Is it even possible to mention Stonehenge without risking the unbidden memories of the feet-to-inches comic debacle from Spinal Tap? Well, that’s one reason I’m a little hesitant to introduce today’s piece in our Halloween Series this year.
But still, I’ve been talking and singing about ghosts, ancestors, spirits, and their home fires a good deal, and I remembered this performance by the LYL Band of this song I wrote after visiting an altogether homier set of Neolithic English standing stones at Avebury several years back. I understand Stonehenge is fenced off, and that enforced distance probably does little to staunch the tales of quasi-Medieval druids with magical rites floating stones in the air. Avebury’s large henge basically had a country hamlet grow up inside it, there’s even a pub in the midst of the circle. You can walk right up to the stones, feel these cool earth-aerials, measure them against one’s own height and age. A walk around the Avebury henge is a good walk, and one may also look over the equally amazing earthen ditch-works that are part of the site. As you stroll a flock of official government sheep wander the grassy meadow keeping overgrowth at bay without internal combustion clatter. So at Avebury, as I was walking around all this, I did not think of druids. I thought of men and women who dug and moved that earth, dug and moved those stones, erected them watching over each other.
There are several rings in the henge at Avebury, and the stones are individual in shape and size, furthering the thoughts I had while visiting the site.
Did they have some chieftain or matriarch who planned and ordered its construction? Perhaps. What belief was being expressed in large rocks? Some likely, at least to the level that metaphor asks of us. But as I said, I thought of who did the work — the sweaty, hard-breathing, hand-callousing work. They worked stones with stones, dug with pickaxes made of antlers. At night in what huts did they sleep, on dried grass beds perhaps? And in that night they no doubt slept hard after their day of work, dreamt dreams harder than those of old poets who need only to move words around. If the energy of the earth and sky was transmitted up and down those big stone antennas, so too must the energy of their dreams be drawn in there. And I was there where they must have slept, dreaming under night breaths, their aches soothed by the rest. Dreaming of what? Children, parents, lovers, siblings, colleagues, whole days of rest, the mighty thing they would construct, a story, a prayer, a melody, the little joys of a meal or exactly good weather?
Not druid magic in my thoughts at Avebury, but I felt those dreams might be — no must be — harder than the dulling mutes of time. They sparked around in their heads, and when their heads became skulls and then dust, where is that spark, and can we read it still, tune it in? A belief, at least to the level of metaphor, felt we could. That’s the song.
Here’s the songsheet. If you ask for scenery to back your performance of this, get the measurements right.
The player many will see below will play “Avebury Song #2,” and if you don’t see it, you can use this alternative highlighted link. I hope to complete at least one more new Halloween piece to present here yet this month, though the moving pieces of my life doesn’t make that sure.
English poet Walter de la Mare does a very particular kind of fantasy or horror poem. If one is looking for body horror or jump-scare monsters, de la Mare is not your guy. His spooks and slitherers are usually off-camera — instead, he describes discretely the atmosphere and effect of a haunting, visitation, or some binding spell. As our Halloween series continues, I have a performance today of a de la Mare poem called “Song of Shadows.” It starts out commanding a musician, so it’s a natural for the Parlando Project, but besides the ghost story, I think it invokes something else I considered this week.
Here’s a link to the poem as de la Mare wrote it. I made a slight change to the concluding line of each stanza as I like how that change works in performance.
“Song of Shadows” is not definitely set, though some elements of the scene indicate it might be somewhere antique. Fires and tapered candles wouldn’t be totally obsolete to a 19th century-born man like de la Mare, but the opening command to a musician sounds like a court or titled lord of the manor kind of thing to me. And the poems report of an extant — not necessarily metaphorical — hourglass with sinking sands really sets this outside of the early 20th century when it was written.
One could stretch and draw a class-conscious reading between the commander of the poem, the musician, and the eventual appearance of some ghosts or spirits. Who are the ghosts to the commander? To the musician? De la Mare leaves that open, but the different roles of those three characters offer an opportunity for speculation. To the commander: old friends, old enemies, subjects, servants, or serfs rebellious? And within the range of feelings the spirits may carry, we may note the poem’s commander asks to risk summoning them.
But I mentioned the poem set off another line of thought beyond its subtle fantasy intent. The poem concludes the shadows have been summoned by the musician’s song, “Dreaming, home once more.” So rather than thinking of the commander or the ghosts, I thought of the musician. While I operate musical instruments to realize the Parlando compositions, I’m likely more competent as a poet than as a musician, but singer is often an honorary title for any poet. For those who read this who are poets: is this not a part of our job?
The thought intensified when I read a string of Twitter posts by Lao poet Brian Thao Worra this week. Thao Worra was taking stock of his career in that post, and throughout it he seemed charged with a mission toward the Laotian diaspora as a Laotian-born poet and artist living in America. I’m no expert on Laos (nor anything else really, but less so on Laos), but it struck me that so many poets I read and resonate with are part of, and speak of, large diasporas: Irish poets, Afro-American poets, Jewish poets. Even the echt classical Chinese poets Du Fu and Li Bai were banished to far provinces of China. Why do I resonate to these poetries? It then occurred to me: many, perhaps most, poets are in some kind of diaspora, be it geographic or otherwise. We have emigrated from the country of Poetry, or we have been exiled or taken away from there. And there we are, like the musician who sweeps faint strings in de la Mare’s poem — singing, waiting for countrymen* to hear our song. Will they hear, and if so, will it be in the plane of dreaming, in the plane of ghosts and spirits — and so then will it be that we are all, home, once more?
I didn’t sweep the strings of an old, cheap 12-string guitar very faintly for this performance of Walter de la Mare’s “Song of Shadows.” And I kind of hollered the vocals. Ghosts, make of that what you want. You can hear it with an audio player gadget below, but if you don’t see that player, this highlighted link is an alternative that will open a player gadget.
*I can’t think of a gender-neutral word that has the same flavor and power to me as that word “countrymen.” Why that is must be complex, or just some failure on my part, but I just wanted to say I used it because I couldn’t do better.
Today’s words are from a poet who’s been forgotten, but this one poem seems to have outlived all her other work largely because it’s a fine short ghost poem with a definite shiver from an ambiguous ending. The poem was called “All Souls’ Night, 1917,” and it was first published in 1920 in the author Hortense Flexner’s first collection Clouds and Cobblestones. That book’s acknowledgements indicate “All Souls’ Night” was never accepted by any of the many publications Flexner had published in toward the beginning of her career, and a selected poems published shortly after Flexner’s death in 1972 does not include it. So it was never her most famous or noteworthy poem while she lived.
Why did I hear of it, why is it out there on the Internet in 2022 to be read? Because of its eerie qualities “All Souls’ Night” has made a number of contemporary lists of Halloween poems.* To read or hear it once is likely to impress you of its value as such, and you can read it here with this link, or listen to my brief musical performance below. Our discussion has spoilers, so read or listen first. My performance is only 2 minutes.
I’ve looked at clouds and cobblestones from both sides now, and still somehow…
Now that you’ve experienced “All Souls’ Night,” let’s suppose you’re interested in at least a few questions that the poem might bring to mind after you read its 12-lines with their unambiguous chill. Yes, there’s a window here — just as there was in Sara Teasdale’s nursery last time — but either side of this window’s glass has questions.
Outside the window, there’s a date 1917 ending the original title. The poem internally mentions nothing about World War I which was ongoing that year and would still be a universal memory when the poem was published. Several other poems Flexner wrote and published around this time deal with the war, and one short play of hers, Voices, that was produced on Broadway in 1916, is about the despairs of war.**
Given that WWI is no longer in most any living soul’s memory, I’ve chosen to drop the 1917 in today’s title, as have some of the re-publishers of fantasy or Halloween poems that are featuring it. Outside this poem’s window we only know there are “hosts of lovers, young in death.” Maybe it’s me, but when I first read the poem, I thought the many lovers would be pairs, many of the lovers throughout time who are now dead and stayed in their passionate youth, and the poem does not directly disabuse that notion. But in the 1917 WWI context, one presumes the dead were soldiers, freshly dead. Whatever Flexner’s intent, I think the former has, potentially, greater impact today, even with our current European war. Can we simultaneously allow how Flexner might have intended her ending to be read, and allow how you or I as a modern audience can see the two groups or characters in this poem?
In the poem’s ending, the poem’s speaker, in a warm room next to a fireplace on the other side of the window asks that their warming fire should be allowed to die down, to eliminate the warmth and light on their side of the glass. It’s implied the poem’s speaker is there with others, a party perhaps, as the fire has been set for cheer in the poem’s opening line. With the onrushing crowd of ghosts outside, the insiders are now told at the end: hush, dim the light, turn the room cold so that the ghosts are unaware of them. This is an ambiguous statement if you think about it.
It can be read three ways I think. One, this is simply self-preservation, the ghosts might be vengeful toward the living. In the WWI context the dead might blame them for starting or not stopping the war. Or the folks inside may be smug, and the ghost lovers are their opposite. The insiders may be saying those outside lovers are the not-the-elect living, and that they would steal the warmth, which the insider speaker concludes they will not be able to use, being they are creatures who didn’t stay living and warm. Or lastly the poem’s statement may be one of pity: we shouldn’t be happy, we shouldn’t flaunt our warmth and light to those dead who now can have none of those things.
If, in the WWI context, Flexner has the ghost lovers to be likely the partners of the not dead inside, then the last reading is the most likely. But the reality of any of those readings is that the cheer, the warmth, and the joy inside the glass must cease. At least for the night, the light and temperature must equalize to death-like on either side of the window. That is the poems genius: it’s chilling on both sides.
At the time of the performance, I went more with the middle reading in my internal approach. I was tempted by that contrast, even if my reading isn’t correct, perhaps because I see so much in our current culture where the other is cast as undeserving. Their desires are a distorted, improper grabbing for joys, things they haven’t earned as members of “the elect.”
This touches on religious beliefs, so one more factor: the poem references All Souls’ Day, a Christian religious holiday. I’m not sure if Flexner wishes to put a religious overlay on her poem, other than an occasion for ghosts. The Flexner family were 19th century German Jewish immigrants to America, and beside Hortense, there are several notable members. The foremost Flexner was her uncle, Abraham Flexner who I see credited with (among other things) the founding of the Institute for Advanced Study at Princeton, the eventual American home of Albert Einstein. Abraham was raised Orthodox, but became an agnostic. I have no info on what religious customs Hortense Flexner may have been knowledgeable about.*** All Souls Day as a traditional Roman Catholic holiday was devoted to praying for those dead not in heaven, in purgatory, and was separate from All Saints Day, which was reserved for the saints who got right into heaven. Protestant Christianity dispensed with those twin holiday distinctions and more or less considered it one holiday.
OK, here’s the part about my short musical performance of “All Souls’ Night.” I got out the virtual orchestral instruments again and started writing orchestral string parts to go with acoustic guitar. To help with the ghostly air there are two non-acoustic instrument tracks that are mixed at an almost subliminal level: a somewhat overdriven electric piano and a suitably unreal synth patch. You can hear it with the graphic player were it’s seen, or with this backup highlighted link. I still have other pieces planned for our Halloween series this year, so check back or click Follow to experience them.
*Poets.org, a long-time online poetry repository, has “All Soul’s Night, 1917” as it’s only Hortense Flexner poem, and references it under themes where a search might find it, but I may never know what the Ur-source is for this poem’s revival.
**Don’t think big time. There were more theaters then, and the Broadway theater where it was produced was The Princess, which sat only 299, and we don’t know how long the run was. I have watched a low budget amateur performance of Voices. It’s an earnest to a fault two-hander with a young French WWI-experiencing girl and another mysterious character who turns out to be Jeanne D’Arc.
***I went down a happy rabbit hole reading about the Flexners. Hortense was a feminist and a suffrage activist, college educated and eventually a literature professor at two of the “Seven Sisters” women’s Ivy League schools. She’s also some kind of relative to Kenneth Flexner Fearing, a lefty poet who became a pulp-noir novelist around mid-century.
Here, as promised, is the start of a series of Halloween-themed posts. Today’s audio piece uses words from 19th century American poet Emily Dickinson, and as usual for her it’s titled using the poem’s first line: “The only Ghost I ever saw.” Dickinson is no stranger to the gothic, but she often approaches it playfully — and that seems to be the case here. Here’s the full text of the poem along with chord-sheet notations for the 12-string guitar part I accompany it with today.
Sing along with Emily and the tree ghosts
The surface “plot” of this poem is straightforward, if detail sometimes puzzles. The poem’s speaker (presumably Dickinson) has seen a ghost once. She describes the encounter using some expected and unexpected description, and then closes with a puzzling final line. Since the description of the ghost is most of the poem let’s examine that closely. We first learn the ghost is dressed in “mechlin.” What’s that? A type of Flemish lace. The ghost has “no sandal on his foot.” The ghost moves soundlessly but with some speed, bird or dear-like. The ghost’s “fashions” are “quaint.” It might wear mistletoe. The ghost makes no footfall noises, but is not noiseless either. It’s said to laugh “like the breeze.”
This sort of mystery with detail is a format which suggests a riddle to me, and Dickinson did write riddle poems. So, is the ghost a metaphor for something else she’s observing? One could hazard a guess it’s snow, which might sweep in on winds like this with frosty lace, but the ghost is said to step “like flakes of snow.” It could be wind —and cold currents are often felt as “ghostly” — except again, Dickinson spends at least three lines in her short poem describing its actions as like a breeze. Snow like snow or breeze like breeze would be tautologies.
If it is a riddle, my best solution is that she’s viewing a tree in a grove of trees. Bark or moss, or even more likely the light filtering through small branches is the lace mosaic. It has no sandal to walk on the ground, its foot is in the ground — and note that Dickinson says no sandal on his foot (singular), not feet as in a human ghost. It steps in the wind in its swaying, but the noise in that movement isn’t from the foot of the tree, which stays stationary. And the branches dart back and forth like a deer leaping or a bird hopping. The prime clue is that mistletoe. Mistletoe is a parasite plant, it only grows by embedding its roots in trees. The branches make noise, the laughter, and in the path of the breeze the laughter would spread to other formerly still and pensive* trees around. Dickinson knows botany, I understand she and her family cultivated trees, and she has written other riddle poems with plants as answers.**
So my reading in summary: Dickinson is viewing a tree, perhaps one of the trees that surrounded the Dickinson homestead in autumn, and those flakes of snow its branches are stepping “like” are also appearing snowflakes in an approaching cold-front. The “interview” is cut short as the day is appalling — growing pale.
Is that an all-too-much a Scooby-Doo “There’s no such thing as ghosts” ending? I’m not certain of it, and the poem charms without the above, letting it stay in mystery. If that’s your worry, who’s to say — particularly at Halloween — that the trees aren’t sentient spirits?
You can hear my performance of Emily Dickinson’s “The only Ghost I ever saw” with my own musical setting using a player below if you see it. Is that player an invisible ghost for you? Well, summon it then with this highlighted link that will open a player.
*In the handwritten manuscript, Dickinson shows that she considered “smiling” instead of “pensive” in the poem.
I ran long the last time, let me be short today. Last week after Ethna McKiernan died, Dave Moore and I talked briefly, and I said that I was going to try to write something for Winter Solstice.
“Make it a happy one” Dave requested. I’ve written at length about the losses Dave and I have had with poetic colleagues in recent posts, so for those who want more details, I’ll refer you to the last couple of posts here instead.
How far did I get to that “happy?” Not all the way. The piece I wrote and you can hear my performance of today is more at bittersweet. I’ve talked to Dave about how I’m hearing Kevin FitzPatrick’s and Ethna’s voices, very distinctly at times when I’m quiet. And since I knew them largely as poets, I’m hearing them reading their poetry. I tell you honestly I don’t find this eerie at all. I find it comforting. I expect that those voices will fade with time, but right now to hear them keeps them with me.
I suspect grieving people have heard similar departed voices since we first began to speak, and that those voices would be more sure to come on a long dark winter night. But here’s my modern variation: due to the pandemic the last few meetings of the Lake Street Writer’s group happened over Zoom Internet videoconferencing. I became accustomed to seeing Ethna’s face after she began her cancer treatment on the same home screen I’m typing this on, and so now when I’m on a Zoom conference I sometimes expect to see her face again as one of the squares on my grid — and I will allow myself to visualize my expectation. You can read all 2916 lines of “In Memoriam,” and you won’t find Alfred Tennyson having that exact image to deal with.
Here’s my own text I performed from. Due to short recording opportunities, I worked out the drums and percussion, and then rapidly laid down a bass, piano, and then an arpeggiated 12-string guitar part to further establish a harmonic flavor. I had time to quickly improvise three passes of a lead electric 12-string part, and this was the best of them.
Then the last time I saw Ethna McKiernan, it was her book launch reading at Celtic Junction on August 6th. I recall she wore a brightly colored headwrap on those last Zoom conferences, and for the public reading she was all in bright red. I melded those two visual memories with our seasonal gift-wrapped packages in the poem.
So those are some of the consolations the poem’s title refers to. And too, one of the fine things in winter and on winter solstice is to be inside, in our lights, at home with our partners, family, house-pets, and welcome ghosts.
Here’s what I speak of in the final line: our lakes and ponds and the still parts of rivers have ice surfaces now. Whichever side of the ice you are on: under it and in the underwaters, or over precarious ice not thick enough to securely separate yourself from those cold underwaters — laugh with more than happiness, laugh with that knowledge that that ice is a fragile and temporary division.
In the last hour of 2019 I was sitting on the couch with my son as we exchanged video clips we thought each other should see. I mentioned that Neil Innes had just died, that he was part of the Monty Python circle, and that before Python he had founded a musical group that helped inspire the Pythons called the Bonzo Dog Do-Dah Band.
“I think I’ve heard of the Bonzo Dog Do-Dah Band.”
“Search for ‘Canyons of Your Mind’” I suggested. Sure enough, the magic of Internet searching brought up a video. “This is the most Sixties song ever” I promised.
Here’s the clip we watched.
Farcical fascicles found “In the wardrobe of my soul, in the section labeled shirts.”
I wasn’t sure if I needed to provide context for it. As the performance shows they’re sending up every bit of performative anguish over absent love as well as the worship of musicians offering it. And the lyrics? They should have mortally wounded a certain kind of Sixties metaphor that was supposed to transcend our mundane world. In the middle of it Neil Innes plays a guitar solo that was likewise a pig cupid’s dart to the heart of every guitar hero moment. Anyone got the tab for that?
Son was not impressed. He had just shown me a Franz Ferdinand video chock-full of early 20th century Dada and Constructivist art moves: Max Ernst, Kurt Schwitters, Alexander Rodchenko visual riffs. In contrast, the Bonzo’s Dada lacked the same danceable drive and sleek black stage dress of the smart and sharp 21st century Glaswegian rock band.
Oh well. I hadn’t seen the Franz Ferdinand videos he showed me and I was glad I saw them. They made me think how we are still working out the Modernist revolution as we enter another decade that will be called “The Twenties.”
Early in the last week, I watched an episode of Apple TV+ Dickinson with my wife. In it Emily was crushing on Benjamin Newton over their mutual admiration for Ralph Waldo Emerson’s poem “Dirge,” “The one where he’s on a plain with all those ghosts” as TV’s Emily has it.
That made we want to go back and check out Emerson’s “Dirge.” What might Dickinson have seen in it?
It is 19th century Goth, right full of death and lonely love for the dead. Emerson had suffered at least as much as his early 19th century peers in terms of early deaths in his circle, and his poem is quite similar to a poem Abraham Lincoln wrote around the same time that we’ve featured here. One of Emerson’s charms as an essayist was that his mind might take him anywhere while writing one, and the reader is afterward taken along for the ride. This one-thing-after-another move can also work in poetry, but when Emerson the poet does it, it generally doesn’t work for me. “Dirge” suffers for that.
Here’s the text of “Dirge” as Emerson published it. The TV show’s Dickinson latched right onto that arresting image, a rural plain full of ghosts, but Emerson buries the lede, putting another stanza before it. That stanza isn’t entirely bad, indeed its abandoned field with scanty corn could have conceivably informed Dickinson’s “Summer’s empty room” in her later poem we featured this December. I tried performing the poem in its entirety, but it was running nearly 8 minutes (longer than I like to use here) and so I then decided to cut to length by removing those stanzas that were Emersonian digressions. I’m not sure that’s the right way to go, though I think the listener might prefer my more single-threaded version. In some of the excised stanzas, Emerson made the poem’s setting distinctly his Concord hometown; and the mourned, missing folks: his siblings who died young. Specificity also works in poetry, but I’m not sure it strengthens this poem.
One more thing before I offer you a chance to hear my resulting performance. An 1850s Emily Dickinson would have been reading this kind of gothic romanticism in its moment. The element, performative or not, of contemporary personal emotion in poems was part of the change of 19th century Romanticism. Her models: Emerson, Emily Bronte, Elizabeth Barrett Browning, and others used that mode. Even Whitman made common use of it. Here’s something I find striking: Dickinson generally didn’t. Her poems make little use of sentimentality. She will use emotional words in her poems rather than images meant to invoke feelings in the 20th century Imagist manner, but those emotional terms often seem examined, observed, set to the side.
I asked my son if what put him off the Bonzos was that they were desecrating his musical religion. *
*Pedantically one could draw a fairly direct line from the Bonzos to early Roxy Music to “Anarchy in the UK.” But no more footnotes today! If I’m going to excise Emerson’s digressions, why should I give myself license?
National news and household events continually waylay my attention. Dejected gutters, palace intrigues throwing glances on complicated and duplicitous political alliances, and a middle-schooler with the sniffles—how can one weigh these things against this small but welcomed audience here for music combined with (mostly) poetry?
And so, I found myself short of material as I got ready to record with the LYL Band this week, a problem that the domestic, the national, and the poetic world combined to answer.
My wife had sent me a poem from the Confucian Odes recently, a loving gesture gratefully received, and as beautiful as it was, I wondered about the poem and its English translation because of my work here. As the news sticks its tongue out at me with screen-edge notifications (mutterings about the Emperor and his possible private derangement issuing from the far-off capitol) I read again some of those Confucian Odes, an ancient anthology designed to instruct not just scholars or poets, but politicians and bureaucrats.
What an odd idea. I suppose distributive requirements in American colleges still require some exposure to literature for those who will eventually serve in those roles, but this anthology was considered core material in Imperial China. And the Confucian Odes are not grand works of moral or civic uplift, rather they are compressed, tiny reports of humble activities, decisions, and situations. They sometimes imply or depict correct behavior, but they don’t explicitly end with a moral. Their lesson may be, in the largest part, that the reader must study them and find the lesson in the everyday.
How different would our emperor or his retainers be if this was their schooling?
One collection I read mixed in later classical Chinese poems with some of the Odes. It was here that once more I was pulled in by Du Fu, one of those aspiring bureaucrats who was steeped in those odes, but who lived centuries later at a time his country was in rebellion and upheaval. The Confucian ethos elevates faithful service, but who was to be served was shifting with the tide of rebellion. Reading Du Fu’s poems from the 8th Century as a small-part-citizen witnessing an empire disrupted in folly can have eerie resonances.
Late Thursday night, worried about material to record the next day, I began to translate Du Fu’s “Jade Flower Palace.”
I could not find a clean literal translation of the original ideograms for the entire poem, only for about half the lines. I was able to find three previous English translations, which I could at least triangulate for the parts I didn’t have the raw stuff for.
Looking at what I had, I noticed that Du Fu was making constant juxtapositions, comparisons of contrast. Even the opening lines had water pushing and wind sighing and reflecting. That seems conventional, even a commonplace like “oh no, the wind and rain” in an English folk ballad, but it’s followed by a jump to rodents running through a roof, so close to a translation of the English idiom “bats in the belfry.” I decided to take Du Fu as intentional here. Events may seem to push you, or you may sigh and accept them, but “Rats are running in the rafters.” The ruin is real, and for that matter, your mind may reflect that too.
What follows is part “Ozymandias” without Shelly’s political radicalism, and part ghost story. A ruined palace, once as lush as Mar-a-Lago, haunted by ghosts. I was puzzled by the “green ghost fires” referred to in this section, what with my limited knowledge of Chinese culture. Those three words are wonderous, but I still don’t know exactly what Du Fu is describing. Are there actual fires, lit as protection from ghosts (akin to the tradition of ghost lights in theaters)? Why green? Is it brightly colored moss or overgrowth in the ruins? Is Du Fu seeing luminous ghosts (instead of hearing them as he does later in the poem)? I can’t tell. Looking at some online material on Chinese ghosts, I see that this end of August/beginning of September period is sometimes celebrated as “ghost month” in China, and various things are done both to connect with or protect oneself from various spirits. Offerings, such as burning a pile of currency may be left out. I have no idea if that goes back to Du Fu’s time, but in our current world, the thought of a burning pile of greenbacks to keep one safe from long dead rich people sure seems like a vivid image. And water is running over the palace’s roadways. Just what is the sea level of Mar-a-Lago if global warming isn’t only a political question?
“Green ghost fires” The “ghost light” on the dark Fitzgerald Theater stage and money being burned as part of the Chinese Ghost Festival
As you listen to “Jade Flower Palace” perhaps you’ll want to pay notice to Du Fu’s subtle use of juxtapositions. More so than the other translations I read, I sought to bring those forward in mine. Translators seem to differ on Du Fu’s final lines, and that was a part where I didn’t have a literal translation to draw from. As midnight approached, I left two alternatives for my decision of what the final line should be to follow “There are many paths away from here.” It could be “How long are any of them?” or “None of them go on forever.” In the morning I decided that I would keep both, another juxtaposition.
In the performance on Friday I used this as our band warm up, where we loosen up our old and demented fingers, a cold first take. I repeated the first two lines once more at the end both to emphasize that they should be heard as more than commonplaces, and as a reminder (to invert a proverb of mysterious origin) that history isn’t necessarily instructed by rhyme, but repeats.
To hear the LYL Band perform Du Fu’s “Jade Flower Palace,” use the player below.