As the Wind Blows

 

“The wind bloweth where it will, and thou hearest the voice thereof, but knowest not whence it cometh, and whither it goeth: so is every one that is born of the Spirit.”
— John 3:8, from the American Standard Version of the Bible.

The wind blows pollen from male trees in towns and cities across the country, and because there are far fewer female trees planted due to the perceived messiness of their fruits and seeds, much of the pollen lands instead in the breathing passages of people and animals, provoking allergic reactions. For trees, it’s an isolating and nearly sterile environment. Rain washes the pollen away from the streets and the houses and the cars eventually, but the people and animals have already inhaled more than some can tolerate.


A person can stand alone a very long time and be at peace, not feeling lonely, and until the wind whispers in their ear about the possibility of someone’s loving companionship they might stay alone, happily, for many years more. The wind has blown good news in that case, but it may as well have stayed calm and quiet. It is impossible to ignore the wind’s news, however, and in altered circumstances the person now realizes, oddly, how lonely life can be.

Boreas
Boreas, a 1903 painting by John William Waterhouse (1849-1917).


Love scene from Vertigo, a 1958 film directed by Alfred Hitchcock and starring Kim Novak and James Stewart. Bernard Herrmann wrote the haunting score.

Would it have been better not to listen? Better to shut the windows against the noise, the pollution, the pollen, and everything else carried by the wind? Everyone has to make up their own mind about it, and things change and therefore minds change as well. Even a person who rarely feels lonely can suddenly understand what it means when experiencing the loss of a loved one, or when falling in love with someone whose absences leave a void filled only with reveries of times spent together and dreams of future unions.



Dutch harpist Lavinia Meijer performs “Metamorphosis Two”, by American composer Philip Glass. Mr. Glass wrote the piece in 1988 and recorded it in 1989, and in 2002 he incorporated it into his score for the film The Hours.

Patience with those gaps means as much as patience with one another in the times spent together. Being patient demonstrates trust in the other person and acknowledges vulnerability to them. There’s no use in rushing; haste will only create a shaky foundation. You don’t know where love came from, and much as you would like an end to anxiety by knowing where it is going, you can’t. A person might say, imploringly, to the wind if not to one’s beloved, “I didn’t know I was lonely until I met you, and now that I have fallen in love and experienced loneliness when we are apart, I wish an end to loneliness. Please comfort me by returning my love!” But all you can wisely do is listen, and open yourself up, and give generously without demanding a return. “Love is a thing full of anxious fears.” — Ovid
— Ed.


Linda Ronstadt sings lead, with harmonies by Emmylou Harris and Dolly Parton, for their rendition of “Feels Like Home”, written by Randy Newman.

 

Respectfully Yours

 

“Where words fail, music speaks.” — Hans Christian Andersen

 

Divan-of-Hafiz-Binding-Gul-u-Bulbul
Binding of a Divan of Hafiz, from April 5, 1842 in Iran. Original lacquer “gul-u-bulbul” (flower-nightingale) motif with gold, red, and black decorative frame. The metaphorical relationship of the nightingale (active lover) and flower (passive beloved), frequently used in Persian poetry, especially by Hafiz, serves as an appropriate theme for the binding covering this manuscript.

The French musician and composer Camille Saint-SaĂ«ns wrote incidental music in 1901 for a play called Parysatis, based on a novel by the French archaeologist and explorer, Jane Dieulafoy. The play, about an ancient Persian queen and produced in 1902 for a summer festival in the southern French town of BĂ©ziers, has not stood the test of time as well as Saint-SaĂ«ns’s music.

 

“Le Rossignol et La Rose” is a musical piece for wordless voice in Act II. The title in English is “The Nightingale and The Rose”, and refers to Persian symbolism around love. There is a peculiar 1888 short story by Oscar Wilde titled “The Nightingale and The Rose” which is unrelated to music for the play Parysatis or to the play itself. Wilde wrote his story ostensibly for children, but its deeper themes are really beyond their understanding. Reading Wilde’s story is nonetheless instructive about love because of how he frames respect as an integral part of love.


Natalie Dessay sings “Le Rossignol et La Rose”, by Camille Saint-SaĂ«ns. Is the song sorrowful? Joyful? That probably depends on the mood of the listener. The pacing lends an air of melancholic contemplation. The song contains within it, in other words, the varied emotions of love itself. Incidentally, Ms. Dessay has sung the lead role in Igor Stravinsky’s 1914 opera Le Rossignol (The Nightingale), notably for a trippy French film adaptation in 2005 which aired on American public television. Stravinsky based his opera on an 1843 story by Hans Christian Andersen.

Without respect there is little in love beyond shallow self-interest and the words spoken sound out hollowly, like an echo. Giving respect to another is as essential as giving love, indeed is at the heart of love. Where there is little or no respect, there is little or no love, no matter the words uttered. Respect is demonstrated, is shown to another as well as to oneself. Understanding and remembering this is crucial if love is to deepen and widen beyond the initial merging of two souls, where the two converge to form a third part all its own, its own world composed of and known only to the two lovers, like two circles partially overlapping. With respect comes trust, and with trust comes the will to acknowledge fears and the courage to not run away. And then there is music, bringing love ’round full circle by singing directly to the heart and soothing fears.
— Vita   “Music fills the infinite between two souls.” — Rabindranath Tagore


“Southern Cross” a 1982 song by David Crosby, Stephen Stills, and Graham Nash.