A Lane Near Arles, 1888 by Vincent van Gogh (1843-1890)
A Lane Near Arles, 1888 by Vincent van Gogh (1843-1890)
Society I, 1993 by Normunds Brasliņš (b. 1962)
Head of Saint John the Baptist, 1507 by Andrea Solario (1460-1524)
Death and the Maiden, 1915 by Egon Schiele (1890-1918)
Other Voices, 1995 by Jamie Wyeth (b. 1946)
Still Life by Osias Beert (c. 1580 – 1624)
St. George and the Dragon, 1981 by Wolfgang Grässe (1930-2008)
Section 32 of Walt Whitman’s “Song of Myself”
I think I could turn and live with animals, they are so placid and self-contain’d;
I stand and look at them long and long.
They do not sweat and whine about their condition;
They do not lie awake in the dark and weep for their sins;
They do not make me sick discussing their duty to God;
Not one is dissatisfied—not one is demented with the mania of owning things;
Not one kneels to another, nor to his kind that lived thousands of years ago;
Not one is respectable or industrious over the whole earth.
So they show their relations to me, and I accept them;
They bring me tokens of myself—they evince them plainly in their possession.
I wonder where they get those tokens:
Did I pass that way huge times ago, and negligently drop them?
Myself moving forward then and now and forever,
Gathering and showing more always and with velocity,
Infinite and omnigenous, and the like of these among them;
Not too exclusive toward the reachers of my remembrancers;
Picking out here one that I love, and now go with him on brotherly terms.
A gigantic beauty of a stallion, fresh and responsive to my caresses,
Head high in the forehead, wide between the ears,
Limbs glossy and supple, tail dusting the ground,
Eyes full of sparkling wickedness—ears finely cut, flexibly moving.
His nostrils dilate, as my heels embrace him;
His well-built limbs tremble with pleasure, as we race around and return.
I but use you a moment, then I resign you, stallion;
Why do I need your paces, when I myself out-gallop them?
Even, as I stand or sit, passing faster than you.
Pine Forest in Winter, 1907 by Koloman Moser (1868-1918)
“Graves and Goblins”
Now talk we of graves and goblins! Fit themes,—start not! gentle reader,—fit for a ghost like me. Yes; though an earth-clogged fancy is laboring with these conceptions, and an earthly hand will write them down, for mortal eyes to read, still their essence flows from as airy a ghost as ever basked in the pale starlight, at twelve o’clock. Judge them not by the gross and heavy form in which they now appear. They may be gross, indeed, with the earthly pollution contracted from the brain, through which they pass; and heavy with the burden of mortal language, that crushes all the finer intelligences of the soul. This is no fault of mine. But should aught of ethereal spirit be perceptible, yet scarcely so, glimmering along the dull train of words,—should a faint perfume breathe from the mass of clay,—then, gentle reader, thank the ghost, who thus embodies himself for your sake! Will you believe me, if I say that all true and noble thoughts, and elevated imaginations, are but partly the offspring of the intellect which seems to produce them? Sprites, that were poets once, and are now all poetry, hover round the dreaming bard, and become his inspiration; buried statesmen lend their wisdom, gathered on earth and mellowed in the grave, to the historian; and when the preacher rises nearest to the level of his mighty subject, it is because the prophets of old days have communed with him. Who has not been conscious of mysteries within his mind, mysteries of truth and reality, which will not wear the chains of language? Mortal, then the dead were with you! And thus shall the earth-dulled soul, whom I inspire, be conscious of a misty brightness among his thoughts, and strive to make it gleam upon the page,—but all in vain. Poor author! How will he despise what he can grasp, for the sake of the dim glory that eludes him!
So talk we of graves and goblins. But, what have ghosts to do with graves? Mortal man, wearing the dust which shall require a sepulchre, might deem it more a home and resting-place than a spirit can, whose earthly clod has returned to earth. Thus philosophers have reasoned. Yet wiser they who adhere to the ancient sentiment, that a phantom haunts and hallows the marble tomb or grassy hillock where its material form was laid. Till purified from each stain of clay; till the passions of the living world are all forgotten; till it have less brotherhood with the wayfarers of earth, than with spirits that never wore mortality,—the ghost must linger round the grave. O, it is a long and dreary watch to some of us!
Even in early childhood, I had selected a sweet spot, of shade and glimmering sunshine, for my grave. It was no burial-ground, but a secluded nook of virgin earth, where I used to sit, whole summer afternoons, dreaming about life and death. My fancy ripened prematurely, and taught me secrets which I could not otherwise have known. I pictured the coming years,—they never came to me, indeed; but I pictured them like life, and made this spot the scene of all that should be brightest, in youth, manhood, and old age. There, in a little while, it would be time for me to breathe the bashful and burning vows of first-love; thither, after gathering fame abroad, I would return to enjoy the loud plaudit of the world, a vast but unobtrusive sound, like the booming of a distant sea; and thither, at the far-off close of life, an aged man would come, to dream, as the boy was dreaming, and be as happy in the past as lie was in futurity. Finally, when all should be finished, in that spot so hallowed, in that soil so impregnated with the most precious of my bliss, there was to be my grave. Methought it would be the sweetest grave that ever a mortal frame reposed in, or an ethereal spirit haunted. There, too, in future times, drawn thither by the spell which I had breathed around the place, boyhood would sport and dream, and youth would love, and manhood would enjoy, and age would dream again, and my ghost would watch but never frighten them. Alas, the vanity of mortal projects, even when they centre in the grave! I died in my first youth, before I had been a lover; at a distance, also, from the grave which fancy had dug for me; and they buried me in the thronged cemetery of a town, where my marble slab stands unnoticed amid a hundred others. And there are coffins on each side of mine!
水瓜・樹子 (Watermelon) by Ikenaga Yasunari
Meat and Eggs, 1918 by Felix Vallotton (1865-1925)
The Chick by Ivan Korshunov (b. 1983)