Beginning
with some thoughts on Zukofsky's Shakespeare and Catullus
I
pothered but
you'll have bothered'
Catullus played Bach.
-Louis Zukofsky,
A.
Translation, or trans-fere.
Or trans-lation, across lateral;
the horizontal knowledge of power.
I had been working throughout the fall with etymologies, not to box and
package meaning, but to experiment with it. Ex, of or from; per,
through; and mens, (simply put) the mind... the mind a writer
sets and struggles with and against and sometimes through.
Louis Zukofsky's homeophonic translation
of Catullus exists in the genius that immediately draws us to the page.
Zukofsky reveals Shakespeare to the rest of the world in his masterpiece
Bottom; On Shakespeare, in a similar manner; Catullus and Shakespeare
as text. This is not to say that we lack two poets behind all the manuscripts.
It's just that the manuscripts close in on the disjunctive nature of the
human form; Discord. Throughout Bottom; On Shakespeare, Zukofsky
weaves a history of thought that is able to re-think history (and the
history of the idea of self for that matter) with hybrid paradoxes, as
language twists its way into material and Marxisms.
The shape of Zukofsky's canon is the form
love forms in... particles or waves, the shape of light... a paradoxical
phenomena, an old formula. Odi et amo, elided in the Latin, yet
both are true. Discord threw the apple. Go. The race is already on and
on and on.
"The central demand which Zukofsky's
art makes on him in Catullus, as in other books, is to keep the
historical process alive at the roots, where image, sound, concepts, and
traditions combine and recombine in their restless incongruence. It is
an art which calls attention to the deadliness of habit and the possibility
of change. It does not seek resolution--and certainly Catullus
resolves nothing--but it can bring us to those moments of intense vital
awareness when resolution seems unnecessary and even undesirable"
(Donald Byrd 185).
"Yet I suspect that the best of these
poems are the lines that seem to be ugly, angular, and strange. Familiarity
alone will get us near them. Catullus is not all that approachable a poet.
Much of him is shadowy and psychologically dark. Zukofsky can transmit
Catullus' lewdness, but not his salacity"(Guy Davenport 369).
It is salacity that Shakespeare was after
in his Sonnets, which I prefer to "make sense" of at
times as an airy letter to Catullus, written late in the first decade
of the 1600s, a decade when the poet-laureate of England, John Skelton,
"who called himself the British Catullus... uses the two poems on
Lesbia's sparrow as a peg upon which to hand a curious melange of poetry
and satire in his Phillip Sparrow" (Harrington 143-4).
"I have, in feeble imitation of Zukofsky,
chosen this... word ("'sense' from L. senus, the faculty,
the faculty of perceiving") with some care. To 'make sense' is to
make a pattern that the senses can apprehend with delight" (Burton
Hatlen 348).
"Language, like a hand, is shaped by
use"(Guy Davenport 365-6).
Or language, like love, is shaped by use.
Passer
To "give someone the finger" in contemporary slang is parallel
to "flipping someone the bird". These phrases seem to find root
in an ancient tradition of cursing, a tradition which almost always implies
a sexual dig. i.e "Fuck you". In any case, the bird as innuendo
for the male phallus may first appear in the Western poetic canon in Catullus'
poems "2" and "3". The Latin "Passer", or
"sparrow" can be viewed with similar connotations as "cock"
in American slang, with the exceptions that cocks have been trained to
fight for gambling fetishes and are often viewed as ugly birds.
Bonus vs. Malus
In Latin "malus" shapes itself in three different directions
depending on the stressed vowel. It can be an apple, the mast or pole
of a ship, or evil. This creates Biblical proportions.
A weave of thought occurred as I was reading
Zukofsky's constant juxtaposing of Wittgenstein with Aristotle in Bottom;
the idea of "good" and its meaning in relation to contexts.
Catullus seems to use the word "bonum," or "good"
in Latin, with a great emphasis on the idea of the "soft" as
we might say this or that is beautiful:
bona cum
bona
nubet alite virgo,
A
soft girl covered
with a soft smile
(Catullus 61).
Aristotle's use of the "good" seems to be far less concerned
with the dichotomy of good vs. evil in the sense that we, as twentieth-century
North Americans, read him through the lenses of Augustine and Aquinas
who, after centuries of simultaneous economy, land, and language conquest,
write moral philosophies which are opposed to paradoxes. These wholesale
philosophies which are based on the judgments of morals later justifies
(rationally of course) "the pursuit of happiness", or "good
fortune"... or more simply, land. In any case, this philosophy of
morals which strives to unify conceptions of the universe, like global
capitalism, ironically seems to be so effective because it then allows
people to conceive of themselves as individuals, often empowered only
with opinions and false notions of choice. The self help industry thrives
because morals and global capital have merged. Buy a mass produced book
and read while you drink tea which has been genetically engineered from
a patent, think about your shitty life and then say, "I'm good enough,
and I deserve it." All our hard work will be rewarded, if not in
this life, then in the after or the next life. Bull shit.
Satur
The phrase "to be full of shit"
seems to be at least partially related to the Latin phrase satur,
recurrent in Catullus and meaning "to be full or satiated".
Satur can also be a term for satire. (I have consistently translated
this word in Catullus as "full of it"). Shit, however, seems
to stem from an Anglo Saxon word, which is interesting for a few reasons.
"Swear words" in the English language arrive as the Roman Empire
effectively standardizes Latin as the official language of the Empire,
systematically suppressing all other languages. (Therefore, the extinction
of alternative vocabulary, syntax, and grammar, or alternative modes of
thought). Shit makes great fertilizer, or compost. What exactly
is a grass roots movement, or an underground movement, without a diversity
of thought? How many ways is genetic engineering systematizing a standard
way of life? What is a standard way of English? Why organic?
The American Standard... a porcelain seat
on which one takes a shit.
Mundus
mundus, i, m. 1. toilet materials (of a woman):
Lucil., Liv. II. the system of the universe, the world, universe.
1. Lit. (of the heavens): Lucr., Cic., Verg., etc. 2.
Transf. the earth, mankind.
Mundus appears on line 206 in Catullus'
Poem 64, a four-hundred line poem that weaves a myth together tracing
through time when "heroes bred with gods", until humans fall
into a life of physical labor and an enslaved existence that forces a
male protagonist from his love, usually because of greed (also known as
overweening pride in the Elizabethan circles, or hubris among the classicists).
In the case of the Theseus and Ariadna myth that Catullus retells, Theseus
leaves Ariadna deserted, and in her misery she curses him and the universe
falls out of order.
Louis Zukofsky, writing about Shakespeare,
continues in the middle of a conversation which has been woven through
time and across the distances of landscape: "Love needs no tongue
of reason if love and the eye are 1 -- an identity. The good reasons
of the mind's right judgment are but superfluities for saying: Love
sees -- if it needs saying at all in a text which is always hovering
towards The rest is silence. The reasons of the mind are as ununderstandable
as the negative resistance of the electronic physicist..."(39).
Zukofsky, quoting Whitehead (I assume) in italics, points to the irrationality
of the human condition, which then gives birth to judgments that are dealt
with a nod of approval from the heavens, which is always a nod of uniformity
and rationalism: a pyramid climbing a pyramid.
Wittgenstein: 5.5561 "Empirical reality
is limited by the totality of objects. The boundary appears again in the
totality of elementary propositions.
The hierarchies are and must be independent
of reality" (Zukofsky 78).
Catullus deals us a different design.
mihi proponis amorem
"The design of my love" in Catullus' Poem 109 is in the design
of his letters:
Ivcvndvm mea vita mihi proponis amorem
hunc nostrum inter nos perpetuumque fore
Luscious, my life, the design of my love,
this us between us and forever.
A Vertigo Symmetry swirling in the face
of Hegelian triangles, "not to wish to draw and end to thinking but
merely to show its limits. Perhaps not to tie the points of a graft of
culture at all, and so there are no points. Intimacy is not solved, nor
does it solve anything, speaking as must happen, trusting to see an alphabet
of subjects" (Zukofsky 94).
The pronouns of Catullus, Shakespeare, and
Zukofsky exist in their immediacy. A general "you" is never
expressed, but the reader is easily convinced that he is in a conversation
which spans time and distance. Catullus writes to "Veranius, first
of all my friends / of three hundred thousand miles and years" in
Poem 9. The art of letter writing; a necessary pun to describe the mind
sketches of these writers, worlds as vast as the system of the universe:
"this us between us and forever". He ends Poem 109 with "of
the sacred of the in between". The place of connection, divergence,
and eternity. And then it disappears.
Aristotle: "The end of the state is
the good life" (Zukofsky 63).
Works Cited
Byrd, Donald. "The Shape of Zukofsky's Canon". Louis Zukofsky;
Man and
Poet. ed. Carroll F. Terrell. Orono:
The National Poetry Foundation, 1979.
Catullus, Gaius Valerius. trans. Ryan Gallagher. Catullus: Blues from
Ancient
Rome. Boulder: Bootstrap Press, 2000.
Davenport, Guy. "Zukofsky's English Catullus". Louis Zukofsky:
Man and
Poet. ed. Carroll F. Terrell. Orono:
The National Poetry Foundation, 1979.
Harrington, Karl Pomeroy. Catullus and His Influence. New York:
Longman's,
Green and Co., 1927.
Hatlen, Burton. "Zukofsky as Translator". Louis Zukofsky:
Man and
Poet. ed. Carroll F. Terrell. Orono:
The National Poetry Foundation, 1979.
Zukofsky, Louis. Bottom: On Shakespeare. Berkeley: The University
of
California Press, 1987.
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