Tuesday, February 14, 2012
Whose that author?
"Had I asked in any of those cities, would anyone have believed they someday would lie in ruins? Each age is an age that is passing, and cities, my friend, are transitory things. Each is born from the dust; each matures, grows older, then it fades and dies. A passing traveler looks at a mound of sand and broken stones and asks 'What was here?' and his answer is only an echo or a wind drifting sand."
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Reading without thinking is as nothing, for a book is less important for what it says than for what it makes you think."
Or the modern translation according to sonM: "Reading goes fast when you don't stop to comprehend."
nolo comprendere
Appropriate for Valentine's day.
It's bowdlerized Shelley, as far as I'm concerned.
Grandad was a L'Amour fan...I cut my eyetoothes on his tales.
@Chip S.
Mary or Percy?
l'Amour's sentiment is not particularly original. Among others who've expressed similar things (and an obscure source from whom l'Amour may have borrowed a little inspiration) is Charles Burney. Burney was the friend and confidant of Dr. Johnson, the facilitator of Thomas Jefferson's purchase of a harpsichord for Monticello, and one who helped arrange an honorary doctorate in Music for Haydn, awarded by Oxford University in 1791.
Burney was a well-known and prolific author on musical subjects. His most important works include, The Present State of Music in France and Italy (1771), The Present State of Music in Germany, the Netherlands and United Provinces (1773), and an History of Music, the first volume of which came out in 1776, and whose content subsequently became regarded as an embarrassment to musical scholarship. Some thought of it that way in 1776, but who are we to rekindle antique disputes?
Burney was the father of Fanny Burney, aka Madame d'Arblay after her marriage to a Frenchman. Fanny Burney was also a well-known author in her day, and generally acknowledged as the most important precursor to Jane Austin.
Displaying the origins of his family's literary talent, Charles Burney wrote this oddly familiar-sounding but elegant memento mori, referring to long-blockaded city of Antwerp in The Present State of Music in Germany, the Netherlands and United Provinces some years before Louis l'Amour beat his own drum to the same rhythm:
I arrived here Friday evening, July 17th; it is a city that fills the mind with more melancholy reflections concerning the vicissitudes of human affairs, and the transient state of worldly glory, than any other in modern times: the exchange, which served as a model to Sir Th. Gresham, when he built that of London, and which, though still intire, is as useless to the inhabitants as the Coloseo at Rome: the Town-house, constructed as a tribunal, for the magistrates, at the head of two hundred thousand inhabitants, which are now reduced to less than twenty thousand: the churches, the palaces, the squares, and whole streets, which, not two hundred years ago, were scarce sufficient to contain the people for whom they were designed,and which are now almost abandoned: the spacious and commodious quays, the numerous canals, cut with such labour and expence; the noble river Schelde, wider than the Thames at Chelsea-reach, which used to be covered with ships from all quarters of the world, and on which now, scarce a fishing boat can be discovered: all contribute to point out the instability of fortune, and to remind us that, what Babylon, Carthage, Athens, and Palmyra now are, the most flourishing cities of the present period, must, in the course of time, inevitably become!
Originality for a truth passed on for thousands of years is hard to trace. Each generation has found their own way to convey it in story, word and song. It's intriguing to hear a version from the 1700's and wonder where Burney may have received his inspiration.
This one preserved and passed down on the skins of calves and sheep (the same material used for drum heads), was first formed and sung by the singing shepherd who in 1010BC became a king:
As for man, his days are as grass: as a flower of the field, so he flourisheth.
For the wind passeth over it, and it is gone; and the place thereof shall know it no more.
Interesting to wonder if some of the very animals through whom these vibrations may have passed, may also have provided the means by which this song was preserved and carried forward long after the original singer was dead.
Gaze upon my works, ye mighty, and despair.
That's not quite right, is it.
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