No photos this time. I was in a dark corner supervising the carries group, and then it was too dark. We followed the customary route above Rodeo Lagoon, near which some of the participants had gone to environmental awareness camp. One of my earliest maps was drawn at that camp for my journal entries of that year. I believe I also said something uncomplimentary about Jonathan Vordermark and criticized the camp's treatment of the flag. We went up the hill to the bunker and split into a round robin of five groups to complete various requirements. As I said, I was supervising the carries group. The test was a race, which would have been much more hazardous if the giant gun emplacement pit had not been filled. We continued up the hill and up the stairs. I was a bit worried when we were passing the collapsed wooden ruins on the top of the head, since some of the younger kids were itching to descend into the splintery abyss. Several of the turns were not clearly marked, but we did not lose anybody. We ascended to Hill 88 and supped there. The Urban Astronomer, who was with us, provided guidance to navigating the stars, although the moon was bright. We headed down from the summit of Hill 88 and walked along the backside of the ridge.
At the crossroads, where a wrong choice would lead to the Long March of that infamous year, the Urban Astronomer provided more guidance on celestial gazing, but fell short on myth. Cepheus was the king of Ethiopia, and Cassiopeia was his queen, and Andromeda was his daughter. Cassiopeia bragged that Andromeda was more beautiful than the gods. This boast angered the gods and Poseidon demanded that Andromeda be chained to a cliff and consumed by a sea monster. Andromeda did not die, because Perseus (not Pegasus) rescued her. Upon reflection, the confusion might have arisen because Perseus did have the sandals of Hermes, which had wings and allowed him to fly, thus fulfilling the same role as Pegasus. Such errors do makes me wonder whether I should start a mythology blog.
We descended from the decision of Hercules into the always-chilly hollow and out towards the road. We were behind schedule, but I was less discombobulated than some of the impatient teenagers. We walked along the north side of Rodeo Lagoon, and I recalled the swampy path on the south side and the crossing of the bar. We reached the parking lot, consumed doughnuts and hot chocolates, and the Urban Astronomer allowed the boys to look through his telescope at the Galilean moons.
Tuesday, December 13, 2011
Sunday, December 11, 2011
Parish Retreat 2011
On the first weekend of November, I went on the St James parish retreat. I rode up after work with Petrina and Roger, so I missed the cocktail hour (it was an Episcopal retreat, after all). As we came up the driveway to the Bishop's Ranch, a strong unidentified smell overwhelmed me, Finally, I realized that the smell was manure – I'd not visited the proper countryside for so long I'd forgotten the smell! There were four groups at the Ranch this weekend – our group from St James, one from St Ambrose, a group called Women of Wonder, and an AmeriCorp group stationed at the Ranch for six weeks. Although we'd missed cocktail hour, we hadn't missed Compline. For those unfamiliar with the term, Compline is a Christian evening service, the last of the day, in which one reflects and winds down.
The morning was cold and misty, unlike many I remember from BREAD (at least the misty part – I've been at the Ranch when it's cold.). After an organic breakfast, there was a plenary session led by Anna Eng, whom I had met before, on the Art of the Relational Meeting – the sort that leads to progress towards a goal and that is sorely lacking in the contemporary political sphere. Eng's use of the term “agitation” for “stirring of the imagination” seemed a little strange, just as the term “enable” in the EDGE method acronym reminds me of Alcoholics Anonymous. The blacksmithing workshop had filled up well before, so I went on a hike with Ullrich the jovial German and several others. Since we were out in the field when we decided to take an extended hike, and the map was hardly to scale, there was some debate where we were. We took Treehouse Hill Loop to Turtle Creek Lane, and up the dirt road towards the lake (which I have yet to reach). We crossed Turtle Creek, but had to stop at the second ridge because there was a dead sow on a truck. Apparently the sow had been tearing up the grounds of the Ranch and the management had called the pig hunters from Swine Country (company name) to eliminate her. So we chatted a while, and I took some pictures for the Scouts. It had begun to rain, and we couldn't have reached Lower Lake and returned in time for lunch, so we headed back to the refectory. We passed the gate to the Russell Ranch, went past the Peace Pole (what a bizarre structure) and back to the refectory.
After lunch, during which I bought a book by an Episcopal female priest on Marian devotionals (the book itself is difficult to describe, especially since I have not started to read it properly), I chatted with a fellow parishioner. Our philosophies differed dramatically, as you might expect from a dedicated Scout leader and a conscientious objector. It reminded me a little of the Hard-Travelling Heroes, except that I'm inclined to side with Hal than Ollie. Later, I went to the Ranch House. I found Carole Jan Lee's book of show tunes on the open piano. I couldn't resist. After a few false starts, I chose a song and began to teach myself how to play “I don't know how to love him” from “Jesus Christ Superstar”. The song resonated with me, but I'm scarcely the first to empathize with the Magdalene. Even later, I played Bananagrams (R) with some other parishioners, but the faults of Scrabble (R) which the former game aims to correct seem to me the strengths of the latter.
After dinner, the main event was square dancing: square dancing is an excellent activity for a church retreat – it's family-friendly, but still allows every level of public behavior up to flirting. The man and women of each couple were of compatible height, but the very family-friendliness of square dancing made a right-and-left grand with six adults and two short children. The caller explained the origin of the periodic stomp: although stomping is extremely satisfying, its original intent was to remove the manure from your boot. After we had covered the basics, the caller taught the grand square. I was dragged (not wholly unwillingly) into the grand square with a woman I'll call Blonde, Busty, and Beaming for lack of an actual name. A grand square is quite complicated, and probably becomes more difficult with sufficient imbibing, but BBB and I managed our part well. Other couples were significantly more confused. H., one of our St James parishioners, injured herself during the Cotton-Eyed Joe that followed the square dancing and preceded the evening's closing waltz.
Father David led Saturday Compline, using a poorly mimeographed sheet from the infamous New Zealand Prayer Book. The New Zealand Prayer Book can be disorienting, since it incorporates Maori traditional oratory, which differs greatly from English rhetoric. The New Zealand Our Father is called a translation, but expands to much for me to call it such. It is an exegesis, and one which I would like to examine further before endorsing it.
After Compline, several parishioners retired to the ranch house living room to play the game Celebrities. I had never played this game before. It was something like a cross between Charades and Musical Chairs. The game mechanics were fine, but a combination of the age divide among the players and a paucity of contributors to the pot threw the match.
On Sunday, we attended a more conventional service in the chapel. Every time I have gone to the Bishop's Ranch, I have forgotten that it is a functioning parish church and has its own congregation. I kicked a ball around with one of the kids. Then it was time to go home to the city with Ryszard and Elia.
The morning was cold and misty, unlike many I remember from BREAD (at least the misty part – I've been at the Ranch when it's cold.). After an organic breakfast, there was a plenary session led by Anna Eng, whom I had met before, on the Art of the Relational Meeting – the sort that leads to progress towards a goal and that is sorely lacking in the contemporary political sphere. Eng's use of the term “agitation” for “stirring of the imagination” seemed a little strange, just as the term “enable” in the EDGE method acronym reminds me of Alcoholics Anonymous. The blacksmithing workshop had filled up well before, so I went on a hike with Ullrich the jovial German and several others. Since we were out in the field when we decided to take an extended hike, and the map was hardly to scale, there was some debate where we were. We took Treehouse Hill Loop to Turtle Creek Lane, and up the dirt road towards the lake (which I have yet to reach). We crossed Turtle Creek, but had to stop at the second ridge because there was a dead sow on a truck. Apparently the sow had been tearing up the grounds of the Ranch and the management had called the pig hunters from Swine Country (company name) to eliminate her. So we chatted a while, and I took some pictures for the Scouts. It had begun to rain, and we couldn't have reached Lower Lake and returned in time for lunch, so we headed back to the refectory. We passed the gate to the Russell Ranch, went past the Peace Pole (what a bizarre structure) and back to the refectory.
After lunch, during which I bought a book by an Episcopal female priest on Marian devotionals (the book itself is difficult to describe, especially since I have not started to read it properly), I chatted with a fellow parishioner. Our philosophies differed dramatically, as you might expect from a dedicated Scout leader and a conscientious objector. It reminded me a little of the Hard-Travelling Heroes, except that I'm inclined to side with Hal than Ollie. Later, I went to the Ranch House. I found Carole Jan Lee's book of show tunes on the open piano. I couldn't resist. After a few false starts, I chose a song and began to teach myself how to play “I don't know how to love him” from “Jesus Christ Superstar”. The song resonated with me, but I'm scarcely the first to empathize with the Magdalene. Even later, I played Bananagrams (R) with some other parishioners, but the faults of Scrabble (R) which the former game aims to correct seem to me the strengths of the latter.
After dinner, the main event was square dancing: square dancing is an excellent activity for a church retreat – it's family-friendly, but still allows every level of public behavior up to flirting. The man and women of each couple were of compatible height, but the very family-friendliness of square dancing made a right-and-left grand with six adults and two short children. The caller explained the origin of the periodic stomp: although stomping is extremely satisfying, its original intent was to remove the manure from your boot. After we had covered the basics, the caller taught the grand square. I was dragged (not wholly unwillingly) into the grand square with a woman I'll call Blonde, Busty, and Beaming for lack of an actual name. A grand square is quite complicated, and probably becomes more difficult with sufficient imbibing, but BBB and I managed our part well. Other couples were significantly more confused. H., one of our St James parishioners, injured herself during the Cotton-Eyed Joe that followed the square dancing and preceded the evening's closing waltz.
Father David led Saturday Compline, using a poorly mimeographed sheet from the infamous New Zealand Prayer Book. The New Zealand Prayer Book can be disorienting, since it incorporates Maori traditional oratory, which differs greatly from English rhetoric. The New Zealand Our Father is called a translation, but expands to much for me to call it such. It is an exegesis, and one which I would like to examine further before endorsing it.
After Compline, several parishioners retired to the ranch house living room to play the game Celebrities. I had never played this game before. It was something like a cross between Charades and Musical Chairs. The game mechanics were fine, but a combination of the age divide among the players and a paucity of contributors to the pot threw the match.
On Sunday, we attended a more conventional service in the chapel. Every time I have gone to the Bishop's Ranch, I have forgotten that it is a functioning parish church and has its own congregation. I kicked a ball around with one of the kids. Then it was time to go home to the city with Ryszard and Elia.
Thursday, December 8, 2011
Post Rojak
It seems apropos that I completed Lesson 23 of the online Malay course before a potluck. The twenty-third section seems a bit late to introduce such an important part of Malay culture, but the vocabulary is rich. At the nadir of my Bahasa Malaysia knowldedge, all I could say was "Saya hendak beli ikan" ("I would like to buy a fish"). The example sentence introduce the words for husband and wife - suami and isteri, respectively. These words look more Indian than Austronesian to my linguistic eye, although no doubt other words for such a basic relationship exist. The word for cheese, keju, is manifestly Portuguese, and the author of the lesson provides a warning against the consumption of pork in the company of Muslims. Rojak, a medley of individual foods, recieves mention, as does its linguistic equivalent, Bahasa Rojak, the bastard child of linguistic crossroads. The insertion of linguistic terminology relates to something further down the page. The list of fruits (buah-buahan) is extensive - many fruits seem to have no parallel name in English. Among these fruits is durian, the delicious and fragrant fruit. Imagine the smell of growing up in an durian orchard! The section on meal names discriminates between dinner (makan malam) and supper (makan lewat malam), something which Americans often fail to do.
For a linguistic desert, my old love clusivity recieves a clear explanation. Kami is inclusive we (I plus you) and kita is exclusive we (I, but not you). The lack of this distinction in the Indo-European languages is rarer than its presence, but I have read somewhere that the two forms of 'we/us' in Proto-Indo-European is relic of clusivity. You might call the forms relic-clusives! In Bahasa Rojak, however, the inclusive form kami is replaced by the specifically Bahasa Rojak form kitorang, from kita orang, 'we people'. If my hunch is correct, this is a reflection of the use of inclusive forms to reinforce ethnocentric bonds, since my Quechua-speaking ordained acquaintance used a similar example to illustrate clusivity in his mother tongue.
For a linguistic desert, my old love clusivity recieves a clear explanation. Kami is inclusive we (I plus you) and kita is exclusive we (I, but not you). The lack of this distinction in the Indo-European languages is rarer than its presence, but I have read somewhere that the two forms of 'we/us' in Proto-Indo-European is relic of clusivity. You might call the forms relic-clusives! In Bahasa Rojak, however, the inclusive form kami is replaced by the specifically Bahasa Rojak form kitorang, from kita orang, 'we people'. If my hunch is correct, this is a reflection of the use of inclusive forms to reinforce ethnocentric bonds, since my Quechua-speaking ordained acquaintance used a similar example to illustrate clusivity in his mother tongue.
Wednesday, December 7, 2011
A Rash of Songs
This Sunday, a particularly rainy day, at the Museum of the Legion of Honor, Sylvia Rhine '78 (Carleton) and Eric Redlinger, the members of Asteria, gave a lecture on and played music from the court of Charles the Bold (sometimes known as 'the Rash'), Duke of Burgundy. The Duchy of Burgundy in the Late Middle Age was the richest "country" in Europe, and treated as an equal to the kings of official countries. Charles, as many generals have done, thought his campaign would be quickly done. He spent more than a year trying to take Neuss. A man of his stature had to be an accomplished warrior, host, and diplomat, so the delay in taking the city forced Charles to set up a court just beyond the field of battle. There he welcomed embassies with the gravitas necesssary for a man of his station, but he also entertained his guests and retainers. He had three minstrels, the three greatest in Europe, and he commanded that there be one new song every night. If the song failed to please him, he would execute the performer -okay, that last part is false, but the rest sounds like something out of Arabian Nights!
In the lecture before the concert, Sylvia Rhyne and Eric Redlinger discussed the impossibility of truly knowing the sound of medieval music. Some differences, nonetheless, could be ascertained - medieval music was composed of individual melodies that formed chords rather than chords per se; the music did not use meters (though of course notes had varying lengths). The dominant use of marriage as a political tool made amour de loin (love at a distance) the most common form of amour (Le Corps Sen Va, Antoine Busnoys). Medieval music was private and personal, but could be heard throughout the chateaux. Although it was personal, it did not use names, but preferred to idealize humans (Plus jay le monde regarde, Robert Morton; De Tous Biens Pleine, van Ghizeghem; Au gre de mes yeulx, Antoine Busnoys) and anthropomorphize abstract concepts (Allez Regrets, van Ghizeghem) The texts of medieval music were exquisite, expensive, and heart-shaped - although the last feature may be the result of the container reflecting the matter contained. Rhyne and Redlinger abbreviated the concert due to the impending and regular organ recital.
The concert featured compositions by the three composers (Antoine Busnoys, Robert Morton, and Hayne van Ghizighem), an anonymous composer, and Charles himself. It was lovely and soothing - perhaps too soothing, for a darkened room!
I'm recording the text of the planned concert here, since I find the songs beautiful in sentiment as well as performance - and a guy can never have too much love poetry as a miles amoris. Si je parle franCais, je pourrai les lire facilement. Certes, cette language est plus facile que le franCais anglo-normandais que je lisais a Saint Andrew.
Plus jay le monde regarde (Robert Morton)
Plus jay le monde regarde
Plus je voy mon premier chois
Avoir le bruit et le vois
De los de grace et de beaulte
The more I have seen the world
The more I see my first choice
To have the nobility and the voice
Of things of grace and beauty.
Quant ce vendra (Antoine Busnoys)
Quant ce vendra au droit destraindre
Comment pouray mon veul constraindre
Et mon cueur faindre a mon douloureux partement
De vous mon leal pencement, a qui nulluy ne peut actaindre.
When it comes to true torment
How shall I contain my desire?
Even my heart falters at my sad parting
From you, my loyal, whom it is not possible to reach.
Allez regrets (Hayne van Ghieghem)
Allez regrets vuidez de ma presance
Allez ailleurs querir vostre acointance
Assez avez tourmente mon las cueur.
Go, Regrets, depart from my presence.
Go elsewhere to find your company
You have tormented my weary heart enough.
Sur Mon Ame (Anonymous)
De tous biens pleine (van Ghizeghem)
De tous biens pleine est ma maistresse
Chacun luy doit tribut donneur,
Car assouvye est en valeur
Autant que jamais fut deesse.
My mistress is full of all good things.
Each to her should be a giver of tribute.
For she is as appeased in worthiness
As any goddess was.
N'auray-je jamais mieux (Morton)
N'auray-je jamais mieux que jay
Suis je la ou je demeurai,
Mamour et toute ma plaisance?
...N'aurez vous jamais connaissance
Que je suis tout votre et serai?
Will I never have better than I have,
Am I here where I shall remain,
My love and all my pleasure?
....Will you never have knowledge
That I am and will be wholly yours?
Le souvenir de vous me tue (Morton)
Le souvenir de vous me tue,
Mon seul bien, quant je ne vous voy.
Car ie vous jure, sur ma foy,
Sans vous ma liesse est perdue.
The memory of you kills me,
My one good, when I do not see you.
For I swear to you, upon my good faith
That without you my joy is lost.
Gentilz gallans (van Ghizeghem)
Gentilz gallans soions toujours joyeux
Et je vous en prie tres humblement
Et si servons les dames loyaulment
Sans reposer le vray cueur amoureux.
Noble swains, let's be alway joyful,
And I beseech you very humbly
And thus let's serve the ladies loyally
Without relaxing the true loving heart.
En voyant sa dame (Busnoys)
En voyant sa dame au matin
Pres du feu ou elle se lace
Ou est le cueur qui ja se lasse
De regarder son beau tetin.
Upon seeing his lady in the morning,
Near the fire where she rests,
Where is the heast that would relax itself
From observing her beautiful breast?
Au gre de mes yeulx (Busnoys)
Au gre de mes yeulx je vous ay choisie
La plus acomplie qui soit soulx les cieulx.
At the liking of my eyes I have chosen you
The most accomplished woman who is under heaven.
Ma Dame Helas (Charles the Bold)
Le corps sen va (Busnoys)
Le corps sen va et le cueur vous demeure.
Le quel veult faire avec vous sa demeure
Pour vous vouloir aimer tant et si fort
...A vous servir jusques ace que je meure.
The body leaves and the heart remains with you.
That which wants to make its stay with you.
From the desire to love you so strongly and completely
... To serve you until I die.
Ma dame trop vous mesprenes (Charles the Bold)
Ma dame trop vous mesprenes
Quant vers moy ne vous gouvernes.
Aultrement qui l'oseroit dire, dire?
My lady, you hurt me too much,
When you do not steer my verse.
Otherwise who would dare to speak?
In the lecture before the concert, Sylvia Rhyne and Eric Redlinger discussed the impossibility of truly knowing the sound of medieval music. Some differences, nonetheless, could be ascertained - medieval music was composed of individual melodies that formed chords rather than chords per se; the music did not use meters (though of course notes had varying lengths). The dominant use of marriage as a political tool made amour de loin (love at a distance) the most common form of amour (Le Corps Sen Va, Antoine Busnoys). Medieval music was private and personal, but could be heard throughout the chateaux. Although it was personal, it did not use names, but preferred to idealize humans (Plus jay le monde regarde, Robert Morton; De Tous Biens Pleine, van Ghizeghem; Au gre de mes yeulx, Antoine Busnoys) and anthropomorphize abstract concepts (Allez Regrets, van Ghizeghem) The texts of medieval music were exquisite, expensive, and heart-shaped - although the last feature may be the result of the container reflecting the matter contained. Rhyne and Redlinger abbreviated the concert due to the impending and regular organ recital.
The concert featured compositions by the three composers (Antoine Busnoys, Robert Morton, and Hayne van Ghizighem), an anonymous composer, and Charles himself. It was lovely and soothing - perhaps too soothing, for a darkened room!
I'm recording the text of the planned concert here, since I find the songs beautiful in sentiment as well as performance - and a guy can never have too much love poetry as a miles amoris. Si je parle franCais, je pourrai les lire facilement. Certes, cette language est plus facile que le franCais anglo-normandais que je lisais a Saint Andrew.
Plus jay le monde regarde (Robert Morton)
Plus jay le monde regarde
Plus je voy mon premier chois
Avoir le bruit et le vois
De los de grace et de beaulte
The more I have seen the world
The more I see my first choice
To have the nobility and the voice
Of things of grace and beauty.
Quant ce vendra (Antoine Busnoys)
Quant ce vendra au droit destraindre
Comment pouray mon veul constraindre
Et mon cueur faindre a mon douloureux partement
De vous mon leal pencement, a qui nulluy ne peut actaindre.
When it comes to true torment
How shall I contain my desire?
Even my heart falters at my sad parting
From you, my loyal, whom it is not possible to reach.
Allez regrets (Hayne van Ghieghem)
Allez regrets vuidez de ma presance
Allez ailleurs querir vostre acointance
Assez avez tourmente mon las cueur.
Go, Regrets, depart from my presence.
Go elsewhere to find your company
You have tormented my weary heart enough.
Sur Mon Ame (Anonymous)
De tous biens pleine (van Ghizeghem)
De tous biens pleine est ma maistresse
Chacun luy doit tribut donneur,
Car assouvye est en valeur
Autant que jamais fut deesse.
My mistress is full of all good things.
Each to her should be a giver of tribute.
For she is as appeased in worthiness
As any goddess was.
N'auray-je jamais mieux (Morton)
N'auray-je jamais mieux que jay
Suis je la ou je demeurai,
Mamour et toute ma plaisance?
...N'aurez vous jamais connaissance
Que je suis tout votre et serai?
Will I never have better than I have,
Am I here where I shall remain,
My love and all my pleasure?
....Will you never have knowledge
That I am and will be wholly yours?
Le souvenir de vous me tue (Morton)
Le souvenir de vous me tue,
Mon seul bien, quant je ne vous voy.
Car ie vous jure, sur ma foy,
Sans vous ma liesse est perdue.
The memory of you kills me,
My one good, when I do not see you.
For I swear to you, upon my good faith
That without you my joy is lost.
Gentilz gallans (van Ghizeghem)
Gentilz gallans soions toujours joyeux
Et je vous en prie tres humblement
Et si servons les dames loyaulment
Sans reposer le vray cueur amoureux.
Noble swains, let's be alway joyful,
And I beseech you very humbly
And thus let's serve the ladies loyally
Without relaxing the true loving heart.
En voyant sa dame (Busnoys)
En voyant sa dame au matin
Pres du feu ou elle se lace
Ou est le cueur qui ja se lasse
De regarder son beau tetin.
Upon seeing his lady in the morning,
Near the fire where she rests,
Where is the heast that would relax itself
From observing her beautiful breast?
Au gre de mes yeulx (Busnoys)
Au gre de mes yeulx je vous ay choisie
La plus acomplie qui soit soulx les cieulx.
At the liking of my eyes I have chosen you
The most accomplished woman who is under heaven.
Ma Dame Helas (Charles the Bold)
Le corps sen va (Busnoys)
Le corps sen va et le cueur vous demeure.
Le quel veult faire avec vous sa demeure
Pour vous vouloir aimer tant et si fort
...A vous servir jusques ace que je meure.
The body leaves and the heart remains with you.
That which wants to make its stay with you.
From the desire to love you so strongly and completely
... To serve you until I die.
Ma dame trop vous mesprenes (Charles the Bold)
Ma dame trop vous mesprenes
Quant vers moy ne vous gouvernes.
Aultrement qui l'oseroit dire, dire?
My lady, you hurt me too much,
When you do not steer my verse.
Otherwise who would dare to speak?
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