Showing posts with label poetry. Show all posts
Showing posts with label poetry. Show all posts

Tuesday, December 2, 2008

When you were a tadpole and I was a fish

It seems to be a fact of modern life that however hard you look for all the typos in a thesis, for all the proof-of-principle references that would help bolster a grant proposal or, when writing a book section about evolution and literature, for all the poems influenced by evolution, there is always something that comes to your attention only after you have finished what you were doing! 

In The Rough Guide to Evolution, I survey Darwin's and evolution's influence on poets as diverse as Gerald Manley Hopkins and Thomas Hardy. And I quote from Mathilde Blind's The Ascent of Man and May Kendall's Lay of the Trilobite...

But, until this recent posting by Michael Barton, I had not come across Evolution, A Fantasy by Langdon Smith. And this despite the fact that the opening and closing lines form part of a song from Richard Milner's Charles Darwin Live and in Concert--in fact, it is one of my children's favourites, even though I had no idea as to the provenance of the lyrics.

Anyhow, now on reading the entire poem (which I append), I am impressed. OK, the transmigration of souls interwoven with the progress of evolution makes for decidedly dodgy metaphysics, but for me Langdon Smith's magnum opus works well as whimsical poetry. 

Also worth a look are the beautiful Art Nouveau illustrations that surround the poetry in the 1909 edition that Michael links to (for example, the highly sensual human forms emerging from the tree of life). 

And it is a pleasure to read (but with tongue in cheek) the purple prose in praise of Darwin in the accompanying  essay marking the centenary of Darwin's birth. Here's an excerpt:
Like a meteor, fell "The Origin of Species into this placid pool of thought, on the banks of which Theology, Philosophy and the youngest of the pilgrims, Science, had halted in their march several years before, and where they still lingered dreaming dreams and telling each other tales of folklore. Instantly Science, his young blood and imagination electrified by the message, darted forward on winged feet, his eyes ablaze with the promise of measureless service to mankind. His elder companions paused awhile sniffing the air for brimstone and calling after him to stay his pace, but as in his wake followed first one and then another of their disciples the chill of loneliness fell upon them, and they too set out to overtake, if might be, the leader now far in the distance.

I wonder how much from the bicentenary will be worth looking at in a hundred years time?

Evolution By Langdon Smith (1858-1908)

When you were a tadpole and I was a fish
In the Paleozoic time,
And side by side on the ebbing tide
We sprawled through the ooze and slime,
Or skittered with many a caudal flip
Through the depths of the Cambrian fen,
My heart was rife with the joy of life,
For I loved you even then.

Mindless we lived and mindless we loved
And mindless at last we died;
And deep in the rift of the Caradoc drift
We slumbered side by side.
The world turned on in the lathe of time,
The hot lands heaved amain,
Till we caught our breath from the womb of death
And crept into life again.

We were amphibians, scaled and tailed,
And drab as a dead man's hand;
We coiled at ease 'neath the dripping trees
Or trailed through the mud and sand.
Croaking and blind, with our three-clawed feet
Writing a language dumb,
With never a spark in the empty dark
To hint at a life to come.

Yet happy we lived and happy we loved,
And happy we died once more;
Our forms were rolled in the clinging mold
Of a Neocomian shore.
The eons came and the eons fled
And the sleep that wrapped us fast
Was riven away in a newer day
And the night of death was passed.

Then light and swift through the jungle trees
We swung in our airy flights,
Or breathed in the balms of the fronded palms
In the hush of the moonless nights;
And oh! what beautiful years were there
When our hearts clung each to each;
When life was filled and our senses thrilled
In the first faint dawn of speech.

Thus life by life and love by love
We passed through the cycles strange,
And breath by breath and death by death
We followed the chain of change.
Till there came a time in the law of life
When over the nursing sod
The shadows broke and the soul awoke
In a strange, dim dream of God.

I was thewed like an Auroch bull
And tusked like the great cave bear;
And you, my sweet, from head to feet
Were gowned in your glorious hair.
Deep in the gloom of a fireless cave,
When the night fell o'er the plain
And the moon hung red o'er the river bed
We mumbled the bones of the slain.

I flaked a flint to a cutting edge
And shaped it with brutish craft;
I broke a shank from the woodland lank
And fitted it, head and haft;
Than I hid me close to the reedy tarn,
Where the mammoth came to drink;
Through the brawn and bone I drove the stone
And slew him upon the brink.

Loud I howled through the moonlit wastes,
Loud answered our kith and kin;
From west to east to the crimson feast
The clan came tramping in.
O'er joint and gristle and padded hoof
We fought and clawed and tore,
And cheek by jowl with many a growl
We talked the marvel o'er.

I carved that fight on a reindeer bone
With rude and hairy hand;
I pictured his fall on the cavern wall
That men might understand.
For we lived by blood and the right of might
Ere human laws were drawn,
And the age of sin did not begin
Til our brutal tusks were gone.

And that was a million years ago
In a time that no man knows;
Yet here tonight in the mellow light
We sit at Delmonico's.
Your eyes are deep as the Devon springs,
Your hair is dark as jet,
Your years are few, your life is new,
Your soul untried, and yet --

Our trail is on the Kimmeridge clay
And the scarp of the Purbeck flags;
We have left our bones in the Bagshot stones
And deep in the Coralline crags;
Our love is old, our lives are old,
And death shall come amain;
Should it come today, what man may say
We shall not live again?

God wrought our souls from the Tremadoc beds
And furnish’d them wings to fly;
He sowed our spawn in the world's dim dawn,
And I know that it shall not die,
Though cities have sprung above the graves
Where the crook-bone men made war
And the ox-wain creaks o'er the buried caves
Where the mummied mammoths are.

Then as we linger at luncheon here
O'er many a dainty dish,
Let us drink anew to the time when you
Were a tadpole and I was a fish.

Saturday, August 30, 2008

Evolutionary poetry, art, drama and music from the cutting room floor

Yesterday I received the proofs from the last chapter of narrative text from the Rough Guide to Evolution, on evolution's influence on Philosophy and the Arts. Because of a re-jig it won't actually be the last chapter in the book but third to last (the books ends with a consideration of creationism and religion). 

But I am pleased with the latest chapter, as is Joe Staines, the editor at Rough Guides who has been working on it, who commented yesterday 
"Think chapter works well as a mixture of the serious and the lighthearted (probably not often that Matthew Arnold and Suzy Quatro get mentioned in the same context)." 
Today have been rather bone-headedly forcing the Resources material that was initally appended to each chapter into a final coherent section. Nearly done! 

An inevitable consequence of trimming the Philosophy and the Arts chapter on grounds of space and coherence is that some of the material on evolutionary poetry and music that I compiled won't be appearing in print... 

So, let me share it with you here! 

I don’t have time to mark everything up with links to poems or MP3s, but you should be able to find most things via Google or iTunes. But remember these are just the offcuts—for the very best stuff, you will have to wait until you can get hold of the book in print!  

Poetry 
In recent times, many poets have woven evolutionary themes into their poems; examples include  
  • Neil Rollinson’s My Father Shaving Charles Darwin
  • Rita Dove’s The Fish in the Stone
  • Christopher Reid’s Amphibiology
  • John Updike’s The Naked Ape
  • Michael Donaghy’s Touch
  • Richard Wilbur’s Lamarck Elaborated 
  • Amy Clampitt’s The Sun Underfoot among the Shadows

In The Evolutionary Tales (1993) Ron Ecker echoes Chaucer’s Canterbury Tales, presenting commentaries on evolutionary themes in rhyming iambic pentameter. 

Several poems in The Human Genome: Poems on The Book of Life (http://www.thehumangenome.co.uk/), by Scottish poet Gillian Ferguson, deal with evolutionary themes—examples include All Life is One, Comparative Genomics, Shall I dare to believe the mouse is my brother

Drama
Recently, Robby Cleiren, Frank Vercruyssen and the Belgian theater company Tg STAN (www.stan.be) used  transcripts from the Scopes trial to recreate the court case on stage as The Monkey Trial, while Americans Frank Megna and Bob Ladendorf provide a fresh treatment of the Scopes trial, together with the Dover trial, in their one-act piece Darwin's Nightmare.

In his 2007 play, Trumpery, American writer Peter Parnell explores Darwin’ life before and after publication of The Origin, highlighting the trials of Darwin’s home life and Wallace’s contribution to the conception of evolution, with a climax focused on Darwin’s attitude to spiritualism. The title comes from a phrase in the letter Darwin wrote to Lyell asking what to do with Wallace’s letter: “This is a trumpery affair to trouble you with.” 

In Darwin's Wings, first broadcast on Australian radio in 2006, Danish-born playwright Mette Jakobsen places Darwin in a dialogue with the mythical character Orpheus, as he tries to come to terms with the loss of his daughter. 

Floyd Sandford wrote, and acts in Darwin Remembers, a one-actor living-history piece, first performed in Iowa in 2000. 

British dramatist Craig Baxter worked with the Darwin Correspondence Project to create a theatrical piece Re:Design (http://www.darwinproject.ac.uk/content/view/99/83/) from a nearly 40-year series of letters between Darwin and his American friend Asa Gray. Baxter’s piece re-creates on stage the two men’s intimate discussions of the impact of their scientific discoveries on their personal and religious beliefs. 

Many more pieces of Darwinian drama are likely to surface during the bicentenary year—watch out in particular for Darwin’s Worms (http://darwinsworms.blogspot.com/), a piece focused on Darwin’s relationship with the smallest of creatures, currently under development in Manchester, England. 

Evolutionary Art and Music 
For the past two decades, evolution and aesthetics have collided in the production of art and music, exploiting computer programs and human choices to evolve pleasing auditory or visual artefacts. Drawing on evolutionary computing, these approaches rely on repeated rounds of reproduction, variation (recombination and/or mutation) and selection to improve on a starting population of images or sounds. The fitness function usually depends on the viewer or listener making an explicit choice as to which variants they prefer, although attempts have been made to use unconscious cues (e.g. time spent looking) or to take humans out of the loop entirely (The Black Shoals Stock Market Planetarium evolves images from financial data). 

John "Al" Biles is a pioneer of evolutionary music, entering the field in 1993 with his GenJam program, which evolves improvised jazz music. Biles plays alongside GenJam to human audiences as the Al Biles Virtual Quintet. In a recent evolutionary art study, American computer scientist David Oranchak extracted colours and textures from popular photos from the photo-sharing site Flickr and then used these to breed abstract images that would appeal to humans. Flickr is even home to its own Generative & Evolutionary Art group. 

In the Electric Sheep project (http://www.electricsheep.org/), fractal images, together with the software that drives their evolution, are distributed to networked computers, which display them as screensavers. Viewers vote for their favorite “sheep”, which live longer and breed more successfully, allow the global “flock” to evolve more pleasing animations for its worldwide audience. 

Readers can also try their hand at evolutionary art with Jerry Huxtable’s Genetic Art applet (http://www.jhlabs.com/java/art.html).  

Evolution-inspired music 

Prog-rock’s homage to evolutionary traditions continues with Evolution, a five-piece, female-fronted band from Devon; Staten Island-based band Simple Evolution and Darwin's Radio, based in southern England.   

Soul and pop: American soul band Earth Wind & Fire included the track Evolution Orange on their 1981 album Raise!, while British soul singer Des'Ree released her Darwin Star on the album Supernatural in 1998. 

More rcent examples of entertaining evolutionary pop music include the bouncy Ape Man from Liverpool-based “horror rock” band Zombina & The Skeletones and Evolution from West Coast Jewish hippy Hyim.   

Hip-Hop meets eugenics in Darwin’s Folly, a track by Los Angeles rapper Avatar, with a chorus line “some people shouldn’t procreate, if they have to put paper bags over their faces to fornicate.” By contrast, East-coast Hip-Hop troupe Raw Produce stress the minus side of social Darwinism in Negative Darwinism.   

Classical, Sound Tracks and Electronic: In 1989, American composer Wendy Chambers created a large-scale music event, Symphony of the Universe, which included a movement devoted to evolution. 

English composer Martin Simpkin explored evolutionary themes in his album Birth Part 1

In his 2006 album Piano, American rockster Dexter Romweber turned his hand to classical music with Evolutionary Etude (an allusion to Chopin’s Revolutionary Etude). That same year, legendary American composer Philip Glass provided the music for a multimedia exploration of evolution Life, a journey through time, created by Dutch photographer Frans Lanting (www.lifethroughtime.com). 

The classical-music soundtrack to the 2001 movie Evolution is worth a listen, as it the soundtrack to the cult TV show Heroes (particularly the show’s haunting melody Natural Selection).

Evolutionary themes also pervade electronic and dance music. In 1992, Scottish electronic music group The Shamen released Re: Evolution, in which they mix evolution with shamanism and Tipler’s Omega point. 

A few years later English techno band Opus III released the dance track Evolution Rush. 

A range of artists have released dance tracks entitled Evolution (e.g. Miro, Remote & Roger Eno, Beautiful World and Ram Trilogy) or Human Evolution (e.g. Blank & Jones or Cosmosis). 

If you want something a bit trippier try anything by Darwin Chamber (stage name of Mark Greenfield, who was such a fan of Charles he adopted his name) or the album The Genome Project by Swedish psychedelic trance band Chromosome.