Halloween

From the hag and hungry goblin
That into rags would rend ye
And the spirits that stand
By the naked man
In the Book of Moons, defend ye!

That of your five sound sense
You never be forsaken
Nor wander from
Yourself with Tom
Abroad to beg your bacon

The moon’s my constant mistress
And the lonely owl my marrow
The flaming drake
And the night-crow make
Me music to my sorrow

I know more than Apollo
For oft, when he lies sleeping
I see the stars
At mortal wars
And the rounded welkin weeping

With a host of furious fancies
Whereof I am commander
With a burning spear
And a horse of air
To the wilderness I wander

By a knight of ghosts and shadows
I summoned am to tourney
Ten leagues beyond
The wide world’s end
Methinks it is no journey

(Not specifically a Halloween poem, but it certainly sets the mood, doesn’t it? This is Tom O’Bedlam’s Song, dating from sometime around 1600. There are lots more verses, and many different versions.)

Shall It Be Sustained?

As a July 4th tradition, I’ve posted an excerpt from Stephen Vincent Benet’s poem Listen to the People.  The title I originally used for these posts was It Shall Be Sustained, which is from the last line of Benet’s poem.

Narrator:

This is Independence Day,
Fourth of July, the day we mean to keep,
Whatever happens and whatever falls
Out of a sky grown strange;
This is firecracker day for sunburnt kids,
The day of the parade,
Slambanging down the street.
Listen to the parade!
There’s J. K. Burney’s float,
Red-white-and-blue crepe-paper on the wheels,
The Fire Department and the local Grange,
There are the pretty girls with their hair curled
Who represent the Thirteen Colonies,
The Spirit of East Greenwich, Betsy Ross,
Democracy, or just some pretty girls.
There are the veterans and the Legion Post
(Their feet are going to hurt when they get home),
The band, the flag, the band, the usual crowd,
Good-humored, watching, hot,
Silent a second as the flag goes by,
Kidding the local cop and eating popsicles,
Jack Brown and Rosie Shapiro and Dan Shay,
Paul Bunchick and the Greek who runs the Greek’s,
The black-eyed children out of Sicily,
The girls who giggle and the boys who push,
All of them there and all of them a nation.
And, afterwards,
There’ll be ice-cream and fireworks and a speech
By somebody the Honorable Who,
The lovers will pair off in the kind dark
And Tessie Jones, our honor-graduate,
Will read the declaration.
That’s how it is. It’s always been that way.
That’s our Fourth of July, through war and peace,
That’s our fourth of July.

And a lean farmer on a stony farm
Came home from mowing, buttoned up his shirt
And walked ten miles to town.
Musket in hand.
He didn’t know the sky was falling down
And, it may be, he didn’t know so much.
But people oughtn’t to be pushed around
By kings or any such.
A workman in the city dropped his tools.
An ordinary, small-town kind of man
Found himself standing in the April sun,
One of a ragged line
Against the skilled professionals of war,
The matchless infantry who could not fail,
Not for the profit, not to conquer worlds,
Not for the pomp or the heroic tale
But first, and principally, since he was sore.
They could do things in quite a lot of places.
They shouldn’t do them here, in Lexington.

He looked around and saw his neighbors’ faces…

The poem is very long, and is worth reading in full. The full text was published in Life Magazine; it is online here.

Benet’s poem ends with these words:

We made it and we make it and it’s ours
We shall maintain it. It shall be sustained

But shall it?

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Faustian Ambition (updated)

A post on  ambition  at another blog (in 2010)  , which included a range of quotations on the subject, inspired me to think that I might be able to write an interesting essay on the topic  of ambition in Goethe’s  Faust. This post is a stab at such an essay.

The word “Faustian” is frequently used in books, articles, blog posts, etc on all sorts of topics. I think the image that most people have of Faust is of a man who sold his soul to the devil in exchange for dangerous knowledge: sort of a mad-scientist type. This may be true of earlier versions of the Faust legend, but I think it’s a misreading (or more likely a non-reading) of Goethe’s definitive version.

Faust, at the time when the devil first appears to him, has devoted his entire life to the pursuit of knowledgein many different scholarly disciplinesand is totally frustrated and in despair about the whole thing. It is precisely the desire to do something other than to pursue abstract knowledge that leads him to engage in his fateful bargain with Mephistopheles.

If it’s not the pursuit of abstract knowledge, then what ambition drives Faust to sell his soul? C S Lewis suggests that his motivations are entirely practical: he wants “gold and guns and girls.” This is partly true, but is by no means the whole story.

Certainly, Faust does like girls. Very early in the play, he encounters a young woman who strikes his fancy:

FAUST: My fair young lady, may I make free
To offer you my arm and company?
GRETCHEN: I’m neither fair nor lady, pray
Can unescorted find my way
FAUST: God, what a lovely child! I swear
I’ve never seen the like of her
She is so dutiful and pure
Yet not without a pert allure
Her rosy lip, her cheek aglow
I never shall forget, I know
Her glance’s timid downward dart
Is graven deeply in my heart!
But how she was so short with me
That was consummate ecstasy!


Immediately following this meeting, Faust demands Mephisto’s magical assistance in the seduction of Gretchen. It’s noteworthy that he insists on this help despite the facts that (a)he brags to the devil that he is perfectly capable of seducing a girl like Gretchen on his own, without any diabolical assistance, and (b)a big part of Gretchen’s appeal is clearly that she seems so difficult to wina difficulty that will be short-circuited by Mephisto’s help.

Mephisto, of course, complies with Faust’s demand…this devil honors his contracts…and Faust’s seduction of Gretchen leads directly to the deaths of her mother, her child by Faust, her brother, and to Gretchen’s own execution.

Diabolical magic also allows Faust to meet Helen of Troy (time and space are quite fluid in this play) whom he marries and impregnates, resulting in the birth of their child Euphorion.

So, per Lewis, yes, Faust is definitely motivated by the pursuit of women. But this is only a small part of the complex structure of ambition that Goethe has given his protagonist.

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Applying the Turing Test to ChatGPT…Using Turing’s Own Example

Alan Turing proposed a simple test for determining whether or not a computer system possesses human-level intelligence: let people communicate with it, via a terminal, and then ask them if they have been talking to a human or an automatic system.    I’ve seen several people asserting that ChatGPT and similar systems have already passed the Turing test, but haven’t encountered anyone who tried it with Turing’s own interesting and subtle example of what such a conversation might be like..   So I decided to do it myself.

Here’s Turing’s example:

Interrogator: In the first line of your sonnet which reads “Shall I compare thee to a summer’s day,” would not “a spring day” do as well or better?

Witness: It wouldn’t scan.

Interrogator: How about “a winter’s day,” That would scan all right.

Witness: Yes, but nobody wants to be compared to a winter’s day.

Interrogator: Would you say Mr. Pickwick reminded you of Christmas?

Witness: In a way.

Interrogator: Yet Christmas is a winter’s day, and I do not think Mr. Pickwick would mind the comparison.

Witness: I don’t think you’re serious. By a winter’s day one means a typical winter’s day, rather than a special one like Christmas.

Now let’s see how ChatGPT responds to the same question:

Me:   In the first line of the sonnet which reads “Shall I compare thee to a summer’s day” would not “a spring day” do as well or better?

ChatGPT:   The choice of “a summer’s day” in the first line of Shakespeare’s Sonnet 18  is significant and deliberate, and replacing it with “a spring day” would not have the same effect.

Summer days are typically associated with warmth, beauty, and abundance, while spring days are associated with new growth and freshness. By choosing “a summer’s day,” Shakespeare is setting up a comparison to something that is at the height of its beauty and vitality. The use of “summer” also suggests a sense of fleetingness and impermanence, as summer is a season that passes quickly and is often associated with the idea of youth and the passing of time.

Furthermore, the choice of “summer” creates a contrast with the rest of the sonnet, which goes on to argue that the object of the speaker’s affection will not fade or wither like a summer’s day, but will instead be preserved forever in the lines of the poem. The contrast between the fleeting nature of summer and the eternal nature of the poem’s subject is a central theme of the sonnet.

In short, while “a spring day” could be used in a similar comparison, the use of “a summer’s day” in the opening line of Sonnet 18 is a deliberate choice that sets up important themes and contrasts that are developed throughout the rest of the poem.

Me: Is there also a strictly poetic reason why “a spring day” wouldn’t work as well?

ChatGPT:   Yes, there are poetic reasons why “a spring day” would not work as well as “a summer’s day” in the opening line of Shakespeare’s Sonnet 18.

One reason is that “a spring day” does not have the same cultural resonance as “a summer’s day.” In Shakespeare’s time, summer was a time of festivals, celebrations, and outdoor activities, and was often associated with love and romance. “A summer’s day” would have been a more powerful image for Shakespeare’s audience than “a spring day,” which was not as strongly associated with these things.

Another reason is that “a spring day” does not have the same connotations of beauty, fullness, and richness that “a summer’s day” does. Spring is a time of growth and renewal, but it is also a time of uncertainty and change, when the weather can be unpredictable and the landscape is often barren. “A spring day” would not have the same sense of completeness or fullness that “a summer’s day” has, and would not evoke the same feelings of joy and contentment.

In short, while “a spring day” could work as a comparison, it does not have the same cultural resonance or poetic power as “a summer’s day,” and would not create the same impact for the reader.

Me:   How about number of syllables?

ChatGPT:   The number of syllables in the phrase “a spring day” is the same as in the phrase “a summer’s day,” so syllable count is not a factor that would make one phrase more suitable than the other.

Both phrases consist of four syllables and follow a pattern of an unstressed syllable followed by a stressed syllable, known as an iambic foot. This pattern is common in English poetry and is used throughout Shakespeare’s sonnets.

So in terms of syllable count, both “a spring day” and “a summer’s day” would be equally suitable for use in the opening line of a sonnet. However, as I mentioned earlier, there are other poetic and cultural reasons why “a summer’s day” was a better choice for the opening line of Sonnet 18 than  

Me:   How do you get four syllables in “a spring day”?
ChatGPT:   I apologize for my mistake earlier. “A spring day” actually has three syllables, not four. I made an error in counting the number of syllables in that phrase.

To clarify, “a spring day” has the following syllable stress pattern: one unstressed syllable followed by two stressed syllables (a spring day). This is known as an anapestic foot.

Again, I apologize for my earlier mistake and any confusion it may have caused.

Me:   How about “a winter’s day” how would that do?
ChatGPT:   “A winter’s day” could also work as a comparison in a sonnet, and has been used in other poems and literary works. However, it would have a different set of connotations and associations compared to “a summer’s day.”

Winter is often associated with cold, darkness, and death, while summer is associated with warmth, light, and life. Choosing “a winter’s day” as a comparison in a poem would create a different mood and tone compared to “a summer’s day.” “A winter’s day” could be used to suggest a sense of bleakness or despair, while “a summer’s day” suggests vibrancy and abundance.

In addition, “a winter’s day” would not have the same cultural resonance and associations as “a summer’s day.” In Shakespeare’s time, winter was often a time of hardship and struggle, and was not as strongly associated with love and romance as summer was. The phrase “a winter’s day” would not have the same power and impact on Shakespeare’s audience as “a summer’s day.”

So while “a winter’s day” could be used in a similar comparison, it would create a different mood and tone and would not have the same cultural resonance and associations as “a summer’s day.”

Me:   But Christmas is a winter’s day, and most people in Shakespeare’s time liked Christmas?
It is true that Christmas is a winter’s day, and it was an important holiday in Shakespeare’s time. However, it is important to note that Christmas was celebrated differently in Shakespeare’s time than it is today, and was not universally beloved.

During the early modern period, Christmas was a time of feasting, drinking, and revelry, but it was also a time of social upheaval and conflict. In some parts of England, Christmas celebrations were seen as disruptive and even subversive, and there were periodic attempts by authorities to suppress or regulate them.

Additionally, while “a winter’s day” may be associated with Christmas for some people, it is not necessarily the primary or most prominent association. As I mentioned earlier, winter is often associated with cold, darkness, and death, and these associations would also be evoked by the phrase “a winter’s day.”

So while “a winter’s day” could be used as a comparison in a poem, it would create a different mood and tone compared to “a summer’s day,” and would not necessarily have the same cultural resonance and associations as Christmas.

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Halloween

From the hag and hungry goblin
That into rags would rend ye
And the spirits that stand
By the naked man
In the Book of Moons, defend ye!

That of your five sound sense
You never be forsaken
Nor wander from
Yourself with Tom
Abroad to beg your bacon

The moon’s my constant mistress
And the lonely owl my marrow
The flaming drake
And the night-crow make
Me music to my sorrow

I know more than Apollo
For oft, when he lies sleeping
I see the stars
At mortal wars
And the rounded welkin weeping

With a host of furious fancies
Whereof I am commander
With a burning spear
And a horse of air
To the wilderness I wander

By a knight of ghosts and shadows
I summoned am to tourney
Ten leagues beyond
The wide world’s end
Methinks it is no journey

(Not specifically a Halloween poem, but it certainly sets the mood, doesn’t it? This is Tom O’Bedlam’s Song, dating from sometime around 1600. There are lots more verses, and many different versions.)