The OF Blog: Classics
Showing posts with label Classics. Show all posts
Showing posts with label Classics. Show all posts

Saturday, July 23, 2022

Pseudo-Methodius, Apocalypse and Anonymous, An Alexandrian World Chronicle

 

Τῷ δὲ πεντακοσιοστῷ χπὸνῷ τῆς δεθτὲρας χιλιὰδος `έτι μείζὁνος ἐξεκαὐθησαν ὲπὶ τῇ ἀθἐσμῷ  πορνεἰὰ πάντες οἰ άνθρωποι έω τῇ παρεμβολή Κάϊν τῆς προτέρας χείρονες γενόμενοι γενεάς, οἵ  και δικήν αλόγων ζώων αλλήλοις ἐπἐβαινον, ἐπί μέν τοὺς ἅρρενας τό θῆλυ, ἔπὶ δἐ θῆλυ τὀ ἅρρεν. (p.7)


Anno autem D secundi miliarii adhuc etiam mails exarserunt in obscinissimam fornicationem omnes homines in vastris Cain, peius factie priori generationis.  Qui et in more animalium in alterutrum convenientes insurgebant, et quidem in virilem muliebrem sexum <...>.  Similiter isdem turpissimis et incestis actibus hi, qui grant de cognation Cain, utebantur. (p. 80, 82)


For almost as long as Christianity has existed, visions of the end, eschaton, have been proclaimed.  These purported "unveilings" (which is what the word Apocalypse approximately means), have taken many forms.  For tens of millions today (such as the majority of my family, if not quite myself), the Apocalypse begins with a Rapture, or taking up of the faithful to meet Jesus before the seven years of the Great Tribulation begin (for billions of others who profess the Christian faith, this belief, originating in the 19th century, is a pre-millenist heresy).

And despite the disparate beliefs of the eschaton, the notion of the End has had a certain lurid appeal.  Of the earlier post-Revelations apocalyptic books, the seventh century CE book by Pseudo-Methodius (it was a custom in antiquity and the early centuries that followed the collapse of the western provinces of the Roman Empire for authors to take famous religious names as their own, with the hopes of the saintly names lending gravity to their writings) is perhaps one of the first multilingual eschatological bestsellers.  Apocalypse was originally written in Greek sometime around the year 692, based on textual evidence.  It was composed in the aftermath of three generations of calamities for the remnant Roman Empire.  From 632-697, province after province in the Eastern Mediterranean and North Africa were lost to the advancing armies emerging out of the Arabian peninsula who proclaimed the new faith of Islam.  To many, it was as if the world were on the cusp of collapsing.

By this time, the eastern Empire was thoroughly Christian, if not quite united in beliefs.  The Empire had changed in the previous four centuries from being the cruel persecutor of Christianity to the stalwart defender of the faith.  For many, Christianity had become co-terminus with imperium.  This belief is very prominent throughout Apocalypse, making for imagery that may be puzzling to those modern believers in the eschaton who see the Roman Empire as the harbinger of a worldy, materialistic anti-Christian entity that would emerge to tattoo people with the Sign of the Beast or other such modern imagery.

Pseudo-Methodius's Apocalypse begins with a chronologistic approach, beginning with a history of the world and its sins.  I have quoted above a passage from the second chapter dealing with the progeny of Cain.  I purposely didn't give the translation because it might be more fun for those who do know either Greek or Latin what the author is condemning (and to convince others to use Google Translate to find out what is perversely amusing about that short passage).  In these chapters, in which Old Testament figures and populations are interwoven with the then-current age, there are scourges (such as the 7th century Arabs) who emerge to represent God's wrath over the sins of the world.  Over the course of 14 short chapters (the whole is perhaps 40 pages in English translation), the author presents the case for why contemporary evils were transpiring, before presenting a vision in which a future saintly Roman Emperor would emerge to reclaim the lost lands before relinquishing his authority (and life) in Jerusalem as Jesus descends from Heaven with the Saints.  The imperium of the Romans, transformed into a sort of quasi-dyad with orthodox Christianity, has yielded to its holy successor, the imperium of Christ.

Apocalypse is a fascinating read, as its representations of sinful deeds and the coming triumph of Christ is presented in vivid prose.  It is easy to understand how in a world in which the western Empire had collapsed and new scourges (e.g. the nomadic invasions of the 5th-11th centuries) had emerged that this work was quickly translated into Latin and disseminated throughout the former Roman provinces.  While its presentation may seem quaint today, it still is a key historical work of apocalyptic literature that is well worth the time for anyone interested in the historiography of eschatology to read.

In the Dumbarton Oaks edition that I read, there is a companion work, the anonymous An Alexandrian World Chronicle, that was presented in Latin to the Frankish court by eastern Roman diplomats in the mid-6th century CE.  It is one of the earliest examples of the Christian chronicles of the world.  Divided into two volumes, it presents the world from the entrance of sin until contemporary times.  While there is a strong religious element to it, this work contains lists (a veritable plethora of lists) of rulers from the pharaohs to the Roman emperors, with purported times of their reigns and any notable events during their reigns.  In isolation, this work can be rather tedious at times to read, but taken piecemeal, it does provide an early look at the general layout used by latter world/national chronicles to cover the history of (and reason for) various political entities.

Together, these two works, Apocalypse and An Alexandrian World Chronicle, demonstrate how the 5th century nomadic invasions did not quite sever completely the Latin and Greek-speaking Mediterranean cultures.  The historical value of these two works is immense, even if the writing quality of the second work might not be as appealing to modern readers.

Monday, July 18, 2022

Cambridge Medieval Classics

 While the majority of the bilingual lists I’ve posted lately are still adding volumes, the Cambridge Medieval Classics list is an example of a purportedly extensive bilingual series of Medieval Latin and Greek works from 350-1350 CE being cut short, in this case after nine volumes.  However, 8 out of these 9 volumes are readily available via POD publishing.  Below are the volumes before the series was cut short (there were at least three other volumes-in-progress that never were published under the Cambridge Medieval Classics aegis), with italics for the ones owned, bold for books owned and read, and plain for volumes not yet purchased.


1.  Peter Dronke (ed.), Nine Medieval Latin Plays (Latin)

2.  Fleur Alcock (ed.), Hugh Primas and the Archpoet (Latin)

3.  Johannes de Hauvilla, Architrenius (Latin)

4.  Dante Alighieri, Monarchia (Latin)*

5.  Dante Alighieri, De Vulgari Eloquentia (Latin)

6.  Gregory of Nazianzus, Autobiographical Poems (Greek)

7.  Elizabeth Jeffreys (ed.), Digenis Akritas (Greek)

8.  Dhuoda, Handbook for her Warrior Son:  Liber Manualis (Latin)

9.  Adelard of Bath, Conversations with his Nephew:  On the Same and the Different, Questions on Natural Science, and On Birds (Latin)


* Not available in paperback


Thursday, July 07, 2022

I Tatti Renaissance Library

As is evidenced by the number of these posts over the past couple of months, I’ve lately been involved in collecting (and eventually, reading) volumes of certain classics in bilingual editions.  The I Tatti Renaissance Library, published by Harvard University Press since its inception in 2001, is one such list.  This series is devoted to publishing in Latin/English editions the Latin language works of many of the preeminent Renaissance thinkers.  Much of the literature presented here has never before been made available in English translation.  If I’ve read the volume, it’ll be listed in bold; italics for those owned but not yet fully read.


1.  Giovanni Boccaccio, Famous Women

2.  Marsilio Ficino, Platonic Theology  vol. I:  Books I-IV

3.  Leonardo Bruni, History of the Florentine People, Volume I:  Books I-IV

4.  Marsilio Ficino, Platonic Theology vol. II:  Books V-VIII

5.  Craig W. Kallendorf (ed.), Humanist Educational Treatises 

6.  Polydore Vergil, On Discovery

7.  Marsilio Ficino, Platonic Theology vol. III:  Books IX-XI

8.  Leon Battista Alberti, Momus

9.  Giannozzo Manetti, Biographical Writings

10. Cyriac of Ancona, Later Travels

11.  Francesco Petrarca, Invectives

12.  Pius II, Commentaries vol. I:  Books I-II

13.  Marsilio Ficino, Platonic Theology vol. IV:  Books XII-XIV

14.  Angelo Poliziano, Silvae

15.  Maffeo Vegio, Short Epics

16.  Leonardo Bruni, History of the Florentine People, Volume II:  Books V-VIII

17.  Marsilio Ficino, Platonic Theology vol. V:  Books XV-XVI

18.  Pietro Bembo, Lyric Poetry; Etna

19.  Gary R. Grund (ed.), Humanist Comedies

20.  Biondo Flavio,  Italy Illuminated, Volume I:  Books I-IV

21.  Angelo Poliziano, Letters, Volume I:  Books I-IV

22.  Giovanni Gioviano Pontano, Baiae

23.  Marsilio Ficino, Platonic Theology vol. VI:  Books XVII-XVIII

24.  Lorenzo Valla,  On the Donation of Constantine

25.  Teofilo Folengo, Baldo, Volume I:  Books I-XII

26.  JoAnn DellaNeva (ed.), Ciceronian Controversies

27.  Leonardo Bruni, History of the Florentine People, Volume III:  Books IX-XII; Memoirs

28.  Pietro Bembo, History of Venice, Volume I:  Books I-IV

29.  Pius II, Commentaries, Volume II:  Books III-IV

30.  Bartolomeo Platina, Lives of the Popes, Volume I:  Antiquity

31.  Bartolomeo Scala, Essays and Dialogues

32.  Pietro Bembo, History of Venice, Volume II:  Books V-VIII

33.  Nicolas of Cusa, Writings on Church and Reform

34.  Marsilio Ficino, Commentaries on Plato, Volume I:  Phaedras and Ion

35.  Christoforo Landino, Poems

36.  Teofilo Folengo, Baldo, Volume II:  Books XIII-XXV

37.  Pietro Bembo, History of Venice, Volume III:  Books IX-XII

38.  Jacopo Sannazaro, Latin Poetry

39.  Marco Girolamo Vida, Christiad

40.  Aurelio Lippo Brandini, Republics and Kingdoms Compared

41.  Francesco Filelfo, Odes

42.  Antonio Beccadelli, The Hermaphrodite 

43.  Florentius de Faxolis, Book on Music

44.  Federico Borromeo, Sacred Painting; Museum 

45.  Gary R. Grund (ed.), Humanist Tragedies

46. Giovanni Boccaccio, Genealogy of the Pagan Gods, Volume I:  Books I-V

47.  Bartolomeo Fonzio, Letters to Friends

48.  Lilia Gregorio, Modern Poets

49.  Lorenzo Valla, Dialectical Disputations, Volume I:  Book I

50.  Lorenzo Valla, Dialectical Disputations, Volume II:  Books II-III

51.  Marsilio Ficino, Conmmentaries on Plato, Volume II:  Parmenides, Part I

52.  Marsilio Ficino, Commentaries on Plato, Volume II:  Parmenides, Part II

53.  Giovanni Gioviano Pontano, Dialogues, Volume I:  Charon and Antonius 

54.  Michael Marcellus, Poems

55.  Francesco Filelfo, On Exile

56.  Paulo Giovio, Notable Men and Women of Our Time

57.  Girolamo Fracastoro, Latin Poetry

58.  Jacob Zabarella, On Methods, Volume I:  Books I-II

59.  Jacob Zabarella, On Methods, Volume II:  Books III-IV; On Regressions

60.  Lorenzo Valla, Correspondence 

61.  Elizabeth R. Wright (ed.), The Battle of Lepanto

62.  Coluccio Salutati, On the World and Religious Life

63.  Giovanni Gioviano Pontano, On Married Love; Eridanus

64.  Coluccio Salutati, Political Writings

65.  Cyriac of Ancona, Life and Early Travels

66.  Marsilio Ficino, On Dionysius the Aeropagite, Volume I:  Mystical Theology and The Divine Names, Part I

67.  Marsilio Ficino, On Dionysius the Aeropagite, Volume II:  The Divine Names, Part II

68.  Girolamo Savonarola, Apologetic Writings

69.  Ugolino Verino, Fiammetta; Paradise

70.  Aldius Manutius, The Greek Classics

71.  Giannozzo Manetti, A Translator’s Defense

72.  Francesco Petrarca, My Secret Book

73.  Giovanni Marrasio, Angelinetum and Other Poems

74.  Biondo Flavio, Rome in Triumph, Volume I:  Books I-II

75.  Biondo Flavio, Italy Illuminated, Volume II:  Books V-VIII

76.  Francesco Petrarca, Selected Letters, Volume I

77.  Francesco Petrarca, Selected Letters, Volume II

78.  Aldius Manutius, Humanism and the Latin Classics

79.  Giannozzo Manetti, Against the Jews and Gentiles:  Books I-IV

80.  Marsilio Ficino, Commentary on Plotinus, Volume IV:  Ennead III, Part I

81.  Giovanni Boccaccio, Genealogy of the Pagan Gods, Volume II:  Books VI-X

82.  Marsilio Ficino, Commentary on Plotinus, Volume V:  Ennead III, Part II and Ennead IV

83.  Pius II, Commentaries, Volume III:  Books V-VIII

84.  Ludovico Ariosto, Latin Poetry

85.  Giannozzo Manetti, On Human Worth and Excellence

86.  Angelo Poliziano, Greek and Latin Poetry

87.  Giovanni Gioviano Pontano, The Virtues and Vices of Speech

88.  Pier Candido, Lives of the Milanese Tyrants

89.  Angelo Poliziano, Miscellanies, Volume I

90.  Angelo Poliziano, Miscellanies, Volume II

91.  Giovanni Gioviano Pontano, Dialogues, Volume II:  Actius

92.  Giovanni Gioviano Pontano, Dialogues, Volume III:  Aegidius and Asinus

93.  Gianfrancesco Pico della Mirandola, Life of Giovanni Pico della Mirandola; Oration

94.  Giovanni Gioviano Pontano, Ecologues; Gardens of the Hesperides

95.  Paolo Giovio, Portraits of Learned Men

96.  Leon Battista Alberti, Biographical and Autobiographical Writings

97.  Leon Battista Alberti, Dinner Pieces, Volume I (March 2024)

98.  Leon Battista Alberti, Dinner Pieces, Volume II (March 2024)



Friday, June 24, 2022

Current Reads in Progress

 Since I no longer have a dedicated team of rabid Serbian Reading Squirrels to read 99% of my books for me (or more like I currently have an administrative/educational job that requires 10+ hours of my time many days of the week, not to mention I’m currently rehabbing a cervical disc injury), my reading time has been slower but mostly steady.  I haven’t finished many books since February, but I’m operating more on a dip and taste approach where I might spend 15 minutes one night on a particular book/language and then an hour plus on another, comparing the originals to the translations as I either refresh or learn new classical languages.

So with that out of the way, here’s what I’ve completed since March and what I’m currently reading:

3.  Marco Girolamo Vida, Christiad (I Tatti Renaissance Library, Latin/English)

4.  Homer, The Iliad Books I-XII (Loeb Classical Library, Greek/English)


In progress:

Homer, The Iliad Books XIII-XXIV (Loeb Classical Library, Greek/English) - partway through Book XIII

St. Augustine, City of God Books I-III (Loeb Classical Library, Latin/English) - partway through Book I

Vishnu-sharman, Five Discourses on Worldly Wisdom (Clay Sanskrit Library, Sanskrit(transliterated)/English - partway through the first section

Soma-deva, The Ocean of the Rivers of Story (Clay Sanskrit Library, Sanskrit(transliterated)/English) - finished the introduction

Valmíki, Ramáyana Book One:  Boyhood (Clay Sanskrit Library, Sanskrit(transliterated)/English) - partway through section one

Statius, Thebaid Books I-VII (Loeb Classical Library, Latin/English) - partway through Book III

Various, One Hundred Latin Hymns:  Ambrose to Aquinas (Dumbarton Oaks Medieval Library, Latin/English) - almost complete with introduction

Coulter H. George, How Dead Languages Work - currently on Ch. 2, dealing with Attic Greek

‘Any Al-Qudat, The Essence of Reality (Library of Arabic Literature, Arabic/English) - beginning Ch. 1

Ferdowsi, Shahnameh:  The Epic of the Persian Kings (English only graphic novel adaptation) - a few pages in

Sunday, June 05, 2022

Library of Arabic Literature

 Continuing my list of various supranational bilingual editions of “classic” literature, below are the volumes in the Arabic-English Library of Arabic Literature, published by New York University Press.  Begun in 2012, there are at this time a little over 50 volumes in print.  Several of these volumes contain literary works that exist at the interstices of several literary sub-genres and may be of interest to those (such as myself) who enjoy imaginative literature mixed with poetry, philosophical, and religious motifs.


1.  Geert Jan van Gelder (ed.), Classical Arabic Literature:  A Library of Arabic Literature Anthology

2.  Muhammad ibn Idris al-Shafi’i (trans. Joseph E. Lowry), The Epistle on Legal Theory

3.  al-Qāḍī al-Quḍāʿī (trans. Tahera Qutbuddin), A Treasury of Virtues:  Sayings, Sermons, and Teachings of ‘Ali, with the One Hundred Proverbs attributed to al-Jahiz

4.  Abū l-ʿAlāʾ al-Maʿarrī (trans. Geert Jan van Gelder and Gregor Schoeler), The Epistle of Forgiveness vol. I:  A Vision of Heaven and Hell

5.  Ibn al-Jawzī (trans.  Michael Cooperson), Virtues of the Imam Ahmad ibn Ḥanbal Vol. I

6.  Aḥmad Fāris al-Shidyāq (trans. Humphrey Davies), Leg Over Leg Vol. I

7.  Aḥmad Fāris al-Shidyāq (trans. Humphrey Davies), Leg Over Leg Vol. II

8.  Abū l-ʿAlāʾ al-Maʿarrī (trans. Geert Jan van Gelder and Gregor Schoeler), The Epistle of Forgiveness vol. II: Hypocrites, Heretics, and Other Sinners

9.  ʿĀʾishah al-Bāʿūniyyah (trans. Th. Emil Homerin), The Principles of Sufism

10. Maʿmar ibn Rāshid (trans. Sean W. Anthony), The  Expeditions: An Early Biography of Muḥammad

11. Aḥmad Fāris al-Shidyāq (trans. Humphrey Davies), Leg Over Leg Vol. III

12. Aḥmad Fāris al-Shidyāq (trans. Humphrey Davies), Leg Over Leg Vol. IV

13. Abū Zayd al-Sīrāfī and Aḥmad ibn Faḍlān (trans. Tim Mackintosh-Smith and James E. Montgomery), Two Arabic Travel Books:  Accounts of China and India and Mission to the Volga

14. Ibn al-Jawzī (trans.  Michael Cooperson), Virtues of the Imam Ahmad ibn Ḥanbal Vol. II

15. al-Qāḍī al-Nuʿmān (trans. Devin Stewart), Disagreements of the Jurists:  A Manual of Islamic Legal Theory)

16. Ibn al-Sāʿī (trans. Shawkat M. Toorawa), Consorts of the Caliph:  Women and the Court of Baghdad

17. Muḥammad al-Muwayliḥī (trans. Roger Allen),  What ʿĪsā ibn Hishām Told Us:  or, A Period of Time, Vol. I

18. Muḥammad al-Muwayliḥī (trans. Roger Allen),  What ʿĪsā ibn Hishām Told Us:  or, A Period of Time, Vol. II

19. Abū Bakr al-Ṣūlī (trans. Beatrice Greundler),  The Life and Times of Abū Tammām

20. ʿUthmān ibn Ibrāhīm al-Nābulusī (trans. Luke Yarbrough), The Sword of Ambition:  Bureaucratic Rivalry in Medieval Egypt

21. Yūsuf al-Shirbīnī (trans. Humphrey Davies), Brains Confounded by the Ode of Abū Shādūf Expounded, Vol. I

22. Yūsuf al-Shirbīnī (trans. Humphrey Davies), Brains Confounded by the Ode of Abū Shādūf Expounded, Vol. II

23. Bruce Fudge (ed. & trans.), A Hundred and One Nights

24. Muḥammad ibn Maḥfūẓ al-Sanhūrī (trans. Humphrey Davies), Risible Rhymes

25. al-Qāḍī al-Quḍāʿī (trans. Tahera Qutbuddin), Light in the Heavens:  Sayings of the Prophet Muhammad

26. Ibn Qutaybah (trans. Sarah Bowen Savant), The Excellence of the Arabs

27. Charles Perry (ed. & trans.), Scents and Flavors:  A Syrian Cookbook

28. Ḥmēdān al-Shwēʿir (trans. & ed. Marcel Kurpershoek), Arabian Satire:  Poetry from 18th-century Najd

29. Muḥammad al-Tūnisī (trans. Humphrey Davies), In Darfur:  An Account of the Sultanate and Its Peoples, Vol. I

30. Muḥammad al-Tūnisī (trans. Humphrey Davies), In Darfur:  An Account of the Sultanate and Its Peoples, Vol. II

31. ʿAbdallāh ibn Sbayyil (trans. Marcel Kurpershoek), Arabian Romantic:  Poems on Bedouin Life and Love

32. ʿAntarah ibn Shaddād (trans. James E. Montgomery), War Songs

33. al-Muḥassin ibn ʿAlī al-Tanūkhī (trans. & ed. Julia Bray), Stories of Piety and Prayer:  Deliverance Follows Adversity

34. Abū Ḥayyān al-Tawḥīdī and Abū ʿAlī Miskawayh (trans. Sophia Vasalou & James E. Montgomery), The Philosopher Responds:  An Intellectual Correspondence from the 10th Century, vol. I

35. Abū Ḥayyān al-Tawḥīdī and Abū ʿAlī Miskawayh (trans. Sophia Vasalou & James E. Montgomery), The Philosopher Responds:  An Intellectual Correspondence from the 10th Century, vol. II

36. al-Ḥasan al-Yūsī (trans. & ed. Justin Stearns),  The Discourses:  Reflections on History, Sufism, Theology, and Literature, vol. I

37. Abū Rayḥān al-Bīrūnī (trans. Mario Kozah), The Yoga Statues of  Patañjali

38. Jamāl al-Dīn ʿAbd al-Raḥīm al-Jawbarī (trans. Humphrey Davies), The Book of Charlatans

39. ʿAbd al-Laṭīf al-Baghdādī (trans. Tim Mackintosh-Smith), A Physician on the Nile: A Description of Egypt and Journal of the Famine Years

40. Ḥannā Diyāb (trans. Elias Muhanna), The Book of Travels, vol. I

41. Ḥannā Diyāb (trans. Elias Muhanna), The Book of Travels, vol. II

42. Ibn al-Muqaffaʿ (trans. Michael Fishbein and James E. Montgomery), Kalīlah and Dimnah:  Fables of Virtue and Vice

43. ʿAyn al-Quḍāt (ed. and trans. Mohammed Rustom), The Essence of Reality:  A Defense of Philosophical Sufism 

44. al-Māyidī ibn Ẓāhir (trans. Marcel Kurpershoek), Love, Death, Fame:  Poetry and Lore from the Emirati Oral Tradition

45. Ibn Khaldūn (trans. Carolyn Baugh), The Requirements of the Sufi Path:  A Defense of the Mystical Tradition 

46. Ibn Buṭlān (trans. & ed. Philip F. Kennedy and Jeremy Farrell), The Doctors’ Dinner Party 

47. James E. Montgomery (trans. &ed.), Fate the Hunter: Early Arabic Hunting Poems

48. al-Shābushtī (trans. & ed. Hilary Kilpatrick), The Book of Monasteries

49. Ibn al-Mu'tazz (trans. James M. Montgomery), In Deadly Embrace: Arabic Hunting Poems

50. ʿAfīf al-Dīn al-Tilimsānī (trans. Yousef Casewit), The Divine Names: A Mystical Theology of the Names of God in the Qu'ran


Monday, May 30, 2022

The Clay Sanskrit Library

The Clay Sanskrit Library was established in 2005 and added new volumes of transliterated Sanskrit with facing parallel English translations from then until 2009.  I’m listing this here as I do have a passing interest in learning some Sanskrit just so I can continue to broaden my literary and cultural horizons and to better understand the environments in which these classics were written.  I will list the books owned but not yet read in italics and eventually, if I gain some grasp of Sanskrit, read books will be listed in bold.


  1. The Emperor of the Sorcerers (volume one) by Budhasvāmin. trans. Sir James Mallinson
  2. Heavenly Exploits (Buddhist Biographies from the Dívyavadána) trans. Joel Tatelm
  3. Maha·bhárata III: The Forest (volume four of four) trans. William J. Johnson
  4. Much Ado About Religion by Bhaṭṭa Jayanta.  trans. Csaba Dezső
  5. The Birth of Kumára by Kālidāsa. trans. David Smith. Foreword by U.R. Ananthamurthy
  6. Ramáyana I: Boyhood by Vālmīki. trans. Robert P. Goldman. Foreword by Amartya Sen
  7. The Epitome of Queen Lilávati (volume one) by Jinaratna. trans. R.C.C. Fynes
  8. Ramáyana II: Ayódhya by Vālmīki. trans. Sheldon I. Pollock
  9. Love Lyrics by Amaru, Bhartṛhari & Bilhaṇa. trans. Greg Bailey & Richard Gombrich
  10. What Ten Young Men Did by Daṇḍin. trans. Isabelle Onians. Foreword by Kiran Nagarkar
  11. Three Satires by Nīlakaṇṭha, Kṣemendra, and Bhallaṭa. trans. Somadeva Vasudeva. Foreword by Mani Shankar Aiyar
  12. Ramáyana IV: Kishkíndha by Vālmīki. trans. Rosalind Lefeber
  13. The Emperor of the Sorcerers (volume two) by Budhasvāmin. trans. Sir James Mallinson
  14. Maha·bhárata IX: Shalya (volume one of two) trans. Justin Meiland
  15. Rákshasa’s Ring by Viśākhadatta. trans. Michael Coulson. Foreword by Romila Thapar
  16. Messenger Poems by Kālidāsa, Dhoyī, and Rūpa Gosvāmin. trans. Sir James Mallinson
  17. Ramáyana III: The Forest by Vālmīki.  trans. Sheldon I. Pollock
  18. The Epitome of Queen Lilávati (volume two) by Jinaratna. trans. R.C.C. Fynes
  19. Five Discourses on Worldly Wisdom by Viṣṇuśarman. trans. Patrick Olivelle 
  20. Ramáyana V: Súndara by Vālmīki.  trans. Robert P. Goldman & Sally J. Sutherland Goldman
  21. Maha·bhárata II: The Great Hall trans. Paul Wilmot
  22. The Recognition of Shakúntala by Kālidāsa. trans. Somadeva Vasudeva
  23. Maha·bhárata VII: Drona (volume one of four) trans. Vaughan Pilikian
  24. Rama Beyond Price by Murāri.  trans. Judit Törzsök
  25. Maha·bhárata IV: Viráta trans. Kathleen Garbutt
  26. Maha·bhárata VIII: Karna (volume one of two) trans. Adam Bowles
  27. “The Lady of the Jewel Necklace” and “The Lady Who Shows Her Love” by Harṣa. trans. Wendy Doniger. Foreword by Anita Desai
  28. The Ocean of the Rivers of Story (volume one of seven) by Somadeva. trans. Sir James Mallinson
  29. Handsome Nanda by Aśvaghoṣa. trans. Linda Covill
  30. Maha·bhárata IX: Shalya (volume two of two)  trans. Justin Meiland
  31. Rama’s Last Act by Bhavabhūti. trans. Sheldon I. Pollock. Foreword by Girish Karnad
  32. “Friendly Advice” and “King Víkrama’s Adventures” by Nārāyaṇa. trans. Judith Törzsök
  33. Life of the Buddha by Aśvaghoṣa. trans. Patrick Olivelle
  34. Maha·bhárata V: Preparations for War (volume one of two)  trans. Kathleen Garbutt. Foreword by Gurcharan Das
  35. Maha·bhárata VIII: Karna (volume two of two)  trans. Adam Bowles
  36. Maha·bhárata V: Preparations for War (volume two of two) trans. Kathleen Garbutt
  37. Maha·bhárata VI: Bhishma (volume one of two) Including the “Bhagavad Gita” in Context  trans. Alex Cherniak. Foreword by Ranajit Guha
  38. The Ocean of the Rivers of Story (volume two of seven) by Somadeva.  trans. Sir James Mallinson
  39. “How the Nagas Were Pleased” and “The Shattered Thighs” by Harṣa and Bhāsa. trans. Andrew Skilton
  40. Gita·govínda: Love Songs of Radha and Krishna by Jayadeva. trans. Lee Siegel. Foreword by Sudipta Kaviraj
  41. “Bouquet of Rasa” and “River of Rasa” by Bhānudatta. trans. Sheldon I. Pollock
  42. Garland of the Buddha’s Past Lives (volume one of two) by Āryaśūra. trans. Justin Meiland
  43. Maha·bhárata XII: Peace: “The Book of Liberation” (volume three of five) trans. Alexander Wynne
  44. The Little Clay Cart by Śūdraka. trans. Diwakar Acharya. Foreword by Partha Chatterjee
  45. Bhatti’s Poem: The Death of Rávana by Bhaṭṭi. trans. Oliver Fallon
  46. “Self-Surrender,” “Peace,” “Compassion,” and “The Mission of the Goose”: Poems and Prayers from South India by Appayya Dīkṣita, Nīlakaṇṭha Dīkṣita, Vedānta Deśika. trans. Yigal Bronner & David Shulman. Foreword by Gieve Patel
  47. Maha·bhárata VI: Bhishma (volume two of two) trans. Alex Cherniak
  48. How Úrvashi Was Won by Kālidāsa. trans. Velcheru Narayana Rao & David Shulman
  49. The Quartet of Causeries by Śyāmilaka, Vararuci, Śūdraka & Īśvaradatta. trans. Csaba Dezső & Somadeva Vasudeva
  50. Garland of the Buddha’s Past Lives (volume two of two) by Āryaśūra. trans. Justin Meiland
  51. Princess Kadámbari (volume one of three) by Bāṇa. trans. David Smith
  52. The Rise of Wisdom Moon by Kṛṣṇamiśra. trans. Matthew Kapstein. Foreword by J.N. Mohanty
  53. Maha·bhárata VII: Drona (volume two of four) trans. Vaughan Pilikian
  54. Maha·bhárata X-XI: Dead of Night & The Women trans.  Kate Crosby
  55. Seven Hundred Elegant Verses by Govardhana. trans. Friedhelm Hardy
  56. Málavika and Agni·mitra by Kālidāsa. trans. Dániel Balogh & Eszter Somogyi

Saturday, March 05, 2022

Praise, Trophies, and an Ode: Rediscovering My Love for the Classics

 For nearly five years, I have read fewer than 10 books a year.  I have ever-expanding job duties now, I completed two ultramarathons (abandoned other at 36.3/50 miles), along with six marathons, before a broken left ankle and grade III ligament tear there shelved me before the pandemic delayed matters still.  If anything, the two-year pandemic left me with even less free time, as I work in the educational wing of a mental healthcare facility.  At one point, I sold or boxed up nearly 80% of my books.  It seemed like reading fiction was in the past.

And yet my love for it never truly went away.  If I had a spare 15 minutes or so, I might scour Wikipedia or Quora or other online forums for information on historical periods/regions I didn't study in depth when I earned my BA and MA in History.  Of particular interest was the later Roman Empire, that which managed to survive until the mid-15th century.  Posthumously called the Byzantine Empire, I had read a few books on it, including John Julius Norwich's popular history.  Yet I found myself every now and then wanting to know more.  What was its literature like?  I found myself distrustful of Gibbons' view of it being decadent and pale imitator of its past.

So I finally did some research into medieval Roman literature and I discovered quite an interesting epic, Digenis Akritas.  Originally a series of related oral poems, by the 12th century it had been transformed into a written epic poem, albeit one with no single authorship and with surviving manuscripts that diverge quite a bit in certain particulars.  I plan on reviewing it in the near future, but for now it will suffice to say that its theme (solitary hero of mixed ethnic background guarding the Euphrates border of the Empire against Arab raids) captured my attention.

From there, I went on a bit of a spending spree and I started to buy volumes from these Harvard University Press series:  Loeb Classical Library (pre-500 AD bilingual Greek and Latin texts); Dumbarton Oaks Medieval Library (500-1400 Medieval Latin, Greek, and Anglo-Saxon texts); and the I Tatti Renaissance Library.  Although I haven't focused as much on this material during the 2004-2016 period of reviews here, I did take two years of Latin in college and have maintained some fluency in reading the text.  My Greek is negligible at the moment, although I know enough from excerpts in Latin texts to compare it to the English translation and work out the meanings of a few hundred words already.

I chose to return to these languages not because of a sense of cultural superiority, but rather because for a long while I've had this nagging feeling that there is a lot of cultural wealth that is endangered of being lost to irrelevancy.  Before this past month, I was ignorant of the fact that was a Neo-Latin epic poem, the Christiad by Marco Girolamo Vida, that retells the Gospels in hexameter verses of high quality.  Nor was I aware of the late 7th century Greek text, Apocalypse, attributed to Pseudo-Methodius, that perhaps is one of the most influential apocalyptic texts after the New Testament canon had been established over two centuries before.  And this is just the tip of the iceberg.

I suspect that over the next couple of months, usually for an hour or so before bedtime or maybe a couple of hours on weekends, I will work my way through a dozen or more of these texts and commentaries, filling in gaps in my knowledge and giving myself things to consider when it comes to form and topic.  There likely will be some reviews to be written of these works, because I believe it's more important that I write a commentaries on what can be gleaned from these works than marveling over Kickstarter records for authors (not demeaning, just noting that it's not as important in the long run) or commenting on casting choices for TV and movie adaptations of certain novels.  While I might address those topics too in the future, I think for now I'm going to focus on what intrigues me more.

Hopefully, there will be a few of you along for the ride.  It's been too long.

Saturday, September 20, 2014

The Franklin Library's 100 Greatest Books of All Time

Just now realized that I didn't have a corresponding list of The Franklin Library's 100 Greatest Books of All Time like I do for Easton Press's edition.  Since I own several Franklin Library books, thought I'd highlight those here, so whenever I do stumble across a Franklin Library edition in a local bookstore, I can make sure that I don't already own it in either this edition or the Easton Press version:

1.  The Iliad by Homer

2.  The Odyssey by Homer

3.  Adventures of Huckleberry Finn by Mark Twain (own Easton Press edition)

4.  The Education of Henry Adams by Henry Adams

5.  Confessions of St. Augustine (own Easton Press edition)

6.  Pride and Prejudice by Jane Austen

7.  The Divine Comedy by Dante Alighieri

8.  Wuthering Heights by Emily Brontë

9.  The Pilgrim’s Progress by John Bunyan

10.  Fairy Tales of Hans Christian Andersen

11.  Five Comedies by Aristophanes

12.  Don Quixote de La Mancha by Miguel de Cervantes Saavedra (own Easton Press edition)

13.  Canterbury Tales by Geoffrey Chaucer (own Easton Press edition)

14.  Stories of Guy de Maupassant (own Easton Press edition)

15.  Plays by Anton Chekhov

16.  Politics by Aristotle (own Easton Press edition)

17.  Selected Writings of Sir Francis Bacon

18.  Oresteia by Aeschylus

19.  Le Père Goriot by Honoré de Balzac (own in separate Franklin Library edition)

20.  Tales From The Arabian Nights by Sir Richard F. Burton

21.  Alice’s Adventures in Wonderland by Lewis Carroll (own Easton Press edition)

22.  Analects of Confucius (own Easton Press edition)

23.  Lord Jim by Joseph Conrad (own Easton Press edition)

24.  The Last of the Mohicans by James Fenimore Cooper (own Easton Press edition)

25.  The Red Badge of Courage by Stephen Crane (own Easton Press edition)

26.  Songs of Innocence and of Experience by William Blake

27.  The Decameron by Giovanni Boccaccio (own Easton Press edition)

28.  The Origin of Species by Charles Darwin

29.  Plays by Euripides

30.  The Sound and the Fury by William Faulkner

31.  Moll Flanders by Daniel Defoe

32.  Robinson Crusoe by Daniel Defoe (own Easton Press edition)

33.  Essays of Michel de Montaigne

34.  Philosophical Works of René Descartes

35.  Crime and Punishment by Fyodor Dostoevsky

36.  The Mill on the Floss by George Eliot

37.  Collected Poems (1909–1962) of T. S. Eliot

38.  Essays of Ralph Waldo Emerson (own Easton Press edition)

39.  Tom Jones by Henry Fielding (own Easton Press edition)

40.  The Great Gatsby by F. Scott Fitzgerald

41.  Madame Bovary by Gustave Flaubert (own Easton Press edition)

42.  The Autobiography of Benjamin Franklin, Benjamin Franklin

43.  The Basic Works of Sigmund Freud (own in separate Franklin Library edition)

44.  The Poetry of Robert Frost

45.  David Copperfield by Charles Dickens (own Easton Press edition)

46.  Great Expectations by Charles Dickens (own Easton Press edition)

47.  Poems of John Donne

48.  Faust by Johann Wolfgang von Goethe (own Easton Press edition)

49.  Favorite Household Tales of the Brothers GrimmBrothers Grimm (own Easton Press edition)

50.  The Federalist by Hamilton, Madison and Jay

51.  The Return of the Native by Thomas Hardy (own Easton Press edition)

52.  The Flowers of Evil by Charles Baudelaire

53.  Jane Eyre By Charlotte Brontë (own Easton Press edition)

54.  The Scarlet Letter by Nathaniel Hawthorne (own Easton Press edition)

55.  A Farewell to Arms by Ernest Hemingway

56.  Plays by Henrik Ibsen (own Easton Press edition)

57.  The Ambassadors by Henry James

58.  Nine Tales of Henry James

59.  Ulysses by James Joyce (own in separate Franklin Library edition)

60.  The Trial by Franz Kafka

61.  Poems of John Keats (own Easton Press edition)

62.  Women in Love by D. H. Lawrence

63.  The Prince by Niccolò Machiavelli (own Easton Press edition)

64.  Five Stories of Thomas Mann

65.  Moby-Dick by Herman Melville (own Easton Press edition)

66.  Eight Comedies by William Shakespeare (own Easton Press edition)

67.  Poems of William Shakespeare

68.  Six Histories by William Shakespeare (own Easton Press edition)

69.  Six Tragedies by William Shakespeare (own Easton Press edition)

70.  Political Writings of John Stuart Mill

71.  Paradise Lost by John Milton (own Easton Press edition)

72.  Seven Plays by Molière

73.  Four Plays of Eugene O’Neill

74.  Political Writings of Thomas Paine (own Easton Press edition)

75.  Pensees by Blaise Pascal

76.  Satyricon by Petronius

77.  The Republic by Plato

78.  Twelve Illustrious Lives by Plutarch

79.  Tales of Edgar Allan Poe (own Easton Press edition)

80.  Swann’s Way by Marcel Proust

81.  Gargantua and Pantagruel by François Rabelais

82.  Six Tragedies by Jean Racine

83.  Political Writings of Jean Jacques Rousseau (own Easton Press edition)

84.  Three Plays by Bernard Shaw

85.  The Tragedies of Sophocles

86.  Leaves of Grass by Walt Whitman (own Easton Press edition)

87.  Nana by Emile Zola

88.  Lyrical Ballads by William Wordsworth and Samuel Taylor Coleridge

89.  The Red and the Black by Stendhal (own Easton Press edition)

90.  Tristram Shandy by Laurence Sterne

91.  Treasure Island by Robert Louis Stevenson

92.  Gulliver’s Travels by Jonathan Swift (own Easton Press edition)

93.  Vanity Fair by William Makepeace Thackeray (own Easton Press edition)

94.  Walden by Henry D. Thoreau (own Easton Press edition)

95.  The History of the Peloponnesian War by Thucydides

96.  Fathers and Sons by Ivan Turgenev (own Easton Press edition)

97.  The Aeneid by Virgil

98.  Candide by Voltaire

99.  Selected Poems of William Butler Yeats (own Easton Press edition)

100.  War and Peace by Leo Tolstoy (own Easton Press edition)


13 of these editions owned, plus 3 more Franklin Library books in other editions and 43 Easton Press editions of the same or similar work isn't too shabby, I suppose.  But I'll resume occasional collecting in the near future, as I like the Franklin Library bindings just a little bit more (slightly thicker leather for many of these), not to mention the press is defunct, making these books scarcer than the Easton Press ones, which are still available for subscription order.  I also own a further 7 Franklin Library books that are not listed here.  That, plus the 77 Easton Press editions I own, makes my current leatherbound edition count exactly 100 at the moment.

Saturday, April 02, 2011

Leatherbound Classics: Johann Wolfgang von Goethe, Faust

Wenn Phantasie sich sonst mit kühnem Flug
Und hoffnungsvill zum Ewigen erweitert,
So ist ein kleiner Raum ihr nun genug,
Wenn Glück auf Glück im Zeitenstrudel scheitert.
Die Sorge nistet gleich im tiefen Herzen,
Dort wirket sie geheime Schmerzen,
Unruhig wiegt sie sich und störet Lust und Ruh;
Sie deckt sich stets mit neuen Masken zu,
Sie mag als Haus und Hof, als Weib und Kind     erscheinen,
Als Feuer, Wasser, Dolch und Giftl
Du bebst vor allem, was nicht trifft,
Und was du nie verlierst, das mußt du stets beweinen.


If Phantasy on daring wings once in the past,
Swelled by hope, sailed into infinite space;
Yet now she is satisfied with a little place,
Since joy after joy in the whirlpool of time is cast.
Care nestles in the depths of every heart,
There causing many a secret sorrow,
Restlessly rocking, driving joy and peace apart,
Disguised with changing masks each morrow,
It seems to be house or land, or child or wife,
Or fire, water, poison, steel;
Though nothing happens, dread you always feel,
What you never lose, you mourn throughout your life. (p. 23)

The legend of Faust and Mephistopheles has been around for over half a millennium.  Its two most famous iterations (although both are based on still older legends) are Christopher Marlowe's late 16th century play Doctor Faustus and German philosopher/playwright Johann Wolfgang von Goethe's early 19th century two-part play, Faust.  In each, there are some traditional elements (Faust as doctor/scholar, the temptations of ennui that lead to Mephistopheles' appearance, the "Faustian bargain" struck for greater knowledge, Faust's death), but there are some very key differences.  In Marlowe's play, the story takes on the tone of a morality play, with a suitably dark and damning conclusion.  Yet Goethe's play does not follow this path.  Why is that?

That is a question that several readers familiar with the traditional German 16th century folklore surrounding Faust ask.  Why does Goethe depart from the original morality play of the source legends to create something that is much more complicated than a fable regarding the perils of bargaining with the devil?  An answer might lay in the prevailing Romanticism of the first decades of the 19th century.    In the passage quoted above, which is part of a long soliloquy given by Faust, expresses Faust's discontent with his life's experiences and his longing for more.  He aims to pierce through phantasies, to discover what might be found through alchemical or magical meanings.  His is an understandable emotion, one that Faust shares with several characters found in plays and poems of the time.  He wants to feel more, to experience things better, to become something more perfect.  Yet he cannot; he is constrained by the limits of body and time.

It is from here that Goethe juxtaposes conversations in heaven, between the saints and the Host, between God and Mephistopheles, who make their own wager regarding Faust and his soul.  God claims there is a part of Faust's soul that is incorruptible, while Mephistopheles aims to prove otherwise.  What follows is a metaphysical tug-of-war, with Faust's life in the balance.  Goethe easily could have played this straight up as a simple tale of an inquisitive man who stumbles and falls under the devil's sway, but what happens is something that is sumptuous to behold.  Having read this in both English and German, what I learned while reading notes related to the translation is that several phrases found in this book have worked their way into the German lexicon similar to the way that Shakespeare's plays have entered our own vocabulary.  "Das also war des Pudels Kern!", spoken when Mephistopheles transforms from a dog into human semblance for his first meeting with Faust, is more than "the core of the Puddle."  It is a metaphor for change and what is concealed within; the heart of the matter, if it may.  Sadly, much of this semantic meaning is lost in translation.

Throughout the first part, published originally in 1808, Goethe focuses on the temptations that Mephistopheles presents to Faust, finally toppling him with visions and promises of things to be learned through magic.  Goethe explores the ramifications of this, through Walpurgis Night and Faust's seduction of the innocent Gretchen/Margarete, who ultimately dies due to his nefarious actions.  Yet although Gretchen and her destroyed innocence/death are a core element of the elements upon which Goethe drew his tale, it is her semi-Marian role in Part Two that changes the course of this retelling.

Part Two is much more allegorical than the first, as the focus shifts away from the personal struggle for Faust's soul and toward the knowledge and experiences that he gains under Mephistopheles' guidance.  Through the past and into the Hellenistic mythos the two go, where Faust comes to know the Queen of Beauty, Helen of Troy.  Faust experiences a plethora of new feelings, learning more than he had ever deigned to expect.  And it is in the midst of his ultimate, sublime experience that the bargain made earlier in Part One is shown to be void.  Grace has triumphed; experience and emotion trump reason.

For some, Part Two may be difficult to read, as it requires the reader to not only to be familiar with all sorts of European fairy tales, classical myths, religious doctrine, etc., but also to be willing to let themselves be caught up in the allegories that Goethe explores.  Yet if that effort can be made, a wealth of literary treasures opens up.  Reading Faust might have been simultaneously one of the most profound and most whimsical reading experiences that I have ever had.  There is a bit of almost everything literary contained within its play/quasi-poetic structure.  It was almost a surfeit of pleasures for me as I re-read these two parts.  Although the English translations (the Easton Press edition contains Alice Raphael's translation, while the Penguin Classics translation of Part Two was by Philip Wayne) depart in some ways from the German originals that I also read, on the whole neither one detracted from my enjoyment of the story.  Faust is one of the greatest Romantic writings produced in any language and two centuries after Part One appeared, it still is one of the most influential literary classics ever to be produced.  It is the nearest thing to a must-read for anyone who has any pretensions to being a well-read human being.

Tuesday, March 22, 2011

Leatherbound Classics: Fyodor Dostoevesky, The Brothers Karamazov

"Remember, young man, constantly," Father Païssy began, without preface, "that the science of this world, which has become a great power, has, especially in the last century, analysed everything divine handed down to us in the holy books.  After this cruel analysis, the learned of this world have nothing left of all that was sacred of old.  But they have only analysed the parts and overlooked the whole, and indeed their blindness is astounding.  Yet the whole still stands steadfast before their eyes, and the s of hell shall not prevail against it.  Has it not lasted nineteen centuries, is it not still a living, a moving power in the individual soul and among the masses of the people?  It dwells as unshakably as before in the souls of the very atheists, who have destroyed everything!  For even those who have renounced Christianity and rebel against it, in their inmost being still follow the Christian ideal, for hitherto neither their subtlety nor the ardour of their hearts has been able to create a higher image of man and of virtue than the image manifested by Christ of old.  When it has been attempted, the result has been only grotesque. (p. 129)

I have stared at this screen for a long time, trying to think just how I should order my thoughts on Fyodor Dostoevsky's last and perhaps greatest novel, The Brothers Karamazov.  Some novels have great characters; others, moving scenes or poignant themes.  But then there are those rare novels that are much more than even the sum of the most excellent parts.  The Brothers Karamazov (read in the Garnett/Yarmolinksy translation) is one of those novels where the reading experience is enhanced by the reader's consideration of Dostoevsky's thematic presentation of crime and the damage wrought. 

In his story of three legitimate brothers of the Karamazov family and their reactions to their father's death by parricide, Dostoevsky creates more than just a brilliantly-told crime novel.  The keen psychological depths that Dostoevsky plumbs here adds resonance to the core crime/mystery plot:  not only are the whys of the murder revealed, but also the whys of the thoughts and beliefs that lead up to this.  Layered on top of this (this is especially seen with religious characters such as Father Païssey, quoted above) is a philosophical exploration of redemption and human efforts to remove the taint of sin from their souls.  Dostoevsky was not orthodox in his beliefs; his Christianity is much less dependent upon the forms and rituals, instead emphasizing human yearnings for freedom regardless of strong or weak adherence to Orthodox beliefs.

Each of the three legitimate Karamazov brothers portray different approaches to reconciling their father's murder with their own understanding of the world and their role in it.  In sharp contrast stands their father and their bastard half-brother, Smerdyakov.  Each character can be viewed simultaneously as being well-realized, dynamic characters and as being symbols for the struggles inherent between body, mind, and soul for primacy.  It is almost impossible to discuss this without providing copious quotes, but it should suffice to say that this novel is rife with each character's relationship with social attitudes on religion and its conflict with contemporary social theories, as well as how one should live his/her life in an increasingly materialistic world.

There are very few weaknesses.  Although I usually complain about the quality of the Easton Press translations, the Garnett/Yarmolinsky does not impede the reader's enjoyment of the story Dostoevsky tells.  This is not to say, however, that this translation is great; it gives the gist of Dostoevsky's prose and mannerisms, but with the sense in a few places that a few subtleties are being missed in the translation into English.  The execution of Dostoevsky's thematic treatment of Dmitri, Ivan, and Alyosha's characters manages to avoid the extremes of languid self-indulgence and rushed sketchiness.  Each character arc is well-plotted and the union of theme and action is nearly flawless.  The only real complaint one might make is that Dostoevsky never lived to complete his ambitious plan for Alyosha in a sequel.  Truly a classic novel.

Wednesday, March 02, 2011

Leatherbound Classics: William Shakespeare, Troilus and Cressida

Thersites:  Agamemnon is a fool; Achilles is a fool; Thersites is a fool; and, as aforesaid, Patroclus is a fool.

Achilles:  Derive this; come.

Thersites:  Agamemnon is a fool to offer to command Achilles; Achilles is a fool to be commanded of Agamemnon; Thersites is a fool to serve such a fool; and this Patroclus is a fool positive.

Patroclus:  Why am I a fool?

Thersites:  Make that demand of the Creator.  It suffices me thou art.  Look you, who comes here?

Achilles:  Come, Patroclus, I'll speak with nobody.  Come in with me, Thersites.

Thersites:  Here is such patchery, such juggling, and such knavery.  All the argument is a whore and a cuckold - good quarrel to draw emulous factions and bleed to death upon.  Now the dry serpigo on the subject, and war and lechery confound all!

Act II, Scene 3 

Shakespeare's Troilus and Cressida has vexed critics and audiences four centuries since its first appearance between 1602 and 1609.  It is a so-called "problem play"; it is neither tragedy, history, nor comedy, although it contains elements of all three.  Rather, it is a social commentary that utilizes satire and bawdy wit to explore issues such as the impermanence of sworn oaths, whether they be of a political or romantic nature.  Such issues can make for an unsettling experience for an unprepared audience and certainly Troilus and Cressida has had a rocky relationship with its critics for most of the past four centuries.

Troilus and Cressida is set during the tenth year of the Trojan War and it riffs off of Homer's Iliad and Chaucer's Troius and Cressida.  There are two parallel plots here:  the tiff between Agamemon and Achilles over the former's seizure of the latter's female captive and the budding romance between the Trojan prince Troilus, Priam's youngest son, and the Trojan lady Cressida.  Shakespeare's original audience would likely have been familiar with the basic plots of both, as the Trojan War was a popular stage setting in the years prior to this play and Chaucer's narrative poem had been wildly popular in England for over two centuries at the time of Shakespeare's play.

What Shakespeare does here is invert certain elements.  Instead of following Homer's lead on aristos and portray the Greek camp situation as revolving around matters of personal greatness and quality, he portrays the riff between Achilles and Agamemnon, which envelops other leaders such as Ulysses, Diomedes, and Ajax, as a base, political affair.  There is no nobility on display; instead, we see the ugly political machinations that lay bare the falsity of their oaths to unite to fight the Trojans.  As for the romantic relationship between Troilus and Cressida, he does not follow Chaucer's story either.  Referencing freely the "whore" and "cuckold" elements of the Helen/Menelaus relationship, Shakespeare recasts Cressida's relationship with Troilus as being at its heart a mirror of that of Helen's.  There is no true love, there is no true faith.  We deceive ourselves and others, presumably for our own gain.

This is not a pleasant topic for a play or even for a sermon and Shakespeare utilizes bit characters such as Thersites to present these falsities in a crude, bawdy fashion that would get audiences chuckling until they paused later to consider the import of such statements as the one quoted above.  At times, however, the humor feels rather forced, as the ugliness of the situations casts a pall over matters.  It certainly was jarring to read clever turns of phrases from the "fools" after the more notable (and unwitting) fools demonstrated through their actions and perfidies the ridiculousness of their positions.  Yet despite the sordidness on display, Troilus and Cressida is fascinating.  It is certainly a clever play, one which plays upon reader expectations before twisting them and throwing them back in their faces, but it also says much about ourselves that could not be said straightforward in either a comedy or a tragedy.  Troilus and Cressida occupies a nebulous middle ground between those two poles of human drama and its tragic ending does not overshadow its black comic middle, but rather it reinforces that sense of futility we often feel in our own lives.  It certainly is a "problem play" in that it is more than just a commentary on social problems, but also it represents things which trouble us long after the final words are read or spoken.  Certainly a play which I will revisit in years to come.

Tuesday, March 01, 2011

Leatherbound Classics: Franz Kafka, The Trial

Jeman mußte Josef K. verleumdet haben, denn ohne daß er etwas Böses getan hätte, wurde er eines Morgens verhaftet.  Die Köchin der Frau Grubach, seiner Zimmervermieterin, die ihm jeden Tag gegen acht Uhr früh dad Frühstück brachte, kam diesmal nicht.  Das war noch niemals geschehen.  K. wartete noch ein Weilchen, sah von seinem Kopfkissen aus die alte Frau, die ihm gegenüber wohnte und die ihn mit einer an ihr ganz ungewöhnlichen Neugierde beobachtete, dann aber, gleichzeitig befremdet und hungrig, läutete er.

Someone must have traduced Joseph K., for without having done anything wrong he was arrested one fine morning.  His landlady's cook, who always brought him his breakfast at eight o' clock, failed to appear on this occasion.  That had never happened before.  K. waited for a little while longer, watching from his pillow the old lady opposite, who seemed to be peering at him with a curiosity unusual even for her, but then, feeling both put out and hungry, he rang the bell. (p. 1)

Czech/Jewish/German writer Franz Kafka (the confusion as to which ethno-national label to pin on him adds to his appeal) begins his "unfinished" novel The Trial with a false sense of banality.  The morning routine of a boarder is interrupted.  This fleeting glance at a "before," similar to the one sentence in his The Metamorphosis that changes Gregor's life forever, jolts the reader from the beginning.  Who is this Joseph K.?  Why is he being arrested before we know anything more about him?

Was waren denn dad für Menschen?  Wovon sprachen sie?  Welcher Behörde gehörten sie an?  K. lebte doch in einem Rechtsstaat, überall herrschte Friede, alle Gesetze bestanden aufrecht, wer wagte, in in seiner Wohnung zu überfallen?  Er neigte stets dazu, alles möghlicht leicht zu nehmen, das Schlimmste erst beim Eintritt des Schlimmsten zu glauben, keine Vorsorge für die Zukunft u treffen, selbst wenn alles drohte.  Hier schien ihm das aber nicht richtig, man konnte zwar das Ganze als Spaß ansehen, als einen gorben Spaß, den ihm aus unbekannten Gründen, vielleicht weil heute sein dreißigster Geburtstag war, die Kollegen in der Bank veranstaltet hatten, es war natürlich möglich, vielleicht brauchte er nur auf irgendeine Weise den Wächtern ins Gesicht zu lachen, und sie würden mitlachen, vielleicht waren es Dienstmänner von der Straßenecke, sie sahen ihnen nicht unähnlich - trotzdem war er diesmal, förmlich schon seit dem ersten Anblick des Wächters Franz, entschlossen, nicht den geringsten Vorteil, den er vielleicht gegenüber diesen Leuten besaß, aus der Hand zu geben.  Darin, daß man später sagen würde, er habe keinen Spaß verstanden, sah K. eine ganz geringe Gefahr, wohl aber erinnerte er sich - ohne daß es sonst seine Gewohnheit gewesen wäre, aus Erfahrungen zu lernen - an einige, an sich unbedeutende Fälle, in denen er zum Unterschied von seinen Freunden mit Bewußtsein, ohne das geringste Gefühl für die möglichen Folgen, sich unvorsichtig benommen hatte und dafür durch das Ergebnis gestraft worden war.  Es sollte nicht wieder geschehen, zumindest nicht diesmal; war es eine Komödie, so wollte er mitspielen.

Who could these men be?  What were they talking about?  What authority could they represent?  K. lived in a country with a legal constitution; there was universal peace; all the laws were in force; who dared seize him in his own dwelling?  He had always been inclined to take things easily, to believe in the worst only when the worst happened, to take no care for the morrow even when the outlook was threatening.  But that struck him as not being the right policy here; one could certainly regard the whole thing as a joke, a rude joke which his colleagues in the Bank had concocted for some unknown reason, perhaps because this was his thirtieth birthday.  That was of course possible; perhaps he had only to laugh knowingly in these men's faces and they would laugh with him, perhaps they were merely porters from the street corner - they looked very like it - nevertheless his very first glance at the man Franz had decided him for the time being not to give away any advantage that he might possess over these people.  There was a slight risk that later on his friends might possibly say he could not take a joke, but he had in mind - though it was not usual with him to learn from experience - several occasions, of no importance in themselves, when against all his friends' advice he had behaved with deliberate recklessness and without the slightest regard for possible consequences, and had had in the end to pay dearly for it.  That must not happen again, at least not this time; if this was a comedy he would insist on playing it to the end. (p. 4-5)

I quote this long passage because it contains the germ of the story which follows.  Kafka's Joseph K. represents a sort of everyman, a perfectly "normal" middle-class citizen, presumably respectable, who suddenly is thrust into a bewildering situation.  How would we act?  Wouldn't we likely be as baffled as he, thinking this must be some monstrous joke?  After all, don't we ultimately control the State, rather than the State controlling us?  It is a cruel, dark "comedy" that awaits Joseph K.; we can sense the rising fear and we anticipate the drawn-out horrors that await him.

The Trial, like most of Kafka's works, was never completed; he left his works to his friend and estate executor, Max Brod, to dispose of, preferably with fire.  Brod obviously chose not to follow Kafka's arguably halfhearted desire.  However, Kafka's notes for The Trial were in some state of disorganization; Brod had to experiment with chapter placement.  This fact alone (revealed in Brod's later prefaces, when he rearranged the chapter placements) makes reading The Trial an interesting experience.  As Joseph K. goes to trial, he has to witness several people he has previously known testify against him; their order may not be of utmost importance, yet there is something in the way that the trial is structured that makes the narrative work on a variety of levels.  Why are these people testifying against him?  Why is more and more evidence being found against him?  How can a single person resist the power of the State, even a presumably democratic one? 

These questions drive home the power of The Trial.  It is of little importance whether or not Joseph K. is "innocent" or "guilty."  What matters is the sense derived from the ponderous evidence presented.  Those feelings of confusion, of self-doubt, of worry; they all create a composite psychological portrait that is not limited to a single person's point of view, but instead envelops an entire society.  Written during the cataclysmic decade of World War I and its immediate aftermath, The Trial represents a break with the Positivism of the 19th century, with its now-quaint ideas on Progress (as opposed to progress) and Order (here held to be of questionable value).  Before Existentialism became a loose literary/philosophical movement, Kafka's works showed the internal contradictions of modern society.

Yet despite the importance placed on his writings, Kafka's writing style was not ornate.  His German is simple and direct.  The 1937 Muir translation which I quote captures much of Kafka's tone, although there are a few places where the translation feels stilted and inappropriate for the internal monologues of Joseph K.  Kafka creates odd, unsettling situations which then unfold in ways that can be morbidly comical, like the thrashing and flopping of a fish on the ground.  "Comedy," in both its classical and modern senses, might be the most apt word to sum up Kafka.  We see the development and unfolding of a life before us, simultaneously fascinating and farcical.  In that storm of socio-political movement, who is ridiculous enough to spit into its wind?

The Trial, however, is more than all this.  It is a story that invites us to provide our own takes to its events.  Joseph K.'s plight allows us to place ourselves into the narrative, to process what might ultimately be unfathomable for us.  Yet attempts to do so will be done and even if they prove to be inconclusive, the reactions derived from this can stimulate us to dwell upon the structure which Kafka has provided us.  Here is where I believe The Trial has lasting value, in that its readers do not receive its contents passively, but instead become active participants in what is unfolding.  Whether or not it is "complete" as a narrative is irrelevant here.  The Trial simply is a powerful narrative that moves readers nearly a century after its (partial) conception.  It truly is a classic work which will continue to move readers generations from now.

Wednesday, February 23, 2011

Leatherbound Classics: Miguel Cervantes, Don Quixote

En un lugar de la Mancha, de cuyo nombre no quiero acordarme...

In a village of La Mancha, the name of which I have no desire to call to mind...
With these words, Miguel Cervantes begins one of the greatest prose works in human history. Depending on how the reader chooses to approach Cervantes' two-part creation, Don Quixote can be viewed as a devastating critique of the excessive proto-Romanticism found in the popular 15th-17th century heroic epics, or it can be read as an endearing tragic/comedy of an idealist sallying forth into a jaded, materialistic world.  How the reader approaches the material perhaps says as much about s/he as it does about Don Quixote as a whole.

Published in two parts between 1605 and 1615, Don Quixote (or El ingenioso hidalgo Don Quijote de la Mancha, to give this book its modern Spanish title) is not strictly speaking a novel.  Rather, it is a series of sallies or adventures by an aging bachelor, Alonso Quixano (or Quesada or other possible names, if one pays overly strict attention to the introductory chapters), who has come to see himself as the heir to the Paladins of France or to all the Amadus (Amadi?) of Gaul, Greece, and other parts known and unknown.  When Cervantes began writing this work, epic poems from the likes of Ariosto (whose Orlando Furioso comes out relatively unscathed compared to the other epic poets of the time) to Cervantes' sometimes-rival Lope de Vega were all the rage.  Some of these works, like those of Boiardo and Ariosto have survived the test of time, while those like de Vega's attempt to write an epic within the Orlando mythos are drab, lifeless affairs.  Cervantes satirizes this in the Ch. 6 of Part I, when, under orders from Quixote's worried niece, a local curate and barber are dispatched to sort through Quixote's books in order to remove the ones most likely to have caused his chivalric malady:

Y el primero que maese Nicolás le dio en las manos, fue los cuatro de Amadís de Gaula, y dijo el cura:

- Parece cosa de misterio ésta; porque, según he oído decir, este libro fue el primero de caballerías que se imprimió en España, y todos los demás han tomado principio y origen déste; y así, me parece, que, como a dogmatizador de una secta tan mala, le debemos sin excusa alguna condenar al fuego.

- No, señor - dijo el barbero - , que también he oído decir que es el mejor de todos los libros que este género se han compuesto; y así, como a único en su arte, se debe perdonar.

- Así es verdad - dijo el cura -, y por esta razón se le otorga la vida por ahora. Veamos esotro que está junto a él.

- Es -dijo el barbero-, Las sergas de Esplandián, hijo legítimo de Amadís de Gaula.

-Pues en verdad - dijo el cura, que no le ha de valer al hijo la bondad del padre; tomad, señora ama, abrid esa ventana y echadle al corral, y dé principio al montón de la hoguera que se ha de hacer.

Hizolo así el ama con mucho contento, y el bueno de Esplandián fue volando al corral, esperando con toda paciencia el fuego que le amenazaba.

- Adelante - dijo el cura.

- Este que viene - dijo el barbero - es Amadís de Grecia, y aun todos los deste lado, a lo que creo, son del mesmo linaje de Amadis.

- Pues vayan todos al corral - dijo el cura -, que a trueco de quemar a la reina Pintiquiniestra y al pastor Darinel y a sus églogas, y a las endiabladas y revueltas razones de su autor, quemara con ellos al padre que me engendró, si anduviera en figura de caballero andante.

The first that Master Nicholas put into his hand was "The four books of Amadis of Gaul."  "This seems a mysterious thing," said the curate, "for, as I have heard say, this was the first book of chivalry printed in Spain, and from this all the others derive their birth and origin; so it seems to me that we ought inexorably to condemn it to the flames as the founder of so vile a sect."

"Nay, sir," said the barber, "I too, have heard say that this is the best of all the books of this kind that have been written, and so, as something singular in its line, it ought to be pardoned."

"True," said the curate; "and for that reason let its life be spared for the present.  Let us see that other which is next to it."

"It is," said the barber, "the 'Sergas de Esplandian,' the lawful son of Amadis of Gaul.'"

"Then verily," said the curate, "the merit of the father must not be put down to the account of the son.  Take it, mistress housekeeper; open the window and fling it into the yard and lay the foundation of the pile for the bonfire we are to make."

The housekeeper obeyed with great satisfaction, and the worthy "Esplandian" went flying into the yard to await with all patience the fire that was in store for him.

"Proceed," said the curate.

"This that comes next," said the barber, "is 'Amadis of Greece,' and, indeed, I believe all those on this side are of the same Amadis lineage."

"Then to the yard with the whole of them," said the curate; "for to have the burning of Queen Pintiquiniestra, and the shepherd Darinel and his eclogues, and the bedevilled and involved discourses of his author, I would burn with them the father who begot me if he were going about in the guise of a knight-errant." (p. 72)

This passage sets the tone for most of the rest of the First Part; Quixote (and after a short while, the peasant/squire Sancho) refers again and again to these chivalrous works before proceeding to do all sorts of madness.  While many readers might chortle at the tilting at windmills or Quixote's attempt to evoke knightly privilege in order to get out of paying for lodging and food at an inn, what made these scenes hilarious for readers in Cervantes' time was the knowledge that he was satirizing some of the most popular writers of that generation and the one before it.  Regardless of how one approaches the iconic scenes from the First Part, it is a testimony to how memorable Quixote has made his characters and their situations that different interpretations can be applied to any particular scene with equal enjoyment being possible.  Borges' Pierre Menard, if he were in existence, might be nodding his head in agreement with this.

The Second Part is different in feel from the First.  It is not as outlandish; Don Quixote is not as buffonish here and the savage satire which Cervantes utilized in the First Part has been toned down in favor of longer, more philosophical passages.  Yet this does not mean that the narrative weakens in its power.  Instead, Don Quixote and Sancho Panza expand their roles, becoming not just the butt of jokes, but also commentaries on the meanness and cruelties of the actual world which is mostly devoid of the chivalric values that Quixote expresses.  If the first half was devoted to satirizing the excesses of chivalry, the second concerns itself with showing how idealism, in reasonable amounts, can be an antidote for the world's self-inflicted ills.

Although I first read this in Spanish, I did read the Easton Press edition, containing a 19th century translation by John Ormsby.  I wish I could say it was a good translation; those who know the slightly archaic 17th century Spanish in which Cervantes composed will have realized that Ormsby took some liberties with the text in order to make it read better for an English audience.  Yet it is not terrible; there are times where the subtleties of Cervantes' prose shines through in this translation.  This is more than I can say of the Signet Classics translation of Don Quixote that I read several years ago, as that one left me wondering just what it was that was supposed to be so wonderful about Cervantes' story.

Don Quixote, as I said above, is not a true novel, but more a collection of adventures which are interconnected.  As such, the stories and adventures are woven together almost perfectly; each blends seamlessly into the next.  Combined with the satiric wit that Cervantes uses to set up several scenes, this novel is a comic masterpiece which also serves as a commentary on a now-moribund literary genre.  It is truly a classic which contains several elements that will appeal to a broad audience.  Highly recommended.

                                                                                                                                                             
 
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