And we know that a mirror is a visual echo. If we say the title of Hamby’s book a few times to ourselves (like a mantra), we realize that, in fact, it’s an echo: holo / holo. He steals the dreck we never needed anyway.
So I say shalom, old friend, time is a gonif, but sometimes His constant kvetching and he hated how big my tuchesīut now that he’s an alter cocker and I’m a bubbe, time Such fights they had!Īnd he hated all my tchatchkes, and I couldn’t stand Ver klempt and schmaltzy about those years we spentīut then she remembers the fights. My conversation with, and sometimes I get all
To my former boyfriend for the Yiddish that I pepper I’m particularly fond of her “Ode to Yiddish.” She’s grateful, she tells us, “Holoholo” is a Hawaiian word that means “walking out with no destination in mind,” and these poems allow themselves that kind of freedom, a freedom which embraces the infinite variety of human experience, and language. Which took years of meditation to clear, bulldozing the hovels … when you’re born, your brain is medieval ParisĪnd then Baron Haussmann begins to build your celestialĬranial city with its Place de la Concorde, In “Ode on Following My Mind,” we escort the poet not only through her waking but also her dreaming life, where she tours the Paris of her brain, “the Arc de Poésie and the Bistro de Chekhov / and the Jardin de Procrastibaking,” only to realize: One finds oneself wandering her sentences like Dante on his way to Heaven. This openness to experience is replicated in the expansive syntax of these poems. O let me in.” The struggle is on for the soul of this poor soul, and only when everything in the cosmos (and the dictionary) is let in will she be at peace. your drinking water straight from the stream, /. Keats, of course, is one of her many co-conspirators in this late night jam, and indeed in “Ode on My Nightingale” her “little god” tells us, “I am the cosmologist / of the atomic, high priest of everything / you never wanted to be. Ostensibly a book of odes, these are not just poems of praise she urges her readers to construe the term “ode” in the widest possible sense: as a “poetic stance, a poetic investigation of what it means to be a human being at any moment in time.” These four hymns were in use in Uzès - and also in Nîmes - until the Second Vatican Council.How to describe a book as filled with delights as Barbara Hamby’s Holoholo. Two hymns for saint Theodorit in Sapphic stanzas and two hymns for saint Firmin in the same Asclepiadean strophes as before for saint Theodorit. After the Protestant Reformation, when the Catholic liturgy was reestablished in Uzès, new hymns were composed. Three rhythmic hymns were written for saint Firmin between 14. Christum magnificis psallere canticis, in Asclepiadean strophes of four verses (three Asclepiads and one Glyconic), was surely written before the thirteenth century, but probably not before the twelfth century.
Christe salvator omnium perpes corona tuorum is a rhythmic poem and probably dates back to the Carolingian period.
The hymns for saint Theodorit are the most ancient. There are five medieval hymns : two for saint Theodorit, patron of the Cathedral of Uzès, and three for saint Firmin, fourth bishop of the see, and four early modern hymns (two for each saint). The present article offers a critical review of all the sources documenting the liturgy of Uzès and an analysis and edition of its hymnodic content, retracing a thousand years of poetic creation.
0 kommentar(er)
