I am always amazed by the fact that things which are inherently silent in nature make music in your mind. Writing is like that for me. Drawing is like that. And so is photography. That is an actual musical score from Chopin in the background. My son recognized it from a book of piano pieces I bought for him because he reads music and can turn those squiggle-bugs on the fence into the right plinkety-plunks on a keyboard. But there is more music in that picture besides. The nude young girl at the keyboard softly rendered in velvety colored pencil tones is also musical in nature, for more than just the fact of fingers on a silent colored pencil keyboard. The lyrical loops of black and yellow in the wings of the tiger swallowtail butterfly also make music in my head, sprightly piano music like Chopin’s, or possibly Vivaldi’s violins.
Did you listen to the music? I don’t mean Vivaldi’s, although if you haven’t heard it, you certainly should. I mean the music in the words. The music has to be there for me for the writing to be good. That’s why I consider Ray Bradbury and Walt Whitman to be masters and Stephenie Meyer and E. L. James to be unreadable hacks. The beat and the flow of the words need to be patterned and patient and wily. Do you not hear it in that last sentence? The alliteration of the first two adjectives set off by the counterpoint of the stressed-unstressed beats of the third? How can I explain this?
Iambic pentameter is the true genius of Shakespeare’s plays. What the heck is iambic pentameter, you ask? Well, I realize you have probably never needed to teach poetry to seventh graders, a truly impossible but infinitely rewarding task. So let me tell you. Units of stress called iambs consist of an unstressed syllable followed by a stressed syllable. So naturally, if iambs are put into pentameter, then there must be five of them in a line of iambic pentameter poetry. It is a simple, rhythmic way to say something profound and interesting. The classic example is the first line of Shakespeare’s Sonnet 18;
Shall I compare thee to a summer’s day?
Translating that into X’s and O’s where X=stressed and O=unstressed;
O X O X O X O X O X
It’s simple, five oxes, all in a line. Except that last one about oxes is actually O X O X X O O O O X, a less simple pattern, yet still organized on the beat. Two iambs, a dactyl and an anapest. Okay, now I am talking like a poetry geek, and I have to stop it before I hurt someone.
The whole point is, words should be musical, even when they are not the words to a song. And now I must close on the verge of starting a ten-thousand word thesis. I shall shut up now. Here endeth the lesson.
Naked Innocence
To be clear, I will have to write a post called Naked Experience to go with this post. It is a William Blake style of thing. You know, that English Romantic Poet guy who was into drawing naked people even more than me? The writer of Songs of Innocence and Experience? You know, this stuff;
Well, maybe you don’t know. But Blake gave the world the metaphor of the innocent lamb and the tyger of experience (tyger is his spelling, not mine, and it didn’t blow up the spell checker, even though it made the thing unhappy with me again). There is a certain something I have learned about nakedness that I mean to innocently convey. I learned it from anatomy drawing class and spending time with nudists. Naked is not evil. Naked is not pornography. Nakedness, itself, is a very good thing.
At this point the avid clothing-wearers among you are probably saying to yourself, “This guy is nuts! If God had wanted us to be nude, then we wouldn’t have been born with clothes on.” And I must admit, I cannot argue with logic like that.
But on a more serious note, I believe nudity is a fundamentally essential part of the nature of art. After all, pictures of naked people are a central part of what people have been drawing since they first started etching them with charcoal on cavern walls. And all art, including this blog, is about the human experience. What it means to be human. What it feels like to be alive on this Earth and able to feel.
And there is nothing sinister and immoral in drawing nudes to portray that fact. I am trying to show metaphorically the music of existence, the pace, the symmetry, the musical score… It isn’t focused on the private bits, what some call the naughty parts, even when those things are present in the picture. “How dare that naughty Mickey show the naked back end of that butterfly! It ought to have pants on at least!” Yes, I am making a mockery of that outrage itself. I am not a pornographer. These pictures were not created to engender any prurient interests. These pictures are part of Blake’s lamb. They will not bite you. Though blue-nosed people who wish to control what others think may very well bite me for daring to say so.
I have posted a lot of writing and artwork on this blog that I held for the longest time to be completely private and personal. I hardly ever showed any of it to anybody before I posted it here. But I am old. I no longer have secrets. I am capable of telling you everything even though I have never met most of you in real life. And I have no shame. I have become comfortable with emotional and intellectual nudity. And when I am dead, the body I have kept hidden from the world for so long will be no more. It’s just a thought. It’s a naked thought. And it is completely innocent.
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Filed under artists I admire, artwork, commentary, humor, nudes, Paffooney, strange and wonderful ideas about life
Tagged as art, literature, nudes, poetry, William Blake