Posts Tagged ‘lions’
December 4, 2014 | by Dan Piepenbring
Rainer Maria Rilke was born on this day in 1875. The below is excerpted from “The Lion Cage,” one in a series of Rilke translations by Stephen Mitchell in our Summer 1989 issue.
She paces back and forth around him, the lion, who is sick. Being sick doesn’t concern him and doesn’t diminish him; it just hems him in. The way he lies, his soft bent paws intentionless, his proud face heaped with a worn-out mane, his eyes no longer loaded, how is erected upon himself as a monument to his own sadness, just as he once (always beyond himself) was the exaggeration of his strength.
[…] But he just lets things happen, because the end hasn’t yet come, and he no longer exerts any energy and no longer takes part. Only far off, as though held away from himself, he paints with the soft paintbrush of his tail, again and again, a small, semicircular gesture of indescribable disdain. And this takes place so significantly that the lioness stops and looks over: troubled, aroused, expectant.
But then she begins her pacing again, the desperate, ridiculous pacing of the sentinel, which falls back into the same tracks, again and again. She paces and paces, and sometimes her distracted mask appears, round and full, crossed out by the bars.
She moves the way clocks move. And on her face, as on a clock dial which someone shines a light onto at night, a strange, briefly shown hour stands: a terrifying hour, in which someone dies.
May 9, 2014 | by Dan Piepenbring
This week, Project Gutenberg made available Acrobats and Mountebanks, an 1890 book that explores the circuses, fairs, carnivals, and hippodromes of nineteenth-century France. Written by Hugues Le Roux and Jules Garnier, and translated from the French by A. P. Morton, the book features 233 illustrations of clowns, trainers, tamers, equestrians, equilibrists, acrobats, gymnasts, contortionists, fortune-tellers, dwarves, elephants, carousels, Ferris wheels, and all the trappings of classic mountebankery. It’s worth perusing for the drawings, a selection of which are presented above—but it’s also, after more than a century, still an astonishingly funny read, full of sharp observations and acerbic asides. Here, for instance, is a passage on dwarves:
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No one should wonder at the fact that many people are more interested in the abnormal than in the beautiful. But this trait being once recognised, the dwarf is more wonderful than the giant; man is such a complicated machine, that in watching these microscopic creatures who gesticulate and speak like ourselves, we feel something of the same astonishment that would strike us if we found the seconds marked by a miniature watch which we could only see through a magnifying glass. For this reason the dwarf show is one of the most popular booths in the fair.
Every one knows that there are two kinds of dwarfs—those who are naturally dwarfs, and those who, as children, were at first of average size and growth, but whose development was abruptly checked. In their case the limbs which no longer grew, were yet capable of enlargement. As a rule the head is enormous. Monsieur François, from the Cirque Franconi—the partner of Billy Hayden the clown, the tiny circus rider—is a typical specimen of this class of dwarfs, who are called noués to distinguish them from the perfect miniature of humanity. They are physically deformed, but in all other respects they resemble other men. François, for instance, is very intelligent. I shall always remember our first interview two years ago in Erminia Chelli’s box at the Cirque d’Eté.
“How old are you, Monsieur François?”
“I am older than you are, M. François; yet, as you know, I am not celebrated.”
M. François shook his head … “You see not every one can be a dwarf.”