Richibi’s Weblog

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Month: June, 2019

grammmar in action, verb moods

philosophy-and-grammar.jpg!Large

 

     Philosophy and Grammar 

   

            Gentile da Fabriano

 

                    __________

 

reach, imperative, I always say, indicative, 

for a star, you might, conditional, get the 

moon, but you might also, conditional, 

get a star

 

such is the power of mood in verb 

structure, and an expression of how 

words through grammatical stipulations

become inspiration, poetry

 

think about it 

 

 

R ! chard

 

 

 

 

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on ego, in particular, mine

luncheon-in-the-studio-1868.jpg!Large

       “Luncheon in the Studio (1868)

 

                 Édouard Manet

 

                      _________

            

you think I’ve got a big ego, I asked
friend who’d just told me I had one,
not confrontationally 
but as a matter
of fact, I wasn’t offended, just curious,
I think I’m so humble, I answered,
usually, so deferential

she wouldn’t cede to my, to her,

manifestly improbable, argument 

 

what do you call ego, I asked

 

what the definition is in the dictionary,

she answered, and pulled out her cell

phone to prove it

 

sure, I said, I know what the dictionary 

says, but how does that apply to me

 

well, just what it says, she said

 

my mother reads in the paper that it’s

going to rain today, I said, then it 

doesn’t, and I retort that only the 

weather essentially knows about the 

weather, but she still keeps to the

prognostications

 

one night I said, look, mom, the moon 

is full, no, she answered, it’s a quarter 

moon, it said so on the calendar, look, 

I said again, it’s full, it’s a full moon, 

but she wouldn’t believe me, it turned 

out she’d been reading the previous 

year’s almanac 

 

print gives us Platonic ideals, standards

that we think definitive, I asserted, but 

everything is in the eye of the beholder, 

words are just approximations, nothing 

but meeting places where we toss around

disparate ideas no firmer, nor distinct,  

nor assured than conversations among

different languagesmiscommunication 

can be that wide 

 

my friend tells me just talking like that

is proof of my big ego, but I still don’t 

get it, I think I’m so courteous, 

fundamentally, so congenial and, you

know, nice, otherwise 

 

 

R ! chard

 

 

the conditional

if-once-you-have-slept-on-an-island-1996.jpg!Large

    “If Once You Have Slept on an Island (1996) 

 

           Jamie Wyeth


               ________

 

the conditional mood is easy, it always

follows if 

 

     if I had a hammer, for instance

 

or

 

     if I were a rich man

 

it is not a real event, as Classical 

representation would be in art, were I

to make that synesthetic juxtaposition,

which is to say, were I to replace the 

visual sense with that of letters, but

rather like Surrealismfor instance, 

in that other context, a superimposed

idealization

 

here’s a poem you’ve probably 

already heard, or heard of, through 

its final, and epochal, verse, Kipling’s

If“, a towering instance of moral 

suasion on our culture

 

       If you can keep your head when all about you

           Are losing theirs and blaming it on you,   

       If you can trust yourself when all men doubt you,   

            But make allowance for their doubting too;  

       If you can wait and not be tired by waiting,

          Or being lied about, don’t deal in lies,

       Or being hated, don’t give way to hating,

           And yet don’t look too good, nor talk too wise:

 

        If you can dream—and not make dreams your master;   

            If you can think—and not make thoughts your aim;   

        If you can meet with Triumph and Disaster

           And treat those two impostors just the same;   

        If you can bear to hear the truth you’ve spoken

          Twisted by knaves to make a trap for fools,

        Or watch the things you gave your life to, broken,

           And stoop and build ’em up with worn-out tools:

 

      If you can make one heap of all your winnings

            And risk it on one turn of pitch-and-toss,

      And lose, and start again at your beginnings

           And never breathe a word about your loss;

        If you can force your heart and nerve and sinew

          To serve your turn long after they are gone,   

       And so hold on when there is nothing in you

          Except the Will which says to them: ‘Hold on!’

 

        If you can talk with crowds and keep your virtue,   

           Or walk with Kings—nor lose the common touch, 

        If neither foes nor loving friends can hurt you,

            If all men count with you, but none too much;

        If you can fill the unforgiving minute

           With sixty seconds’ worth of distance run,   

        Yours is the Earth and everything that’s in it,   

           And—which is more—you’ll be a Man, my son!

   

in the spirit of juxtaposition, compare 

that to Polonius’ admonition to his son,

Laertes, upon that young colt’s imminent 

return to France, where he had earlier

been, reputedly, carousing

 

       Yet here, Laertes! aboard, aboard, for shame!

       The wind sits in the shoulder of your sail,

       And you are stay’d for. There; my blessing with thee!

       And these few precepts in thy memory

       See thou character. Give thy thoughts no tongue,

       Nor any unproportioned thought his act.

       Be thou familiar, but by no means vulgar.

       Those friends thou hast, and their adoption tried,

       Grapple them to thy soul with hoops of steel;

        But do not dull thy palm with entertainment

        Of each new-hatch’d, unfledged comrade. Beware

        Of entrance to a quarrel, but being in,

        Bear’t that the opposed may beware of thee.

        Give every man thy ear, but few thy voice;

         Take each man’s censure, but reserve thy judgment.

         Costly thy habit as thy purse can buy,

         But not express’d in fancy; rich, not gaudy;

         For the apparel oft proclaims the man,

         And they in France of the best rank and station

         Are of a most select and generous chief in that.

         Neither a borrower nor a lender be;

         For loan oft loses both itself and friend,

         And borrowing dulls the edge of husbandry.

         This above all: to thine ownself be true,

         And it must follow, as the night the day,

         Thou canst not then be false to any man.



from Shakespeare’s “Hamlet”act 1, scene 3,

all, incidentally, in the imperative, the mood

of command, authority, however consequential

there, or not

 

 

 a film called “If…” is also worth visiting 

in this context, from the 1970s, with an 

iconic soundtrack that gripped the

generation then that heard it, listen,

watch, the Missa Luba, be gripped

 

R ! chard

 

 

 

a juxtaposition of verb moods

 

       the-wanderer-above-the-sea-of-fog.jpg!Blog.jpg

           The Wanderer above a Sea of Fog (1818) 


                   Caspar David Friedrich

 

                         _______________

 

 

a cardinal rule, the juxtaposition of two 

things of the same sort will exponentially

increase the information gleaned of either

 

therefore the following

 

The Impossible Dream“, listen 

 

       To dream the impossible dream

       To fight the unbeatable foe

       To bear with unbearable sorrow

       To run where the brave dare not go

 

       To right the unrightable wrong

       To love pure and chaste from afar

       To try when your arms are too weary

       To reach the unreachable star

 

       This is my quest, to follow that star

       No matter how hopeless, no matter how far

       To fight for the right

       Without question or pause

       To be willing to march

       Into hell for a heavenly cause

 

        And I know if I’ll only be true

       To this glorious quest

        That my heart will lay peaceful and calm

        When I’m laid to my rest

 

        And the world will be better for this

        That one man scorned and covered with scars

         Still strove  with his last ounce of courage

         To fight the unbeatable foe

         To reach the unreachable star

 

and Climb Every Mountain, listen again

 

        Climb every mountain

        Search high and low

        Follow every byway

        Every path you know

 

        Climb every mountain

        Ford every stream

        Follow every rainbow

        ‘Till you find your dream

 

        A dream that will need  

        All the love you can give

        Every day of your life

        For as long as you live

 

        Climb every mountain

        Ford every stream

        Follow every rainbow

        ‘Till you find your dream

 

        Climb every mountain

        Ford every stream

        Follow every rainbow

        ‘Till you find your dream

 

 

an initial similarity, they are both

inspirational

 

an initial divergence, the former is 

in the infinitive mood, which is to 

say that the lesson is for all time

in all places and for all people, 

while the second is an imperative,

in other words, an exhortation,

something only pertaining to the 

future, though the other conditions,

of place, and of person, can still 

apply  

 

note that the verse, in either, is in 

the indicative, in keeping with, in

each, the altered air, the second,

and contrasting melody, which in

both, note, personalizes, makes

the recommendation actual, no

longer merely idealized, the

indicative is the only mood which

deals in facts, the other moods

are all imagined, dreamed

 

let me point out that in comparison

with songs in the indicative, love

songs and the like, the show tunes

above find their source in medieval

religious music, hymns, liturgical

stuff, and more recently,

comparatively, specifically in

England after the Protestant

Reformation with Handel’s both

church and ceremonial music

 

in which England went on to

specialize, incidentally, while other

forms of music there, the racier,

secular European stuff, had been

demonized, deemed sinful, and

thus proscribed

 

England would only get its mojo back

in the 1960s with the Beatles

 

R ! chard