Once again, I encountered the spelling "free reign" in a magazine. This is starting to happen a lot. NO. This is not correct. The correct spelling is free rein. Get it right or pay the price.
"The artifex verborum of the dream ... was no less adept than the waking Coleridge in the metamorphosis of words." — John Livingston Lowes, The Road to Xanadu.
Observations on language (mostly ancient), religion, and culture.
By Edward M. Cook, Ph.D.
Wednesday, April 15, 2009
Sunday, April 12, 2009
Easter
Make no mistake: if He rose at all
It was as His body;
If the cells’ dissolution did not reverse, the molecules
reknit, the amino acids rekindle,
The Church will fall.
It was not as the flowers
each soft Spring recurrent;
It was not as his Spirit, in the mouths and fuddled
eyes of His eleven Apostles;
it was as His Flesh: ours.
The same hinged thumbs and toes,
the same valved heart
that-pierced-died, withered, paused, and then
regathered out of enduring Might
new strength to enclose.
Let us not mock God with metaphor,
analogy, sidestepping transcendance;
making of the event a parable, a sign painted in the
faded credulity of earlier ages:
let us walk through the door.
The stone is rolled back, not papier-mache,
not a stone in a story,
but the vast rock of materiality that in the slow
grinding of time which will eclipse for each of us
the wide light of day.
And if we will have an angel at the tomb,
make it a real angel,
weighty with Max Planck’s quanta, vivid with hair,
opaque in the dawn light, robed in real linen
spun on a definite loom.
Let us not seek to make it less monstrous,
for our own convenience, our own sense of beauty,
lest, awakened in one unthinkable hour, we are
embarrassed by the miracle,
and crushed by remonstrance.
-JOHN UPDIKE
It was as His body;
If the cells’ dissolution did not reverse, the molecules
reknit, the amino acids rekindle,
The Church will fall.
It was not as the flowers
each soft Spring recurrent;
It was not as his Spirit, in the mouths and fuddled
eyes of His eleven Apostles;
it was as His Flesh: ours.
The same hinged thumbs and toes,
the same valved heart
that-pierced-died, withered, paused, and then
regathered out of enduring Might
new strength to enclose.
Let us not mock God with metaphor,
analogy, sidestepping transcendance;
making of the event a parable, a sign painted in the
faded credulity of earlier ages:
let us walk through the door.
The stone is rolled back, not papier-mache,
not a stone in a story,
but the vast rock of materiality that in the slow
grinding of time which will eclipse for each of us
the wide light of day.
And if we will have an angel at the tomb,
make it a real angel,
weighty with Max Planck’s quanta, vivid with hair,
opaque in the dawn light, robed in real linen
spun on a definite loom.
Let us not seek to make it less monstrous,
for our own convenience, our own sense of beauty,
lest, awakened in one unthinkable hour, we are
embarrassed by the miracle,
and crushed by remonstrance.
-JOHN UPDIKE
Thursday, April 02, 2009
Dylan Quellenforschung
In advance of the new album, a track has been released from Bob Dylan's new album, "Beyond Here Lies Nothin'." It's a blues number that won't blow anyone's mind.
All the Dylanologists are saying, though, that it "sounds like 'Black Magic Woman'." That song, it will be remembered, was originally recorded by Fleetwood Mac, although the one everyone knows is the cover version by Santana.
However, in my opinion, the real template for the Dylan song is Otis Rush's "All Your Love," right down to the recurrent words "pretty baby." As with "Black Magic Woman," the more famous version is someone else's, in this case John Mayall's Bluesbreakers, with some absolutely scorching guitar licks from Eric Clapton. Give all of these a listen, and let me know what you think.
All the Dylanologists are saying, though, that it "sounds like 'Black Magic Woman'." That song, it will be remembered, was originally recorded by Fleetwood Mac, although the one everyone knows is the cover version by Santana.
However, in my opinion, the real template for the Dylan song is Otis Rush's "All Your Love," right down to the recurrent words "pretty baby." As with "Black Magic Woman," the more famous version is someone else's, in this case John Mayall's Bluesbreakers, with some absolutely scorching guitar licks from Eric Clapton. Give all of these a listen, and let me know what you think.
Wednesday, April 01, 2009
The Wheel in the Wind
In Ps. 83:14, God is enjoined to make the wicked kglgl, which the KJV translates as "like a wheel" (similarly LXX and Vulgate). Although the word glgl does mean "wheel," it makes little sense in context, and exegetes have generally seen in the Hebrew a reference to some other round thing that the wicked could intelligibly be compared to. Since in this verse glgl is compared to qash, straw, driven before the wind, and in Isa. 17:13 to motz , chaff, whipped up by the storm, many take glgl in these two verses to be a reference to a plant, Gundelia tournefortii, which, when dry, forms a kind of tumbleweed. (It is also an extraordinarily ugly plant.)
Although HALOT, in giving this information, refers us in the first instance to Gustav Dalman's Arbeit und Sitte in Palästina (1928-42), Dalman got his information from Immanuel Löw's Die Flora der Juden (1924; still a great reference tool). And where did Löw get it from? From the great 12th century commentator Rashi, who made the identification more than 900 years ago.
Most modern translations reflect this insight, such as NIV "make them like tumbleweed" and JPS "make them like thistledown." But it is surprising how many translate as "like the whirling dust" (ASV, NAS, NRSV), which is less apt. Possibly these translators were under the influence of the older lexicon BDB, which interprets this glgl as "whirl (of dust or chaff), sim. of foes put to flight by God."
I first noticed all this while reading through the 16th century Aramaic lexicon, Meturgeman, by Elias Levita. Levita, as expected, understands the word as does Rashi, glossing it as פרח עשב שהוא מתגלגל, a plant growth that rolls. The citation he gives from the Psalms Targum is היך גלגלא דמתגלגל ואזיל ניח במודרון, understood as "like a glgl, that keeps on rolling, coming to rest on a slope."
However, Levita's text differs from other Targum texts, which read ולא ניח במודרון, "... and does not come to rest on a hillside." The second reading fits the context better, but the image as a whole is obscure to me. Does it mean the wind blows the weed without stopping, so that even when it comes to an obstacle it keeps on rolling? Or is it possible that the reference really is in this case to a wheel, so that we must understand it as "like a wheel that keeps on rolling and does not stop, down a slope"? The last translation is the one I gave in my Psalms Targum text; but now I am not sure. Anybody out there have any thoughts on the Aramaic?
Although HALOT, in giving this information, refers us in the first instance to Gustav Dalman's Arbeit und Sitte in Palästina (1928-42), Dalman got his information from Immanuel Löw's Die Flora der Juden (1924; still a great reference tool). And where did Löw get it from? From the great 12th century commentator Rashi, who made the identification more than 900 years ago.
Most modern translations reflect this insight, such as NIV "make them like tumbleweed" and JPS "make them like thistledown." But it is surprising how many translate as "like the whirling dust" (ASV, NAS, NRSV), which is less apt. Possibly these translators were under the influence of the older lexicon BDB, which interprets this glgl as "whirl (of dust or chaff), sim. of foes put to flight by God."
I first noticed all this while reading through the 16th century Aramaic lexicon, Meturgeman, by Elias Levita. Levita, as expected, understands the word as does Rashi, glossing it as פרח עשב שהוא מתגלגל, a plant growth that rolls. The citation he gives from the Psalms Targum is היך גלגלא דמתגלגל ואזיל ניח במודרון, understood as "like a glgl, that keeps on rolling, coming to rest on a slope."
However, Levita's text differs from other Targum texts, which read ולא ניח במודרון, "... and does not come to rest on a hillside." The second reading fits the context better, but the image as a whole is obscure to me. Does it mean the wind blows the weed without stopping, so that even when it comes to an obstacle it keeps on rolling? Or is it possible that the reference really is in this case to a wheel, so that we must understand it as "like a wheel that keeps on rolling and does not stop, down a slope"? The last translation is the one I gave in my Psalms Targum text; but now I am not sure. Anybody out there have any thoughts on the Aramaic?
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