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Louis Esterhuizen. Die sterwensberou van W.B. Yeats
Gister, 75 jaar gelede op 28 Januarie 1939, het William Butler Yeats (foto) in ‘n gastehuis, waar hy tuisgegaan het aan die Franse Riviera, gesterf. En om dié dag te herdenk het The Atlantic ‘n berig geplaas oor die drie gedigte van Yeats wat ten tye van sy dood in die tydskrif se uitgawe vir Januarie 1939 verskyn het. Op hierdie stadium was Yeats, in die ouderdom van 73, ‘n Nobelpryswenner, voormalige lid van die Ierse Senaat, mede-oprigter van die Nasionale Teater in Ierland en ‘n digter in die volle swang van sy ambag.
En tog was hierdie laaste gedigte uit die pen van hierdie befaamde digter ‘n priemende aftakeling van eiebelang en selfwaarde; verse deurspek met verwyt en berou: “(T)here was no gentle beauty in the three poems by Yeats that appeared in The Atlantic in January 1939, the month the poet died. All of them are brutal pieces of deathbed reckoning,” skryf The Atlantic se beriggewer. “In Man and the Echo, the poet stands in front of a blank cliff face, racked by guilt over his role in the 1916 Easter Rising”:
Sleepless would lay down and die.
Ook in die daaropvolgende gedig The Circus Animal’s Desertion dryf hy die spot met sy loopbaan as skrywer: “My circus animals were all on show,” skryf hy en vervolg met bittere selfverwyt omreder hy nooit daarin kon slaag om uitdrukking aan sy “suiwere” visie te gee nie; lê hy ten slotte op ‘n ashoop “filled with broken, hideous things”: “Now that my ladder’s gone, / I must lie down where all the ladders start / In the foul rag and bone shop of the heart.”
In die laaste van die drie gedigte, Politics, beskryf Yeats ‘n patetiese ou man wat smag na die arms van ‘n jonger vrou. Volgens The Atlantic se berig, die volgende: “This wasn’t far from the truth: Yeats spent his last decade carrying on with women half his age, and even had a vasectomy-like operation to improve his sexual ‘vigor’. “ Ook Yeats se vrou se skrywe aan hom word aangehaal: “’When you are dead, people will talk about your love affairs,’ wrote Yeats’s much-younger wife, George, in a letter to her husband, ‘but I shall say nothing, for I will remember how proud you were.’”
Volgens JennieRothenberg Girtz, beriggewer by The Atlantic, het die Indiese filosofie van Vendata ‘n bepalende invloed op Yeats se lewens- en wêreldbeskouing gehad in sy laaste jare. Volgens die Vendata is die heelal ‘n illuasie en die mens gefragmenteerd. Sy haal Yeats aan wat Vendata soos volg in die vertaling van die Mandukya Upanishad beskryf het:
Whereas we are fragmentary, forgetting, remembering, sleeping, waking, spread out into past, present, future, permitting to our leg, to our finger, to our intestines, partly or completely separate consciousnesses, it is the ‘unbroken consciousness of the Self,’ the Self that never sleeps, that is never divided, but even when our thought transforms it, it is still the same.
Haar eie slotsom is soos volg: “At the end of his life, Yeats seemed to be loosening his grip on that small, fragmentary self. The three Atlantic poems show him shedding the very last vestiges of his pride and dignity—his literary greatness, his sexual magnetism—everything that made him William Butler Yeats. As W.H. Auden put it, after his friend and mentor was buried in the ground: “Let the Irish vessel lie / Emptied of its poetry.”
By wyse van kopknik en huldeblyk aan een van die gootste digters wat ooit geleef het, plaas ek hieronder WH Auden se gedig oor sy gestorwe vriend en leermeester.
(c) W.H. Auden (Uit: Another Time, 1940: Random House. Copyright
Tags: W. H. Auden, WB Yeats
Louis Esterhuizen. Iets oor musiek, liriek en poësie
Dat daar die afgelope jare ‘n steeds nouerwordende band tussen poësie en musiek bestaan, is ‘n gegewe. En ‘n goeie voorbeeld hiervan is een van my gunsteling musiekgroepe uit die 1980s, naamlik die Ierse groep The Waterboys, met die legendariese Mike Scott (foto) as kreatiewe dryfstang in hul enjin. Nie net was Scott se eie lirieke besonder poëties nie, met “Old England” as een van my gunstelinge, maar hy het ook van meet af gedigte van William Butler Yeats by hul musiek betrek. So was daar “The Stolen Child” (op die album Fisherman’s Blues, 1988) en “Love and Death” (op die album Dream Harder, 1993).
Met hul mees onlangse album het Scott egter nou dié skatpligtigheid tot sy ekstreme geneem: ál twintig liedjies op An Appointment with Mr. Yeats is gebaseer op gedigte van W.B. Yeats; daarom dat ‘n onderhoud wat met Mike Scott gevoer is deur Gene Myers op NorthJersey.com my aandag getrek het. (Terloops, dié onderhoud is gevoer in die aanloop na die Bergen Musiekfees wat môre plaasvind en waarby The Waterboys betrokke is.)
Op die vraag oor sy fassinasie met die groot Ierse digter, het Scott soos volg geantwoord: “My mum, who is a college lecturer, used to talk about him in hushed tones. So I grew up with the idea of Yeats as the great master poet. I read his poetry in my teens and liked it but didn’t understand it. Came back to it in my 20s when I was more ready for him. As for my connection – well, I like his power, the archetypal authority he assumes when he writes, his understanding of subtler worlds, of human processes. And I share his interests – love, mythology, the mystic, Ireland, etc.”
Oor die verwantskap tussen poësie en musiek het Scott die volgende te sê gehad: “I think poetry works with music in two ways: 1) as recitation, sympathetically read over an appropriate musical soundtrack. It’s quite an art, getting it right. And 2) as the setting of poem sung to music as a melody, which is also an art and in most cases requires of the poem that it rhyme and scan like a song lyric […] I experience them in their pure forms quite differently. Poetry acts on my mind first as a route to emotion and spirit. Music works on the emotion and spirit first and needn’t even engage the mind.”
Nou ja, toe. Vir jou leesplesier volg die liriek van “Old England” hieronder.
And he sticks his flag where it I’ll belongs
I just freeze in the wind and I’m
© The Waterboys
Tags: Mike Scott, The Waterboys, WB Yeats
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Gebreide gedig vir eeufeesviering
Meer as 800 vrywilligers is tans besig om vir die Britse Poetry Society se eeufeesvieringe ‘n reusagtige gedig te brei. Elkeen van die vrywilligers se taak is om ‘n bepaalde letter van die alfabet op ‘n vierkant van 12″ by 12″ te brei. “A poem is often a small thing that packs a larger punch than its scale suggests – it’s not big and shouty. The idea of a poem with scale is interesting – it’s saying look how big, how important this poem is, and how many people’s lives it’s reached,” het Judith Palmer, direkteur van die Poetry Sociey, aan The Guardian se verslaggewer gesê en bygevoeg dat brei eintlik in vele opsigte met die maak van ‘n gedig ooreenstem: “With poetry and with knitting, you work line by line, and if something goes wrong you have to unravel it.”
Die voltooide gedig sal in Oktober, tydens die Society se feesvieringe, onthul word. Presies watter gedig dit gaan wees, is egter tot dan ‘n geheim. Uiteraard is daar heelwat spekulasie oor watter gedig dit is waaraan gebrei word: Jo Shapcott, Seamus Heaney en Emily Dickinson het immers almal gedigte oor brei geskryf. Ook Auden, Eliot, Verlaine en Betjeman word genoem, maar dit wil tog voorkom asof die meeste spekulante dit eens is dat die gedig wat in Oktober onthul gaan word, WB Yeats se “He Wishes for the Cloths of Heaven” sal wees, met daardie onvergeetlike slotreëls: “I have spread my dreams under your feet; / Tread softly because you tread on my dreams.”
Nou ja, toe. Net die tyd sal leer of dit dié lieflike vers deur een van die klassieke meesters sal wees, of dalk Milton se “Paradise Lost”, maar vir jou leesplesier vanoggend, ‘n toepaslike vers deur die Walliese digter Gwyneth Lewis. Lekker lees.
En hou maar vandag die stekies eweredig by mekaar op die breipen, hoor.
© Gwyneth Lewis
Tags: Gwyneth Lewis, Judith Palmer, Poetry Society, WB Yeats
Posted in Nuuswekkers. Louis | Comments Off on Gebreide gedig vir eeufeesviering