500 Days of Summer, early '60's mod, She&Him, Zooey Deschanel, or Joseph Gordon-Levitt fan? I happen to like all, as well as dancing and the color blue, so this cute video makes my heart smile. voilà! enjoy the class and talent if you will.
and a couple true blue tunes of the folk, guitar picking, rambling musician Ryan Bingham that complete those moments when i'm swinging in a hammock on a hot day and in need of some american harmonica and motivation to saddle em up. btw i'm sold on this bob dylan-ish texan bullrider. his rustic voice can be caught in the soundtrack to Jeff Bridges' (one of this girl's fave actors out there) 2010 alcoholic once-legendary country musician character in Crazy Heart.
and on that note of folksy texan artists, here's another lonestar i heard about. if you like dylan, neil young, tom waits, or john prine, you'll like the bluegrass feel to Danny Schmidt's music. as Sing Out! Magazine says, "his songs are a flood of poetry, mythology, folk wisdom, and surprise."
In Mediaeval Literature with Dr. Williams (excellent, ancient old man with a very traditional old-school method of teaching) we're studying Anglo-Saxon culture and literature, and the last one we read is called The Dream of the Rood. Think Beowulf, and slightly prior to Sir Gawain and the Green Knight, Pearl, etc. This ancient poem survives in a manuscript called the Vercelli book; the manuscript was written in England in the tenth century but was left in the northern Italian town of Vercelli, which is an important stop on the pilgrimage route from England to Rome. Its one of the earliest poems written during the Anglo-Saxon times and is basically a tale of heroism and spiritual triumph, relating the renowned scene of Jesus of Nazareth’s crucifixion from the standpoint of the cross itself, all of which is perceived by the narrator within a dream and re-told as this poem. A “rood”, presumably seems to be an Old English term for our term “rod”, hence the syntactic relation. Its difficult not to focus on the thought-provoking imagery in this peculiar visualization of the most powerful moment in history, and I've been reading it over and over again, finding more and more things. The cross seemingly plays an important role for the individual poet on a personal level because it observably captivates the dreamer’s awareness and regard for its potent symbolism for mankind. I think this is most likely overlooked by humanity in general from such a detailed and insightful standpoint, and thats what makes this ancient poem so compellingly unique to me. The Dreamer (or the poet) carries us through his most “sweetest dream” of gruesome suffering and triumphant glory, notably beginning with a vision of the cross itself first rather than of Christ Himself, giving the reader a good idea of the key character and focus in this poem. The cross is always described and viewed with the utmost respect, and is even in a close parallel position with the figure of the Christ Himself in several cases. The cross is originally portrayed as a “beacon” adorned in liturgical tradition from centuries of Church custom, and “bedecked with gold” as an object of veneration. Its later depicted as the literal wooden cross: “the savior’s tree…the best of woods…felled from the forest’s edge”. Then later on its referred back to as a liturgical cross after its discovery by St. Helen and its renewed emergence of fame within the Church of whom it was “adorned with gold and silver.” A chief point of eminence on the cross itself, much impressed by the poet, is that the cross is rendered as a symbol of a moment eternally occurring outside of time, meaning it is the essential point of our existence of which we eternally partake and behold, and this is most thoroughly expressed when all creation looked on “fair through all eternity”. The cross is depicted also as an angel, which is interesting; a symbolic messenger of God to humanity in this same aforementioned passage, an angel of the Lord. Also at the end of the poem when the dreamer desires the “cross of the lord”, rather than the scriptural representation of an angel, to “fetch” him and bear him to “great bliss, joy in heaven.” There's a sense of transmogrification as the tree is one with Christ in a way, as is seen when the cross “bleeds from the right side.” Also when the cross is left “standing drenched in blood. All shot through with arrows” and then when the tree speaks: “Easily I might have felled all those enemies, and yet I stood fast.” expressing a sense of intentional endurance of harm; he is an agent to his tormentors, yet they aren't the ones with the ultimate control. “They drove dark nails through me…They mocked us both together; I was all drenched with blood…Much have I endured on that hill of hostile fates.” They have suffered together, and the cross is the closest to Christ physically, which makes it “all beset with sorrow.” He isn't merely a witness to this gruesome scene but is a victim of evil, indeed a very martyr. The cross bears the weight and suffering of his Master, and suffers almost the same pains as Him. He is willing to endure his duty as a cross for the crucified, and in a noble manner, much like how Jesus approaches his duty as the crucified on the cross. This connection is noted when the cross “dared not bow down or break, against the lord’s word.” and when “the young hero made ready…strong and resolute; he ascended…brave…when he wanted to.” Another interesting point is when the poet gives a certain respective relationship of Mary to the cross when he says that after the crucifixion God honored him over all the trees of the forest, just as he has also honored His mother, Mary herself over all womankind. This gives a deep sense of honor to the cross itself, as it has shared a martyr-venerated connection with Mary the Mother of God, and Jesus Christ Himself. The tree reassures mankind that no one need be afraid of damnation who has borne in his breast the best of beacons, meaning himself, the cross of the crucified Lord. The intense attachment of cross’ purpose in relation to Jesus, and even Mary within this poem, gives it a much more dignified and laudable existence, than mere rods of wood, as the poet gives it life in recognizing and enduring its significantly fateful purpose. The poem concludes with the dreamer in a much more happy state than originally when he lamented his sinful state, but after this dreamt vision he is now longing to attain Paradise moreso and he eagerly prays to the cross to aid him en route for eternal salvation. This shift of the dreamer’s outlook and feelings towards the virtue-like bearer of Christ’s sufferings and its mission has a profound effect on the reader. The dreamer now has a sense of contemptuous mundi, and he yearns for eternal bliss. Likewise the dreamer’s expressions of sorrow of self-sinfulness can very much be a reflection of the reader’s state, and his change of heart towards passionately desiring Paradise can indeed be an insightful route for the reader as a truly effective approach to self-meditation.
tonight i will touch upon the world of "Faërie", as Tolkien would put it, and my intimacy with it on a personal level. Fairy tales have always been my favorite category of literature, from my very initial introduction to the imaginatory realm by my mother. Well, first it was the stories in scripture translated to a toddler's level, but right beside scripture i listened in a state of lull to her voice enlighten my mind's eye on folklore, i.e., fairytales, myths, and fables. These are my earliest and consequently my most relished memories; listening to mom read and then scrabbling my paper and crayons together to color the story that was still living in my limitedly acute mind. Although the latter was an exceedingly frustrating effort for a three year old to undertake; striving to convey to mommy on paper what i saw so vividly in my captivated imagination, it definitely had a lasting effect on my psyche. Perhaps why literature plays such an important role in my life is due to the encouragement of it in my very preliminary stages. I think that children's imaginations, although diminutive are the most dynamic and acute of human beings, it's just their limitations in expression and articulation that withhold the inner recesses of their ingenuity. Tolkien called fairytales "sub-creation", that is, creating a secondary world, of which entails the "inner consistency of reality". That being said, here's to folklore and the youth of this world who still have an ardent admiration and wonder for the ancient tales of heroism, purity, evil, adventures, tragedies, virtues, vices, etcetera etcetera...
"The consolation of fairy stories, the joy of the happy ending; or more correctly, the good catastrophe, the sudden, joyous "turn" (for there is no true end to a fairy tale); this joy, which is one of the things that fairy stories can produce supremely well, is not essentially escapist or fugitive. In it's fairy tale or other world setting, it is a sudden and miraculous grace, never to be counted on to reoccur. It does not deny the existence of dyscatastrophe, or sorrow and failure, the possibility of these is necessary to the joy of deliverance. It denies, (in the face of much evidence if you will) universal final defeat and in so far is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief." --Tolkien.
"I have claimed that Escape is one of the main functions of fairy-stories, and since I do not disapprove of them, it is plain that I do not accept the tone of scorn or pity with which 'Escape' is now so often used. Why should a man be scorned if, finding himself in prison, he tries to get out and go home? Or if he cannot do so, he thinks and talks about other topics than jailers and prison-walls?" --Tolkien.
"I am half sick of shadows" --The Lady of Shallot
"My good blade carves the casques of men,
My tough lance thrusteth sure,
My strength is as the strength of ten,
Because my heart is pure." --Sir Galahad
ever wonder what the more filtered Grimm fairytales were like in original form? (these are the ones i was raised on) check it out at this cute website... http://www.nationalgeographic.com/grimm and heads up: they're not as pretty as they're commercially depicted! there's almost no eucatastrophic element at all in these ones, its no wonder they were softened over time.
or john prine, you'll like the bluegrass feel to Danny Schmidt's music. as Sing Out! Magazine says, "his songs are a flood of poetry, mythology, folk wisdom, and surprise."
