Six Songs, op. 16, no. 1: Thou Gentle Gazer (Du liebes Auge)
Contents:
The movement also reproduces a further feature of the idyllic chronotope, the figure of growth or germination. As Example 2 shows, this apparently fragmentary passage adumbrates both the primary rhythmic figure and the primary interval set. These elements, however, are not yet singled out, not yet differentiated within the musical texture. The introduction "contains" the whole movement, but contains it in embryo. The movement proper begins with the first gesture of differentiation: The introduction, however, also adds a certain quality of longing to the music, as if to suggest that the idyll is finally no more than a beautiful fiction.
This effect derives partly from the tonic pedal deep in the bass, which forms gentle dissonances on the downbeats of mm. As Erich Leinsdorf observes, the introduction unobtrusively alludes to Beethoven's nearly contemporary setting of Mignon's "Kennst du das Land? The second movement turns abruptly away from idyllic time to a mode full of energy and foreshortening.
The music is again dominated by melodic fragments, but now the fragments fail to interlock—they repeal continuity at every turn. The first theme is unabashedly a jumble: The rhythmic substance of the theme derives from the primary figure the note values of which are both repeated and augmented in the new tempo. Fragmentation continues as the theme breaks down into a scurrying, spiky figuration that will prove to dominate the movement. Pairs of rising or falling sixteenth notes run up and down the keyboard, saw-toothed versions of the running sixteenth notes of the first movement.
Five times the spiky episode takes flight unaccompanied; in each case the episode begins with alternating right- and left-hand attacks on a series of identical two-note figures, so that the separation between the figures becomes an extension of the separation between the hands. Two of the passages also go on to demand some rapid-fire hand-crossing once the alternating attacks proceed between different figures. If the first movement glitters, this one spurts. And as with melody, so here with structure.
The exposition see note 33 begins with an augmented sixth and proceeds to cadences on V and IV before reaching a cadence on I. This nonchalant treatment of the tonic is later elaborated on a larger scale with cheerfully vertiginous results. The close of the exposition mm. Only at the end of the movement does the first group—and then only a piece of it—return in the tonic. The sum of all these centrifugal forces is an essay in anarchic charm. Beethoven uses the second movement of Op. Not that the second devalues the first, as it does in Op.
Instead, the music exchanges an idyllic ideal for a less rarefied alternative: This finale is a foray into that "poetical character". The Sonata in E Minor, Op. The first movement opens with a strong internal conflict as its first theme splits into a rough declamation mm. Classical sonata form usually reserves a cantabile answer to a more vigorous opening theme until the second theme initiates a swing to the dominant. By encapsulating the melodic drama of the form in its opening gesture, Beethoven suggests that the formal drama derives from something more primary, more subjective, and more difficult to control.
Not surprisingly, the movement as a whole continually echoes its troubled opening; it proliferates into a wide variety of abruptly juxtaposed textures amid considerable agitation. The harmony is restless throughout, its free-floating tensions crowned by the use of the dominant minor for the decidedly noncantabile second theme. The movement does end quietly, dying away in a series of echo effects, but in terms haunted by latent unease.
The closing passage is a repetition of the last eight measures of the first theme: The prolonged rest that ends the movement thus tingles with an unsettled air of anticipation. The remembered sound of the submediant seems to loom faintly beyond the finality of the cadence. The E-major finale is as serene a movement as Beethoven ever wrote, a rondo that traces idyllic circles by luxuriating in a double statement of its songful main theme, not just the first time the theme is heard, but every time.
The instabilities and textural collisions of the first movement all but disappear in the enraptured suavity of this music. A rippling accompaniment runs through nearly every mea-. Disruptive forces are admitted only once, in the central episode, where the unsettled accents of the first movement are revived and smoothed away. The episode begins by darkening unexpectedly. E major reverts to the earlier E minor m. At once remote and rueful, these sonorities seem to bear out the uneasy submediant expectancy that hovers over the close of the first movement.
Once realized, however, the troubling sonorities can also be resolved—and Beethoven resolves them without fuss, traveling easily down the circle of fifths to the home dominant m. The second movement is now free to fulfill, by expressive doubling, the thwarted lyrical aspirations of the first. Just before the final statement of the rondo theme, Beethoven returns to the dominant of C and proceeds to the home dominant through ten measures of lyrical counterpoint mm.
The same texture recurs just before the coda in a more crystalline version mm. The affinity between these passages—call them A and B—and mm. All three passages make use of common tones to link symmetrical phrase units in the upper voice Example 4; passage A partly substitutes linking octaves to give B a more consummatory role. Heard in retrospect against passages A and B, the lyrical counterpoint of the first movement becomes a premonitory venture into the heart of idyllic time.
A and B are the only extended episodes in the finale to suspend the rippling accompaniment. The result, however, is not a break in continuity but an enrichment of it; the counterpoint takes its impetus from a portion of the rondo theme and moves at the same pace as the theme. Stripped of embellishment, this melodic motion seems to embody the movement of idyllic time in its pristine form.
The effect is particularly strong in passage B, which answers the movement to the dominant traced by both the counterpoint of the first movement and passage A. When B closes on a full cadence to the tonic, the E major that emerges is untouched by the tensions that fringe the earlier E minor. As the cadence sounds, the first phrase of.
Music as Cultural Practice, 1800–1900
We can continue to speak of drama and idyll in this work, but only if we greatly enlarge the force of the terms. Commenting on the "incisive reworking of idyllic time and idyllic matrices" in Rousseau and his followers, Bakhtin observes that "the basic elements of the ancient complex—nature, love, the family and childbearing, death—are isolated and undergo sublimation at a higher philosophical level, where they are treated more or less as forms of the great, eternal, wise force of earthly life.
To review the well-known contour of the work: Beethoven begins by writing the fullest heroic movement of his late period, comparable in its turbulent intensity only to the finale of the Quartet in C Minor, Op. This Allegro con brio ed appassionato can be taken as an effort to sublimate, whether philosophically or psychologically, the negative and destructive aspects of music, its corybantic fury as opposed to its Orphean sweetness. Beethoven had taken up similar tasks before, but always over the full span of multimovement works like the Fifth Symphony, the Appassionata Sonata, the Serioso Quartet.
Here the effort is compressed—contorted? What follows is a vast, serene Adagio: The expressive doubling between these two movements is all but subliminal. It does not depend on the recurrence of musical textures like its counterparts in the three earlier sonatas, but on underlying affinities between textures as different as Beethoven can make them. These affinities have many sources, but the one about which the. In this case, of course, that means three forms, which I will arbitrarily designate as Dm, -2, and As Charles Rosen has shown, the Maestoso introduction to the sonata can be reduced to a series of three resolutions: Dm to the dominant, Dm to the tonic major, and Dm to the subdominant minor.
The hint is dropped until the movement is nearly over—as we shall see. Rosen describes the significance of what happens next:. The main theme of the Allegro that follows is derived from these diminished-sevenths and their resolutions. The expressive significance of these chords needs no comment; they color most of the piece, occur with extreme violence at every important climax, and supply the dynamic impulse for most of the harmonic transformations. By building on so radically dissonant a foundation, Beethoven tests the limits of Classical sonata form.
At the heart of the form is the resolution of structural dissonance. The effect of the diminished-seventh aggregate in the first movement of Op. In this instance, the fulcrum of mastery is order: Haydn, Mozart, Beethoven New York, , — Heroic discipline, however, is not always easy to tell apart from uncompromising rigidity. For all its formidable integrity, this music may be self-defeating in the end. Hence one of its most striking features: As to final closure, the Allegro seeks it in a culminating gesture of mastery that is deliberately astonishing—at once overwhelming and not quite credible.
The concluding measures do three things at once: The process is outlined in Example 6. It begins with the diminished-seventh aggregate, which enters forcefully over a tonic pedal and dies away onto the subdominant major mm. The subdominant minor then splits off on its own, assumes dramatic prominence, and generates a cadence to the tonic major through Dm, which is now reinterpreted as a dominant. Thus the last tonic resolution in the movement reenacts the first—a piece of unfinished business; [43] the tonic major claims to quell the diminished-seventh aggregate, which the minor could only perpetuate.
In this context, all the C-minor music and its extended derivatives appear to form little more than an exaggerated episode—what the next chapter will identify as a dis-. That the "interlude" amounts to just about the whole movement is, Beethoven seems to suggest, a mere detail.
The movement that follows is intended to make sense of that suggestion. Its variations seek to justify the re turn to the tonic major that closes the Allegro by expanding C major into a sonority so luminous and all-pervasive that it mirrors the return to the "elevated and pure source" evoked in Beethoven's diary entry. Behind this effort stands the traditional metaphor of the ideal mind or soul as harmonious music, as codified for the Middle Ages and beyond by Boethius.
Boethius envisioned a musica humana: Beethoven may even have had Boethius specifically in mind. As part of this project, he had a friend draw up abstracts from Boethius and other ancient authors. The same value governs the two-part form of Op. At first, the Adagio seems simply to turn its back on the harshness of the Allegro; the contrast between the two movements could not be more extreme.
Before long, however, denial turns to recognition and recognition to. Stanley Sadie London, , 2: For an account of the workings of this conceptual matrix in another major work of Viennese Classicism, see my "Music and Representation: Critical Inquiries , ed. Steven Paul Scher Cambridge, forthcoming.
Paul Henry Lang New York, , — The heroic discontinuities of the Allegro gradually submit to transfiguration by expressive doubling. The recurrence of the diminished-seventh aggregate and its resolutions gives the first movement a basic periodic rhythm that cuts across the harmonic divisions of sonata form. The substance of this rhythm, however, is a series of disturbances, ruptures, shocks. Ruled by agitated fugal textures, the music repeats its fundamental pattern, its Schoenbergian Grundgestalt , in irregular surges, now sweeping, now constricted Example 5a—c.
No aspect of the music is left untouched by this process. The basic tempo of the Allegro is continually retarded and released; huge melodic leaps punctuate the texture at points of climax and closure; violent sforzandi on strong beats disrupt the metrical pulse in the act of affirming it. The unfolding of musical time, like the dissonant matrix that impels it, is at once unyielding and unstable. In the wake of such turbulence, the limpid periodic rhythm of the slow movement, perfectly symmetrical in the theme, perfectly changeless through four variations, is extraordinarily consoling.
The profoundly peaceful theme—Beethoven calls it an arietta, a little song—represents Classical binary form at its most transparent. Two eight-bar strains unfold in four-bar periods; each strain is repeated in the pattern AABB. The variations keep strictly to these proportions, and to much else. The underlying tempo of the arietta is never varied, even in passing—not a single accelerando or ritardando occurs in the whole movement—and the unvaried beat always falls three to a measure.
The only dynamic element is the melodic motion, which continually quickens as the beat subdivides further with each variation. Countless sets of merely ornamental variations do the same thing, though rarely within such an austere framework. As Tovey liked to observe, however, Beethoven like Bach was never more serious than when he wrote such ornamentation, as the slow movements of the Appassionata Sonata, the Violin Concerto, the Archduke Trio, and the Ninth Symphony all attest.
Symphonies and Other Orchestral Works , rev. London, , —17; idem, Essays in Musical Analysis: Chamber Music London, , — Something similar often happens in Wordsworth when objects are said to grow numinous while changing in no other way:. The harmony of the arietta is simplicity itself. The tonic, dominant, and relative minor make up the structure, which is articulated by primary chords in the near absence of nonharmonic dissonance. The melodic lines elaborated over these harmonies match them in bareness; here, too, nonharmonic tones are extremely rare.
The result is a basic sonority of crystalline purity and peacefulness. The successive variations strictly preserve the harmonic contours of the theme, but with each variation the melodic elaboration grows richer and more complex. On this level, new combinations of expressive dissonance evolve steadily, until the fourth variation pours them forth in unceasing profusion. By thus making the relationship between structure and ornament transparent, dynamic, and consummatory, Beethoven imparts a growing intensity to the primary harmonies—the imaginary sound, one might say, of brightening light as it scatters through a prism.
An analogous process enriches the periodic rhythm of the theme as the rhythmic surface of the music steadily grows more complex and agitated. Beethoven paces the changes in melodic motion so that the climactic fourth variation will inevitably arrive at what Rosen calls "almost undifferentiated pulsation," the borderline between melodic articulation and sheer continuity of sound.
Heard against this barely rhythmicized trembling, the periodic rhythm sounds almost trance-like, the tidal swing of a musical wave motion. On both the smallest and the largest scales, the form of motion approaches the threshold of stillness. In this way the consummation of the movement is prepared. The fourth variation overflows into a sort of cadenza in which everything changes at once Example 7. The periodic rhythm dissolves, the harmony departs from C major for the first and only time in the movement, and the quickening motion crosses the border of measurable articulation into a series of trills—at the climax, a triple trill.
Sustained over a dozen measures in unresolved dominant harmony V and , the trills, as Rosen observes, suspend the flow of musical time [48] —though only, it must be added, on their own plane of action. Concurrently, a rapt strain of melody emerges, moving at the original pace of the arietta. This melody unfolds as an antiphony between bass and treble phrases that begin three octaves apart and draw closer by degrees.
The closing downbeat of this process overlaps with the start of the triple trill, which holds the music perfectly static for two measures. The upper trill then detaches itself to form an unaccompanied unison with the melody; this rises in the treble until a forceful tone deep in the bass intrudes to herald a change. One more measure, and the trills resolve. The registral space expands to five open octaves, across which the treble and bass form a lyrical counterpoint based on measure 5 of the arietta.
This counterpoint passes through dissonant combinations that would seem to place it worlds away from its origin, but the huge open interval virtually dispels the sensation of dissonance. The sonority intensifies with no loss of raptness or peace, expressively doubling both the pure consonance of the arietta and the harsh contrapuntal dissonance of the Allegro. It is worth noting that the association of "sentiments of inner peace" with wide registral separation seems to form Beethoven's privileged figure for divine revelation.
Many commentators have stressed the effect of suspended time in these trills. As my qualifying remark above suggests, I take this effort to be a means to an end, not an end in itself. Beethoven, always the musician, seems to share T. With the harmony and periodic rhythm of the arietta in abeyance, the consummatory passage of the Adagio doubles the surging temporality of the Allegro but frees it of all rigidity, rupture, tragic implacability.
This process culminates in the abrupt, but in no sense discontinuous, blossoming of the triple trill. Here the melody is reduced to a barely audible pulsation on a single pitch: Both Beethoven and Wordsworth substitute a figurative singing voice, a voice not heard by the ear, for the traditionally inaudible musica mundana. The voice finds its sounding medium in a distinctively Romantic version of musica humana: I would not put it past Beethoven to be thinking here in symbolic terms of triads and the Trinity.
Given the self-consuming heroism of his Allegro, however, what matters most in the Adagio is something more immediate: The trills and their contrapuntal resolution aim at surpassing even the most idyllic mode of normal discourse. This more-than-utopian impulse is what compels the new harmonic color that emerges during the trills and continues through a dozen subsequent measures.
The harmony here departs from C major only in order to prolong it with dazzling clarity. The structural purpose of the changing harmony is to defer an important cadence promised by the initial measures of trilling.
The trills establish temporal movement on the harmonic level as a plenitude: One can hear in this a structural transcription of the accumulation of melodic dissonances in variations 1—4. The outcome of this process is the reprise of the arietta, which coincides with the long-deferred cadence. The cadence itself is unobtrusive, rhythmically unmarked. Its effect is not to delimit, but to release; not to concenter the musical process that begins with the arietta, but to renew it. The music that follows is meant to comprehend and affirm this act of renewal. In reprising the arietta, Beethoven also reprises the barely measurable pulsation of the fourth variation; the pulsation continues through a coda that once again floats away into twelve measures of trilling, this time in the tonic.
As Rosen suggests, the latter passage forms "a synthesis of all that went before: The harmony itself carries a secondary feeling. The earlier enhanced sonority is structurally dissonant, but its illocutionary force is to mirror a transcendent consonance. Like Wordsworth's spots of time, the consummatory passage is a nonpareil, recoverable only at a distance, in displaced forms. As the final trills draw to a close, a famous pair of exposed C-C ninths make a wistful appearance, as if to acknowledge the necessity of this distance, this displacement.
The final trills have greater rhythmic definition than their earlier counterparts, but they are more than supple enough to consolidate the rhythmic work of the Adagio. In the secondary climax that the final trills provide, the expressive doubling of the Allegro's temporal character assumes a structurally stable form. As we know, the Allegro follows an irregular course set by the diminished-seventh aggregate. We might surmise, accordingly, that in doubling the irregularity Beethoven would also double the structural use of the aggregate.
Diminished-seventh sonority is quite alien to the arietta: One answer is that a mere scarcity of diminished-seventh chords is refreshing after a movement rife with them; but more is at stake here than simple contrast. As Cooper and others have noted, the arietta and the first two variations form a continuous group. If the mood of this variation is violent, it is a violent joy, a stamping dance of triumph. The aggregate thus appears as what Bakhtin calls a "gay monster," a travesty of something terrifying by which carnivalesque jubilation casts all terror out.
The antinomian festivity of this music, however, is in some ways as contorted as the Allegro itself. Its creative energy is too hard to separate from sublimated aggressiveness—a familiar problem in Romantic illocutions. The inspired figure at the close of Coleridge's "Kubla Khan" can serve as a literary parallel:.
Gay monster or not, the diminished-seventh aggregate is still a source of blatant rupture here—so much so that the B section of the dance closes its eyes in holy dread and excludes all but a single fleeting appearance of Dm Nonetheless, certain terms have been set. The aggregate will be heard from again, and in music that will be called upon to reinterpret rupture as an image of transcendence.
The fourth variation resumes the serene unfolding of the movement. Here again, the A section sets forth the diminished-seventh aggregate, this time in the spirit of transferred ambivalence; stated and resolved off the beat, the chords ripple the flow of the music like stones lightly tossed in a stream. The diminished sevenths have a stronger, more lingering presence here than they do in the third variation, and some of their resolutions recall the resolution structure of the Allegro.
As the music reaches the critical threshold between measured and unmeasured pulsation, its expressive doubling of the Allegro becomes richer, more explicit, more durable. Yet the reconciliation between the diminished-seventh sonority and the murmuring rapture of the music is also incomplete. In the A section, the full aggregate appears, but in the parallel B section, Dm is missing and Dm fails to resolve.
More time must pass, or time pass differently, before the sonority of the variations can fully embrace a chromatic saturation by diminished-. Like a Bildungsgeschichte , the archetypally Romantic narrative of the self-education of consciousness, the musical process must find its way step by step. But the final steps are not far off. Following variation 4 the resolution of the consummatory trills leaves the music on the tonal plateau of. At this point m. Two more measures of assure a feeling of continuity; then the harmony begins to move. Simple sequences lead to C minor and major, then pass through further vicissitudes back to C minor again.
Like the Rondo of Op. Two of the diminished chords engage in the second swing to C minor; the third chord initiates a counterswing to C major and the reprise of the arietta. In the aftermath of its consummation, then, the Adagio transfigures the diminished-seventh aggregate in the fullest possible terms. The final expressive doubling both incorporates and resolves the C-minor tonality in which the aggregate formed the nerve center of conflicting forces—turbulence and control, impulsiveness and rigidity.
In turning to C minor, the Adagio reveals a previously unacknowledged gap in its effort to sublimate the tensions of the Allegro. In filling that gap, however, the C-minor music acts as a "plenitude enriching another plenitude"; it completes the harmonic enrichment of C major that originates during the trills. This is just the mode of ambivalence that Derrida calls the logic of the supplement.
The espressivo passage reveals itself fully only in detail. On its three previous appearances in the Adagio, the diminished-seventh aggregate has been stated asymmetrically, and in successions unrelated to. On this occasion, however, the chords form a balanced pair of couplets, beginning with Dm, the chord that disappeared from the fourth variation:. This fragmentary form of Dm carries over from m.
The breaking up of the second chord in each couplet suggests a final end to conflict. In each case, the fragmentary chord is completed and confirmed in its identity by the chord following, the two together filling out a strangely consoling dominant minor-ninth. It is as if the aggregate were dissolving, blending into the "one song" all around it. Concurrently, the chords of the aggregate once more form a meaningful succession—the retrograde of their order in the Allegro.
Even the earlier resolution structure with changes of mode returns in retrograde, each resolution set within the second beat of the measure: Dm resolves to IV, Dm twice progresses to I, and Dm begins and frames the final precadential progression to V. It is as if the emotional and structural violence of the Allegro were being undone, worked through in the Freudian sense, piece by piece.
Each wound receives its balm, last to first, until a pristine motion and harmony—those of the arietta—are restored. Perhaps the most important point that can be made about this restoration is that it leads to a chain of others. The reprise of the arietta overlaps into a free variation that combines the arietta's signature rhythm with the unforced rhythmic animation that doubles the animation of the Allegro mm. This in turn evolves into the reprise of the consummatory trills, which is also a second reprise of the arietta. The trilled reprise even leads to a miniature fantasy on the B section of variation 4 en route to the closing passage.
This chain of reprises can be understood both affirmatively and critically in relation to the program of Romantic esthetics. The utopian Bildungsgeschichte typically identifies its goal as the repossession and sublimation of a blissful origin. The origin, accordingly, achieves its originary value only when it is also an end, "comprehended essentially as result," in Hegel's phrase. For discussion, see Abrams, Natural Supernaturalism , —, — It should be noted, however and often has been , that Abrams's account is insufficiently distanced from the concepts it addresses.
In what may be a pointed contrast, the Adagio of Op. The Adagio defers a cyclical close on the model of Op.
The effect is best conveyed by recalling once more Beethoven's diary entry: In large-scale terms, the recurrence of the diminished-seventh aggregate in the Adagio of Op. This resolution coalesces with the exaltation of note motion that impels the series of variations; the "almost undifferentiated pulsation" that resumes with the reprise of the arietta continues unabated thereafter, ceasing only with the onset of the closing passage. The cultural implications of this structure are highly charged. Romantic utopianism has been attacked by twentieth-century critics for harboring a latent absolutism.
The argument runs that utopian esthetics can too easily be perverted into an "esthetic ideology" that is complicit with repressive and even totalitarian attitudes. The results can be stifling for art; for history and society, they can be calamitous. The Adagio of Op. Far from repressing difference, the music insists on difference, and in so doing constitutes an implicit critique of the ideological tendency that may taint the utopian impulse.
The Ninth is a crux of particular importance for Romantic utopianism, because its vehicle of progress is joy, a category to use the psychoanalytic dualism of pleasure rather than of reality. A similar mixture of affirmation and critique can be taken to extend to utopian desire itself. The weight of diminished-seventh sonority in Beethoven's Adagio suggests that the desired "sentiments of inner peace" may be merely cherished illusions, even escapist illusions.
Many of the works considered in this chapter find means to suggest the same thing: There exists, indeed, an extended family of Romantic images in which the realization of desire all but coincides with the repression of disappointment. I have in mind those images of suspended loss, of deferred privation, that so often articulate moments of fullness in Romantic literature:.
Images like these implicitly acknowledge that the process of idealization, the one indispensable element in all expressive doubling, all utopian esthetics, is an effect of desire before it is an effect of knowledge. The result is that the images demystify themselves in the very act of satisfying their audience—or, rather, they satisfy in the very act of demystification.
To use the language of Paul de Man, as rhetoric these images mask loss as a metaphor of fullness, while as. But played in a whisper for oneself alone, its definable emotion cannot be exhausted, nor [a] kind of almost physical terror. The Prelude in A Minor positively resists both esthetic and analytic understanding. Much of it is deliberately ugly by early-nineteenth-century standards, and arguably by ours. Its harmonic processes are perplexing by any standards. Latent continuities can be teased out of the piece, as out of most others, but the value of doing so is questionable.
The A-Minor Prelude is not enigmatic on a measure-by-measure basis, despite an important block of undecidable harmonies. It is not riddling but disruptive: From a hermeneutic standpoint, the question that needs to be asked of this music is not what deep structure holds it together, but rather what motivates it to keep breaking apart. I will try to give some answers to that question in the present chapter,. Thomas Higgins New York, , Like several other pieces in Chopin's Op.
It begins with two measures of glaringly dissonant accompaniment figuration; it ends after completing two strains of smooth, sinuous melody from which almost all accompaniment has fallen away mm. Taking this framework as a hermeneutic window, we might try to understand the prelude itself as a study in reversal or, more precisely, as a study in dialectic, conceived of in nineteenth-century terms as a series of dynamic oppositions that lead to reversals of meaning or value. Romantic writers tend to associate dialectical reversals with heightenings of subjective intensity—ideally, with advances in insight or self-possession, but more often with mental pain.
The closing stanzas of Keats's "Ode to a Nightingale" are exemplary:. Kingsley Price Baltimore, , 87— The Politics of Composition, Performance, and Reception , ed. For an overview of dialectical thought in the Romantic period, see M. Stanza 7 begins with an apostrophe to the nightingale that posits a fantasy of immortality; as it closes, the stanza seeks to stabilize the fantasy in the image of the faery lands forlorn that are enchanted by the nightingale's song.
Stanza 8 disrupts this effort by turning the evocative term forlorn into a memento mori that "tolls" the poet back to disenchantment and the sole singular, solitary, one-and-only self. The reversals encompassed here are both psychological and epistemological. Fantasy gives way to consciousness of fantasizing; absorption in poetic imagery, to consciousness of poetry as language; and consciousness itself, to self-consciousness.
Dialectical reversals can also embrace unconscious processes, though they typically do so with a certain transparency. The epilogue to Coleridge's Christabel includes a good example:. The surprising close of this passage derives from a double twist of dialectic. Wrought to excess, the father's love expresses itself in the form of anger. Pleasure comes all too "thick and fast"; it turns into a feeling of suffocation that demands a violent release. Von Allem auf dieser Erde sind drei Dinge das beste, glaubt: Ein holdes Liebchen, der Morgentrunk und ein Wein- benebeltes Haupt.
Since none can say what is to come, our needs are wine, a beloved, and desireful ease. See Whitley Stokes's version In the same spirit Keats sang: It is said that one day while chasing wild asses on the plain of Veramin he was swallowed up, together with his horse, in a quicksand or marsh. It is also called Chchl-vtinar — Forfy-coluvui ; which is Persian, probably, for Column-coimtless; the Hall they adorned or supported with their Lotus Base and taurine Capital indicating double that Number, though now counted down to less than half by Earthquake and other Inroad.
Six Songs, Op.16
The Palace that to Heav'n his pillars threw. And Kings the forehead on his threshold drew — I saw the solitary Ringdove there. And " Coo, coo, coo," she cried ; and " Coo, coo, coo. Binning found, among several of Hafiz and others, inscribed by some stray hand among the ruins of Persepolis. In Attar's "Bird- parliament " she is reproved by the Leader of the Birds for sitting still, and for ever harping on that one note of lamenta- tion for her lost Yiisuf.
Various versions of the Ring-dove Kubd'iy follow: And perched aloft she wails, " Coo Coo, Coo Coo. Garner Where Kings bowed down, is now in ruin lying,! The German versions paraphrase the meaning: Eine Turteltaube ruft auf den Zinnen jetzt: Wo sind, die einst hausten darinnen, jetzt? Yu" — For thus her sorrow broke her Note in twain, And, just where broken, took it up again " — suf!
It would be difficult to decide which Ruba'iy Fitz- Gerald took for his original, — the one already given pp. Before ever you or I were born, there were dawns McCarthy and twilights and it was not without design that the 75 revolutions of the skies were sanctioned. Be careful, then, how you tread upon this dust, for it was once, no doubt, the apple of some fair girl's eye.
Days changed to nights, ere yon were born, or I, Whinfield And on its business ever rolled the sky ; 33 See you tread gently on this dust, perchance 'T was once the apple of some beauty's eye. Oh, my heart, since this world grieves thee, since thy McCarthy pure soul must so soon be severed from thy body, sit 57 thee down in the grassy fields and make merry awhile, before other grasses spring from thy very dust. Wise men are no farther advanced in their researches than the firmament itself, the movement of which around the earth and its influence on men's destiny proceed directly from God.
Bodenstedt Sind im Staube ihres Stolzes begraben, o Freund! Wind war Alles, was sie geredet haben, o Freunil! Alle, die vor uns dahingegangen sind. Giess Wein mir ein und glaube mir, dass ich die Wahrheit sage, " Was irgendwie sie vorgebracht, war nichts als eitel Wind. I perceived that this also was a striv- ing after wind. Then I looked on all the works that my hands had wrought, and on the labour that I had laboured to do: For of the wise man, even as of the fool, there is no remembrance for ever ; seeing that in the days to come all will have been already forgotten. And how doth the wise man die even as the fool!
So I hated life; because the work that is wrought under the sun was grievous unto me: In Whinfield, 18S2 , line 3, Toivards a higher seat stands for the later Up to a higher nest ; and in line 4, the same door where through reads that same door through which. Garner XI, i, might well have found its place on p. Whinfield Whilom, ere youth's conceit had waned, methought '42 Answers to all life's problems I had wrought; But now, grown old and wise, too late I see My life is spent, and all my lore is naught.
Was mir klar im dunklen Leben wurde, ist nicht wert des Nennens. Tell me, friend, what have T acquired of the riches McCarthy of this world? What has fleeting time left ,45 in my hands? I am the torch of joy, but once the torch is extinct I e. I am the cup of Jamshid, but the cup once broken I exist no more. What pleasure's torch, when once its light has waned. Was blieb in der Hand von der Zeit, die entronnen? Nichts 1 Icli bin ein Freudenfeuer, doch kommt es zum Sterben — Nichts! Ich bin ein Lebensbecher, doch bricht er in Scherben — Nichts!
Von Schack Was von allem Erdenreichtum hab' ich nun gewonnen? Was bedeutet nun die Zeit mir, die dahingeronnen? Lustig lodert meines Lebens Fackel, doch, wenn sie erlischt, Bin ich selber und sind alle die genoss'nen Wonnen nichts. Give thyself up to all delight in this kingdom of misrule, for our life is only bound to it for a moment, and that moment itself is nothing.
Whinfield O foolish one 1 this moulded earth is naught, 79 This particoloured vault of heaven is naught ; Our sojourn in this seat of life and death Is but one breath, and what is that but naught? Menschen, o ihr Thoren, Alles, was ihr thut und seid, Von Schack ist nichts! Suppose McCarthy the latest of your days has come, what then? If you have lived a hundred happy years and have yet a hundred years to live, what then? Suppose the world goes well with you, what then? Whinfield When life's last page is read and turned, what then.
Yea, and a hundred years besides, what then? When life's last page is read and turned, what then? You may outlive the present century, And haply see the next, but what comes then? Nicolas 47 McCarthy 66 Tu as parcouru le monde, eh bien! You have wandered upon the face of the earth, but all that you have known is nothing, all that you have seen, all that you have heard, is nothing. Though you travel from world's end to world's end, all that is noth- ing, although you abide in a corner of your house, all that is nothing. Whinfield You see the world, but all you see is naught, 50 And all you say, and all you hear is naught, Naught the four quarters of the mighty earth.
The secrets treasured in your chamber naught. Ob du das Weltall durchfliegest, es Alles, Alles ist nichts! Ob im Winkel des. This ignorance extends beyond " the veil. No one shall ever pass behind it ; there is no other dwelling-place for us than the bosom of the earth.
Woe 's me that this secret, too, should be so short. Whinfield All mortal ken is bounded by the veil, 47 To see beyond man's sight is all too frail ; Yea! Whinfield, 25 1SS2 , is quite different: Our only prospect is earth's quiet breast ; 'Tis given to none the dark beyond to read. Bodenstedt Kein Mensch kann den.
Nicolas personne n'a eu connaissance des secrets de la Provi- dence. No one has ever drawn aside the veil of Fate. To McCarthy- no one are the hidden things of the divine wisdom made known. For seventy-two years I have thought thereon, by day and night, but I have learned nothing, and the enigma remaineth unsolved. What eye can pierce the veil of God's decrees.
Or read the riddle of earth's destinies. Whinfield, 1SS2 , has in line i, heaveii's decrees. Compare with the above this fine passage from Victor Hugo in his description of the Charnel-house at Bor- deaux: Us ont double le promontoire. They know what tiiere is behind life. They have learned the secret of the long journey. They have doubled the cape. For them the mighty veil is torn. We are still in the land of conjectures, of hopes, of ambitions, of passions, of all tlie follies which we call wisdom, of all the illusions which we designate as truths.
They have entered into the region of the infinite, of the immutable, of reality. This may be contrasted with the hopelessness of Psalm c. For the living know that they shall die: So 1SS2 , is quite differentfrom 1S They bring us hither to our sore undoinc;, And while we stay, we find but grief and rueing ; And last we go against our wills, nor know The reason of our coming, nor our goins. Since life seldom answers to our heart's desire, of McCarthy what avail are all our hopes and all our strivings? Persia being an inland country, Omar rarely refers to the ocean ; the following fine Ruba'iy is the principal one among Ocean smiling said, " We are all in all, God is within and around us, and we are divided but by an imperceptible point.
In the Persian the words for separated and God are distin- guishable only by a dot, or point, placed in the one under, in the other over, the initial letter. Hence the point of the Ruba'iy, which is untranslatable. FitzGerald says in his note A thirsty Traveller dips his hand into a Spring of Water to drink from. By-and-by comes another who draws up and drinks from an earthen bowl, and then de- parts, leaving his Bowl behind him.
The first Traveller takes it up for another draught ; but is surprised to find that the same Water which had tasted sweet from his own hand tastes bitter from the earthen Bowl. Then there came One who an earthen Pitcher from the same Drew up, and drank: In which, anew Thirsting, the Prophet from the River drew And drank from: The human clay transformed into a pot, conscious or unconscious of its origin, is a favorite conceit with Omar, and several forms of it, in various versions, follow.
It is the finger of Feri- doun, it is the hand of Kai-Khosrou, that you place upon the wheel. What are you thinking of? Whinfield Ah, potter, stay thine hand! Jetzt knetest du den Finger des Feridun! Cette coupe semblait me dire: Methought the cup protested unto me " 1 was like thee, thou wilt be like to me. Du, durch den ich verletzt bin. Ich war einst wie Du, Du wirst sein, wie ich jetz bin. FitzGerald's note 15 is as follows: Or, perhaps, to divert the Jealous Eye by some sacrifice of superfluity, as with the An- cients of the West.
Wherefore fear the Sin which brings to another Gain? McCarthy Drink, b - morning and eventide, drink to the sound of. When thou hast procured wine glowing like the ruby, pour one drop on the earth, and drink the rest. Though wine is banned, yet drink, forever drink! Am Morgen und Abend, bei Spiel und Gesang. The following have the same idea variously expressed: Whinfield Vain study of philosophy eschew 1 Rather let tangled curls attract your view; And shed the bottle's life-blood in your cup, Or e'er death shed your blood, and feast on you.
Unbind the tresses of the loved one's hair before the sinews of thy own bones are them- selves unbound. The cypress was a favorite tree with the Oriental poets. Whinfield With maids stately as cypresses, and fair 29S As roses newly plucked, your wine-cups share, Or e'er Death's blasts shall rend your robe of flesh Like yonder rose leaves, lying scattered there I Bodenstedt In frischer Menschenblumen Geleit IX. McCarthy Long time I sought in this shifting world for a 5 moment's halting-place.
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I spent in my endeavours all my wit, and lo! I learn that the moon is but a pallid wheel beside thy beauty, that the cypress, by thy slender form, seems a grotesque deformity. No cypress in such stateliness arrayed. Hab' ich mit Eifer und emsigen Blick geforscht und umhergesucht ; Und was ich gefunden ist dies: Bien que ma personne soit belle, que le parfum qui Nicolas s'en e.
Although my body may be comely, although its odour McCarthy may be suave, although my colour may mock the tulip, 26 and my figure shame the cypress, it is not clear to me, nevertheless, why my heavenly painter has deigned to limn me on this world. Howe'er with beauty's hue and bloom endow'd I be, Of tulip-cheek and cypress-form though proud I be ; Yet know I not why the Limner chose that, here, in this Mint-house of clay, amid the painted crowd I be! Whinfield What though 'tis fair to view, this form of man, 12 I know not why the heavenly Artisan Ilath set these tulip cheeks and cypress forms To deck the mournful halls of earth's divan.
What caused Thee, O heavenly Artisan, To paint these tulip cheeks and cypress forms Here on the lowly walls of earth's divan? Sei wie die Tulpe sein Gesicht, sein hoher Wuchs cypressengleich, Nicht Einer doch, so viel du fragst, kann Antwort geben dir zuletzt. Aus welchem Grund sein Bildner es auf diese Erde hat versetzt. Because the one, with ten tongues, is silent ; because the other with a hundred hands, keeps them from picking and stealing.
How is it that of all the leafy tribe, Whinfield Cypress and lily men as " free " describe? That has a hundred hands which take no bribe. Whinfield, 1S82 , begins: Hundert Arme hat jene und greift doch nicht um sich. Whinfield quotes Sadi's "Gulistan," translated by Eastwick j. He replied, 'Every tree has its appointed time and season wherein it flourishes, and when that is past it droops. But the cypress is not exposed to either of these vicissitudes, and is at all times fresh and green, and this is the condition of the free.
Smith, who, July 23, , contributed to The Academy a very fre- quently misleading parallel between McCarthy's and FitzGerald's versions, ignores it. To atone for the too-late discovery, I venture to repeat FitzGerald's quatrain from his second edition: Although this wine in its essence is capable of taking a thousand shapes, assuming now the form of an animal, now the form of a plant, do not therefore believe that it can ever cease to be, and that its essence can be de- stroyed, for there is the reality when the shadows disappear.
The Spirit still remains, yes still remains. Arise, my beloved, for the favour of fortune is but a cheating dream, arise, for the flame of youth gushes like the water of the torrent. And youthful fire subsides as torrent streams. Von Schack Den Wein her 1 ich kann ihn erwarten kaum, 55 Denn ach! In line 3, "Mah to Mahi": The following Rubd'iy has an ctpially melancholy note, but a tiner, more powerful image: How many men do I behold plunged in the sleep of McCarthy ignorance u[ on the earth, how many already buried in its bosom!
When I cast my eyes over this desert of nothingness, how many souls do I see who have not yet arrived — how many who have already departed! On earth's green carpet many sleepers lie, "Whinfield And hid beneath it others 1 descry; And others, not yet come, or passed away, People the desert of Nonentity! Unter ihr wie Viele, welche schon in's Grab hinabge- stiegen! There is a hint of it in the following: In W'liintield, 15 1SS2 , line 2 has ba ikntpt sorrow, line 4 begins: Make iot too sure. Denn bald vielleicht stockt deines Herzens Schlag! The following illustrate the first two lines of the FitzGerald stanza: Give not thyself over to care and to grief in the hope McCarthy of gaining yellow or white money in the end.
Und deine Feinde setzen sich an den Tisch. In the same spirit old John Heywood gayly sings: If I can't pay, why I can owe, And death makes equal the high and low. Let thy garments be always white and let not thy head lack ointment " ix. Strange echoes thundering down from dim and distant ages!
O thou, the quintessence of the sum of existence, McCarthy- cease a moment to think upon evil gain, take one cup 4's of wine from the Eternal Saki, and set thyself free from the care of both worlds. Whinfield, 18S2 , has the following variant: And live from life's annoys forever free. The law of the Koran allows one of the faithful to marry a woman for the third time after he has twice repudiated her.
See Koran, chapter entitled " The Cow. But if he also divorce her, it shall be no crime in them if they return to each other, if they think they can observe the ordi- nances of Cod! The same idea recurs in: Mussulman mollahs allow the faithful to cat grapes, a fruit which in the poetic language of the Orient is to the wine what a mother is to its daughter.
Do not suffer vain thoughts to enter the gate of McCarthy your mind. Drink while the years drive by, let the cup be always full to the lips. Pay your court to the daughter of the vine, and be glad, for it is better to enjoy the forbidden daughter than the permitted mother. Cast off dull care, O melancholy brother! FitzGerald's note numbered 14 to quatrain XLI of the first edition was merely these words: A curious mathematical Quatrain of Omar's has been pointed out to me; the more curious because almost exactly parallel'd by some Verses of Doctor Donne's, that are quoted in Izaak Walton's Lives!
If we be two, we two are so As stiff twin-compasses are two ; Thy Soul, tlie fixt foot, makes no show To move, but does if the other do. And though thine in the centre sit. Yet when my otlier far does roam, Thine leans and hearkens after it, And grows erect as mine comes home. XX I ] Appendices. Norton, in his copy of Edition II, makes marginal corrections of the quotation from Dr. In Stanza I, line 4, does should be doth, and the second stanza should read: The compass quatrain may be read in various ver- sions: Bien que nous ayons deux pointes, nous 2S3 ne faisons qu'un corps.
Oh, my soul, thou and I together are like unto a McCarthy- compass. We form but one body, having two points. Um Einen Punkt drehen wir uns, die jetzt gesondert erscheinen, Doch es kommt einst der Tag, wo die beiden Pole sich einen. Here is one that shows a more serious mood: Tant que j'ai ma saine raison, le bien et le mal me sont connus: McCarthy Lord, free me from this puzzle of the more and less. While I can reason I know good and evil: This self is captive to earth's good and ill, Make me beside myself, and set me free!
Bodenstedt O Herr, von der Sorge um mehr oder minder befreie V. In the kitchen of life, you savour only the smoke. McCarthy How long will you study in sorrow the problem of. This world is loss to those that cling to it. Cast it adrift, and 16! Diese Welt bringt nur Verlust jedem weltlichen. Sinn, Befrei' Dich davon, und dt-r Verlust wird Gewinn! Bois du vin, ami, car le monde, c'est du vent. McCarthy Once, seeing an old man stagger from the wine-shop, with his prayer mat on his shoulders, and his flagon in his hand, I said to him, " What means this, oh, my master?
Denn die Welt ist nur Wind sonst und staubiger Schein. Ich sprach zu ihm: Je lui ai dit: I spake to him and said, " Oh, old man, dost thou not fear God? Nicolas J'ai vu un sage dans la maison d'un homme ivre de la veille. He answered, "Drink your wine, for many like us have gone hence, and not returned again. One night I beheld in a dream a sage who said to me, " In sleep, O my friend, the rose of joy has never blossomed for any man. Why do you do a deed so like to death.
Forgather not with death's twin-brother sleep. Thou wilt have sleep enough within thy tomb! Why sleep, when Sleep is but a Twin to Death? Schlaf gleicht dem Todeszustand, Du hast noch Zeit dazu im ewitren Ruhstand. Ein Weiser erschien mir im Traum und sprach: Nicht schaffst du also dir Gutes in's Haus ; Hier oben trinke, dort unten schlaf aus! Uu vieillard revenant de la taverne me dit: McCarthy No false money circulates with us. The broom has 80 cleanly swept our happy home. An old man coming from the tavern said, counselling me, " Drink, friend, drink wine, for many lives will follow yours during your long sleep.
Ein Greis kam aus der Schenke und sprach: Zeit hast du nachher, im Grabe auszuschlafen! Bring that delicious darling, let me grasp it! That pleasing chain which tangles in its coils Wise men and fools together, let me grasp it! Nicolas invariably interprets this idea of wine as the Holy Spirit. And it must be said, if by wine Khayyam un- derstands fermented grajDC juice, such an extravagant sentiment does not reflect much credit on his under- standing: C'est un amer qui vaut cent fois la douceur de la vie.
The last line of Whinfield, 28, is the same, but the Persian original is different from that of Nicolas: XXI I ] Appendices. The siglis with which a lover disturbs the dawn arc preferable to the bowlings of sanctimonious hypocrites. One draugh-t of wine outweighs the realm of Tiis, Throne of Kobdd and crown of Kai Kawi'is ; Sweeter are sighs that lovers heave at morn, Than all the groanings zealot breasts produce. Kobad, or Kai Kobad, living among the mountains of Elbourz, was invited by Zal, the father of the cele- brated Rustem, in the name of the principal men of Persia, to take the place of their incapable king, Guer- chasp, and drive from the realm the invader Afrasiab, king of Turan, or Turkestan, who had killed Noouzer, the tenth king of the Pishdadians.
Kobad defeated Afrasiab, and having restored the realm to quiet, became renowned for his justice. His son was Kavous, or Kai Kavous. Thous was son of Noouzer, and uncle to Kai Kavous. The same idea occurs also in the following: McCarthy A draught of wine is better than the empery of Jam- shid. The perfume of the cup is better than the gifts of Hatim Tai. The sigh which slips at dawning from the breast of him who went drunk to bed, is better than the lamentations of Majnun.
By the "aliments de Marie," or "food of Miriam," is meant the miraculous fruit which suddenly filled the tree under which, according to the Persian fable, the angel Gabriel found the Virgin Mary when she had gone to starve herself to death rather than allow her shame to be known. McCarthy A mouthful of wine is better than empire. Abjure all save wine. One cup of wine is better than the kingdom of Feridoun. The tile which covers the mouth of the wine jar is more precious than the crown of Kaikhosrou.
Nicolas says Feridoun was the seventh king of the second or Pishdadian dynasty. Gaveh's leather apron, improvised as the stand- ard of liberty, became historic, and was adorned by Fcridoun and his successors with precious stones. Fcridoun, when at the summit of his glory, divided his realm among his three sons, and spent the rest of his days in divine contemplation.
In the eyes of the Persian poets he was the model of a Shah. Saadi thus sings his praise: Kai-Khosru sometimes identified with Cyrus was the third king of the Kaianian dynasty. His father, Siavoush, was put to death by Afrasiab, king of Turkestan, whose daughter he had married. Kai- Khosrou escaped to Persia, and mounted the throne of his grandfather, Kai-Kavous.
Then he waged war against Afrasiab, and put him to death. Maving avenged his father, Kai-Khosrou abdicated, and conse- crated the rest of his life to religious meditation. Like Charlemagne, he never died, but is still alive some- where, waiting. Let us sell the turban, yea, and the garment of silk, for a cup of wine ; let us sell the chaplet which alone contains a multitude of hypocrisy. Jeden Tag in der Woche, ganz ausnahnilos. Und das immer so oft sich die Woche erneut. Only a fool is scornful of the flagon.
You who bid me renounce the juice of the vine, learn that wine is the soul, the complement of man. Whinfield A draught of wine would make a mountain dance, Base is that churl who looks at wine askance ; Wine is a soul our bodies to inspire, A truce to this vain talk of temperance! Der Geist des Weines zeigt den Weg zu menschlicher Vollkommenheit. Nicolas J'ai de mes moustaches balaye le seuil de la taverne. When I am drunk, they miglit both roll into a ditch, without my heeding them more than two barley-corns. I sweep the tavern threshold with my hair, "Whinfield For both worlds' good and ill I take no care ; Should the two worlds roll to my house, like balls, Wlien drunk, for one small coin, I 'd sell the pair!
Drink wine, friend, for the wise have wisely said, " Life's cares are a poison, and wine its best antidote. Well saith the sage, " Life is a poison rank, And antidote, save grape-juice, there is none. Gedenke des Spruchs der Wei- sen: Still keener the satire in the following, which I will give in only two versions: Oui, le chagrin des choses de ce monde est un poison, son antidote, c'est le vin.
Yes, the misery of this wretched world is a poison — wine is its only antidote. Toes- cape then from the terror of the poison, I will take the antidote. By the expression " the Two-and-Seventy Sects " may here be meant all the people on earth. Omar speaks of them again: Au milieu de tous ces dogmes, j'ai choisi celui de ton amour.
Que signi- fient ces mots: The multitude of creeds has divided mankind into McCarthy seventv-two nations. Of what meaning are the words: Impiety, Islam, faith, sin? Thou art my sole desire. Away from me all these vain pretences. Although the creeds number some seventy-three, Whinfield I hold with none but that of loving Thee ; -S? What matter faith, unfaith, obedience, sin.? One and All away. And Thou, Oh Allah, art my only End. Was ist mir Glaub' und Ketzerei? Mag Jeder glauben, was er will: Islam, Gottesdienst und Glaube — ferne mag dies Pos- senspiel, Dieses eitle, stets mir bleiben!
Du nur, du nur bist mein Ziel. Sharastdni, according to Wliinficld, says " the reason why the prophet pitched on the number seventy-tliree was that the XXIIl] Appendices. Nevertheless, the family resemblance may be traced by the subtle mind. The blasphemy of the wine is men- tioned in the following Ruba'iy: Since the day brings with it a consciousness of youth. McCarthy T mean to wile [. Do not blaspheme, on account of its bitterness, this glorious juice, for it is a delight to diink, and bitter only because it is my life.
The conceit of the reversed wine-cup appears again in the following: Nicolas calls on Orientalists to verify the first word of this Ruba'iy, which propriety forbids him to translate literally. At the same time he says: O turn away those roguish eyes of thine! There is also possibly a hint of the thought of Ruba'iy LXI in the following little dialogue between Omar and Muhammad: To the foolish it is unlawful, but to the wise it is lawful. Why it has pleased him to forbid pure wine. When he allows his people acid whey?
Whinfield, , reads: Bodenstedt Verehrungsvoll griisst von mir den Propheten: Unwissender, wann sagt' ich Dir und wo, Der Wein sei nicht erlaubt? Ilachemite is explained by Nicolas as the family name of Mohammed. There is possibly also a hint of the same thought in the following: God hath promised us wine in paradise.
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Therefore, McCarthy how can it be denied to us in this world? An Arab, a prey to drunkenness, one day severed with his sword the legs of a certain camel. It is for this cause, that the prophet has declared wine forbidden. An Arab in his cups cut Hamzah's girths, — For that sole cause was drink declared a vice. And youths, appointed to attend them, shall go round them ; beautiful as pearls hidden in their shell. In Stanza LXII FitzGerald recurs to the favorite idea of present enjoyment in opposition to that "ascetic holiness which waits for joy in the ne.
The second chapter of the Koran, entitled " The Cow," probably suggested to Omar tlie blood-thirsty ending. It will be noticed that McCarthy follows Nicolas into an evident mistranslation, whereby the wit of the original escapes. I drink of the wine, and they who oppose it come McCarthy about me on the right hand and on the left, to persuade me to renounce it, saying that wine is the enemy of religion. From right and left the censors came and stood, "Whinfield Saying, " Renounce this wine, this foe of good! By Allah, right it is to drink its blood! Inline one, Whinfield, 44 1SS2 , grave Mollas came atid stood, and the last two lines read: A somewhat similar idea occurs in Whinfield, Will ich erst recht am Wein mich laben.
I-fearts witli the light of love illumined well, Whinfield Whether in mosque or synagogue they dwell, f's Have tJuir names written in the book of love, Whinfield 49 In synagogue and cloister, mosque and school. Hell's terrors and heaven's lures men's bosoms rule, But they who master Allah's mysteries, Sow not this empty chaff their hearts to fool. Line 3 in Whinfield, 26 18S2 , reads: Sunday, December 9, Notable Spotify Playlists of Originally published on his blog. Originally published on The Awl.
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He reported his experiences as an artist with Pandora and Spotify, in a straightforward fashion, and came to the conclusion that "As businesses, Pandora and Spotify are divorced from music. As a music fan I would like to see good music heard by more people, and musicians getting paid fairly so they can keep on making music; as an observer of the music industry I believe Spotify is bringing a positive change to the ecosystem that will eventually benefit both the musicians and music fans. So I would like to elaborate my view.
Please allow me to state that this article is not a rebuttal to Damon but a personal viewpoint on Spotify and streaming in general. I just hope that he, and people who care about the issues that concern musicians are able to see another picture from the viewpoint of the average listener and also my views on the impact of Spotify for the longer term benefit of musicians. I do not have insider info from Spoify regarding payments, though I work with an aggregator who is Spotify's content provider, and I have read intensively on this subject, so I might be able to explain this.
Spotify does not pay at a fixed rate. As far as I understand, the pay per stream rate varies because Spotify has different types of services. When a paid user streams a track, it generates more royalties than from a free user. Mobile streaming requires different licensing from the desktop version and it pays differently. And, Spotify also offers Pandora-like mobile radio service to free users in the US; those non-on-demand streams pay at the same rate as Pandora.
So, each quarter, your music is streamed by a different mix of users, and the rate varies. I'm not sure who would really say that, but let's presume someone might. Yes that's not bad. A stream is not a download. See the picture below: The quantity differences between every group might be much bigger than the picture shows. And if all those people stream from services which pay at Spotify's current rate, how much could a band like Galaxie make?