Euclid (the other one) by Domenico Maroli, 1650s
St. Peter: How came you to be down there. Sir Alfred Ayer: You mean in Logical Positivism’s chair? St. Peter: And generally in such infernal spot. Sir Alfred: Specifically, it is a seat best known as hot- However, others burn intensely for theirs it’s not. St. Peter: Bertrand Russell, Berkeley, Hume and Wittgenstein, you mean? Sir Alfred: Precisely and many others now not read or seen. Daubed with the mud of metaphysics, you can see where they’ve been; Off verifying nonsense, their minds are not clean. St. Peter: And why are you in the Seventh Circle? Sir Alfred: I thought…
Continue Reading →There lived a cold unloving man who dwelt alone in castle walls But tension worthy of a clan kept him company under a high-strung roof. Dreading women, loving battle and the hunt, A Bluebeard; frightened of, frightening children. His cellar stocked with vintage wine and bodies of the loved ones Who knew too late the fate that came of knowing him: Tied to sterile dreams, fated to form an empty vessel, Drained of all emotion, drunk by a leech’s thirst. Speed is of the essence, there’s no time to catch a breath, Hurtling deathwards with precision; He keeps the past…
Continue Reading →"Isle of the Dead" by Arnold Böcklin (1880)
He felt he had lost the edge, Somewhere along the way. He thought he could only improve, That his powers were permanent, But he badly misjudged his talents And the transient mood of the throng, Woke to find he had lost the edge, Somewhere along the way. So he glanced more sharply, more often At the image growing closer before him; Rubbed the surface of the mirror with vigor, To gain clarity of perception, But with deep disappointment, he realized That the portrait grew ever still fainter, One day it would blacken and vanish, Somewhere along the way.
Continue Reading →Picture courtesy of Dr Daniela Kaleva
To the Mortlock Chamber in the State Library of SA, to hear L’Arianna abbandonata e gloriosa and Lamento d’Arianna (1608), works reconstructed from Monteverdi’s fragmented scores, with solo voice and harpsichord, accompanied by the odd stage effect to evoke waves crashing on lonely Naxos, where (failed Argonaut) Theseus has parked Ariadne to show his gratitude for her help surviving the labyrinth on Minos. This paring away eschews the go-for-baroque approach that could overwhelm the purity of the harmonics, which are quite reminiscent of Purcell’s Dido pieces…
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