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It was an implicitly oppositional genre written for that third centre of intellectual activity outside Oxford and Cambridge, the Inns of Court, where the frustrations of a generation of unemployed aspirational courtier-intellectuals were played out. And in a golden shower, he filled full The lap of Danae, with celestial art. That I might kiss those hands, which mine heart loves! Or her to compass, like a belt of gold! She has no guards; Jupiter is a gift-giver, and it is the loss of virginity that is the prize.
I would in rich and golden coloured raine, With tempting showers in pleasant sort discend, Into faire Phillis lappe my louely friend When sleepe hir sence with slomber doth restraine. I would be chaunged to a milk-white Bull, When midst the gladsome fieldes she should appeare, By pleasant finenes to surprise my deere, Whilest from their stalkes, she pleasant flowers did pull: I were content to wearie out my paine, 8 To bee Narsissus so she were a spring To drowne in hir those woes my heart do wring: And more I wish transformed to remaine: That whilest I thus in pleasures lappe did lye, I might refresh desire, which else would die.
Danae is not quite that distant character relayed through ekphrasis in Book Six of the Metamorphoses who is part of a schedule of conquests; she is not being retold as a prelude to the main thrust of the poem, but being re-imagined as a substitute for Phillis through the means of the golden shower.
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With the revision of the sonnet, Ronsard is foregrounding his own experiences as the viewer and the poet, and the poet as re- viewer; it is a triple distancing, from his love, then from his incarnation as lover and finally from his incarnation as writer.
The parched Danae — a lack needing to be filled - is regenerated by heavenly water, and brings forth a child, fulfilling the oracle threefold: Cressy argues that the anxieties around the baptism exposed raw nerves socially. Throughout the period a low-grade murmur, sometimes rising to impassioned frenzy, about the efficacy and authority of the sacrament, the elements and substances to be employed and the gestures and equipment required for the proper performance of baptism.
Van Gennep posits a three-stage process of of separation, transition and aggregation. In traditional rites of baptism the separation 12 would occur through the exorcism of the infant at the door of the church, followed by a transitional stage where the priest or minster would take the child from its parents, to a the third stage of aggregation where the child was passed to the godparents and effectively welcomed into the community.
It is the state of transition, where the subject is temporarily suspended between two states of being, which doubles spiritual uncertainty, because Elizabethan Calvinist theology offers no guarantee of salvation through the sacrament of baptism itself. The subject, or soul, is still in an uncertain state. It has moved from the world of the animal to the human, but the rite is not definitive.
The process of baptismal transformation is not necessarily teleological. At the same time, the golden shower is able to encompass those great material concerns of s English writers: Intriguingly, Choise of Valentines is a text whose eroticism 13 is based on the destabilising of the male poetic voice.
The choice of name of Tomalin, the narrator, carries its own metamorphic history in folk culture: If this girl is to keep his love, she must clasp him tight in her arms while he shifts shape through a series of animals, such as an adder, bear or lion On finding Francis in a brothel, Tomalin has sex with her, but not before he suffers premature ejaculation and impotence.
Francis, sexually unsatisfied after their coupling, brings out a dildo with which she pleasures herself. The Danae story is constantly re-enacted. Alas, alas, that love should be a sin, Even now my bliss and sorrow doth begin.
Hold wide thy lap, my love Danae, And entertain the golden shower so free, That trilling falls into thy treasury.
The status and significance of Danae in s poetic discourse | Catrin Griffiths - raznomir.info
The golden shower means expenditure, which means loss, as Moulton describes: Tomalin inhabits the godly, kingly part of Jupiter but is submissive, supplicatory, and twice emasculated, both times refracted through classical references.
The narrator ends with the address to the external world, either to a reader or potential patron: This is first signalled in the dedicatory sonnet to Lucy, Countess of Bedford, whose sestet runs: Vnto thy fame my Muse her selfe shall taske Which rain'st vpon mee thy sweet golden showers, And but thy selfe, no subiect will I aske, Vpon whose praise my soule shall spend her powers.
Sweet Ladie then, grace this poore Muse of mine, Whose faith, whose zeale, whose life, whose all is thine. An alphabet is probably the most precise expression of one culture. It is the product that results after centuries of traditions, developing and transformations. The shape of the project is inspired by the shape of shellfish that is always building its own house around its own body.
This project recalls the huge effort that island communities have made through the ages to create and protect their own culture.
It is a homage to the sea as a bridge connecting cultures. The idea for these works was drawn from the stylites or pillar saints of the early Byzantine Empire, Christian ascetics who sought spiritual fulfilment residing for years on small platforms raised high above the ground.
Plensa sees the artist as a spiritual guide, revealing ways of seeing and understanding life. Plensa means these figures to represent us all, irrespective of sex, race or age. The portrait of the two girls is formed by an organic mesh that allows us to see inside and through the heads.
What I got from that piece was the capacity to explore the other side of the skin. The Exhibition Guide states: Even when the body is physically absent it is implied: Whether fashioned in steel, glass, bronze or alabaster or with light, vibration or sound, the ideas and associations are the central concern.
Plensa believes that sculpture is an extraordinary vehicle through which to access our emotions and thoughts. To Plensa, life is the key concern and he describes art as merely a consequence of life, but one which possesses an enormous capacity to touch people deeply, to introduce beauty into any situation, to celebrate our potential.
Plensa is very widely read and often refers to how his family home was filled with books as a child. Throughout his life he has discovered poems and texts that have moved him profoundly and it is these rather than the visual arts that have provided the broadest source of inspiration, often being directly referenced in his own work.
Yet it is not just works of literature that fascinate him, but language itself. An abundance of letters and words, often forming the outline or shell of the human body, has come to characterise his sculpture and drawing.
It is the physical embodiment of his notion that we are surrounded by an invisible cloud of poetry. The poems are represented by suspended, cut steel letters that cast shifting shadows onto the walls and floor.
Children and adults are encouraged to make the poetry sing by gently running their palms along the curtain. Plensa often refers to his belief that our life experiences leave indelible yet invisible marks on us which can be read by those who know us best.
This belief is expressed through a family of figurative works with text imprinted on their surface. In See No Evil, Hear No Evil, Speak No Evil, three internally lit fibreglass figures have the terms panic, stress, anxiety, insomnia, hysteria and amnesia inscribed on their faces. The Exhibition Guide adds: The physicality of these words branded on the skin openly reveals conditions of the mind that are usually internal and hidden. Alabaster Heads One of the most striking rooms in the exhibition contains Alabaster Heads, a series of heads carved from alabaster.
They are based on photographs of children from different ethnic groups which are then digitally elongated and carved into the stone. In The Midst of Dreams Plensa uses light in his sculptures in many ways.
In In the Midst of Dreams, Plensa speaks of wanting to represent the soul. Whilst the human form is solid and recognisable, the human spirit is the opposite: The long queue for Jerusalem There was a long wait to enter the next exhibit, Jerusalem, as only a small number of people were allowed in at any one time. I would cause thee to drink of spiced wine of the juice of my pomegranate. The gongs are exquisite objects, their surfaces marked with beautiful text.
The room resonates with a swelling sound the attendant wears headphones. In the case of the gongs in Jerusalem, Plensa is asserting his belief that sculpture has the potential to engage not only visually, emotionally and intellectually, but also through our bodies.
In these seven sculptures the arms and legs of the figure are wrapped around a tree trunk. Each bronze cast covered in the names of composers important to Plensa. There is a statement here, too, about the relationship between body and soul, and the importance of nurture — the tree as a metaphor for growth and transformation.
There is a subtle contrast between the airiness and lightness of the figures and the solidity of the stone. The figures are grouped, as if in conversation. House of Knowledge House of Knowledge House of Knowledge House of Knowledge, placed in the Bothy Garden, is another piece in which the human body is shaped from a network of letters. Filming for Yorkshire TV While we were taking in the exhibits, a crew from Yorkshire ITV were filming a segment for the regional evening news programme Calendar, which has been asking viewers to vote for the best regional attraction.
At the moment YSP is in the lead.