Wednesday, October 1, 2014

Page 383

Assigned reading (3+ pars [] plus 97 notes) [secondary] [McH] [*]

synopsis: 'the song of the sea-birds — mocking King Mark; the story of Mamalujo begins — watching the love scene of Tristan and Isolde'

this chapter is a jumble of bits from the lost first-draft: it starts with the birds' song, and ends with the waves' song, with Mamalujo dominating the rest, and T&I appearing only in glimpses.

the original setting was onboard a ship at midnight.

the waves are senile historians who've seen everything but remember it all wrong. they have a mild voyeuristic fascination with T&I's kiss, and perhaps some sympathy for cuckolded King Mark, but they've become androgynous/sexless/impotent.

the birds are Mark's enemies, an abrasive chorus... maybe the twelve-citizen jurors? (but this siglum wasn't hinted yet)

"quarks" started as "caws"
a lot of vowels get replaced with "u"s for some reason

FW2 moves 7 words to the start of the 1st par after the song: "That song sang seaswans. The winging ones, overhoved..."

"And there they were too" this had just meant the waves, but now it could mean T&I too

"The Wine-Cup Is Circling" [sheetmusic]
VI.B25.159h: "as slow their ship" Thomas Moore set his lyric to the tune of 'The Girl I Left Behind Me'

VI.B3.102f: "upon the water"
Genesis 1:2: 'And the Spirit of God moved upon the face of the waters'
VI.B3.144c: "the courtesy of God" (from Bedier)

W.W. Kelly [fweet-5]

many cites from EB11 on Finland

FDV: ""

2DV: ""

4dv: "As slow their ship, the sea being slight, upon the face of waters moved by courtesy of God... when it was dark... Over them the winged ones screamed shrill glee: seahawk, seagull, curlew and plover, kestrel and capercailzie. All the birds of the sea they trolled out rightbold when they smacked the big kuss of Trustan with Usolde." "And there they were too listening in as hard as they could"



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