The picture above has a very interesting story attached to it. However, because the story was originally published in the New York Times, I am not able to repost it here, but I urge you to check out the following link: On Carrie Bradshaw’s Block, Romance Over 6 Decades by Diane Cardwell.
Bonfires always remind me of fall: the big bonfire before the homecoming game, sitting around a bonfire telling stories, ghost stories around the campfire. All these things remind me of autumn.
In some parts of the world, bonfires are identified, not with autumn, but with the summer solstice. In Latvia, Midsummer is called Jāņi . It is a national holiday celebrated on a large scale by almost everyone in Latvia and by people of Latvian origin abroad. Celebrations consist of a lot of traditional elements – eating Jāņu cheese, drinking beer, singing hundreds of Latvian folk songs dedicated to Jāņi, burning bonfire to keep light all through the night and jumping over it, wearing wreaths of flowers (for the women) and leaves (for the men) together with modern commercial products and ideas. Oak wreaths are worn by men named Jānis in honor of their name day. Small oak branches with leaves are attached to cars in Latvia during the festivity.
In the western town of Kuldīga, revellers mark the holiday by running naked through the town at three in the morning. The event has taken place for the past seven years. Runners are rewarded with beer, and police are on hand in case any “puritans” attempt to interfere with the naked run.
I just never got the chance to run around them naked, what about you? Do bonfires remind you of autumn? Have you ever run around one naked.
Just as I think of bonfires and autumn together, the following poem by Robert Louis Stevenson is not what I usually associate with Stevenson. I usually associate stories of pirates and life at sea. However, this poem shows that there was much more to Robert Louis Stevenson.
Autumn Fires
Robert Louis Stevenson (1913)
In the other gardens
And all up the vale,
From the autumn bonfires
See the smoke trail!
Pleasant summer over
And all the summer flowers,
The red fire blazes,
The gray smoke towers.
Sing a song of seasons!
Something bright in all!
Flowers in the summer,
Fires in the fall!
More about Robert Louis Stevenson after the jump.
The Scottish novelist, essayist, and poet Robert Louis Stevenson (1850-1894) was one of the most popular and highly regarded British writers of the end of the 19th century. He played a significant part in the revival of the novel of romance.
During Robert Louis Stevenson’s youth the romantic novels of Sir Walter Scott and his followers had been eclipsed by the realism of William Makepeace Thackeray and Anthony Trollope. Writing in conscious opposition to this trend, Stevenson formulated his theoretical position in his essays “A Gossip on Romance” (1882), “A Humble Remonstrance” (1884), and “The Lantern-bearers” (1888). Romance, he wrote, is not concerned with objective truth but rather with things as they appear to the subjective imagination, with the “poetry of circumstance.” Romance, according to Stevenson, avoids complications of character and morality and dwells on action and adventure.
Stevenson was born on Nov. 13, 1850, in Edinburgh, the son of a noted lighthouse builder and harbor engineer. Though robust and healthy at birth, Stevenson soon became a victim of constant respiratory ailments that later developed into tuberculosis and made him skeletally thin and frail most of his life. By the time he entered Edinburgh University at the age of 16, ostensibly to study engineering, Stevenson had fallen under the spell of language and had begun to write. For several years he attended classes irregularly, cultivating a bohemian existence complete with long hair and velvet jackets and acquainting himself with Edinburgh’s lower depths.
Early Works
When he was 21 years old, Stevenson openly declared his intention of becoming a writer against the strong opposition of his father. Agreeing to study law as a compromise, Stevenson was admitted to the Scottish bar in 1875. Having traveled to the Continent several times for health and pleasure, he now swung back and forth between Scotland and a growing circle of artistic and literary friends in London and Paris. Stevenson’s first book, An Inland Voyage (1878), related his adventures during a canoe trip on the canals of Belgium and France.
In 1876 in France, Stevenson had met an American woman named Fanny Osbourne. Separated from her husband, she was 11 years older than Stevenson and had two children. Two years later Stevenson and Osbourne became lovers. In 1878 Osbourne returned to California to arrange a divorce, and a year later Stevenson followed her. After traveling across America in an emigrant train, Stevenson arrived in Monterey in poor health. After his marriage, a stay in an abandoned mining camp, later recounted in The Silverado Squatters (1883), restored his health. A year after setting out for the United States, Stevenson was back in Scotland. But the climate there proved impossible, and for the next 4 years he and his wife lived in Switzerland and in the south of France.
Despite ill health these years were productive. In his collections Virginibus puerisque (1881) and Familiar Studies of Men and Books (1882) Stevenson arrived at maturity as an essayist. Addressing his readers with confidential ease, he reflected on the common beliefs and incidents of life with a mild iconoclasm, a middling disillusionment.
The stories Stevenson collected in The New Arabian Nights (1883) and The Merry Men (1887) range from detective stories to Scottish dialect tales. The evocation of mood and setting that he practiced in his travel essays was used to great effect here. Despite his theory of romance, he was unable entirely to keep away from moral issues in these stories, but he was rarely successful in integrating moral viewpoint with action and scene.
Early Novels
Treasure Island (1881, 1883), first published as a serial in a children’s magazine, ranks as Stevenson’s first popular book, and it established his fame. A perfect romance according to Stevenson’s formula, the novel – riding over all the problems of morality and character that might have arisen – recounts a boy’s involvement with murderous pirates. Kidnapped (1886), set in Scotland shortly after the abortive Jacobite rebellion of 1745, has the same charm. In its sequel, David Balfour (1893), Stevenson could not avoid psychological and moral problems without marked strain. In The Strange Case of Dr. Jekyll and Mr. Hyde (1886) he dealt directly with the nature of evil in man and the hideous effects of a hypocrisy that seeks to deny it. This work pointed the way toward Stevenson’s more serious later novels. During this same period he published a very popular collection of poetry, A Child’s Garden of Verses (1885).
After the death of his father in 1887, Stevenson again traveled to the United States, this time for his health. He lived for a year at Saranac Lake, N.Y., in the Adirondacks. In 1889 Stevenson and his family set out on a cruise of the South Sea Islands. When it became clear that only there could he live in relative good health, he settled on the island of Upolu in Samoa. He bought a plantation (Vailima), built a house, and gained influence with the natives, who called him Tusifala (“teller of tales”). By the time of his death on Dec. 3, 1894, Stevenson had become a significant figure in island affairs. His observations on Samoan life were published in the collection In the South Seas (1896) and in A Footnote to History (1892). Of the stories written in these years, “The Beach of Falesá” in Island Nights’ Entertainments (1893) remains particularly interesting as an exploration of the confrontation between European and native ways of life.
Later Novels
The Master of Ballantrae (1889), set in the same period as Kidnapped, showed a new sophistication in Stevenson’s use of the elements of romance. Its basic theme involved complexities of character that his earlier romances had deliberately avoided. In the more advanced Weir of Hermiston, the legends of the romantic Scottish past saturate the setting and serve as a symbolic background for a tragic conflict between the primitive energies of a father and his sensitive, effete son. Left unfinished at his death, this novel would have ranked as Stevenson’s greatest work. While living in the South Pacific, Stevenson also collaborated on three novels with his stepson Lloyd Osbourne.
Further Reading
The best biographies of Stevenson are David Daiches, Robert Louis Stevenson (1947), and Joseph C. Furnas, Voyage to Windward: The Life of Robert Louis Stevenson (1951). Recommended critical studies include David Daiches, Stevenson and the Art of Fiction (1951); Robert Kiely, Robert Louis Stevenson and the Fiction of Adventure (1964), and Edwin M. Eigner, Robert Louis Stevenson and Romantic Tradition (1966).
Additional Sources
- Bell, Ian, Dreams of exile: Robert Louis Stevenson, a biography, New York: H. Holt, 1993.
- Hammond, J. R. (John R.), A Robert Louis Stevenson chronology, New York: St. Martin’s Press, 1996.
- McLynn, F. J., Robert Louis Stevenson: a biography, New York:Random House, 1994.
Read more: http://www.answers.com/topic/robert-louis-stevenson#ixzz1Z0zi30n4
After Apple-Picking
My long two-pointed ladder’s sticking through a tree
Toward heaven still,
And there’s a barrel that I didn’t fill
Beside it, and there may be two or three
Apples I didn’t pick upon some bough.
But I am done with apple-picking now.
Essence of winter sleep is on the night,
The scent of apples: I am drowsing off.
I cannot rub the strangeness from my sight
I got from looking through a pane of glass
I skimmed this morning from the drinking trough
And held against the world of hoary grass.
It melted, and I let it fall and break.
But I was well
Upon my way to sleep before it fell,
And I could tell
What form my dreaming was about to take.
Magnified apples appear and disappear,
Stem end and blossom end,
And every fleck of russet showing clear.
My instep arch not only keeps the ache,
It keeps the pressure of a ladder-round.
I feel the ladder sway as the boughs bend.
And I keep hearing from the cellar bin
The rumbling sound
Of load on load of apples coming in.
For I have had too much
Of apple-picking: I am overtired
Of the great harvest I myself desired.
There were ten thousand thousand fruit to touch,
Cherish in hand, lift down, and not let fall.
For all
That struck the earth,
No matter if not bruised or spiked with stubble,
Went surely to the cider-apple heap
As of no worth.
One can see what will trouble
This sleep of mine, whatever sleep it is.
Were he not gone,
The woodchuck could say whether it’s like his
Long sleep, as I describe its coming on,
Or just some human sleep.
–Robert Frost (1914)
Born in San Francisco, Frost spent most of his adult life in rural New England and his laconic language and emphasis on individualism in his poetry reflect this region. He attended Dartmouth and Harvard but never earned a degree, and as a young man with growing family he attempted to write poetry while working a farm or teaching school. American editors rejected his submitted poems. With considerable pluck Frost moved his family to England in 1912 and the following year a London publisher brought out his first book. After publishing a second book, Frost returned to America determined to win a reputation in his own country, which he gradually achieved, becoming one of the country’s best-loved poets. Unlike his contemporaries, Frost chose not to experiment with new verse forms but to employ traditional patterns, or as he said, he chose “the old-fashioned way to be new.” Despite the surface cheerfulness and descriptive accuracy of his poems, he often presents a dark, sober vision of life, and there is a decidedly thoughtful quality to his work.
In the poem above we see how, like Wordsworth, Frost takes an ordinary experience and transforms it into a meditative moment, a philosophical musing. Apple-picking slides gradually away from merely harvesting fruit to considering how life has been experienced fully but with some regrets and mistakes. The reference to winter coming on feels like the presence of mortalilty. The question about what kind of sleep to anticipate suggests untroubled oblivion or possibly some kind of new life just as the woodchuck reawakens to fresh life in the spring after his hibernation.
Celebrate with The Woodhull Sexual Freedom Alliance and Federation in Washington, DC
September 23, 2011, is the 173rd birthday of the Woodhull Freedom Foundation’s namesake, Victoria Woodhull. Every year on this day, Sexual Freedom advocates gather to learn, share ideas and celebrate the sexual freedom movement’s big day!
This year, the WFF focuses on freedom of sexual speech and expression is highlighted in their educational program, “Sexual Outlaws: The Prohibition of Pleasure.” WFF hopes you will join them to find out more about the war on sex and why right now is a crucial time for advocates of sexual freedom. WFF has already confirmed human rights leaders, academics, community advocates, writers, educators and performers and the WFF hopes they can count you in as well!
After the exciting afternoon of Sexual Freedom panels and discussions at the Pew Charitable Foundation Conference Center, WFF will be moving to the Hamilton Crowne Plaza for a Sexual Freedom Gala, a cocktail reception, fabulous raffles, an awards ceremony hosted by Carol Queen and Nina Hartley, and the fun and fabulous Pamala Stanley whose unparalleled voice encompasses everything from the most intimate whisper to the soaring “bel canto” that is her trademark.
Event Schedule
Full schedule and event details here
About Victoria Woodhull
Recently, when I mentioned to a friend that the title of my book was Other Powers – The Age of Suffrage, Spiritualism and the Scandalous Victoria Woodhull, she asked: “Just who was Victoria Woodhull anyway?” It seems a simple question, but Victoria was not a simple person. She was conceived in 1837, during the frenzy of a religious revival in Homer, Ohio. Her father was an itinerant con man and a thief; her mother was illegitimate, illiterate and a religious fanatic. As a child, Victoria was raised in filth and squalor, beaten and starved, given little education and exploited in her father’s traveling carnival show as a clairvoyant and fortune-teller. Unexpectedly, she demonstrated such powers as accurately recalling past events and predicting future ones, finding missing objects and people, and affecting cures. She also relayed messages from loved ones who had “passed over.”
From childhood, Victoria maintained that she was guided and protected by the spirits, who occasionally let her visit a utopian world in heaven unlike the chaotic, miserable world in which she lived. Like Joan of Arc, she listened to voices that told her she would rise from poverty one day to become “ruler of the nation.” At 15, in order to escape her father’s brutality, Victoria eloped with an alcoholic doctor who fathered a retarded son and so botched the delivery of their daughter that the baby nearly bled to death. After five years, Victoria left him and struck out on her own. Eventually, her belief in the spirits enabled her to form alliances with such powerful men as Commodore Cornelius Vanderbilt, to become the first woman to own a Wall Street investment firm, to found her own newspaper, to speak before Congress demanding that women be given the vote and finally, to run for U.S. President in 1872 against the popular incumbent, Ulysses S. Grant, and the powerful newspaperman, Horace Greeley. In short, she set America on its ear.
In the decade that it took to write my book, I came to know Victoria Woodhull well, and she taught me a great many lessons – not the least of which was that the common wisdom on most subjects is frequently wrong. She made me realize that people must always think for themselves and never accept circumstances that seem unfair, unkind or uncomfortable.
Of course, Victoria’s time was a much more difficult one for women, who then had almost no rights to property or person. If a married woman worked, her wages were given directly to her husband. She could not dispose of her property upon death. If she divorced, she automatically forfeited custody of her children. Women could not enter universities, law schools or medical schools. They could not serve on juries, and they could not vote.
Most significantly, women had no control over their own bodies: There were no laws to protect them from physical abuse at the hands of their husbands or fathers, although some states stipulated the size of the objects that might be used to inflict discipline. They had no right to deny their husbands sexual access. The professions open to women were few: domestic drudgery, factory work, teaching, prostitution and, for the exceptional few, writing.
Men were allowed all means of sexual license, but a woman who committed adultery was subject to a jail sentence. In 1868, from the lecture platform, Victoria Woodhull boldly instructed women to demand a single sexual standard and not to accept the view that sexual desire in females was vulgar. “What! Vulgar!” she said. “The instinct that creates immortal souls vulgar…be honest…it is not the possession of strong powers that is to be deprecated. They are that necessary part of human character.”
Victoria preached a doctrine called “Free Love” that included the odd notion of marrying for love, as well as an easement of the divorce laws. She was radical even by today’s standards, asserting: “Women are entirely unaware of their power. Like an elephant led by a string, they are subordinated by just those who are most interested in holding them in slavery…Sexual freedom means the abolition of prostitution both in and out of marriage, means the emancipation of woman and her coming into control of her own body, means the end of her pecuniary dependence upon man…means the abrogation of forced pregnancy, of anti-natal murder of undesired children and the birth of love children only.” Ideas stated in the extreme make one think and question and argue, and that was what Victoria accomplished.
Victoria Woodhull was a fervent Spiritualist who searched for meaning in a society not so different from our own, in that most people felt overwhelmed by financial manipulations and technical achievements they could not comprehend. They felt they had little control over their own destinies. Women, in particular – even the strongest – desperately needed the courage to combat the criticism and isolation they felt in the battle for their most basic rights. Victoria’s belief in spirit guidance empowered her and her followers to challenge the law, the church and the entrenched male establishment.
Victoria’s spiritualism usually is dismissed as a fad by historians, but in studying her, I realized that many of her beliefs were a utopian version of what people already accepted. For example, the Spiritualists’ conviction that the dead can guide us did not differ radically from the view of the regular clergy. Even today, when our loved ones die, clergymen tell us that they are not gone – that they are with us still in thought and deed, that they are always by our side. Victoria’s friend, Isabella Beecher Hooker, summed it up when she wrote: “I know she [Victoria Woodhull] has visions and is inspired by spiritual influences, but her inspiration seems very like my own, a simple reliance on a Heavenly Father.”
Victoria demonstrated that a belief in oneself gives us the strength to accomplish a great deal. She was a pioneer in many things we think about today: diet, exercise, comfort in dress. In her day, many people ate seven-course dinners accompanied by liquor and wine, but Victoria adhered to the diet prescribed by Sylvester Graham (known for the tasty, ginger-colored crackers that still bear his name). Graham had been a sickly child and cured himself through proper diet. He recommended no alcohol, caffeine, meat, lard or other types of shortening.
Women of the day were thought desirable if they were languorous and frail, but Victoria advocated vigorous exercise, rode horseback and walked at least three miles a day. She said that drinking at least two pints of water a day and eating fresh fruit were accountable for her good health and vigor.
Whenever I see a woman tottering about on 5-inch stiletto heels, I have a fantasy that Victoria is walking down the street in her sensible boots and says to her, “My dear young girl, you are ruining your health and risking a terrible accident.” Women’s clothes in her time cinched in the waist so tightly that organs were often displaced. The dresses were so heavy that women moved like hobbled horses. Not Victoria. She often wore men’s clothing and urged other women to do the same.
While male physicians did not examine female bodies, they nonetheless prescribed morphine, isolation, purging, bloodletting and starvation as cures for most female ills. Victoria, on the other hand, embraced a benign alternative medicine. She practiced homeopathy, a treatment begun by Dr. Samuel Hahnemann, who took a minuscule amount of a disease-causing agent and diluted it with liquid to create what he called a “spiritlike essence.” Dr. Hahnemann believed that when this substance was introduced into the body, the person would be cured of the disease. Victoria was also a well-known “magnetic healer.” The use of therapeutic magnets dates to the ancient Greeks, who used them to halt bleeding, soothe inflammation, purge infection and promote general healing. The theory is that the magnets themselves do not heal, but induce the body to heal itself. Many of the medical treatments in which Woodhull believed are becoming increasingly popular today, as is the conviction that we are participants in our own good health and medical treatment.
Because Victoria Woodhull shocked and astounded and antagonized, a campaign was organized to bring her down. She was jailed repeatedly on charges of publishing pornography, and the press depicted her as “Mrs. Satan” and “The Prostitute Who Ran for President.” But, in truth, she was a woman who lived a century before her time. The lessons she taught – to question, to be honest, to believe in your power, to value your mind and body, to fight for what is right – are all lessons for today.
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| Sergius and Bacchus |
This service is a rite of the Eastern Orthodox Church dating from very early times and assuming its present form between the fourth and ninth centuries AD. This service is translated from the Euchologion of Jacobus Goar, which was printed in 1647 and revised in 1730. A facsimile of the 1730 edition, published in Graz, Austria, in 1960, is the edition available in many theological libraries. With the rising influence of western ideas in recent centuries, this rite ceased to be practiced widely and was largely forgotten or ignored except in isolated areas, most notably Albania and other areas in the Balkans, where it flourished throughout the nineteenth century and up to at least 1935. Both men and women were united with this rite or similar ones.
This rite is called “spiritual” because the relationship between spiritual brothers is not one of blood-relation but of the Holy Spirit, and also to distinguish the rite from blood-brotherhood, which the Church opposed. In the service, the saint-martyrs Sergius and Bacchus are invoked, who were united in spiritual brotherhood “not bound by the law of nature but by the example of faith in the Holy Spirit”. These saints were tortured and martyred late in the third century AD. when they refused to worship the emperor’s idols. In their biography by Simeon Metaphrastes (available in J.P. Migne, Patrologia Graeca, vol. 115, pp. 1005-1032) they are described as sweet companions and lovers to each other.”
“This rite is incorporated into the Divine Liturgy. It begins with the usual blessing and prayers of a Liturgy. During the Great Synapte, petitions for the couple to be united in spiritual brotherhood are added to the usual petitions. After the First Antiphon, two special prayers are said for the couple, after which they kiss the Gospel Book and each other. After the priest sings a hymn, the Liturgy continues at “Have mercy on us, O God .. “. Accounts of the use of this rite (such as Nacke, _Jahrbuch fuer sexuelle Zwischenstufen_ 9 (1908),. 328) confirm that the spiritual brothers receive Holy Communion together, thereby forming the sacramental bond in this union. However, Goar mentions in a footnote that in some manuscripts, the couple is only blessed with holy water.”
PRIEST: Blessed is the kingdom of the Father and the Son and the Holy Spirit, now and ever and unto ages of ages. Holy God, Holy Mighty, Holy Immortal, have mercy on us. (3 times).
Glory to the Father and the Son and the Holy Spirit, now and ever and unto ages of ages. Amen.
All-Holy Trinity, have mercy on us.
Lord forgive our sins.
Master, pardon our transgressions.
Holy One, visit and heal our infirmities for your name’s sake.
Lord, have mercy. Lord, have mercy. Lord, have mercy.
Glory to the Father and the Son and the Holy Spirit, now and ever and unto ages of ages. Amen.
Our Father, who is in heaven, hallowed be your name. Your kingdom come. Your will be done, on earth as it is in heaven.
Give us this day our daily bread; and forgive us our trespasses, as we forgive those who trespass against us; and lead us not into temptation, but deliver us from evil. For yours is the kingdom and the power and the glory, of the Father and the Son and the Holy Spirit, now and ever and unto ages of ages. Amen.
(After this, the priest says the Troparion.)
Save, O Lord, your servants, and bless your inheritance.
(And the two who are about to be joined together in brotherly unity place their hands on the holy Gospel book, which has been prepared and placed on the table. And they hold in their hands lighted candles.)
(And the priest says the following, so that it is heard from above:
Save, O Lord, your servants. Followed by the Troparion of the day
Glory to the Father and the Son and the Holy Spirit.
Holy Apostles, intercede with the merciful God to grant our souls forgiveness of sins.
Now and ever and unto ages of ages. Amen.
Through the intercessions, O Lord, of all the saints and of the
Theotokos, grant us your peace and have mercy upon us, only merciful One.
THE GREAT SYNAPTE
(The responses of “Lord, have mercy” are understood.)
In peace let us pray to the Lord.
For the peace that is from above, and for the salvation of our souls, let us pray to the Lord.
For the peace of the entire world, the welfare of the holy churches of God, and the union of all of them, let us pray to the Lord.
For this holy house, and for those who enter it with faith, reverence, and fear of God, let us pray to the Lord.
For our Archbishop, the honorable priesthood, the deacons in Christ, and all of the clergy and laity, let us pray to the Lord.
For the servants of God who have approached to be blessed by Him, and for their love (agapesis) in God, let us pray to the Lord.
That they may be given full knowledge of the apostolic unity, let us pray to the Lord.
That they may be granted a faith unashamed, a love unfeigned, let us pray to the Lord.
That they may be deemed worthy to glory in the honorable Cross, let us pray to the Lord.
That both they and we may be delivered from all affliction, wrath, and distress, let us pray to the Lord.
Help us, save us, have mercy on us and keep us, O God, by your grace.
PEOPLE: Amen.
PRIEST: Having called to remembrance our all-holy, immaculate, most blessed, glorious Lady Theotokos and ever-virgin Mary, with all the Saints, let us commend ourselves and one another, and all our life unto Christ our God.
PEOPLE: To You, O Lord.
PRIEST (quietly): O Lord our God, whose might is beyond compare, whose glory is incomprehensible, whose mercy is infinite, and whose love toward mankind is ineffable; in Your tender compassion look down upon us Yourself, O Master, and upon this holy house, and grant us and those who pray with us Your rich mercies and compassion.
PRIEST (aloud): For to You are due all glory, honor, and worship; to the Father and the Son and the Holy Spirit, now and ever and unto ages of ages.
PEOPLE: Amen.
PRIEST: Let us pray to the Lord.
Lord our God, who has granted us all things for salvation, and who has commanded us to love one another and to forgive each others’ transgressions; now You Yourself, Master and Lover of mankind, to these Your servants who have loved each other with spiritual love, and who approach Your holy temple to be blessed by You, grant to them a faith unashamed, a love unfeigned. And as You gave Your holy disciples Your own peace, also grant these all the petitions for salvation, and eternal life. For You are a merciful and loving God, and to You we ascribe glory, to the Father and the Son and the Holy Spirit. Let us pray to the Lord.
Lord our God, the omnipotent, who made the heaven and the earth and the sea, who made man according to Your image and likeness, who was well-disposed to Your holy martyrs Sergius and Bacchus becoming brothers, not bound by the law of nature but by the example of faith of the Holy Spirit; Master, do send down Your Holy Spirit upon Your servants who have approached this temple to be blessed. Grant them a faith unashamed, a love unfeigned, and that they may be without hatred and scandal all the days of their lives. Through the prayers of Your immaculate Mother and of all the Saints. For Yours is the kingdom and the power and the glory, of the Father and the Son and the Holy Spirit, now and ever, and to the ages.
(And with the table made ready in the middle of the church, they place the holy Gospel upon it. And they kiss the Holy Gospel, and each other.)
THEN THE PRIEST SINGS: By the union of love the apostles join in the praying to the Master of all; themselves committed to Christ, they extended their beautiful feet, announcing the good news of peace to everyone.
PRIEST: Have mercy on us, O God.
(And continues the Liturgy.)
Source: Adelphopoiia Rite (version one)
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| David and Jonathan |
The following text is from People with a History: An Online Guide to Lesbian, Gay, Bisexual, and Trans* History. People with a History is a www site presenting history relevant to Lesbian, Gay, Bisexual and Transgendered people, through primary sources, secondary discussions, and images. As will all of Fordham University’s Internet History Sourcebooks, this is a tremendous collection of primary sources and other documents from history. I have many times used these sites in my classes.
What qualifies as “gay history”?
The issue is reasonably clear for the past hundred years. But before that there are complications. This is especially the case for Medieval studies.
Some commentators, both avowedly gay and otherwise, wish to distinguish sharply between historical evidence about same-sex sexual activity in the past and other evidence about same-sex relationships. In other words they wish to argue, as I take it, that while the evidence about sexual relationships may indeed relate to a history of homosexuality, other non-sexual affective relationships must be subsumed under the sign of “friendship”. Often, but not always, there seems to be a belief that while sexuality is complex and constructed in particular ways, “friendship” is an unproblematic category. Some commentators, religious ones in particular, seek to see “friendship” as in some sense “purer” and cleaner than sexual relationships.
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| Greek adelphopoiia relationships |
When looking at same-sex relationships in the past, use of the sex/friendship dichotomy induces problems. We very rarely know that two people had sexual relations. For discussion of same-sexual activity, we are often thrown to legal codes, penitentials, denunciatory sermons and so forth. We very rarely have, before the late middle ages when court records begin to survive in number, any real idea of how laws were applied. Careful analysis of Byzantine documents – but not court records – from the 12th century on, for instance, seems to indicate that the provisions against sodomy of the Justinianic code were not applied; and yet such laws are frequently taken as indicators of social attitudes centuries after they were legislated. They are no more compelling, than for instance, the argument that anti-sodomy statutes in the US stop heterosexuals having oral sex.
On the other hand we have a huge amount of material on same-sex emotional relationships: poems, letters, sometimes even sermons. We also have quite certain evidence that such relationships were, in various times and places, publically celebrated. (This is the minimal interpretation of the Greek adelphopoiia relationships: but has also been attempted, by Pierre Chaplais for instance, as an explanation of Edward II’s relationship with Piers Gaveston; similar interpretations have been given to medieval accounts of men sleeping in the same bed – for instance Philip Augustus and Richard the Lionheart.) Such relationships, it is asserted, were not “sexual” and reflect a variety of other forms of male-bonding.
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| Edward II |
Let us, for a moment, accept such a point of view – that is that all the socially affirmed same-sex relationships we see in the past eschewed sexual activity: that David and Jonathan, Alexander and Hephaestion, Hercules and Hylas, Patroclus and Achilles, Tully and Octavius, Socrates and Alciabides – that all were never understood in the past to have had sexual relationships. What would such a point of view say about our own western society? We would have to note that a very narrow range of same-sex relationships are in fact possible. The intense emotional and affective relationships described in the past as “non-sexual” cannot be said to exist today: modern heterosexual men can be buddies, but unless drunk they cannot touch each other, or regularly sleep together. They cannot affirm that an emotional affective relationship with another man is the centrally important relationship in their lives. It is not going to far, is it, to claim that friendship – if used to translate Greek philia or Latin amicita – hardly exists among heterosexual men in modern Western society. Indeed we use the word “friendship” today to describe human relationships so different from those indicated in the ancient and medieval texts that to apply the word “friendship” to those past relationships seems, to me at least, to be actively misleading. I wish to acknowledge that this may indicate a serious failing in modern society, and to admit that I may simply not understand modern friendship.
Turning out attention to modern “gayness” we find a number of interesting points, points that affect how we understand the relationships of the past, and the texts which refer to and refract those relationships.
I use “gayness”, because it seems to me that altogether too many commentators have been willing to reduce “gayness” to sexual activity. In some parts of the world this may be true (leaders of the Egyptian gay community in New York have specifically claimed to me that same-sex sexuality in Egypt is “purely sexual”: whether this claim is true or not, I am in no position to judge). But in the modern West, “gayness” or its predecessors, have not been understood by gay writers in this way. From the mid 19th century on writer such as Karl Ulrichs in Germany, Edward Carpenter in England, and Walt Whitman in the US have claimed that same-sex relationships are much more than sex. Specific claims about “Uranian” (or “heavenly” love, a reference to Plato), or “homophile” love were made. Famously, the early gay male organizations in the US and Britain made use of the concept of “homophilia” to describe what they were concerned with.
Now it is true, gay leaders in the 1970s rejected the term “homophile” as conformist, and as a deliberate elision of sexuality. I think, for historical consideration at least, it may be time to resurrect this terminology. “Homophilia” points to a very important aspect of modern gayness – its support of a wide array of same-sex emotional relationships, with a an equally wide degree of sexual expression. Because of AIDS there are now many fairly well formed psychosocial studies of the gay male communities of large cities. I am most familiar with the Martin-Dean study conducted from Columbia Presbyterian School of Public Health in New York City. What these studies have found is that homophilia is a central aspect of modern gayness, in relationships between men whether sexually expressed or not. Some gay men form couples in which sex plays little or no part. Many other gay men form “families”, often of other gay men (some of whom may be former sexual partners) and sympathetic heterosexual women, families in which a high degree of emotional and personal closeness is achieved in a specifically “gay” context but where sex is not central.
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| Patroclus and Achilles |
Given that human beings in the past do not “belong” to anyone modern group, I would still argue that “gay history”, as an aspect of “the history of human relationships” is specifically one focused on same-sex relationships. Since “gay” in modern use covers “homophilia” as well as “homosexuality”, I wish to continue to claim that placing the study of philia and amicita in the past exclusively under the sign of “friendship” and excluding from the sign of “gayness” is not only unnecessary but misleading.
Source: Paul Halsall, 3/27/96
http://www.fordham.edu/Halsall/pwh/medhomophil.asp
In honor of the official repeal of DADT today, I wanted to post a poem about homosexual love in the military. Long before DADT was an official policy, Walt Whitman was serving as a nurse for the US Army during the Civil War. Drum Taps (1865), Walt Whitman’s sequence of poems on the Civil War that reflects his experience as a hospital volunteer, includes several poems that appreciate soldiers in more or less homoerotic terms (for example, “First O Songs for a Prelude” and “O Tan-Faced Prairie-Boy”).
But it is elegies such as “Vigil Strange I Kept on the Field One Night,” “Reconciliation,” and “As I Lay with My Head in Your Lap Camerado” that allow Whitman to express himself unrestrainedly.
In “Reconciliation,” the speaker’s tenderness for the fallen soldier overpowers the enmity between armies, in terms that anticipate Wilfred Owen’s “Strange Meeting”: “my enemy is dead, a man divine as myself is dead, / I look where he lies white-faced and still in the coffin–I draw near, / Bend down and touch lightly with my lips the white face in the coffin.”
As I Lay with My Head in Your Lap Camerado
As I lay with my head in your lap camerado,
The confession I made I resume, what I said to you and the open air
I resume,
I know I am restless and make others so,
I know my words are weapons full of danger, full of death,
For I confront peace, security, and all the settled laws, to
unsettle them,
I am more resolute because all have denied me than I could ever have
been had all accepted me,
I heed not and have never heeded either experience, cautions,
majorities, nor ridicule,
And the threat of what is call’d hell is little or nothing to me,
And the lure of what is call’d heaven is little or nothing to me;
Dear camerado! I confess I have urged you onward with me, and still
urge you, without the least idea what is our destination,
Or whether we shall be victorious, or utterly quell’d and defeated.
Walt Whitman
In this particular poem, Whitman writes a brief, but beautiful confession and declaration of his own sexuality. It is a brief, but significant love poem, and the manner of Whitman’s “confession” can be explored in a number of ways, but it ultimately points to a homosexual relationship. The first obvious hint that this poem is linked to Whitman’s homosexuality is his adjustment of the word “camerado.” The original Spanish word is actually “camarada” with a feminine ending, and it means “friend” or comrade.” By changing this specific word to have a male ending, we know that Whitman is aiming and professing this poem to a male friend. The significance of this male friend becomes more apparent as Whitman continues with his poem. His use of the actually word “confession” within the second line – “The confession I made I resume, what I said to you and the open air I resume” is another example of Whitman confessing openly his sexuality. As Whitman continues to describe this poem, he draws attention to the fact that it will make others “restless” and his words are “weapons full of danger, full of death.”
The intensity of the poem, although subtle but existent, is what ultimately points that nature of the poem has to do with love or at least intimacy. Whitman seems very determined in this poem, especially as he says “Dear camerado! I have urged you onward with me, and still urge you, without the least idea what is our destination or whether we shall be victorious, or utterly quell’d and defeated.” Whitman seems to be dismissing everything else, and urging this other person to do the same. He is rejecting any significance of heaven or hell, and embracing the fact that whatever road he is going down may bring hard times. Indeed, to announce homosexuality during Whitman’s era would have brought on a lot of criticism and grief.
Sources:
To continue our look at St. Sebastian, I wanted to look at his depiction in art. Can a Christian saint be a gay icon? Apparently he can. Sebastian was a Christian martyr who died during the persecutions of the Roman Emperor Diocletian in 288. According to legend, he was born in Gaul (present-day France) and went to Rome to serve in the army. When officials learned that he was a Christian seeking converts, they ordered his execution by archers. Left for dead, he was nursed back to health by a Christian widow. He presented himself before the emperor, who condemned him to death by beating. His body was thrown into a sewer but was afterward found and buried. In Renaissance art he was often depicted as a handsome youth pierced by arrows.
The earliest representation of Sebastian is a mosaic in the Basilica of Sant’Apollinare Nuovo (Ravenna, Italy) dated between 527 and 565. The right lateral wall of the basilica contains large mosaics representing a procession of 26 martyrs, led by Saint Martin and including Sebastian. The martyrs are represented in Byzantine style, lacking any individuality, and have all identical expressions.
Another early representation is in a mosaic in the Church of San Pietro in Vincoli (Rome, Italy), probably made in the year 682. It shows a grown, bearded man in court dress but contains no trace of an arrow. The archers and arrows begin to appear by 1000, and ever since have been far more commonly shown than the actual moment of his death by clubbing, so that there is a popular misperception that this is how he died.
As protector of potential plague victims (a connection popularized by the Golden Legend) and soldiers, Sebastian naturally occupied a very important place in the popular medieval mind, and hence was among the most frequently depicted of all saints by Late Gothic and Renaissance artists, in the period after the Black Death. The opportunity to show a semi-nude male, often in a contorted pose, also made Sebastian a favourite subject. His shooting with arrows was the subject of the largest engraving by the Master of the Playing Cards in the 1430s, when there were few other current subjects with male nudes other than Christ. Sebastian appears in many other prints and paintings, although this was also due to his popularity with the faithful. Among many others, Botticelli, Perugino, Titian, Pollaiuolo, Giovanni Bellini, Guido Reni (who painted the subject seven times), Mantegna (three times), Hans Memling, Gerrit van Honthorst, Luca Signorelli, El Greco, Honoré Daumier, John Singer Sargent and Louise Bourgeois all painted Saint Sebastians.
The saint is ordinarily depicted as a handsome youth pierced by arrows. There were predella scenes, when required, often of his arrest, confrontation with the Emperor, and final beheading. The illustration in the infobox is the Saint Sebastian of Il Sodoma, at the Pitti Palace, Florence.
A mainly 17th-century subject, though found in predella scenes as early as the 15th century, was St Sebastian tended by St Irene, painted by Georges de La Tour, Trophime Bigot (four times), Jusepe de Ribera, Hendrick ter Brugghen and others. This may have been a deliberate attempt by the Church to get away from the single nude subject, which is already recorded in Vasari as sometimes arousing inappropriate thoughts among female churchgoers. The Baroque artists usually treated it as a nocturnal chiaroscuro scene, illuminated by a single candle, torch or lantern, in the style fashionable in the first half of the 17th century.
There exist several cycles depicting the life of Saint Sebastian. Among them, the frescos in the “Basilica di San Sebastiano” of Acireale (Italy) with paintings by Pietro Paolo Vasta.
Egon Schiele, an Austrian Expressionist artist, painted a self-portrait as Saint Sebastian in 1915. During Salvador Dalí’s “Lorca (Federico García Lorca) Period”, he painted Sebastian several times, most notably in his “Neo-Cubist Academy”. For reasons unknown, the left vein of Sebastian is always exposed.
In 1911, the Italian playwright Gabriele d’Annunzio in conjunction with Claude Debussy produced a mystery play on the subject. The American composer Gian Carlo Menotti composed a ballet score for a Ballets Russes production which was first given in 1944.
In his novella Death in Venice, Thomas Mann hails the “Sebastian-Figure” as the supreme emblem of Apollonian beauty, that is, the artistry of differentiated forms, beauty as measured by discipline, proportion, and luminous distinctions. This allusion to Saint Sebastian’s suffering, associated with the writerly professionalism of the novella’s protagonist, Gustav Aschenbach, provides a model for the “heroism born of weakness”, which characterizes poise amidst agonizing torment and plain acceptance of one’s fate as, beyond mere patience and passivity, a stylized achievement and artistic triumph.
In 1976, the British director Derek Jarman made a film, Sebastiane, which caused controversy in its treatment of the martyr as a homosexual icon. However, as several critics have noted, this has been a subtext of the imagery since the Renaissance.
More recently, but in a somewhat similar vein to Kirkup’s poem, the American playwright, Terrence McNally had the 1998 scheduled run of his new play, Corpus Christi, cancelled by the prestigious Manhattan Theatre Club in New York, following threats to kill the staff, burn down the theatre, and “exterminate” McNally. The reason for these threats was that McNally’s play told the story of a young gay man called Joshua and his sexual adventures with his 12 disciples. The Catholic League for Religious and Civil Rights in New York vowed to “wage a war” against any attempt to stage the play. While top playwrights, such as Tony Kushner, Edward Albee and Athol Fugard, urged the theatre to reverse its cancellation, accusing them of “capitulation to right-wing extremists and religious zealots”.
The homosexual associations being made with Jesus are not simply the work of gay artists seeking to appropriate conventional religious themes for the sake of blasphemy or controversy, but may actually be based in fact. In 1958, Professor Morton Smith of Columbia University uncovered a letter at the Mar Saba monastery, which mentioned a suppressed extract from the gospel of Mark. The letter was between Bishop Clement of Alexandria (one of the founding fathers of the early church), and a correspondent called Theodore, who wrote complaining about the Carpocratians, a Gnostic sect. The Carpocratians were using a passage from Mark’s gospel to justify their beliefs and practices, which were not shared by Clement and Theodore. In his reply to Theodore, Clement congratulated him on his opposition to the Carpocratians, and then wrote a dissertation on the passage in question, quoting the passage in its entirety. What is remarkable is that this passage does not appear in the canonical New Testament today, but was obviously current at the time. It is from Mark chapter 10 (between verses 34 and 35), and tells the story of the raising of Lazarus:
“And the youth, looking upon him (Jesus), loved him and beseeched that he might remain with him. And going out of the tomb, they went into the house of the youth, for he was rich. And after six days, Jesus instructed him and, at evening, the youth came to him wearing a linen cloth over his naked body. And he remained with him that night, for Jesus taught him the mystery of the Kingdom of God.”
The expurgated text seems to suggest that the raising of Lazarus, rather than being a literal raising from the dead, was the kind of mystery school initiation that was common throughout the ancient world; something that the biblical scholar Barbara Thiering has emphasised in her recent work. What is also clear, and may have been obvious to the Carpocratians also, is that there seems to have been a homosexual element to the ritual, with the half-naked youth who loved Jesus being shown the mystery of the Kingdom of God during the final night of his instruction. If these inferences can be so readily made from the passage in Mark, it is somewhat understandable that the founding fathers of the Church would feel no guilt over removing it from the canon in order to preserve the image of Jesus that was in concordance with their particular ideas.
Source: Torture By Roses, “Sebastian~Salome” (pdf).
“The Love that Dares to Speak its Name” is a controversial poem by James Kirkup. In fact, some might find the poem to be quite offensive, but after reading it and researching about it, I found it fascinating, even if it is blasphemous. Maybe intellectual curiosity sometimes kills the cat, but I decided to write about it anyway. It is written from the viewpoint of a Roman centurion who is graphically described having sex with Jesus after his crucifixion, and also claims that Jesus had had sex with numerous disciples, guards, and even Pontius Pilate. If the poem was not about Jesus Christ and the centurion, Longinus, I would truly consider the poem beautiful and erotic in an odd necrophilia sort of way that is also quite disturbing. Maybe it is either way, or maybe I have been reading too much Edgar Allen Poe in the high school English class that I am currently teaching.
The poem was at the centre of the Whitehouse v. Lemon trial for blasphemous libel, where the editor of Gay News—which first published in the poem in 1976—was convicted and given a suspended prison sentence. In later years, Britain’s Royal Crown Prosecution Service attempted to charge the Lesbian and Gay Christian Movement with a similar charge of blasphemous libel after a complaint by religious conservatives over a hypertext link on their web site to text of “The Love that Dares to Speak its Name” by James Kirkup.
The Love That Dares To Speak Its Name
By James Kirkup
As they took him from the cross
I, the centurion, took him in my arms-
the tough lean body
of a man no longer young,
beardless, breathless,
but well hung.
He was still warm.
While they prepared the tomb
I kept guard over him.
His mother and the Magdalen
had gone to fetch clean linen
to shroud his nakedness.
I was alone with him.
For the last time
I kissed his mouth. My tongue
found his, bitter with death.
I licked his wound-
the blood was harsh
For the last time
I laid my lips around the tip
of that great cock, the instrument
of our salvation, our eternal joy.
The shaft, still throbbed, anointed
with death’s final ejaculation
I knew he’d had it off with other men-
with Herod’s guards, with Pontius Pilate,
With John the Baptist, with Paul of Tarsus
with foxy Judas, a great kisser, with
the rest of the Twelve, together and apart.
He loved all men, body, soul and spirit. – even me.
So now I took off my uniform, and, naked,
lay together with him in his desolation,
caressing every shadow of his cooling flesh,
hugging him and trying to warm him back to life.
Slowly the fire in his thighs went out,
while I grew hotter with unearthly love.
It was the only way I knew to speak our love’s proud name,
to tell him of my long devotion, my desire, my dread-
something we had never talked about. My spear, wet with blood,
his dear, broken body all open wounds,
and in each wound his side, his back,
his mouth – I came and came and came
as if each coming was my last.
And then the miracle possessed us.
I felt him enter into me, and fiercely spend
his spirit’s finbal seed within my hole, my soul,
pulse upon pulse, unto the ends of the earth-
he crucified me with him into kingdom come.
-This is the passionate and blissful crucifixion
same-sex lovers suffer, patiently and gladly.
They inflict these loving injuries of joy and grace
one upon the other, till they dies of lust and pain
within the horny paradise of one another’s limbs,
with one voice cry to heaven in a last divine release.
Then lie long together, peacefully entwined, with hope
of resurrection, as we did, on that green hill far away.
But before we rose again, they came and took him from me.
They knew not what we had done, but felt
no shame or anger. Rather they were glad for us,
and blessed us, as would he, who loved all men.
And after three long, lonely days, like years,
in which I roamed the gardens of my grief
seeking for him, my one friend who had gone from me,
he rose from sleep, at dawn, and showed himself to me before
all others. And took me to him with
the love that now forever dares to speak its name.
Further Reading:
 | noisilycool3bc985058… on Shall I Compare Thee to a Summ… |
 | iameverywhere1 on Pic of the Day |
 | moviesjoy on Cajun Country |
| noisilycool3bc985058… on Pic of the Day |
 | David Johnson on Pic of the Day |
Joe
The Closet Professor 