Archive for the 3. Third Series (2010) Category

No. 33, The Ritual (December 2010)

Posted in 3. Third Series (2010) on February 12, 2011 by thesorcerersapprenticeonline

Please click on link to download the issue (No. 33, The Ritual)

Table of Contents

  1.     Berry, Sabbaths (1987)

  2.     Itinerary

  I.     THE APPROACH (11.00-12.00pm)

  3.     Oak tree, Magpie Hill

  4.     Connaught Water

  5.     Oak tree, Long Hills

  6.     Horse Ride, Long Hills

 II.     THE ENTRY (12.00-1.00pm)

  7.     Witch’s Seat, ascent to Loughton Camp

  8.     Beech coppice, Loughton Camp

  9.     Beech pollard and holly bush, Loughton Camp

10.     Birch sapling, Loughton Camp

III.     PREPARING THE VICTIM (1.00-3.00pm)

11.     Dead hornbeam, Monk Wood

12.     Birch copse, Monk Wood

13.     Fallen oak branch, Monk Wood

14.     Chopping the Yule log, Monk Wood

IV.     THE SACRIFICE (3.00-4.00pm)

15.     Yule log dressed in holly, Loughton Camp

16.     Chopping firewood, Loughton Camp

17.     Solstice fire, Loughton Camp

18.     Solstice sunset, Loughton Camp

19.     Lawrence, Under the Oak (1916)

20.     Notes

Rituals may be repeated over the period of a day (morning ablutions), week (observation of the sabbath), month (interdictions on menstruation), year (religious festivals), or lifetime (rites of birth, adulthood, marriage and death). The greater the cycle – the more time accumulated between each ritual enactment – the more powerful is the energy released: for profane time stands in relation to ritual time as the production of surplus to its consumption, the accumulation of resources to their expenditure, the time of labour to the time of the festival, the cares of the future to the immediacy of the present.

No. 32, The Celtic Twilight (November 2010)

Posted in 3. Third Series (2010) on November 4, 2010 by thesorcerersapprenticeonline

Please click on link to download the issue (No. 32, The Celtic Twilight)

Table of Contents

I. CELTIC MYSTERIES (1886-1903)

01.     Yeats, To Ireland in the Coming Times (1893)

02.     Yeats, A Poet to his Beloved (1895)

03.     Yeats, He Wishes for the Cloths of Heaven (1899)

04.     Yeats, Adam’s Curse (May 1901)

II. IRISH POLITICS (1904-1921)

05.     Yeats, Easter 1916 (September 1916)

06.     Yeats, The Second Coming (January 1919)

07.     Yeats, A Prayer for my Daughter (June 1919)

08.     Yeats, Nineteen Hundred and Nineteen (Sept 1921)

III. MODERN MYSTICISM (1922-1939)

09.     Yeats, The Tower (October 1925)

10.     Yeats, Among School Children (June 1926)

11.     Yeats, Sailing to Byzantium (September 1926)

12.     Yeats, Death (September 1927)

13.     Yeats, A Dialogue of Self and Soul (December 1927)

14.     Yeats, Byzantium (September 1930)

15.     Yeats, Coole and Ballylee, 1931 (February 1931)

16.     Yeats, The Choice (February 1931)

17.     Yeats, Lapis Lazuli (July 1936)

18.     Yeats, Long-legged Fly (April 1938)

19.     Yeats, Under Ben Bulben (September 1938)

20.     Note

Running through Yeats’ poetry is the landscape of his homeland: the town of Sligo in which he spent the summer holidays of his childhood, and the City of Dublin in which he lived as an adult; the seven woods of Coole Park in which his patroness, Lady Gregory, had her home, and the Norman tower of Thoor Ballylee which he purchased in 1917; the churchyard in the village of Drumcliffe in which he would be buried, and the mountain of Ben Bulben that looms over it. This is the landscape of his thought, the concrete images of abstract, ideal forms whose spirits speak to him down the centuries through the medium of his poetry.

No. 31, Moortown Diary (October 2010)

Posted in 3. Third Series (2010) on October 12, 2010 by thesorcerersapprenticeonline

Please click on link to download the issue (No. 31, Moortown Diary)

Table of Contents

01.     Moortown Farm, Winkleigh, North Devon (c. 1972-76)

02.     Hughes, Preface (1989)

03.     Hughes, Rain (4 Dec 1973)

04.     Hughes, Dehorning (14 May 1974)

05.     Hughes, Poor Birds (10 Dec 1973)

06.     Hughes, Feeding out-wintering cattle at twilight (17 Feb 1974)

07.     Hughes, Foxhunt (27 Dec 1975)

08.     Hughes, New Year exhilaration (3 Jan 1975)

09.     Hughes, Struggle (17 April 1974)

10.     Hughes, Bringing in new couples (16 Feb 1975)

11.     Hughes, Snow smoking as the fields boil (8 Feb 1975)

12.     Hughes, Tractor (31 Jan 1976)

13.     Hughes, Roe-deer (13 Feb 1973)

14.     Hughes, Couples under cover (4 March 1974)

15.     Hughes, Surprise (21 March 1975)

16.     Hughes, Last night (10 March 1975)

17.     Hughes, Ravens (15 April 1974)

18.     Hughes, February 17th (17 Feb 1974)

19.     Hughes, March morning unlike others (15 March 1974)

20.     Hughes, Turning out (3 May 1975)

21.     Hughes, She has come to pass (30 May 1974)

22.     Hughes, Birth of Rainbow (19 March 1974)

23.     Hughes, Orf (3 July 1976)

24.     Hughes, Happy calf (14 May 1975)

25.     Hughes, Coming down through Somerset (8 Aug 1975)

26.     Hughes, Little red twin (1 June 1975)

27.     Hughes, Teaching a dumb calf (15 May 1975)

28.     Hughes, Last load (20 June 1975)

29.     Hughes, While she chews sideways (15 Sep 1973)

30.     Hughes, Sheep, I (20 May 1974) II (4 June 1976)

31.     Hughes, A monument (1978)

32.     Hughes, A memory (1978)

33.     Hughes, The day he died (1978)

34.     Hughes, Now you have to push (1978)

35.     Hughes, The formal auctioneer (1978)

36.     Hughes, Hands (1978)

37.     Note

The central theme of the sequence is Hughes’ reaction to death: the death of the livestock he rears, of the badger killed on a Somerset road, of the lamb he shoots and buries, of the stillborn lamb he decapitates, of the animals he tries and fails to save. But the poems are more than reflections on the cycle of nature, of conception, birth, life and death, the struggle to exist. Hughes reaction has more in common with the primitive to his totem animal, or of the animals themselves, like the cows who continue to lick at their dead calves, perplexed at their dumb, silent stillness. Hughes’ focus throughout is almost sacrificial in its intensity, looking hard and close at the mechanism of death: not at the moment of death itself (for he typically arrives after the fact), but at the heavy inevitability of death in life, and just how close they still are to each other, here and now, in the Devonshire countryside of the early 1970s.

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No. 30, Four Quartets (September 2010)

Posted in 3. Third Series (2010) on August 12, 2010 by thesorcerersapprenticeonline

Please click on link to download the issue (No. 30, Four Quartets)

Table of Contents

01.     St. Paul’s Cathedral, London (December 1940)

02.     Note, Four Quartets (1943)

03.     Burnt Norton Manor, Gloucestershire

04.     Eliot, Burnt Norton (1935)

05.     St. Michael’s Church, East Coker, Somerset

06.     Eliot, East Coker (1940)

07.     The Dry Salvages, Cape Ann, Massachusetts

08.     Eliot, The Dry Salvages (1941)

09.     St. John’s Church, Little Gidding, Cambridgeshire

10.     Eliot, Little Gidding (1942)

If Eliot, who drew so much of his poetics from Dante, saw the absence of God in Prufrock (1917), The Waste Land (1922) and The Hollow Men (1925) as his Inferno, and Ash Wednesday (1930), published three years after his conversion to Anglicanism, as his Purgatorio, then Four Quartets (1943), written in the refining fire of the Blitz, was the dance before God of his Paradiso.

No. 29, Venus and Adonis (August 2010)

Posted in 3. Third Series (2010) on August 12, 2010 by thesorcerersapprenticeonline

Please click the link to download the issue (No. 29, Venus and Adonis)

Table of Contents

01.     Aphrodite and Adonis, altar relief, Taras (400-375 B.C.)

02.     Shakespeare, Venus and Adonis (part one) (1593)

03.     Titian, Venus and Adonis (c. 1555)

04.     Shakespeare, Venus and Adonis (part two) (1593)

05.     Veronese, Venus and Adonis (1580)

06.     Shakespeare, Venus and Adonis (part three) (1593)

07.     Dulac, Venus and Adonis (1935)

08.     Shakespeare, Venus and Adonis (part four) (1593)

09.     Note

The voice of the reader should sound with the music of the verse, with its form, meter, rhythms and rhymes, as would a singer’s. Poetry, in the rare instances in which it is read on television these days, is invariably accompanied by background music, which indicates just how far we have strayed from even the most rudimentary understanding of poetic form. The music is in the verse, and the only instrument that should accompany reader, singer or actor is the beating of his heart. The condition of reading poetry, whether silently in the head, but above all aloud in the mouth, is the attuning of the heart to its particular form. Only then will the squiggles of ink before us on the page, which are only the score of the poem, find the medium through which they take flight in the human voice.

No. 28, The Sovereign Muse (July 2010)

Posted in 3. Third Series (2010) on June 22, 2010 by thesorcerersapprenticeonline

Please click the link to download the issue (No. 28, The Sovereign Muse)

Table of contents

I. ROBERT GRAVES (1895-1985)

01.   Graves, The White Goddess (1948)

02.   Note

II. NANCY NICHOLSON (1899-1977)

03.   Graves, Poetic Unreason (1925)

04.   Graves, The God Called Poetry (1920)

05.   Graves, The Poet’s Birth (1923)

III. LAURA RIDING (1901-1991)

06.   Graves, Keats and Shelley (1935)

07.   Graves, On Portents (1931)

08.   Graves, As It Were Poems (1931)

09.   Graves, The Challenge (1935/38)

10.   Graves, To the Sovereign Muse (1935/38)

11.   Graves, The Moon Ends in Nightmare (1939)

IV. BERYL HODGE (1915-2003)

12.   Graves, The White Goddess (1948)

13.   Graves, Mid-Winter Waking (1942)

14.   Graves, She Tells Her Love While Half Asleep (1945)

15.   Graves, To Juan at the Winter Solstice (1945)

16.   Graves, Return of the Goddess (1947)

V. JUDITH BLEDSOE (1934- )

17.   Graves, Return of the Goddess (1952)

18.   Graves, The White Goddess (1951/52)

19.   Graves, Queen Mother to New Queen (1951)

20.   Graves, Rhea (1953)

21.   Graves, Dethronement (1953)

VI.

22.   Graves, The Personal Muse (1961)

23.   Graves, A Lost Jewel (1955)

24.   Graves, The Three Pebbles (1955)

25.   Graves, Around the Mountain (1958)

VII. MARGOT CALLAS (1938-)

26.   Graves, Postscript to The White Goddess (1960)

27.   Graves, In Her Praise (1961/62)

28.   Graves, Possessed (1962)

29.   Graves, Beware, Madam! (1962)

30.   Graves, In Trance at a Distance (1962)

31.   Graves, Between Moon and Moon (1962)

VIII. AEMILIA LARACUEN (1933-2007)

32.   Graves, Intimations of the Black Goddess (1963)

33.   Graves, The Black Goddess (1964)

34.   Graves, Dance of Words (1964)

35.   Graves, The Impossible (1965)

36.   Graves, This Holy Month (1965)

37.   Graves, Ecstasy of Chaos (1966)

38.   Graves, A Dream of Hell (1967)

IX. JULI SIMON (1950- )

39.   Graves, Poetic Craft and Principle (1967)

40.   Graves, Tousled Pillow (1968)

41.   Graves, Within Reason (1968)

42.   Graves, The Yet Unsayable (1968)

43.   Graves, To Be Poets (1971)

44.   Graves, Problems of Gender (1971)

45.   Graves, Her Beauty (1972)

46.   Graves, The Green Woods of Unrest (1975)

Robert Graves’ theory of the Muse goes to the heart of his poetic practice, his understanding of poetry, his life itself; for in no other poet of the Twentieth Century is life, poetry and theory so closely entwined, to the extent that his image of the Muse at once reflects and influences the changes in both his life and poetry.

No. 27, A Midsummer Night’s Dream (June 2010)

Posted in 3. Third Series (2010) on June 22, 2010 by thesorcerersapprenticeonline

Please click the link to download the issue (No. 27, A Midsummer Night’s Dream)

Table of Contents

01.   Dramatis Personae

02.   Beech canopy, Loughton Camp

03.   Shakespeare, A Midsummer Night’s Dream (1595-96), Act I, Sc. 1

04.   Oak tree, Long Hills

05.   Shakespeare, A Midsummer Night’s Dream (1595-96), Act I, Sc. 2

06.   Beech pollard, Copley Plain

07.   Shakespeare, A Midsummer Night’s Dream (1595-96), Act II, Sc. 1

08.   Shakespeare, A Midsummer Night’s Dream (1595-96), Act II, Sc. 2

09.   Birch sapling, Loughton Camp

10.   Shakespeare, A Midsummer Night’s Dream (1595-96), Act II. Sc. 3

11.   Shakespeare, A Midsummer Night’s Dream (1595-96), Act II, Sc. 4

12.   Shakespeare, A Midsummer Night’s Dream (1595-96), Act II, Sc. 5

13.   Beech coppice, Green Ride

14.   Shakespeare, A Midsummer Night’s Dream (1595-96), Act III, Sc. 1

15.   Shakespeare, A Midsummer Night’s Dream (1595-96), Act III, Sc. 2

16.   Note

It is significant that the juice of Cupid’s flower is only dropped onto the eyes of the male mortals, not the female: it is the masculine, solar force that must be brought into alignment with the course of the female, lunar goddess. Love, here, is anything but responsive to the will of rational, Athenian man, being determined, rather, by forces of nature beyond his comprehension and control. These drive him, inevitably, into the forest of madness, but also, in recompense, to the poetry of the play. Thus Theseus, in a final allusion to the triple form of the goddess, compares the lunatic – the figure over whom the moon (Luna) has complete dominance – with the lover and the poet.