snake replied: "I heard resounding in the Temple these deep words, The time is at hand."
A pleasing cheerfulness spread over the fair Lily's face.
The Lily said: "Tis the second time that I have heard these happy words today: when will the day come for me to hear them thrice?"
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The Snake said, recommencing their interrupted dialogue, "However it may be, the Temple is built."
The Lily replied: "But it is not at the River."
The Snake said: It is yet resting in the depths of the Earth. I have seen the Kings and conversed with them."
Lily inquired: "But when will they arise?"
The Snake replied: "I heard resounding in the Temple these deep words, The time is at hand."
A pleasing cheerfulness spread over the fair Lily's face.
The Lily said: "Tis the second time that I have heard these happy words today: when will the day come for me to hear them thrice?"
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Throughout the Tale the phrase "The time is at hand" is used three times and has a rhythm of life of its own. It is spoken by wise characters. The sound of the words and the gesture that precedes them are like Bridges in themselves which need our attention.
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Monday 26 February 2018
MEETING THE LILY
The Woman and the Youth reached the other side of the River and thanked the Snake for the privilege of crossing on her back. They consulted in what order they should introduce themselves to the fair Lady; for however many people might be in her company - there were others whom they could not discern - they were obliged to enter and depart singly, under pain of suffering hard severities.
The Woman and the Youth reached the other side of the River and thanked the Snake for the privilege of crossing on her back. They consulted in what order they should introduce themselves to the fair Lady; for however many people might be in her company - there were others whom they could not discern - they were obliged to enter and depart singly, under pain of suffering hard severities.
The Woman with the metamorphosed Pug in the basket first approached the garden looking for her Patroness who was engaged in singing to her harp. The finest tones proceeded from her first like circles on the surface of the still lake, then like a light breath they set the grass and the bushes in motion. In a green enclosure, under the shadow of a stately group of many diverse trees, was she seated; and again did she enchant the eyes, the ears and the heart of the Woman, who approached with rapture and swore within herself that since she saw her last, the fair one had grown fairer than ever. With eager gladness, from a distance, she expressed her reverence and admiration for the lovely maiden.
The old Woman said: "What a happiness to see you! What a Heaven does your presence spread around you! How charmingly the harp is leaning on your bosom, how softly your arms surround it, how it seems as if longing to be near you, and how it sounds so meekly under the touch of your slim fingers! Thrice-happy youth, to whom it were permitted to be there!"
The fair Lily raised her eyes and let her hands drop from the harp and answered:
"Trouble me not with your untimely praise; I feel my misery but the more deeply. Look here, at my feet lies the poor Canary-bird, which used so beautifully to accompany my singing; it would sit upon my harp, and was trained not to touch me; but today, while I, refreshed by sleep, was raising a peaceful morning hymn, and my little singer was pouring forth his harmonious tones more gaily than ever, a Hawk darts over my head; the poor little creature, in affright, takes refuge in my bosom, and I feel the last palpitations of its departing life.
The plundering Hawk indeed was caught by my look, and fluttered fainting down into the water; but what can his punishment avail me? my darling is dead, and his grave will but increase the mournful bushes of my garden."
Wiping off a tear, which the story of the hapless maiden had called into her eyes; the old Woman cried: "Take courage, fairest Lily! Compose yourself; my old man bids me tell you to moderate your lamenting, to look upon the greatest misfortune as a forerunner of the greatest happiness, for the time is at hand; and truly the world is going strangely on of late.
Do but look at my hand, how black it is! As I live and breathe it is grown far smaller: I must hasten, before it vanishes altogether! Why did I engage to do the Will-o'-wisps a service, why did I meet the Giant's shadow, and dip my hand in the River? Could you not afford me a single cabbage, an artichoke and an onion? I would give them to the River, and my hand were white as ever, so that I could almost show it with one of yours."
The fair Lily raised her eyes and let her hands drop from the harp and answered:
"Trouble me not with your untimely praise; I feel my misery but the more deeply. Look here, at my feet lies the poor Canary-bird, which used so beautifully to accompany my singing; it would sit upon my harp, and was trained not to touch me; but today, while I, refreshed by sleep, was raising a peaceful morning hymn, and my little singer was pouring forth his harmonious tones more gaily than ever, a Hawk darts over my head; the poor little creature, in affright, takes refuge in my bosom, and I feel the last palpitations of its departing life.
The plundering Hawk indeed was caught by my look, and fluttered fainting down into the water; but what can his punishment avail me? my darling is dead, and his grave will but increase the mournful bushes of my garden."
Wiping off a tear, which the story of the hapless maiden had called into her eyes; the old Woman cried: "Take courage, fairest Lily! Compose yourself; my old man bids me tell you to moderate your lamenting, to look upon the greatest misfortune as a forerunner of the greatest happiness, for the time is at hand; and truly the world is going strangely on of late.
Do but look at my hand, how black it is! As I live and breathe it is grown far smaller: I must hasten, before it vanishes altogether! Why did I engage to do the Will-o'-wisps a service, why did I meet the Giant's shadow, and dip my hand in the River? Could you not afford me a single cabbage, an artichoke and an onion? I would give them to the River, and my hand were white as ever, so that I could almost show it with one of yours."
The Lily said: "Cabbages and onions thou mayest still find; but artichokes thou wilt search for in vain. No plant in my garden bears either flowers or fruit; but every twig that I break and plant upon the grave of a favourite, grows green straight away and shoots up in fair boughs. All these groups, these bushes, these groves my hard destiny has so raised around me. These pines stretching out like parasols, these obelisks of cypresses, these colossal oaks and beeches, were all little twigs planted by my hand, as mournful memorials in a soil that otherwise is barren."
To this speech the old Woman had paid little heed; she was looking at her hand, which, in the presence of the fair Lily, seemed every moment growing blacker and smaller. She was about to snatch the basket and hasten off, when she noticed that the best part of her errand had been forgotten. She lift out the onyx Pug, set him down, not far from the fair one, in grass.
The old Woman said: "My husband sends you this memorial; you know that you can make a jewel live by touching it. This pretty faithful dog will certainly afford you much enjoyment; and my grief at losing him is brightened only by the thought that he will be in your possession!
The fair Lily viewed the dainty creature with a pleased and, as it seemed, with an astonished look.
Lily said: "Many signs combine, that breathe some hope into me: but ah! Is it not a natural deception which makes us fancy, when misfortunes crowd upon us, that a better day is near?"
She sang:
"What can these many signs avail me?
My Singer's Death, my coal-black Hand?
This Dog of Onyx, that can never fail me?
And coming at the Lamp's command?
From human joys removed forever,
With sorrows compassed round I sit:
Is there a Temple at the River?
Is there a Bridge? Alas not yet!"
The good old dame had listened with impatience to this singing, which the fair Lily accompanied with her harp, in a way that would have charmed any other.
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Goethe's intention in creating this very imaginative dialogue will be different for everyone who reads and speaks it!
The dialogue can be heard as audio recording 9 on www.tgsatbl.blogspot.co.uk
Monday 22 January 2018
THE OLD WOMAN WITH THE BASKET MEETS THE YOUTH
So going straight into Goethe's text we experience curiosity, both disinterest and interest by these two characters between themselves and in their surroundings largely determined by their individual needs.
The old Woman with the Basket had seen a young noble-looking handsome man in the Ferryman's boat being steered across the River. She could not gaze upon him enough.
His noble form and strange dress mad a deep impression upon her. His breast was covered with a glittering coat of mail, in which whose wavings might be traced every motion in his fair body. From his shoulders hung a purple cloak; around his uncovered head flowed abundant brown hair in beautiful locks; his graceful face and his well formed feet. With bare soles he walked composedly over the hot sand and a deep inward sorrow seemed to blunt him against all external things.
The Woman hurried after the Youth whom she had seen step out of the boat. He was walking softly and thoughtfully down the bank. His noble form and strange dress had made a deep impression on her.
The garrulous Woman tried to lead him into conversation; but with his short answers he gave her small encouragement or information; so that in the end, notwithstanding the beauty of his eyes, she grew tired of speaking with him to no purpose and took leave of him.
The old Woman said: "You walk too slowly for me, worthy sir; I must not lose a moment, for I have to pass the River on the Green Snake and carry this fine present from my husband to the fair Lily." So saying she stepped faster forward; but the fair Youth pushed on with equal speed and hastened to keep up with her.
The Youth Prince cried: "You are going to the fair Lily! Then our roads are the same but what present is this you are bringing to her?"
The old Woman remonstrated with him about his sudden interest in wanting to talk with her and bartered with him to tell each other their adventures.
She spoke about the history of the Pug and let him see the singular gift. He lifted this natural curiosity from the basket and took Mops, who seemed as if sleeping softly, into his arms.
The Youth Prince cried: "Happy beast! Thou wilt be touched by her hands, thou will be made alive by her; while the living are obliged to fly from her presence to escape a mournful doom. Yet why say I mournful? Is it not far sadder and more frightful to be injured by her look, than it would be to die by her hand?"
The Youth Prince continued: "Behold me. At my years, what a miserable fate I have to undergo! This mail which I have honourably bourne in war, this purple which I sought to merit by a wise reign, Destiny has left me; the one as a useless burden, the other as an empty ornament. Crown and sceptre and sword are gone and I am as bare and needy as any other son of earth; for so unblessed are her bright eyes, that they take from every living creature they look on all its force and those whom the touch of her hand does not kill are changed to the state of shadows wandering alive."
He continued to bewail, nowise contending the old Woman's curiosity who wished for information not so much of his internal as of his external situation. Amid such conversation they described from afar the majestic arch of the Bridge, which extended from one bank to the other, glittering with the strangest of colours in the splendours of the Sun.
Both were astonished for until now they had never seen this edifice so grand.
The Youth Prince cried: "How! Was it not beautiful enough as it stood before our eyes, piled out of jasper and agate? Shall we not fear to tread it, now that it appears combined in graceful complexity of emerald and chrysopras and chrysolite?"
Neither of them knew the alteration that had taken place upon the Snake.
The Woman and the Youth reached the other side of the River and thanked the Snake for the privilege of crossing on her back. They consulted in what order they should introduce themselves to the fair Lady; for however many people might be in her company - there were others whom they could not discern - they were obliged to enter and depart singly, under pain of suffering hard severities.
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There is an incredible amount of wisdom hidden within this text, particularly in terms of how we listen and Be with others, how well we discern a general as opposed to our own or an individual need. A need which is current, present, now and can be a stark contrast to how an individual, group, community or society has been in the past. The former "Princely" accoutrements of clothes, crown sceptre and sword in contrast his direct relationship with the earth now and corresponding need.
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If you are able or have an opportunity to explore this text with others there are three characters that can be entered into: the Woman with the Basket; the Youth (Prince as was and is to be again in this story) and the fair Lily. Although the Lily is not actually present in this scene,an individual entering into being this character would feel the direct affect she has upon others by her look and touch. There is of course a fourth role, that of the Narrator, who effectively "glues" everything together particularly in enabling the most effective rhythm and timing of the action and speaking of the Woman with the Basket and the Youth (Prince).
At conferences this scene has been created and developed in this way to very helpful effect for those being the characters, they often relating their experiences to their current phase of life.
Please tell me and others through this Blog what experiences you have.
The related audio recording for this section of the story is number 8 on www.tgsatbl.blogspot.com
So going straight into Goethe's text we experience curiosity, both disinterest and interest by these two characters between themselves and in their surroundings largely determined by their individual needs.
The old Woman with the Basket had seen a young noble-looking handsome man in the Ferryman's boat being steered across the River. She could not gaze upon him enough.
His noble form and strange dress mad a deep impression upon her. His breast was covered with a glittering coat of mail, in which whose wavings might be traced every motion in his fair body. From his shoulders hung a purple cloak; around his uncovered head flowed abundant brown hair in beautiful locks; his graceful face and his well formed feet. With bare soles he walked composedly over the hot sand and a deep inward sorrow seemed to blunt him against all external things.
The Woman hurried after the Youth whom she had seen step out of the boat. He was walking softly and thoughtfully down the bank. His noble form and strange dress had made a deep impression on her.
The garrulous Woman tried to lead him into conversation; but with his short answers he gave her small encouragement or information; so that in the end, notwithstanding the beauty of his eyes, she grew tired of speaking with him to no purpose and took leave of him.
The old Woman said: "You walk too slowly for me, worthy sir; I must not lose a moment, for I have to pass the River on the Green Snake and carry this fine present from my husband to the fair Lily." So saying she stepped faster forward; but the fair Youth pushed on with equal speed and hastened to keep up with her.
The Youth Prince cried: "You are going to the fair Lily! Then our roads are the same but what present is this you are bringing to her?"
The old Woman remonstrated with him about his sudden interest in wanting to talk with her and bartered with him to tell each other their adventures.
She spoke about the history of the Pug and let him see the singular gift. He lifted this natural curiosity from the basket and took Mops, who seemed as if sleeping softly, into his arms.
The Youth Prince cried: "Happy beast! Thou wilt be touched by her hands, thou will be made alive by her; while the living are obliged to fly from her presence to escape a mournful doom. Yet why say I mournful? Is it not far sadder and more frightful to be injured by her look, than it would be to die by her hand?"
The Youth Prince continued: "Behold me. At my years, what a miserable fate I have to undergo! This mail which I have honourably bourne in war, this purple which I sought to merit by a wise reign, Destiny has left me; the one as a useless burden, the other as an empty ornament. Crown and sceptre and sword are gone and I am as bare and needy as any other son of earth; for so unblessed are her bright eyes, that they take from every living creature they look on all its force and those whom the touch of her hand does not kill are changed to the state of shadows wandering alive."
He continued to bewail, nowise contending the old Woman's curiosity who wished for information not so much of his internal as of his external situation. Amid such conversation they described from afar the majestic arch of the Bridge, which extended from one bank to the other, glittering with the strangest of colours in the splendours of the Sun.
Both were astonished for until now they had never seen this edifice so grand.
The Youth Prince cried: "How! Was it not beautiful enough as it stood before our eyes, piled out of jasper and agate? Shall we not fear to tread it, now that it appears combined in graceful complexity of emerald and chrysopras and chrysolite?"
Neither of them knew the alteration that had taken place upon the Snake.
The Woman and the Youth reached the other side of the River and thanked the Snake for the privilege of crossing on her back. They consulted in what order they should introduce themselves to the fair Lady; for however many people might be in her company - there were others whom they could not discern - they were obliged to enter and depart singly, under pain of suffering hard severities.
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There is an incredible amount of wisdom hidden within this text, particularly in terms of how we listen and Be with others, how well we discern a general as opposed to our own or an individual need. A need which is current, present, now and can be a stark contrast to how an individual, group, community or society has been in the past. The former "Princely" accoutrements of clothes, crown sceptre and sword in contrast his direct relationship with the earth now and corresponding need.
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If you are able or have an opportunity to explore this text with others there are three characters that can be entered into: the Woman with the Basket; the Youth (Prince as was and is to be again in this story) and the fair Lily. Although the Lily is not actually present in this scene,an individual entering into being this character would feel the direct affect she has upon others by her look and touch. There is of course a fourth role, that of the Narrator, who effectively "glues" everything together particularly in enabling the most effective rhythm and timing of the action and speaking of the Woman with the Basket and the Youth (Prince).
At conferences this scene has been created and developed in this way to very helpful effect for those being the characters, they often relating their experiences to their current phase of life.
Please tell me and others through this Blog what experiences you have.
The related audio recording for this section of the story is number 8 on www.tgsatbl.blogspot.com
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