Week-end d'ouverture au Festival Orford

Poetry : Robert Frost - The Road Not Taken

Poetry : The Love Song Of J. Alfred Prufrock - T.S. Eliot

The Love Song of J. Alfred Prufrock


S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.


LET us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats 5
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question … 10
Oh, do not ask, “What is it?”
Let us go and make our visit.

In the room the women come and go
Talking of Michelangelo.

The yellow fog that rubs its back upon the window-panes, 15
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap, 20
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.

And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes; 25
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate; 30
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.

In the room the women come and go 35
Talking of Michelangelo.

And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair— 40
[They will say: “How his hair is growing thin!”]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
[They will say: “But how his arms and legs are thin!”]
Do I dare 45
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.

For I have known them all already, known them all:—
Have known the evenings, mornings, afternoons, 50
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?

And I have known the eyes already, known them all— 55
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways? 60
And how should I presume?

And I have known the arms already, known them all—
Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
It is perfume from a dress 65
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
. . . . .
Shall I say, I have gone at dusk through narrow streets 70
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows?…

I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
. . . . .
And the afternoon, the evening, sleeps so peacefully! 75
Smoothed by long fingers,
Asleep … tired … or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis? 80
But though I have wept and fasted, wept and prayed,
Though I have seen my head [grown slightly bald] brought in upon a platter,
I am no prophet—and here’s no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker, 85
And in short, I was afraid.

And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while, 90
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”— 95
If one, settling a pillow by her head,
Should say: “That is not what I meant at all.
That is not it, at all.”

And would it have been worth it, after all,
Would it have been worth while, 100
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen: 105
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
“That is not it at all,
That is not what I meant, at all.”
. . . . . 110
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use, 115
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.

I grow old … I grow old … 120
I shall wear the bottoms of my trousers rolled.

Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.

I do not think that they will sing to me. 125

I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.

We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown 130
Till human voices wake us, and we drown.

To learn more about Thomas Stearns Eliot :

http://en.wikipedia.org/wiki/T._S._Eliot

Patricia Cronin

Patricia Cronin’s watercolor homage to Harriet Hosmer’s missing 1868 sculpture “Queen of Naples,” at the Brooklyn Museum.

Hey Joe : Jimi Hendrix and the Jimi Hendrix Experience

The Jimi Hendrix Experience :

Lead guitarist and singer : Jimi Hendrix, USA
Bassist Noel Redding, England
Drummer Mitch Mitchell, England

To learn more about Jimi Hendrix :

http://en.wikipedia.org/wiki/Jimi_Hendrix

Smetana : Ma Vlast,, Vltava(Moldau) : Allegro comodo non agitato

Bedrich Smetana
Má Vlast / My Country / Mein Vateriand / Ma Patrie : Part II Vltava (Moidau) Allegro comodo non agitato :

Details of the piece :

- The first source of the Moidau
- The second source - Woods; Hunt
- L'istesso tempo me moderato (Peasant Wedding)
- L'istesso tempo (Moonlight; Nymphs' Roundelay)
- Tempo I (Rapids of St. John) -
- Più moto (The Moidau flows broadly onward; Vysehrad)

To learn more about Vltava (Moidau) :

http://en.wikipedia.org/wiki/M%C3%A1_vlast#Vltava

To learn more about Bedrich Smetana (1824 - 1884) :

http://en.wikipedia.org/wiki/Bed%C5%99ich_Smetana

Art, All Night Long

Nekt wikuhpon ehpit : On Saturday, June 20 At The Beaverbrook Art Gallery

Nekt wikuhpon ehpit (Once there lived a woman ...) : The Painting, Poetry and Politics of Shirley Bear, a major exhibition devoted to the life's work of senior New Brunswick artist Shirley Bear.

Multi-Media Artist * Writer * Native Traditional Herbal Science

Born on the Negootiook(Tobique) First Nation Community 1936.
Original member of the Wabanaki Language group of New Brunswick Canada.

Recipient of; Excellence in the Arts Award 2002 from The New Brunswick Arts Board, NB Canada

Hamilton : City Looks to Add Arts Hub - Downtown Centre Would Be 'Catalyst'

Jeremy Freiburger, director of the Imperial Cotton Centre for the Arts, which creates and manages spaces for artists

Arts Participation 2008: Highlights From a National Survey

Arts Participation 2008: Highlights from a National Survey features top findings from the 2008 Survey of Public Participation in the Arts, the nation’s largest and most representative periodic study of adult participation in arts events and activities, conducted by the NEA in partnership with the U.S. Census Bureau. June 2009. 16 pp.

James Irvine Foundation Rewards the Innovators

Art Gallery of Ontario and Metro Toronto Convention Centre Partnership Brings Art to the Community

Metro Toronto Convention Centre

Met Replaces Villazón in ‘Hoffmann’

The Maltese tenor Joseph Calleja

To view Joseph Calleja's website :

http://www.josephcalleja.com/index.php

Art Teacher Wins Portrait Prize

Blackett Seeks End to Arts 'Cannibalizing'

Lindsay Blackett wants arts groups to stop tussling for limited funds.
Photograph by: Shaughn Butts, The Journal, File, Edmonton Journal

Fewer Lots And Lower Prices in London's Sale Rooms

Beethoven Symphony No. 7 in A Major, Op. 92 : Herbert Von Karajan, BPO

To learn more about symphony No. 7 in A Major, Op. 92 :

http://en.wikipedia.org/wiki/Symphony_No._7_%28Beethoven%29


To review the concept of Symphony :

http://en.wikipedia.org/wiki/Symphony

To learn more about Ludwig van Beethoven :

http://en.wikipedia.org/wiki/Beethoven

To read all Bethoven's letters translated in english : 1790-1826

Volume 1 : http://www.gutenberg.org/etext/13065

Volume 2 :
http://www.gutenberg.org/etext/13272


To learn more about Maestro Herbert von Karajan :

http://en.wikipedia.org/wiki/Herbert_von_Karajan

To learn about the Berlin Philarmonic Orchestra (BPO) :

http://en.wikipedia.org/wiki/Berlin_Philharmonic

Vancouver Art Scene Blossoms in Public Spaces

Art at the Heart of Orléans : The Shenkman Arts Centre is 'a Work of Art' Inspired By Landscape and Community.

Women in Art