Of Hemingway and Hardy

When I first read Ernest Hemingway's A Farewell to Arms, the 'unforgettable story of an American ambulance driver on the Italian front and his passion for a beautiful English nurse', I had no idea it would come across as nearly a different novel when read from within its context.

Some things take on a certain appearance when you're outside looking in, but become transformed into a totally different experience when you're inside... looking both in and out.

Here are two excerpts I didn't take much notice of when I first read the book. It may be useful to remember that the story is narrated by Lieutenant Henry, the American ambulance driver.


(From Chapter XVIII:)

We had a lovely time that summer. When I could go out we rode in a carriage in the park. I remember the carriage, the horse going slowly, and up ahead the back of the driver with his varnished high hat, and Catherine Barkley sitting beside me. If we let our hands touch, just the side of my hand touching hers, we were excited...


(From Chapter XXIII:)

[Henry said,] "We always feel good when we're together."
"We always will be together."
"Yes, except that I'm going away at midnight."
"Don't think about it, darling."

We walked on up the street. The fog made the lights yellow.

"Aren't you tired?" Catherine asked.
"How about you?"
"I'm all right. It's fun to walk."
"But let's not do it too long."
"No."

We turned down a side street where there were no lights and walked in the street. I stopped and kissed Catherine. While I kissed her I felt her hand on my shoulder. She had pulled my cape around her so it covered both of us. We were standing in the street against a high wall.

* * * * *

Reading through Hardy yesterday, several poems left a strong impression on me. Here's one with which I resonated, despite its want of a better title.


Lines
To a Movement in Mozart's E-Flat Symphony

(From the collection Moments of Vision and Miscellaneous Verses)

By Thomas Hardy

Show me again the time
When in the Junetide's prime
We flew by meads and mountains northerly! --
Yea, to such freshness, fairness, fulness, fineness, freeness,
Love lures life on.

Show me again the day
When from the sandy bay
We looked together upon the pestered sea! --
Yea, to such surging, swaying, sighing, swelling, shrinking,
Love lures life on.

Show me again the hour
When by the pinnacled tower
We eyed each other and feared futurity! --
Yea, to such bodings, broodings, beatings, blanchings, blessings,
Love lures life on.

Show me again just this:
The moment of that kiss
Away from the prancing folk, by the strawberry-tree! --
Yea, to such rashness, ratheness, rareness, ripeness, richness,
Love lures life on.


Actually, come to think of it, the title isn't all that bad. There is something musical suggested by 'Lines to a Movement', and truly, the poem is musical in the typically songlike nature of Mozart's works.

I really must listen to this E-Flat Symphony. Problem is, Mozart has five E-Flat symphonies, nos. 1, 3, 19, 26 and 39!

* * * * *

Love lures life on, indeed.