Returning to Mary Shelley and her *other* tale of loss, written right after her husband’s death, its title from her diary entry: “Yes I may well describe that solitary being's feelings,feeling myself as the last relic of a beloved race,my companions extinct before me.”
And it was more than Percy that Mary Shelley had lost: her father-in-law forbade her from using the family name.
Hence, “The Last Man” is merely the work of “The Author of Frankenstein.” It is a story of radical solitude, by an author bereaved and effaced. As apt now, as then.
“I spread the whole earth out as a map before me. On no one spot of its surface could I put my finger and say, here is safety.”
-Mary Shelley, The Last Man
“What is there in our nature that is for ever urging us on towards pain and misery? Disappointment is the never-failing pilot of our life's bark, and ruthlessly carries us on to the shoals.”
Afflicted, despondent, Mary Shelley’s ‘last man’ nevertheless goes on.
At the end of “The Last Man,” the last man decides to head for unknown lands hoping that, “I may find what I seek--a companion.”
Perhaps Mary Shelley was crafting the very ending she wished for, despite her cognizance of its futility:
“Let us live for each other and for happiness; let us seek peace in our dear home, near the inland murmur of streams, and the gracious waving of trees, the beauteous vesture of earth, and sublime pageantry of the skies. Let us leave ‘life,’ that we may live.”
-Mary Shelley
Reprising some thoughts on a favorite work, Mary Shelley’s The Last Man, on the year’s first day
good morning and happy 2021
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The great pianist Fou Ts’ong 傅聰 passed away last week in the UK, from covid. Many first encountered him not as a lyrical, brilliant interpreter of Chopin (he was), but as the young recipient of extraordinary letters from his father Fu Lei that were later collected: 傅雷家書.
In the sort of happy accident that young autodidacts (avant-Google) often have, I was separately a fan of both father and son without learning of their connection.
Fu Lei 傅雷 was the emblematic Shanghai Francophile: writing on and translating Romain Rolland, Balzac, Rodin.
As a young Francophile myself - stemming from my desire to better know my grandmother, Hsiao Tsong Rang, who had lived and studied in Paris as Fu Lei did - they in fact moved in the same circles there - Fu Lei was of course a legend to me.
I love this one from a 15yo entrant: the character 画 (picture, image) rendered 3-D and folded - to make the neologism for laptop/notebook computer! 😍 so clever.
I like this one because it is a bilingual visual pun - a 76yo entrant transformed the bottom half of the character 会 (meeting) into a “Z” to make...you guessed it, “web conference”
(This could be a greater branding triumph for @zoom_us than even Kleenex or Xerox)
Another woman artist - though not Chinese - whose self portraits I return to often is the German painter Paula Modersohn-Becker (1876-1907). She died at age 31, shortly after giving birth.
My favorite:
"Self-Portrait on the sixth wedding anniversary" 1906.
We need, in love, to practice only this:
letting each other go. For holding on
comes easily; we do not need to learn it.
Rilke wrote "Requiem for a friend" over the course of 3 days alone in the Hotel Biron, mourning her death.
[PMB, Portrait of Rainer Maria Rilke, 1906]
I can hardly think of any writing by Rilke that does not evoke intense love in me, or at least the remembrance of having loved it once, intensely.
On the fifth day of the fifth lunar month—#端午Duanwu—we commemorate the death of the poet-minister Qu Yuan 屈原.
Exiled from the kingdom of Chu for his fierce opposition to Qin (which did indeed demolish all, in its imperial ambition), he drowned himself in the Miluo River. 1/
Legend has it that fishing boats set out looking for the much-beloved Qu Yuan. When he could not be found, food was thrown into the river to prevent fish from consuming his corpse.
Hence Duanwu is also known as the #DragonBoatFestival & sticky rice packets (zongzi) are eaten. 2/
'The Songs of Chu' 楚辭, attributed to Qu Yuan (but more likely by multiple authors) are densively allusive poetic laments dating from the 3rd c BCE collapse of the Chu kingdom.
To quote David Hawkes, Chuci 楚辭are the poetry of tristia and itineria —the laments of exile. 3/
@ourobororoboruo@intewig quick response to a fascinating question! 文人 wenren is of course the older term, but had a whiff of disrepectability to you - 賣文為生 was not a positive descriptor. Li Yu of the Ming Dynasty is most famous of a self-consciously professional class of writers - Patrick Hanan's +
@ourobororoboruo@intewig book on Li Yu is excellent if you are interested. 作家 is an older binome that becomes repurposed in the 20thc once the term 專家, and -家 for expertise, become common - I assume it is a Japanese reconstruction of kanji for a modern purpose.
作家 as profession is also gained +
@ourobororoboruo@intewig via translation - with late Qing Lin Shu translations of Dickens, Dumas, et al., they become published as 世界作家. But progressive May Fourth writers were never fully comfortable with the term, bc of its association w commerce - doubly so when Mao basically posits 作家 and 革命+
“Wuhan’s direct entanglement with the world beyond Hubei province’s borders is nothing new. Caravans took tea overland to Russia.”
An account of Wuhan-in-the-world and its colonial history from the nineteenth onwards, by Robert Bickers robertbickers.net/2020/02/03/wuh…
My stepfather grew up in the French concession in the cosmopolitan port city of Hankow 漢口. His father and grandfather were both engineers, and the Chow family played a critical role in the construction of the Beijing-Hankow Railway.
[19thc British map of trading routes]
As a result of growing up in Hankou in Wuhan, LY Chow became deeply enmeshed with and fascinated by the larger world — before he went to study international relations and political science at Yenching U (now Beida), and long before he made it his lifelong scholarly discipline.