Morning Light XXV

Image: Subject and photographer unknown.

Danger from Above

The larger wild birds of prey everywhere take their toll of hares. In Britain, Brown hares are at risk from the likes of hen harriers, buzzards, and goshawks, while Mountain hares also have golden eagles to contend with. In other countries there are many species of birds of prey, including large owls such as the Great Grey and the Snowy owl in northern regions, and the eagles and buzzards of Africa, India, and the Americas.

– Jill Mason
The Hare
p. 90

Ganymede and Zeus

Following is the first of three excepts from Vittorio Lingiardi’s book Men in Love: Male Homosexualities from Ganymede to Batman.

__________________________________

Zeus took only one male lover: Ganymede. As soon as Zeus saw him, the god of thunder fell in love, and assuming the shape of an eagle, he flew down from heaven to Mount Ida and took the boy, the beautiful son of King Tros, to Olympus, where he was welcomed among the gods. There he was granted the position of cupbearer, replacing Hebe and making Hera jealous.



Then, Zeus wished to give his beloved an ever greater gift – to spare him the sadness of growing old and dying – so he turned Ganymede into the constellation Aquarius, suspending him forever among the stars. Ganymede, in whose name shines joy (ganusthai) and intelligence (medea), became in this way the heavenly symbol of homosexual eros, and his image has come to be painted by artists and sung by pets since ancient times. . . .

According to Theognis of Megara, the myth of Ganymede acquainted men with the joys of loving a young man. Pinder, in the first Olympic Ode, compares the love of Zeus for Ganymede to another divine homosexual love, that of Poseidon for Pelops, son of Tantalas who was loved and abducted by the god who then became his master and erastes. Both these myths illustrate the initiatory model found in ancient warrior societies, where the abduction of an initiate symbolizes his death, to be followed by a period of time in the andreion (house of men) for homosexual instruction, after which the young man emerges from the andreion, symbolically resurrected. A similar fate awaited Pelop’s son, Chrysippus, who was abducted by the legendary king of Thebes, Laius, Jocasta’s husband and Oedipus’s father, considered the founder of the Theban homosexual warrior tradition.

As celebrated by Callimachus, Alceus, & Melagrus, Zeus’s love for Ganymede was the ancient myth told to account for the origin of homosexuality, and, as such, since that time, has been alternatively honored and reviled. Giambattista Vico did the latter, characterizing Zeus as burning “with iniquitous love for Ganymede,” as did Friedrich Engels who described the ancient Greeks as a people who “sank into the perversion of boy-love, degrading themselves and their gods by the myth of Ganymede.


However, poets have kept alive the shining memory of Ganymede throughout the ages. Hölderlin depicted the sleeping “son of the mountain” in a natural setting, and Verlaine saw him in a country boy who kept the poet company and distracted him from his boredom. Saba sang of the dream of a teenage shepherd, camouflaging the wisdom of his infantile stupor in an aulic literary style. . . .

Zeus and Ganymede as a couple are an image of the coniunctio oppositorum, opposite psychic polarities brought together into a state of balanced tension. In this couple, e became acquainted with the erotic, though not necessarily sexual, valence of the puer-et-senex constellation that so frequently runs through relationships, such as Heracles who is taken to heaven and promoted to the stats of a god following his death or Hyacinth, the extremely handsome mortal youth whom Apollo, protector of boys, fell in love with and made divine, a story likewise used to explain the origins of love between men. Mythic parallels appear in other cultural contexts, among the ancient Germanic people, as well as the people of Melanesia, New Guinea, and medieval Japan. These common motifs of heavenly abduction, mystical flight, and eagles as spirit-animals regularly appear in the dreams, stories, and the legends of shamanic initiation throughout the world.


Image 1: Rick Herold.
Images 2: Collections of the Capitoline Museum; seized by the French, 1798.
Image 3: Anthony Gayton.
Image 4: Dnik.
Image 5: Durand.
Image 6: Bertel Thorvaldsen.
Image 7: Collections of the Capitoline Museum; seized by the French, 1798.
Image 8: Pierre et Gilles.

Autumnal Equinox

September: Time of the darkening equinox, the balance between sun and shadow. Full of the magic of change – not always a comfortable magic. Its twilight empties the heart of its mortal dream. Yet, September is not a bleak month, but a time of transformation. There is no dream as fair as the host rushing “twixt night and day,” a symbol of the continuance of life in the Otherworld. This is the Celtic spiral of life – death and rebirth. This balance . . . it is the mystery of the time of the Autumnal Equinox.

- Cliff Séruntine

Image: “Wolds Hare” by Carry Akroyd.

Glooskap

The ancient myths in which animals were gods were gradually transformed until nothing was left but an anecdote or superstition which had lost much of its meaning, and the stages of this transformation seem to coincide with the development of society. Nomadic peoples, hunting or herding in small groups, have preserved the most ancient forms of mysticism. As people settled down to farming and the group became larger, its life more complex, stories became complex too and began to lose their religious meaning.

This progression can be seen most clearly in the history of the myth of The Great Hare: god to hero or terrestrial giant, hero to unusual specimen of animal or man, unusual specimen to clever fellow who plays tricks on other animals or men.

The Hare that kept men and women in a bag until he had made the world fit for them to live in, remained their benefactor. [Wrote H. R. Schoolcraft in History of the Indian Tribes (1853)] “He taught men how to make aqakwuts (axes), lances and arrow-points, and all implements of bone and stone, and also how to make snares, and traps, and nets, to take animals, and birds, and fishes. . . . He killed the ancient monsters whose bones we now see under the earth.”

. . . Among the North Eastern Algonquins the name for the Great Hare was Glooskap.

– George Ewart Evans and David Thomson
The Leaping Hare
pp. 178-179

Opening image: “The Great Hare” by Nicola Slattery.

Tan Lines XIV

Image: Subject and photographer unknow

Disputed

The subject of hares is a much disputed one. . . . Some early naturalists termed the hare family Dasypoda which in Greek signifies that they are hairy-footed. Until 1912 rabbits and hares were classified as rodents but subsequent study proved them to be of a different order called Lagomorphs. This not only includes hares and rabbits but also pikas. Hares and rabbits belong to the family of Leporidae and pikas to Ochotonidae. Opinion is greatly divided as to how many actual species of Lagomorphs there are. Figures vary from 14 to 25 species of pika and 40 to 53 rabbits and hares.

No doubt this discrepancy can be partially explained by the number of sub-species and whether they are counted separately; and by the fact that there seems to be an overlap in differentiating hares and rabbits. It poses the question: when is a hare not a hare? – and it seems that even the experts are uncertain on that one.

- Jill Mason
The Hare
pp. 11-12

Images: Ena Lund.

Morning Light XXIV

Subject: Unknown.
Photographer: Fred Goudon.

The Hare and Fire

The following is excerpted from The Leaping Hare by George Ewart Evans and David Thomson.

_____________________________________

Tradition in many parts of the world carries [the] linking of the hare with fire and burning. The sacrificial element is present in most of these universal traditions. . . . The hare, in other words, is like the phoenix, a symbol of regeneration or rejuvenation. . . .

[Today there] is only a faint echo of the deep-toned myth linking the hare with sacrifice. But this is the usual fate of even the central myths and beliefs of former religions: they are demoted to the rural underground or linger on in thin disguise in the harmless games of children. But why should the hare and not some other animal have been chosen for this particular role?

We tried to find whether the hare is in any way linked with fire in its natural state. This is what we found. . . . The hare will stay in a heath-fire till the last. [A Suffolk gamekeeper reports that] “they don’t go out to run with the smoke. They turn round and try to get through the fire. . . . They seem to think that if they get back clear on to the fire, in a way, they’ll get out of the scent of it. They jump into the fire.”

The "Sheer Magnificence" of Ricky Berens' "Pretty Good Show"

During the World Swimming Championships last month in Rome, US swimmer and Beijing relay gold medalist Ricky Berens (pictured at left) tore the back of his swimsuit in a qualifying heat of the 4x100m relay freestyle.

As Berens bent over on the pool deck for a drink of water moments before the race, his suit — a Jaked01 — split significantly in the back, exposing his rear end. With no time to change the suit, U.S. anchor leg Cullen Jones urged Berens to forget the gaping hole and swim. Berens dived in and contested his third leg as scheduled, helping the U.S. team to a fourth-place finish in its heat in 3 minutes, 11.64 seconds.



Afterwards, Berens commented: “I kind of freaked out for just a second," Berens said. "I felt like [the hole] was almost down to my knees. I felt like I was putting on a pretty good show.”

Many others agreed, especially after images of Beren’s beautifully shaped rear end were beamed around the globe and across the Internet.

Recently in the Washington Post, Robin Givhan offered some wonderfully insightful thoughts not only on Berens’ transfixing “wardrobe malfunction,” but on the aesthetics of the swimmer and of swimming – “the sport that honors the human body in full – not just one part of it – and what it can do all the way into old age without fancy gadgets or elaborate costuming.”

Following is Givhan’s commentary in its entirety. Enjoy!

___________________________________________

The Human Form: Too Much to Bare?
By Robin Givhan

Washington Post
August 2, 2009

During the world championships in Rome last Sunday [July 26, 2009], American swimmer Ricky Berens bent over to stretch before diving into the pool and ripped his swim unitard. Berens was a bit abashed by what happened, but because he is a dedicated athlete and a loyal team member, he swam anyway, helping his relay brethren make the finals and ultimately take first place.

The resulting photographs of Berens’ dive into the pool are quite eye-catching. One shows him, with his beautifully muscled shoulders – light glinting off his sturdy tush – poised to break through the water like an elegant and potent torpedo. The rip in his skintight black suit runs from the middle of his back all the way down to the bottom of his bottom. The tear exposes a significant portion of Berens’ backside anatomy. Suffice it to say that the rear end of a championship swimmer is a magnificent example of how glorious the human body can be. In an era when so many of this country’s backsides have gone wide, flat and flabby from too much couch-sitting and cupcake-eating, the Berens buttocks were a visual rebuke of Americans’ deep-fried bad habits.

There was nothing naughty or unseemly about that flash of rear, which can be seen on blogs far and wide. But still, this newspaper could not show it to you. No, The Washington Post could not be responsible for what might happen if you saw the sheer magnificence of an Olympic-class derriere. The glory of it might overwhelm you. You might go blind.

Calling it “sexual” doesn’t even begin to capture what’s so transfixing. Looking at images of Berens’ splendid start of the 4x100-meter freestyle relay was a bit like watching a live-action version of Michelangelo’s David dive into a pool. Just extraordinary. Honest. We solemnly swear.

When Berens bared his rear, he was wearing one of the bodysuits that swimming’s governing body, FINA, has just banned following the world championships. The suits, when they are not malfunctioning, essentially cover the athletes from neck to ankles, help them move even more hydrodynamically through the water and provide extra buoyancy. From a competitive standpoint this raises all sorts of issues about fairness and precisely what it means when an athlete declares a race his personal best. Those are questions for the sports pages.

But from an aesthetic perspective, we applaud the unitard’s demise. They had the effect of making the swimmers look like cartoonish superheroes, genetically modified inhabitants of Gattaca or technologically enhanced cyborgs. The beauty of swimming, however, is that it’s the rare sport that celebrates the body as both classically beautiful – muscular, balanced, elegant – and powerful.

For all that the unitards did for the athlete’s performance, they covered the swimmers up and made them look less like the incredible human beings that they are and more like machines assembled from the best that technology has to offer. Unlike so many other sports – aside from, say, track – swimming speaks to the capacity of the human body for pure physical excellence. Pads, gloves and helmets aren’t necessary because the sport isn’t about how much assault the body can endure – not in the manner of a football player or a boxer. Physical suffering, as dealt by a competitor, isn’t a subtext to the sport. And there aren’t all sorts of required accouterments, so that in some ways the success of the athlete is really based on his ability to finesse a racket, a ball, a bike or a bat.

There’s a purity to swimming that reveals itself even in neighborhood pools where amateurs can be accomplished enough to glide through the water, barely creating a ripple. Such a beautiful sight. There is an elegance and a simplicity to the sport that honors the human body in full – not just one part of it – and what it can do all the way into old age without fancy gadgets or elaborate costuming.

The rise of the unitards changed that. The swimmers were still stunning and their skill had only improved, but there was this golly-gee-whiz technology. This new tool made the swimmers faster, but it distracted the casual observer from what made swimming a sport like no other. The body was too covered up and that was too bad.

Understand that this is not about a desire to ogle men – or women – with V-shaped torsos and abdominal muscles of steel and strong legs. A lot of the most accomplished swimmers with the most outstanding physiques aren’t especially sexy. That’s a quality that requires much more than an admirable physique. It depends on personality and confidence and an indefinable something. More than any other athlete, though, swimmers have the kind of body that most folks covet. They are classical Greek and Roman sculpture made real. Vitruvian Man doing the breast stroke. They are inspiration.

Swimmers have the kinds of physiques that at once seem impossibly perfect and yet vaguely attainable. They do not have the bodies of basketball players or gymnasts, that through quirks of genetics are especially tall or diminutive. They don't have the outsize physiques of football players and bodybuilders; they don't have to have a custom tailor on speed dial.

Instead, swimmers have the kind of build that average folks think just might be possible for them to hone if only they got that personal trainer, laid off the carbs and focused, focused, focused. A pipe dream, of course.

But those unitards, those superhero get-ups, distorted the relationship between the ideal and the dreamer. The suits made the swimmers seem like any other athlete: a product of relentless work, yes, but also of technology, secret potions and unfair advantage.

When Berens’ suit tore, it was a bit like the technology was ripped away and he had to rely on nothing but his body. And it was amazing to see what such an extraordinary human body could do.

Wet Hare

The following is excerpted from The Hare by Jill Mason.

_______________________________

There are many accounts of hares swimming voluntarily or when chased by dogs. Distances of up to a mile across water, the sea included, have been recorded.

On one occasion a man fishing from the beach in north Norfolk witnessed a hare, for no apparent reason, running over the shingle bank and out into the sea. It swam parallel with the beach for several yards before returning to the shore where it shook itself and disappeared back over the bank.

The most commonly-held theory for this behaviour is that the animal in question is attempting to rid itself of fleas and lice.


Image: Barbara Minas.

Melangell, Patron Saint of Hares

The following is excerpted from The Hare by Jill Mason.

________________________________

In Wales, May 27 is the feast day of Saint Melangell, a Celtic virgin who settled in the Tanat Valley in north Wales more than 1,400 years ago, after having come from Ireland. Her Latin name is Monacella.

There is a legend that in 604 AD an illustrious Welsh prince from Powys was hunting in a place called Pennant when his hounds startled a hare and gave chase. He followed them into a thicket of brambles and thorns where he found a beautiful maiden in divine contemplation and perceived that the hare had taken refuge beneath the hem of her garments.

The Prince urged his hounds on but they fled howling. He was moved by her serenity and impressed that she had provided refuge for the little wild hare that his hounds had been pursuing. He endowed her with land in the valley as a place of sanctuary for the service of God and to be a perpetual asylum and refuge.

Melangell spent the rest of her days in that lonely spot where she founded a religious community and wrought miracles for those with pure hearts who sought refuge there. She became the patron saint of hares and even today the local hunters of the Tanat Valley are said not to shoot them. Celtic Christians felt an affinity with the natural world.

Like that hare of long ago, pilgrims from all nations and denominations seek peace and tranquility even today with St. Melangell at the church dedicated to her and at the center named after her at Pennant Melangell in north Wales.


Image 1: Aiden Hart.
Image 2: Patricia Banker.