tisdag 29 juli 2014

Kärlek är inte lika med symmetri

Sista filmkvällen inleds med skratt och igenkännande. Det är inte min favoritfilm men många uppskattar den, inte minst för huvudrollsinnehavaren Renée Zellwegers insats.

To Autumn, by John Keats (1795-1821)
(From The Classic Hundred Poems (Second Edition). Harmon, William, ed. New York: Columbia University Press, 1998.)

(Förekommer i Bridget Jones's diary från 2001. Regi: Sharon Maguire.)

Season of mists and mellow fruitfulness, 
  Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless 
  With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees, 
  And fill all fruit with ripeness to the core; 
    To swell the gourd, and plump the hazel shells 
  With a sweet kernel; to set budding more,
And still more, later flowers for the bees, 
Until they think warm days will never cease,
    For summer has o’er-brimm’d their clammy cells.

Who hath not seen thee oft amid thy store? 
  Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor, 
  Thy hair soft-lifted by the winnowing wind;
Or on a half-reap’d furrow sound asleep, 
  Drowsed with the fume of poppies, while thy hook
    Spares the next swath and all its twined flowers:
And sometimes like a gleaner thou dost keep 
  Steady thy laden head across a brook; 
  Or by a cider-press, with patient look,
    Thou watchest the last oozings, hours by hours.

Where are the songs of Spring? Ay, where are they? 
  Think not of them, thou hast thy music too,--
While barred clouds bloom the soft-dying day, 
  And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn 
  Among the river sallows, borne aloft
    Or sinking as the light wind lives or dies; 
And full-grown lambs loud bleat from hilly bourn; 
  Hedge-crickets sing; and now with treble soft
  The redbreast whistles from a garden-croft, 
    And gathering swallows twitter in the skies.


Vi fortsätter med en småmysig film i katolsk skolmiljö. Den lockar till skratt men innehåller även en del allvar.

The Tyger, by William Blake (1757-1827)
(From Collected poems ; edited by W.B. Yeats ; with a new introduction by Tom Paulin. London :Routledge,2002.)

(Förekommer i The Dangerous Lives Of Altar Boys från 2002. Regi: Peter Care.)

Tyger Tyger, burning bright, 
In the forests of the night; 
What immortal hand or eye, 
Could frame thy fearful symmetry?

In what distant deeps or skies. 
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare seize the fire?

And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?

What the hammer? what the chain, 
In what furnace was thy brain?
What the anvil? what dread grasp, 
Dare its deadly terrors clasp! 

When the stars threw down their spears 
And water'd heaven with their tears: 
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger Tyger burning bright, 
In the forests of the night: 
What immortal hand or eye,
Dare frame thy fearful symmetry?


De fem veckorna med poesi ur filmer, avslutas med ett kraftfullt och välspelat ödesdrama. Den är värd att engagera sig i.

The earth turned to bring us closer, by Eugenio Montejo (1938-2008)

(Förekommer i 21 grams från 2003. Regi: Alejandro González Iñárritu.)

“The earth turned to bring us closer,
it spun on itself and within us,
and finally joined us together in this dream
as written in the Symposium.
Nights passed by, snowfalls and solstices;
time passed in minutes and millennia.
An ox cart that was on its way to Nineveh
arrived in Nebraska.
A rooster was singing some distance from the world,
in one of the thousand pre-lives of our fathers.
The earth was spinning with its music carrying us on board;
it didn't stop turning a single moment
as if so much love, so much that's miraculous
was only an adagio written long ago
in the Symposium's score.”

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