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Cenacle - In hidden crypts and dark vaults, cenacles of secret religion meet to keep their flame alive.

Cenacle - June 2007

Rome a model?

June 16th 2007 13:33
Cenacle is big on politics this week. To sign off, here's an interesting article about immigration in Rome, a historical reflection to advance the fierce debate surrounding the issue currently taking place in America. It's interesting to me because I wrote a couple of posts about demographics in literature including many ancient epics where it was a palpable theme. My aim was to start a thread on the topic. Like all good intentions, I didn't follow it through. With this article, I am going to bring it back. (It is time, I think, to start separate categories for concrete topics like this one.)


The article itself is pro-immigration and paints a mellow picture of Rome as being a model for America to emulate. I have reviewed a book called The Cults of Roman Empire which portrays quite a more complex picture of the Roman world than this article suggests. Nevertheless, is Rome a worthy model for America to follow?

In Rome too citizenship didn't come up to multicultural people in that bloodless way Murphy describes. Several wars were fought on the issue of Roman citizenship. Rome was first a big city and the surrounding Latin counties waged bloody wars to be granted Roman citizenship. And once this pattern started, Rome began to grant citizenship to one territory after territory after much bloodletting and in the end, what was a city became an empire. For many native Romans though, this was never a comfortable trade-off, and I suspect, neither for the foreigners. They basked in the Pax Romana for a brief while but the brilliant classical civilzation succumbed to enormous inclusionary pressure brought onto it and Dark Ages ensued.


As V.S.Naipaul flatly stated some years ago, much of anti-Americanism is actually a reactionary behavior to the fears of spurned citizenship. When 9/11 happened, the over-riding fear the world over was that America would tighten the immigration procedures. The popular anti-Americanism is for the most part a mixture of anti-immgiration fantasy of the nativists and the anti-American nativist fantasy of those who want to go there. After all, sentiments such as the one where the world should have a vote in American elections were made by respectable newspapers round the world too. Or else, the oft-expressed anitpathy for constitutional requirement barring foreign-born people to be elected to presidency. A Roman parallel was achieved when a foreigner named Severus was made emperor after Marcus Aurelius, who is usually taken by many to be the symbol of the beginning of the end of the classical world.

And its not just Rome. The same barbarians who descended on Rome also ended the brilliant oriental civilzations of India and Iran. (The world was as connected then as it is now, making globalization a fatuous and an unnecessary concept. ) Such end-of-the-world scnarios are the central concerns of the epics whether it is Mahabharatha or the Old Testament, Aenied or the Beowulf. All of them are tinged with sadness by the passing of their repsective civilizations. We live in a PC world, so matters which are not mandated by the Brotherhood recieve little or no representation in art today.

All this portends to a curious fact. America is not a empire YET. but, it is one its way to becoming one and the biggest indicator is the massive flood of illgeal immigrants in the country and the persistent attempts to legalise it. Citizenship is a boundary but once its breached, it cannot be contained. No matter what the cynics say that America's moment is over, it's still a young country and it has a lot of steam in it. These massive poachings on traditional boundaries are a way to supercede them and make them obsolescent. Much of the display of anti-Americanism is actually a latent desire to be included in the folds of the republic; in essence, making it into an empire.

No matter how many times, it is said so, America is not an empire. The republic is a unique institution in history and it would be a tragedy to lose it.

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Ciao America 2002. Starring Vincenzo Amato. Its plot described thusly:

Lorenzo Primavera is an unsettled Italian American college graduate who travels to Italy to coach American football to a team of Italians in Italy’s fledgling American Football League. It’s a league where everyone can kick but no one can catch. While coaching, Lorenzo meets and falls in love with Paola Angelini, a headstrong young music student who forces him to face the same decision as his immigrant grandfather some seventy years earlier. It is a decision, the outcome of which, will decide his very future.




Golden Door 2007. Starring Vincenzo Amato again. Its plot described thusly:

The turn-of-the-century voyage of a poor family from rural Sicily through the "golden door" of Ellis Island and into America. On a perilous steamship journey from his Sicilian village, the widower Salvatore Mancuso encounters a ravishing, mystery-shrouded Englishwoman, Lucy, Amid a harrowing crossing, an unexpected love story unfolds all the way to the halls of Ellis Island, where both Salvatore and Lucy will stop at nothing to make it to the America of their imaginations

America, we are ready to love you again. Just don't elect evil Republicans!
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I like reading Browning very much. His poetry is stately. It doesn't make you feel, it makes you see. It is not built upon wispy sensations but on a train of thought. Or on that twilight zone where personality and thought merge and become indistinguishable. He does not try to understand the world through abstract arguments but by trying to reproducing mental states.His world becomes coherent when he "gets" the central cog, the cog that makes the machinery of the consciousness he is studying, work.

It is also astonishing how much he can imbue his verse with character while following metre and rhyme. He has what people say Henry James has but clearly does not -- craft. Well-crafted but able to convey passions either of the heart or of the mind.

Childe Roland to the Dark Tower Came is one his most famous poems. The word used most often to describe it is "inaccessible" Alright, it doesn't tell us the whole story. It is a snippet of verse snatched from a dream. But does that make it inaccessible?

It is one of those poems which demand a lazy reading. It is a stream, not of the conscious, but of the sub-conscious. It does not lend itself to a reading with fully focused mind intent on seizing on meaning but rather to a not-particularly-focused reading which does not try to impose meaning or try to understand. Read in this latent manner, it immediately strikes you with the immediate veracity of dream life.

Browning is often quoted as saying, "When I wrote this, God and Browning knew what it meant. Now God only knows."

Now that we know it was conceived in a dream and written thereafter, like Coleridge's Kubla Khan, it is rather pointless to ask the questions about the plot of the Roland. Pointless because the poet himself probably does not know them. So, rather than searching for "meaning "which an omniscient Browning is hiding from us, let us take the journey as Browning did, as a dream.

The poem opens dramaticcally when a knight on a quest is given directions by a cripple. This tableau from many horror movies then takes the knight on the journey to the Dark Tower. The thrill of that tableau jumpstarted the dream and the search for the Dark Tower within that dream. When the poet woke up and found himself possessed with the manic energy in the wake of that dream, he rushed to pen it down.

Browning then spends a lot of time on describing the bleak territory through which the knight is passing. It is here that the poem loses some of its initial power and becomes more and more conventionalised. The poem loses the haunting dramatic nature and the extended descriptions use transparently conscious verbiage. Browning is holding onto his dream, rather than being in it. The poet is waking up and the after-effects of the dream life are wearing thin. Still, Byron is a formidable poet and he uses every ounce of his talent to give words to his night vision before it fades away.

It is also indicative of the dream action itself. In a dream, after the initial promise we tend to search a lot and look in all the places. We become self-conscious of the dramatic impulse of the initial trigger and try and find it or retain it. Either the dream changes or it, as it does here, become an endless search through vast tracts of emptiness.

Suddenly, the poet wakes up to the fact that his longish meanderings are not going to register the impact he wants and the story takes a sudden turn. The knight crosses an abrupt river and finds the said Dark Tower. Notice how quickly Browning implants the climax. He has to resolve this issue but he can't find any resolution. If he tries too hard, the vision will fade away from him. So, he ends the poem, with the attainment of the quest but ambiguous about what it all meant.

Many people search for a meaning in the poem and wonder what it referred to. I think it is self-referential. Like every dream, it records how it felt enacting itself. Like every dream it can't find what it started out is quest for and because it has not changed course midway or forgotten itself, it implants a Dark Tower, the climax it sought fully realising that it was not the thing it sought.

They also describe the hero as cynical or paranoid and he is neither. Because he is acting and feeling, just as any dream does. A dream is like a chess game played by one person who keeps changing the rules or the moves if he does not like the reality. That explains the so-called "cynicism." The quest of the Childe Roland, is not of any particular dream, but of the dream process itself.

The text to the peom can be found here.
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Dragons!

June 9th 2007 02:58
It's dragons time! Deathly Hallows deluxe cover art has been released and it has......DRAGONS! Or just a dragon with the trio riding on them determinedly in their horcrux chasing ! I never liked dragons, I used to find them boring but right now I am reading Naomi Novik and have started liking them a little bit. And now they are on Harry Potter cover! [One of the chief reasons I liked Harry Potter series was that it was surprisingly free of dragons, vampires and other fantasy lore cliches. They are there in the background, never becoming the mainstay of the plot, just adding to the delicious clutter of magical world.

Deluxe Edition Cover of Harry Potter and the Deathly Hallows


I have read a little of Anne Mcaffrey's fiction, the chief purveyor of dragon lore. I read Paolini's Inheritance novels too. The first one was decent and the second one was plain bad. But, any novel that would consist of nothing but dragons or vampires as the chief plot point is a strict no no for me. How much can you read of these things at a time? The worst culprit, is the King Arthur stuff. i would rather die than read another King Arthur novel. Mists of Avalon was enough.

Still, I encountered Noami Novik's series purely by chance. I have reviewed the second novel before and am reading the first. It is true that dragons are the chief plotline in the series but there is still a lot going on. in Novik's world, dragons are not just fabulous animals but war machines and she has conjured up intricately woven scenes of war with minute discussions of tactics and maneouvres when dragons are used as weapon carriers. This makes her creation more interesting than say dragons-hoard-magic-treasures kind of stuff.

The Deathly Hallows cover is surprising and gorgeous but I sincerely hope dragons remain just a vehicle to transpot Harry and his friends wherever they need to go. I hope and pray they do not become more germane to the plot than that. Just imagine if the magical power Harry has and the Voldemort knows not, is his ability to tame dragons !

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