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Postby Perelandra » Tue Feb 24, 2009 1:39 am

Charles Baudelaire
Correspondences

Nature is a temple where the living pillars
Permit, from time to time, confused words to escape;
Here mankind will cross by, where symbols take the shape
Of forests gazing on his progress like familiars.

As distant, verberating echoes can resound
Together, mingling deep and shadowed harmony
As vast as midnight and as vast as clarity,
So can each scent and hue and sound to each respond.

Some perfumes are as fragrant as an infant’s flesh,
Sweet as an oboe’s cry, and greener than the spring;
- While others are triumphant, decadent or rich.

Having the expansion of infinite things,
Like ambergris and musk, benzoin and frankincense,
Which sing the transports of the mind and every sense.
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Postby Perelandra » Tue Feb 24, 2009 1:18 pm

.
Been into the art again.


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Postby OP ED » Tue Feb 24, 2009 3:22 pm

Phoebe Anna Traquair?

(third from bottom?)
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Postby OP ED » Tue Feb 24, 2009 3:28 pm

just looked familiar, and that's the only Traquair i know.


assuming i sorted right, these are all hers:


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Postby Perelandra » Tue Feb 24, 2009 6:55 pm

Thank you, dear. Damn I love learning something new.
What an awesome artist.
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Postby OP ED » Tue Feb 24, 2009 8:29 pm

Perelandra wrote:Thank you, dear. Damn I love learning something new.
What an awesome artist.


i may be wrong about the image you posted, as i do not recognize it. however, she was somewhat prolific and not particularly well known nowadays, and it reminded me of her style. also i do not know any other artist with the name traquair.

she is prolly best known for Illuminating [illustrations] for Elizabeth Browning's Sonnets from the Portugese [which they are not, being Browning originals disguised as translations] which, IMO is among Elizabeth's best work and is superior to anything her husband [Robert Browning anyone?] ever produced, which is in fact, quite a compliment really. Though I prefer Aurora Leigh, which due to its overt religious semi-heresy and proto-feminism is required reading for A:.A:. students, especially of the male persuasion.

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[Traquair self-portrait]

Traquair was highly influential in the Arts and Crafts [Later Arts Noveau] movement. which is where i know her from, as i consider it a logical extension of Uncle Blake's notion of art being intended for mass viewing in public spaces as opposed to being secreted away in museums and schools.

She worked in many media, indeed several of my previous pictures above aren't paintings or murals at all but are rather embroideries.

the idea of crafts being heavily artificed is a notion i've personally borrowed heavily from.

[The Arts Noveau took this a step further by including the architecture itself into the presentation of public art. as seen immediately below]

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more Traquair:

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(above and below, illustrations from Sonnets from the Portugese)

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...

her astonishing attention to detail in sem-engraving style of book-bindings, as seen below is one of the reasons i consider her to be of the post-Blakean tradition and far beyond most of her victorian peers in the ability to incorporate structure into overall design.

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...

i have more, maybe later.
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Postby OP ED » Tue Feb 24, 2009 8:55 pm

[cross-posted from Poetry thread in Lounge]

this poem, especially in regards its use of highly sexualized double or triple entendree disguised as children's rhyme has been highly influential on me.

the above mentioned Traquair did some illustrations for it, which i am unable to acquire.

[the Boggart, from one of my previously posted psuedo-poetic journal entries whose rhythm and sex imagery were intended as outright pirated parodisms of the verses below, is a direct reference to the Goblins described by Rossetti]



GOBLIN MARKET


Morning and evening
Maids heard the goblins cry:
'Come buy our orchard fruits,
Come buy, come buy:
Apples and quinces,
Lemons and oranges,
Plump unpecked cherries,
Melons and raspberries,
Bloom-down-cheeked peaches,
Swart-headed mulberries, 10
Wild free-born cranberries,
Crab-apples, dewberries,
Pine-apples, blackberries,
Apricots, strawberries;--
All ripe together
In summer weather,--
Morns that pass by,
Fair eves that fly;
Come buy, come buy:
Our grapes fresh from the vine, 20
Pomegranates full and fine,
Dates and sharp bullaces,
Rare pears and greengages,
Damsons and bilberries,
Taste them and try:
Currants and gooseberries,
Bright-fire-like barberries,
Figs to fill your mouth,
Citrons from the South,
Sweet to tongue and sound to eye; 30
Come buy, come buy.'

Evening by evening
Among the brookside rushes,
Laura bowed her head to hear,
Lizzie veiled her blushes:
Crouching close together
In the cooling weather,
With clasping arms and cautioning lips,
With tingling cheeks and finger tips.
'Lie close,' Laura said, 40
Pricking up her golden head:
'We must not look at goblin men,
We must not buy their fruits:
Who knows upon what soil they fed
Their hungry thirsty roots?'
'Come buy,' call the goblins
Hobbling down the glen.
'Oh,' cried Lizzie, 'Laura, Laura,
You should not peep at goblin men.'
Lizzie covered up her eyes, 50
Covered close lest they should look;
Laura reared her glossy head,
And whispered like the restless brook:
'Look, Lizzie, look, Lizzie,
Down the glen tramp little men.
One hauls a basket,
One bears a plate,
One lugs a golden dish
Of many pounds weight.
How fair the vine must grow 60
Whose grapes are so luscious;
How warm the wind must blow
Through those fruit bushes.'
'No,' said Lizzie, 'No, no, no;
Their offers should not charm us,
Their evil gifts would harm us.'
She thrust a dimpled finger
In each ear, shut eyes and ran:
Curious Laura chose to linger
Wondering at each merchant man. 70
One had a cat's face,
One whisked a tail,
One tramped at a rat's pace,
One crawled like a snail,
One like a wombat prowled obtuse and furry,
One like a ratel tumbled hurry skurry.
She heard a voice like voice of doves
Cooing all together:
They sounded kind and full of loves
In the pleasant weather. 80

Laura stretched her gleaming neck
Like a rush-imbedded swan,
Like a lily from the beck,
Like a moonlit poplar branch,
Like a vessel at the launch
When its last restraint is gone.

Backwards up the mossy glen
Turned and trooped the goblin men,
With their shrill repeated cry,
'Come buy, come buy.' 90
When they reached where Laura was
They stood stock still upon the moss,
Leering at each other,
Brother with queer brother;
Signalling each other,
Brother with sly brother.
One set his basket down,
One reared his plate;
One began to weave a crown
Of tendrils, leaves, and rough nuts brown 100
(Men sell not such in any town);
One heaved the golden weight
Of dish and fruit to offer her:
'Come buy, come buy,' was still their cry.
Laura stared but did not stir,
Longed but had no money:
The whisk-tailed merchant bade her taste
In tones as smooth as honey,
The cat-faced purr'd,
The rat-faced spoke a word 110
Of welcome, and the snail-paced even was heard;
One parrot-voiced and jolly
Cried 'Pretty Goblin' still for 'Pretty Polly;'--
One whistled like a bird.

But sweet-tooth Laura spoke in haste:
'Good folk, I have no coin;
To take were to purloin:
I have no copper in my purse,
I have no silver either,
And all my gold is on the furze 120
That shakes in windy weather
Above the rusty heather.'
'You have much gold upon your head,'
They answered all together:
'Buy from us with a golden curl.'
She clipped a precious golden lock,
She dropped a tear more rare than pearl,
Then sucked their fruit globes fair or red:
Sweeter than honey from the rock,
Stronger than man-rejoicing wine, 130
Clearer than water flowed that juice;
She never tasted such before,
How should it cloy with length of use?
She sucked and sucked and sucked the more
Fruits which that unknown orchard bore;
She sucked until her lips were sore;
Then flung the emptied rinds away
But gathered up one kernel stone,
And knew not was it night or day
As she turned home alone. 140

Lizzie met her at the gate
Full of wise upbraidings:
'Dear, you should not stay so late,
Twilight is not good for maidens;
Should not loiter in the glen
In the haunts of goblin men.
Do you not remember Jeanie,
How she met them in the moonlight,
Took their gifts both choice and many,
Ate their fruits and wore their flowers 150
Plucked from bowers
Where summer ripens at all hours?
But ever in the noonlight
She pined and pined away;
Sought them by night and day,
Found them no more, but dwindled and grew grey;
Then fell with the first snow,
While to this day no grass will grow
Where she lies low:
I planted daisies there a year ago 160
That never blow.
You should not loiter so.'
'Nay, hush,' said Laura:
'Nay, hush, my sister:
I ate and ate my fill,
Yet my mouth waters still;
To-morrow night I will
Buy more:' and kissed her:
'Have done with sorrow;
I'll bring you plums to-morrow 170
Fresh on their mother twigs,
Cherries worth getting;
You cannot think what figs
My teeth have met in,
What melons icy-cold
Piled on a dish of gold
Too huge for me to hold,
What peaches with a velvet nap,
Pellucid grapes without one seed:
Odorous indeed must be the mead 180
Whereon they grow, and pure the wave they drink
With lilies at the brink,
And sugar-sweet their sap.'

Golden head by golden head,
Like two pigeons in one nest
Folded in each other's wings,
They lay down in their curtained bed:
Like two blossoms on one stem,
Like two flakes of new-fall'n snow,
Like two wands of ivory 190
Tipped with gold for awful kings.
Moon and stars gazed in at them,
Wind sang to them lullaby,
Lumbering owls forbore to fly,
Not a bat flapped to and fro
Round their rest:
Cheek to cheek and breast to breast
Locked together in one nest.

Early in the morning
When the first cock crowed his warning, 200
Neat like bees, as sweet and busy,
Laura rose with Lizzie:
Fetched in honey, milked the cows,
Aired and set to rights the house,
Kneaded cakes of whitest wheat,
Cakes for dainty mouths to eat,
Next churned butter, whipped up cream,
Fed their poultry, sat and sewed;
Talked as modest maidens should:
Lizzie with an open heart, 210
Laura in an absent dream,
One content, one sick in part;
One warbling for the mere bright day's delight,
One longing for the night.

At length slow evening came:
They went with pitchers to the reedy brook;
Lizzie most placid in her look,
Laura most like a leaping flame.
They drew the gurgling water from its deep;
Lizzie plucked purple and rich golden flags, 220
Then turning homeward said: 'The sunset flushes
Those furthest loftiest crags;
Come, Laura, not another maiden lags,
No wilful squirrel wags,
The beasts and birds are fast asleep.'
But Laura loitered still among the rushes
And said the bank was steep.

And said the hour was early still
The dew not fall'n, the wind not chill:
Listening ever, but not catching 230
The customary cry,
'Come buy, come buy,'
With its iterated jingle
Of sugar-baited words:
Not for all her watching
Once discerning even one goblin
Racing, whisking, tumbling, hobbling;
Let alone the herds
That used to tramp along the glen,
In groups or single, 240
Of brisk fruit-merchant men.

Till Lizzie urged, 'O Laura, come;
I hear the fruit-call but I dare not look:
You should not loiter longer at this brook:
Come with me home.
The stars rise, the moon bends her arc,
Each glowworm winks her spark,
Let us get home before the night grows dark:
For clouds may gather
Though this is summer weather, 250
Put out the lights and drench us through;
Then if we lost our way what should we do?'

Laura turned cold as stone
To find her sister heard that cry alone,
That goblin cry,
'Come buy our fruits, come buy.'
Must she then buy no more such dainty fruit?
Must she no more such succous pasture find,
Gone deaf and blind?
Her tree of life drooped from the root: 260
She said not one word in her heart's sore ache;
But peering thro' the dimness, nought discerning,
Trudged home, her pitcher dripping all the way;
So crept to bed, and lay
Silent till Lizzie slept;
Then sat up in a passionate yearning,
And gnashed her teeth for baulked desire, and wept
As if her heart would break.

Day after day, night after night,
Laura kept watch in vain 270
In sullen silence of exceeding pain.
She never caught again the goblin cry:
'Come buy, come buy;'--
She never spied the goblin men
Hawking their fruits along the glen:
But when the noon waxed bright
Her hair grew thin and grey;
She dwindled, as the fair full moon doth turn
To swift decay and burn
Her fire away. 280

One day remembering her kernel-stone
She set it by a wall that faced the south;
Dewed it with tears, hoped for a root,
Watched for a waxing shoot,
But there came none;
It never saw the sun,
It never felt the trickling moisture run:
While with sunk eyes and faded mouth
She dreamed of melons, as a traveller sees
False waves in desert drouth 290
With shade of leaf-crowned trees,
And burns the thirstier in the sandful breeze.

She no more swept the house,
Tended the fowls or cows,
Fetched honey, kneaded cakes of wheat,
Brought water from the brook:
But sat down listless in the chimney-nook
And would not eat.

Tender Lizzie could not bear
To watch her sister's cankerous care 300
Yet not to share.
She night and morning
Caught the goblins' cry:
'Come buy our orchard fruits,
Come buy, come buy:'--
Beside the brook, along the glen,
She heard the tramp of goblin men,
The voice and stir
Poor Laura could not hear;
Longed to buy fruit to comfort her, 310
But feared to pay too dear.
She thought of Jeanie in her grave,
Who should have been a bride;
But who for joys brides hope to have
Fell sick and died
In her gay prime,
In earliest Winter time
With the first glazing rime,
With the first snow-fall of crisp Winter time.

Till Laura dwindling 320
Seemed knocking at Death's door:
Then Lizzie weighed no more
Better and worse;
But put a silver penny in her purse,
Kissed Laura, crossed the heath with clumps of furze
At twilight, halted by the brook:
And for the first time in her life
Began to listen and look.

Laughed every goblin
When they spied her peeping: 330
Came towards her hobbling,
Flying, running, leaping,
Puffing and blowing,
Chuckling, clapping, crowing,
Clucking and gobbling,
Mopping and mowing,
Full of airs and graces,
Pulling wry faces,
Demure grimaces,
Cat-like and rat-like, 340
Ratel- and wombat-like,
Snail-paced in a hurry,
Parrot-voiced and whistler,
Helter skelter, hurry skurry,
Chattering like magpies,
Fluttering like pigeons,
Gliding like fishes,--
Hugged her and kissed her:
Squeezed and caressed her:
Stretched up their dishes, 350
Panniers, and plates:
'Look at our apples
Russet and dun,
Bob at our cherries,
Bite at our peaches,
Citrons and dates,
Grapes for the asking,
Pears red with basking
Out in the sun,
Plums on their twigs; 360
Pluck them and suck them,
Pomegranates, figs.'--

'Good folk,' said Lizzie,
Mindful of Jeanie:
'Give me much and many:'--
Held out her apron,
Tossed them her penny.
'Nay, take a seat with us,
Honour and eat with us,'
They answered grinning: 370
'Our feast is but beginning.
Night yet is early,
Warm and dew-pearly,
Wakeful and starry:
Such fruits as these
No man can carry;
Half their bloom would fly,
Half their dew would dry,
Half their flavour would pass by.
Sit down and feast with us, 380
Be welcome guest with us,
Cheer you and rest with us.'--
'Thank you,' said Lizzie: 'But one waits
At home alone for me:
So without further parleying,
If you will not sell me any
Of your fruits though much and many,
Give me back my silver penny
I tossed you for a fee.'--
They began to scratch their pates, 390
No longer wagging, purring,
But visibly demurring,
Grunting and snarling.
One called her proud,
Cross-grained, uncivil;
Their tones waxed loud,
Their looks were evil.
Lashing their tails
They trod and hustled her,
Elbowed and jostled her, 400
Clawed with their nails,
Barking, mewing, hissing, mocking,
Tore her gown and soiled her stocking,
Twitched her hair out by the roots,
Stamped upon her tender feet,
Held her hands and squeezed their fruits
Against her mouth to make her eat.

White and golden Lizzie stood,
Like a lily in a flood,--
Like a rock of blue-veined stone 410
Lashed by tides obstreperously,--
Like a beacon left alone
In a hoary roaring sea,
Sending up a golden fire,--
Like a fruit-crowned orange-tree
White with blossoms honey-sweet
Sore beset by wasp and bee,--
Like a royal virgin town
Topped with gilded dome and spire
Close beleaguered by a fleet 420
Mad to tug her standard down.

One may lead a horse to water,
Twenty cannot make him drink.
Though the goblins cuffed and caught her,
Coaxed and fought her,
Bullied and besought her,
Scratched her, pinched her black as ink,
Kicked and knocked her,
Mauled and mocked her,
Lizzie uttered not a word; 430
Would not open lip from lip
Lest they should cram a mouthful in:
But laughed in heart to feel the drip
Of juice that syrupped all her face,
And lodged in dimples of her chin,
And streaked her neck which quaked like curd.
At last the evil people,
Worn out by her resistance,
Flung back her penny, kicked their fruit
Along whichever road they took, 440
Not leaving root or stone or shoot;
Some writhed into the ground,
Some dived into the brook
With ring and ripple,
Some scudded on the gale without a sound,
Some vanished in the distance.

In a smart, ache, tingle,
Lizzie went her way;
Knew not was it night or day;
Sprang up the bank, tore thro' the furze, 450
Threaded copse and dingle,
And heard her penny jingle
Bouncing in her purse,--
Its bounce was music to her ear.
She ran and ran
As if she feared some goblin man
Dogged her with gibe or curse
Or something worse:
But not one goblin skurried after,
Nor was she pricked by fear; 460
The kind heart made her windy-paced
That urged her home quite out of breath with haste
And inward laughter.

She cried 'Laura,' up the garden,
'Did you miss me?
Come and kiss me.
Never mind my bruises,
Hug me, kiss me, suck my juices
Squeezed from goblin fruits for you,
Goblin pulp and goblin dew. 470
Eat me, drink me, love me;
Laura, make much of me:
For your sake I have braved the glen
And had to do with goblin merchant men.'

Laura started from her chair,
Flung her arms up in the air,
Clutched her hair:
'Lizzie, Lizzie, have you tasted
For my sake the fruit forbidden?
Must your light like mine be hidden, 480
Your young life like mine be wasted,
Undone in mine undoing,
And ruined in my ruin,
Thirsty, cankered, goblin-ridden?'--
She clung about her sister,
Kissed and kissed and kissed her:
Tears once again
Refreshed her shrunken eyes,
Dropping like rain
After long sultry drouth; 490
Shaking with aguish fear, and pain,
She kissed and kissed her with a hungry mouth.

Her lips began to scorch,
That juice was wormwood to her tongue,
She loathed the feast:
Writhing as one possessed she leaped and sung,
Rent all her robe, and wrung
Her hands in lamentable haste,
And beat her breast.
Her locks streamed like the torch 500
Borne by a racer at full speed,
Or like the mane of horses in their flight,
Or like an eagle when she stems the light
Straight toward the sun,
Or like a caged thing freed,
Or like a flying flag when armies run.

Swift fire spread through her veins, knocked at her heart,
Met the fire smouldering there
And overbore its lesser flame;
She gorged on bitterness without a name: 510
Ah! fool, to choose such part
Of soul-consuming care!
Sense failed in the mortal strife:
Like the watch-tower of a town
Which an earthquake shatters down,
Like a lightning-stricken mast,
Like a wind-uprooted tree
Spun about,
Like a foam-topped waterspout
Cast down headlong in the sea, 520
She fell at last;
Pleasure past and anguish past,
Is it death or is it life?

Life out of death.
That night long Lizzie watched by her,
Counted her pulse's flagging stir,
Felt for her breath,
Held water to her lips, and cooled her face
With tears and fanning leaves:
But when the first birds chirped about their eaves, 530
And early reapers plodded to the place
Of golden sheaves,
And dew-wet grass
Bowed in the morning winds so brisk to pass,
And new buds with new day
Opened of cup-like lilies on the stream,
Laura awoke as from a dream,
Laughed in the innocent old way,
Hugged Lizzie but not twice or thrice;
Her gleaming locks showed not one thread of grey, 540
Her breath was sweet as May
And light danced in her eyes.

Days, weeks, months, years
Afterwards, when both were wives
With children of their own;
Their mother-hearts beset with fears,
Their lives bound up in tender lives;
Laura would call the little ones
And tell them of her early prime,
Those pleasant days long gone 550
Of not-returning time:
Would talk about the haunted glen,
The wicked, quaint fruit-merchant men,
Their fruits like honey to the throat
But poison in the blood;
(Men sell not such in any town:)
Would tell them how her sister stood
In deadly peril to do her good,
And win the fiery antidote:
Then joining hands to little hands 560
Would bid them cling together,
'For there is no friend like a sister
In calm or stormy weather;
To cheer one on the tedious way,
To fetch one if one goes astray,
To lift one if one totters down,
To strengthen whilst one stands.'


(Christina Georgina Rossetti)
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Postby Perelandra » Tue Feb 24, 2009 9:20 pm

No, you are correct about the image.

I noticed that book binding and the embroidery right away. I'm rather fond of Arts and Crafts myself. That's why I'm surprised that I hadn't known of Traquair, I think I'd remember such a name. (Haven't read Aurora Leigh, either).

Love the Goblin Market too. Shades of Demeter and Persephone.

More later.
Last edited by Perelandra on Tue Feb 24, 2009 10:55 pm, edited 1 time in total.
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Postby OP ED » Tue Feb 24, 2009 9:27 pm

http://en.wikipedia.org/wiki/Aurora_Leigh


Aurora Leigh (1856) is an epic/novel poem by Elizabeth Barrett Browning and the name of its heroine. The poem is written in blank verse and encompasses nine books (the woman's number, the number of the prophetic books of the Sibyl). It is a first person narration, from the point of view of Aurora; its other heroine, Marian Erle, is an abused self-taught child of itinerant parents. The poem is set in Florence, Malvern, London, and Paris. She uses her knowledge of Hebrew and Greek, while also playing off modern novels, such as Corinne ou l'Italie by Anne Louise Germaine de Staël, Jane Eyre by Charlotte Brontë, and the novels by George Sand. Through Book 5, Aurora narrates her past, from her childhood to the age of about 27; in Books 6-9, the narrative has caught up with her, and she reports events in diary form. Elizabeth Barrett Browning styled the poem "a novel in verse", and referred to it as "the most mature of my works, and the one into which my highest convictions upon Life and Art have entered."


First Book
Aurora describes her childhood in Florence, growing up as the daughter of a Florentine mother and an English father. Her mother died when she was four, leaving her father to raise her. He was a scholar, and imparted to her knowledge of Greek and Latin and a love of learning. Her father died when she was thirteen, and she was sent to England to live with his sister, her aunt, in Leigh Hall, her family’s ancestral home. Her aunt tried to educate her in what she considered a ladylike manner, but Aurora discovered her father’s old library and read scholarly books on her own.


[edit] Second Book
This book starts on Aurora’s twentieth birthday. Her cousin, Romney Leigh, proposes marriage to her. He is skeptical about her poetic ability, telling her that women do not have the passion, intellectual capacity, or redemptive qualities to be true artists. Because of this, and because she feels that he is too wrapped up in his social work and ideals to be a good husband, she angrily rejects him. Aurora’s aunt chastises her for refusing him, telling her that because he is the male heir, he will inherit all of the estate and Aurora will be left with nothing. Shortly afterwards, her aunt dies. Romney attempts to give Aurora money, but she refuses it, deciding to go to London to make her living as a poet.


[edit] Third Book
This book opens in Aurora’s London apartment. She has been writing small popular poems for magazines, which have earned her an enthusiastic following among romantic young men and women, but she is dissatisfied. The great works of art of which she felt she was capable have arrived stillborn – she has the inspiration, but somehow cannot get it onto the page. While she works, frustrated, a visitor arrives for her, a Lady Waldemar. She is beautiful but sharp and sarcastic, and Aurora does not like her. Lady Waldemar explains to Aurora that she is in love with Romney, so much so that she lowers herself to do charity work with him, but Romney has decided to marry instead one of his lower-class ‘projects,’ Marian Erle. She wants Aurora to go speak to Marian and then to Romney and convince them of their foolishness. Aurora, partly out of curiosity and partly concern for Romney, goes to visit Marian and hears her life story: Marian’s drunken mother tried to sell her into prostitution, and to escape it she ran away and became ill, eventually being taken into a poor hospital. There Romney found her and assisted her in getting work as a seamstress.


[edit] Fourth Book
Marian continues her story, relating how Romney continued to aid her and ultimately proposed marriage to her. Aurora asks her if she is sure he truly loves her, to which Marian replies that Romney loves everything. She assures Aurora that despite her lower-class status, she will be a loving and devoted wife to him. Before Aurora can answer, Romney enters Marian’s room. He and Aurora awkwardly trade words, and she tells him she approves of Marian. He walks her home, and during their conversation she becomes confused about her own feelings for him. A month passes, and it is time for Romney and Marian’s wedding – but Marian sends a letter in her place to the ceremony, telling Romney that she is not good enough for him. The crowd at the wedding assume that Romney has seduced and abandoned her, and attack him. Romney is devastated, and searches for Marian for days, but cannot find her. He and Aurora have a conversation about their respective disappointments with their missions; Romney can neither make a dent in the poverty he sees all around him nor gain the respect of the people he tries to help, while Aurora still has not succeeded in writing a real work of Art.


[edit] Fifth Book
Aurora discusses her further attempts to write. She tells how she is determined not to be constricted by her woman’s role but is doubtful that the modern age presents opportunities for epic poetry. As the book continues, she grows more and more desperate, crying out to her muses and gods for inspiration. She confides that she has not seen Romney Leigh for almost two years, but she has heard that he has turned Leigh Hall into a refuge for the poor. At a stifling, insipid evening party at one of her well-born friend’s houses, she learns that Romney is engaged to marry Lady Waldemar, and bitterly reflects that “He loved not Marian, more than once he loved/Aurora.” She decides that to find inspiration, she must travel to Italy, her mother’s land, and in order to get the money sells some of her father’s old books, as well as her own unfinished manuscript.


[edit] Sixth Book
This book begins with Aurora in France, presumably on a stop-over on the way to Italy. She wanders Paris with her head in the clouds, enjoying the atmosphere of history and the beauty that surrounds her. Suddenly, she catches a glimpse of a familiar face – it is Marian Erle. Frantically, Aurora follows her, losing her in the crowd eventually, but not before seeing that Marian is carrying a child. She is shocked, but resolves not to judge her harshly and tries for a week to find her, finally running into her by chance at a flower market. Marian takes her to her poor room, where she shows Aurora her baby boy. Aurora reproaches Marian for being promiscuous, but Marian angrily replies that far from it, she was attacked and raped and left pregnant. She explains to Aurora that Lady Waldemar convinced her that Romney did not truly love her, and sent her to France with her lady’s maid. The lady’s maid left her in a brothel, where she was raped and almost driven insane, but she managed to escape.


[edit] Seventh Book
Marian continues to tell Aurora her story: she was taken in by a kind lady as a maid, but was summarily fired when her pregnancy became apparent. Despite this, she could not bring herself to be unhappy: she was overjoyed that out of her dreadful experience, she could have the wonderful experience of motherhood. Aurora, after hearing Marian’s dreadful story, apologizes profusely to her for misjudging her and offers her a ‘marriage’ of sorts – she will protect Marian and her son and take them to Italy with her. Marian gratefully accepts. Aurora decides not to inform Romney that she has found Marian, but writes an angry letter to Lady Waldemar, telling her she knows of her disgraceful conduct towards Marian. Marian’s presence, however, constantly brings Romney to Aurora’s thoughts. She is surprised when a friend writes to her to congratulate her on her book – the manuscript she sold to get to Italy. She decides that perhaps it was better than she thought. She finds no particular inspiration in Italy, however, finding instead constant bittersweet memories of her childhood.


[edit] Eighth Book
Several years have passed. Aurora, Marian, and the boy are living in a villa in Florence. Suddenly, Romney Leigh arrives, having discovered their whereabouts through a friend of Aurora’s. Aurora, believing him to be married to Lady Waldemar, is cold with him. He tells her that he has read her book and believes it to be good and true Art, and tells her that he has reconsidered the judgmental strictures he passed on her previously. He relates to her the sorry failure of his attempts at social reform: after he converted Leigh Hall into a refuge, stories went around the village that it was a prison and a mob burned the whole thing to the ground. Aurora expresses her sympathy, but tells him she still cannot think well of his wife. Romney is surprised, and tells her that he is not married to Lady Waldemar, although he has a message from her to Aurora. Aurora tears it open, and reads it.


[edit] Ninth Book
Aurora reads Lady Waldemar’s letter, which claims that she did not intend to hurt Marian, only to remove her. Her scheme did not work; even after Marian was gone, Romney did not love her. She tells Aurora, in a vitriolic tone, that she, by her letter forcing Lady Waldemar to tell Romney that Marian lived, has doomed him to a loveless life with her, when he is truly in love with Aurora. Aurora, somewhat shocked both by the letter’s contents and the angry rhetoric, dazedly asks Romney what he will do now, and he answers that he will marry Marian and raise her child as his own. Marian refuses him, however, stating that she prefers to remain as her child’s only guardian and devote her life to him, rather than a husband, and that she has realized that what she thought was love for Romney was rather hero-worship. She leaves, urging Romney to talk to Aurora. They converse, and forgive each other for any wrongs they have done to each other over the years. Romney admits to Aurora that he is blind. Aurora, in tears, confesses to Romney that she loves him, and has finally realized it; and also realizes that, in loving him, she will be able to complete herself and find her poetic muse once more. The poem ends with Aurora and Romney in a loving embrace, as she describes the landscape for his unseeing eyes in Biblical metaphors.


full text at link below:

http://digital.library.upenn.edu/women/ ... urora.html
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Postby Perelandra » Wed Feb 25, 2009 2:35 am

Secular Elegy V

O Golden Fleece she is where she lies tonight
Trammelled in her sheets like midsummer on a bed
Kisses like moths flitter over her bright
Mouth, and, as she turns her head,
All space moves over to give her beauty room.

Where her hand, like a bird on the branch of her arm,
Droops its wings over the bedside as she sleeps,
There the air perpetually stays warm
Since, nested, her hand rested there. And she keeps
Under her green thumb life like a growing poem.

My nine-tiered tigress in the cage of sex
I feed with meat that you tear from my side
Crowning your nine months with the paradox:
The love that kisses with a homicide
In robes of red generation resurrects.

The bride who rides the hymeneal waterfall
Spawning all possibles in her pools of surplus,
Whom the train rapes going into a tunnel,
The imperial multiplicator nothing can nonplus:
My mother Nature is the origin of it all.

At Pharaoh's Feast and in the family cupboard,
Gay corpse, bright skeleton, and the fly in amber,
She sits with her laws like antlers from her forehead
Enmeshing everyone, with flowers and thunder
Adorning the head that destiny never worried.

- George Barker
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Postby Penguin » Wed Feb 25, 2009 7:31 am

Great pics again.
Ill try to maybe compile some more pics as well, later.
I have some tripping round the town to do today, and perhaps within the numbskull as well, in the eve.

Edit:
`ere we go, 'ere we go! Storm of the eye, here we go!
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Postby OP ED » Wed Feb 25, 2009 2:44 pm

i like the phrase "hymeneal waterfall" even though its difficult to decode.
Giustizia mosse il mio alto fattore:
fecemi la divina podestate,
la somma sapienza e 'l primo amore.

:: ::
S.H.C.R.
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Postby Perelandra » Wed Feb 25, 2009 6:09 pm

Penguin, :D.


OP ED wrote:it's difficult to decode.
How so?

In the context it makes me think of salmon and thence to:
I am a stag: of seven tines,
I am a flood: across a plain,
I am a wind: on a deep lake,
I am a tear: the Sun lets fall,
I am a hawk: above the cliff,
I am a thorn: beneath the nail,
I am a wonder: among flowers,
I am a wizard: who but I
Sets the cool head aflame with smoke?

I am a spear: that roars for blood,
I am a salmon: in a pool,
I am a lure: from paradise,
I am a hill: where poets walk,
I am a boar: ruthless and red,
I am a breaker: threatening doom,
I am a tide: that drags to death,
I am an infant: who but I
Peeps from the unhewn dolmen, arch?

I am the womb: of every holt,
I am the blaze: on every hill,
I am the queen: of every hive,
I am the shield: for every head,
I am the tomb: of every hope.

Song of Amergin
- translation Robert Graves
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Postby Penguin » Wed Feb 25, 2009 6:51 pm

Hi, lucky to be alive...For real.
I tried to say hullo to ya OP ED, dunno if it came thru loud or clear ;)
Laters, Im still picking up pieces spattered all over the place..
But Ill live. To die another day. (wasnt sure at moments if my old lil heart can keep doing what it did for much longer...but it did..stubborn bastard)
Last edited by Penguin on Wed Feb 25, 2009 7:52 pm, edited 1 time in total.
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Postby Penguin » Wed Feb 25, 2009 7:49 pm

If only you could sense how important you are to the lives of those you meet; how important you can be to people you may never even dream of. There is something of yourself that you leave at every meeting with another person.

- - Fred Rogers
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