Nubibus Atris

Screen Shot 2013-02-24 at 4.00.07 PMNubibus atris
condita nullum
fundere possunt
sidera lumen.

So run the first four lines of the final poem in Boethius’ Consolation of Philosophy, Book 1. These eight words, so skillfully arranged, convey with precision a primary theme of the Consolatio‘s opening book.  In an earlier poem, Boethius had already powerfully connected the stars, in their regular orbit, with the idea of a cosmic order that ought to apply to human affairs.  Here, Boethius draws another astral analogy.  The stars, he claims, are sources of light in the night sky, if only the clouds do not obtrude.  This is a critical Boethian theme, the idea that the capacity to see what is real (as represented by the light-giving, order-confirming stars) requires a commitment to genuine philosophical inquiry.  In other words, the mind and soul must be trained to see past the distractions of Fortune in order to make out Truth.

The meter of this short stanza is great (it’s an adonic, a dactyl followed by a trochee, “TUM ti ti TUM ti”), but even more significant is the arrangement of the words.  Latin allows a long separation between noun and adjective, and Boethius has cleverly segregated the adjectives in line 2 from their corresponding nouns in line 4.  The effect is to sift out in the verses the negative from the positive as an analogy for refining one’s vision.  It is a poetic representation of the philosophical quest to look beyond the ephemeral darkness to the eternal light.

When hid by clouds,             the stars at night
Cannot pour forth                their brilliant light.

Due to a lack of talent, I can’t replicate Boethius’ sturdy meter, but I hope my rendition at least can get across some idea of the word order, with the second half of each line undercutting the negative first half. Perhaps nobody will mind if, as a way of suggesting what I think Boethius’ eight words are saying here, I allude to Van Gogh’s famous stars swirling in the violent Mistral winds, an image painted through the barred windows of his asylum in Saint Remy, only few hundred miles west of the prison where, centuries before, the poet-philosopher had also looked for answers into the night sky.

757px-Van_Gogh_-_Starry_Night_-_Google_Art_Project

Posted in Astronomical, Classics, Poetry | 3 Comments

O Stelliferi Conditor Orbis

r657In the Medieval Latin class I’m teaching this term, we’re now reading Boethius’ Consolation of Philosophy. (If you’ve not read it before, stop wasting time on-line and read it now.)  The Consolatio is partially written in prose, partially in verse, and offers a genuinely comforting framework within which to view adversity. It was written when Boethius, who had been at the very highest realms of influence, was unjustly imprisoned; not long after he would be mercilessly killed.  I’ve asked my students to try to turn the verse portions into English poetry, and one of them demanded that I do the same.  Talk about a reversal of fortune!  My laughable effort is below, with the original Latin following. It’s not the entirety of the poem, only the first part, and it gets a little free at the end, but I think the Boethian idea of Fortuna’s fickleness comes through.

Boethius, Consolation of Philosophy
Book 1, Poem 5, “O Stelliferi Conditor Orbis”
Complaint in Verse to the Universe’s Capricious Ruler

O Ruler of the astral sphere
at rest on your eternal throne—
To spin the skies and master stars
in motion is your work alone.

As now the Moon, illumined full,
Returns her brother’s sunny beam
And dims the constellations ‘round
Her head, and then herself grows dim.

As Venus who, at evening,
has in the west made cold ascent,
will change her course and, paler now,
arise to meet the sun again.

Another star, at winter’s start,
which looks upon the scattered leaves,
now brings constriction of the light
that lengthens then in summer’s breeze.

You rule the ever-turning year,
arrange for Zephyr to return
the leafy boughs the North Wind stole.
You bloom in spring what summer burns.

Exemption from such firm control
Is granted nothing, not a thing
Escapes its proper placement, in
your government of everything

So why, in all this vast array,
this interwoven universe,
do lives of people like myself
alone not turn back from the worse?

The original Latin (which is given in full here):

O stelliferi conditor orbis,
qui perpetuo nixus solio
rapido caelum turbine uersas
legemque pati sidera cogis,
ut nunc pleno lucida cornu
totis fratris obuia flammis
condat stellas luna minores,
nunc obscuro pallida cornu
Phoebo propior lumina perdat
et qui primae tempore noctis
agit algentes Hesperos ortus
solitas iterum mutet habenas
Phoebi pallens Lucifer ortu.
Tu frondifluae frigore brumae
stringis lucem breuiore mora,
tu cum feruida uenerit aestas
agiles nocti diuidis horas.
Tua uis uarium temperat annum,
ut quas Boreae spiritus aufert
reuehat mites Zephyrus frondes,
quaeque Arcturus semina uidit
Sirius altas urat segetes:
nihil antiqua lege solutum
linquit propriae stationis opus.
Omnia certo fine gubernans
hominum solos respuis actus
merito rector cohibere modo.

Posted in Astronomical, Classics, Poetry | 5 Comments

Doggerel and Dogs in the Snow

In the back of one of my college notebooks, I once wrote a piece of doggerel that a friend of mine found and would recite when the spirit moved him.

It does my asthma little good
To go cavorting through the wood.

A few decades later, I guess my attitude’s changed some. There are woods behind my house and I spend a lot of time there, not cavorting but walking the dogs, occasionally thinking up doggerel.

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Screen Shot 2013-02-03 at 9.11.06 AM

photo-5

A snowflake pattern
from the bottom of a boot
pressed into the snow.

Daisy in snow

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Piper at the Gate

I swear this is the last post about The Wind in the Willows, but I came across a picture on my hard drive that I’d taken this summer of an Oxford doorpost, and it reminded me of a famous passage in Chapter 7, “The Piper at the Gates of Dawn,” quoted below.

IMG_1445And then, in that utter clearness of the imminent dawn, while Nature, flushed with fulness of incredible colour, seemed to hold her breath for the event, he looked in the very eyes of the Friend and Helper; saw the backward sweep of the curved horns, gleaming in the growing daylight; saw the stern, hooked nose between the kindly eyes that were looking down on them humourously, while the bearded mouth broke into a half-smile at the corners; saw the rippling muscles on the arm that lay across the broad chest, the long supple hand still holding the pan-pipes only just fallen away from the parted lips; saw the splendid curves of the shaggy limbs disposed in majestic ease on the sward …

My son thinks the figure looks like Mr. Tumnus, and maybe he’s right.  Anyway, I’d love to know more about this figured lintel, who made it, when, why, etc. If you know, send me a note–my guess is that it’s a conscious allusion from a fellow Grahame fan.  I’m not the only one who loves this passage, after all (check out Van Morrison’s tribute below).

Follow-up, August 2013.  I wrote to Professor Alan Bowman, principal of Brasenose College, about these satyrs (not figures of Pan!). He writes,

The house is in St Mary’s Passage and was incorporated in the development of the High Street side of the college in the late 19th century (architect was Jackson who also did the Examination Schools). There is a brief reference in Joe Mordaunt Crook’s history of the college (p.294) but nothing on the gilded Pan figures. I have asked the archivist to see if we have any more information on them. You might also have noticed that the door itself has a (more recent) carving of Aslan. That connects to the fact that there is a little passage at the back corner of the chapel which leads through to St Mary’s and is supposed to have inspired C.S. Lewis to Narnia and the Lion, the Witch and the Wardrobe (especially the last).

So it turns out my son was right, or at least closer to right than I was! Furthermore, according to a PDF from the College Archives Prof. Bowman attached,

The name ‘St. Mary’s Entry’ seems originally to have been
attached to an area north of the present site, approximately
where the quadrangle known as the Deer Park now stands.  The
building now known as St. Mary’s Entry has been occupied by
Brasenose since at least 1510, the year after the foundation of
the College. …

This may have been the point [the 1880’s] at which the doorway was added, but we have no information about it. Nikolaus Pevsner ascribed the ‘ornate door hood on two satyrs as brackets’ to the Oxford architect Harry Wilkinson Moore (1850-1915).  The Royal Commission on Historical Monuments described them as ‘winged grotesques’.

 

 

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