Phases and Counterpoints

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Popular psychology often describes human life in terms of stages: the five stages of grief, the four stages of culture shock, and so on. Such formulations are simplistic and untrue, except as general templates. Our lives cannot be chunked; we may go through phases, but they blend and combine and sometimes appear out of order.

Still there are reasons to mark points in time, to honor life events, whether of the past, present, or future, whether our own or someone else’s. The point is not to dictate joy and sorrow but rather to create a counterpoint. My own thoughts and feelings do not disappear during a ritual, but I hear them alongside something else; in this way they turn into something new. Ritualized mourning will not match my own mourning, nor ritualized celebration my own joy; so the ritual lifts me both out of and into myself.

Rabbi Abraham Joshua Heschel wrote that one can think of Jewish ritual as “the art of significant forms in time, as architecture of time.” He notes that the first time that the word qadosh, “holy,” is used in the Bible, it is applied to the seventh day–that is, to time. Shabbat is art and architecture of time in that we ourselves shape it. It is artifice in the best sense of the word; it comes out of intention and imagination.

Jews vary widely in our observance of Shabbat. Many do not observe it at all, many observe it strictly, and many do something in between (or change over time). Differences aside, even an awareness of this day can affect how we go about our lives. It contrasts with our everyday timing, urges, and impulses. Moreover, it is we who have to build it; it has been observed and described for centuries, but we contribute to its structure, not just once, but again and again. We lay down a block or beam; we set a window.

Something similar can be said for other holidays (inside and outside of Judaism). They are ways of honoring and structuring time: not our personal time, but the time of a larger entity.

This Friday and Saturday, as Szim Salom, we celebrated Shabbat Shira, the special Shabbat that includes the Shirat Hayam (the Song of the Sea) in the Torah reading. Shabbat Shira takes place once a year. Traditions vary from place to place, but it is common for the entire congregation to rise for the Song of the Sea and to sing certain verses responsively.

In the cantillation course I took at JTS last year–taught by the wonderful Cantor Perry Fine–we devoted much time to the Song of the Sea because of its importance and complexity. The leader must know how to alternate between regular Torah trope and the responsive melody; moreover, he or she must be steeped in the text, capable of giving it cadence and tone.

800px-Song_of_the_seaFor this responsive reading at Szim Salom yesterday, we made many preparations; on Friday night, after service, we went over the melody and verses; the rabbi spoke about the significance of the responsive verses and their difference from the rest of the text. On Saturday morning, we invited everyone to come up to the scroll to see the Shirat Hayam, which has a different layout from the rest of the text. Before beginning the Torah reading, we reviewed the melody and verses again. From there, things swelled; the reading was truly responsive and joyous. It is not for description here; it happened there and is now wrapped up in memory.

Shirat Hayam (in Chapter 15 of Exodus) tells how Moses, Miriam, and the Israelites passed through the Red Sea, which parted left and right for them, and how Pharaoh’s horses, riders, chariots, and captains perished in the waves. While most of the text relates a succession of events, the responsive verses have a sound of eternity. They are part of Jewish (and sometimes Christian) regular liturgy, hymns, and piyutim; people readily recognize verse 15:11, “Who is like unto Thee, O LORD, among the mighty? who is like unto Thee, glorious in holiness, fearful in praises, doing wonders?” and 15:18, “The Lord shall reign for ever and ever.”

In this way, right there in the Shirat Hayam, you feel the counterpoint of timelessness and time: a song rising up out of a tale, or a ritual out of history.

As I thought about this, before and afterward, I remembered Yeats’s poem “Sailing to Byzantium” (“That is no country for old men. The young…”) I started thinking about some lines that I had not given as much attention before. When I think of the poem, I usually remember the second stanza first of all:

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.

All of this I thought I understood. But just a little later, at the end of the third stanza, a phrase takes me by surprise: “the artifice of eternity.”

Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

This is supposed to be strange, I think; it goes against notions that eternity just happens. Eternity is created, magnificently created; it opposes nature, which “is begotten, born, and dies.” The speaker yearns to become artistic form and creation; the fourth stanza begins,

Once out of nature I shall never take
My bodily form from any natural thing,

“Once out of nature”–this phrase is peculiar too. What does it mean? Perhaps “released from the phases of life,” released from the body and its decay. Once out of nature, I will take a new kind of form, the speaker suggests, and it will not be “from any natural thing.” But there are still more surprises to come:

But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.

There is a lot to say about the repetition of “gold” (“goldsmiths,” “hammered gold,” “gold enamelling” and “golden”) and the sardonic “keep a drowsy Emperor awake.” But it is the ending that catches my thoughts: “Or set upon a golden bough to sing / To lords and ladies of Byzantium / Of what is past, or passing, or to come.” How is it that the golden form, “out of nature,” sings of time and passing, “Of what is past, or passing, or to come”? It is the singing that sets it apart; to sing of time is to gather it up.

This singing is not only external; it involves studying “monuments of its [tjat is, the soul’s] own magnificence.” Here, to study is to sing; through study you rise up into form. This poem invites its own study; it seems easy to understand but keeps startling you (as though you were a drowsy emperor). It draws you into a continuous puzzle that, with each solution, brings new meanings to the whole. Its iambic pentameter (with aberrations) both lulls and wakes the ear; the stresses and counter-stresses make the song.

That’s only the beginning, though; if you read the poem along with its companion, “Byzantium,” you understand it in still more lights and tones.

So it is with the phases of life; they exist not on their own, or even in combination with each other, but in counterpoint with the things we read and sing, the time we honor, the words we slowly come to understand.

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Dave Pearson, Sailing to Byzantium (gouache and ink)

Dave Pearson’s Sailing to Byzantium is part of his Byzantium series.

The image of the Shirat Hayam in a Torah scroll is borrowed from Wikipedia. As for the photo at the top, I took it last week on my way to school. The gold behind the trees looks like a sea or a lake, but it isn’t. That morning, there was a straight cloud line that hung low over the horizon; where the cloud line ended, the sun’s rays spread. A few minutes later, this sea of gold vanished, as the sun rose up past the line, into the clouds.

There was a problem with the formatting of this post; it is now fixed.

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