In the throes of insomnia, an exceptionally long time ago, I found myself roused at the early hour of three in the morning. Seized by a fervent and despairing impulse, I wrote with unrelenting urgency about the anguish of unrequited love and being single. The despair, as is its wont, eventually dissipated, leaving in its wake a legacy of lines imbued with melancholy. These lines, born of nocturnal desolation, now seem well-suited to be transformed into music, evoking the same poignant emotions that inspired their creation. The original lines read as follows after I cleaned it up slightly:
“If, as the saints of Assisi, Francis and his companion Giles aver, It is better to love than to be loved, Then I am a most fortunate man indeed. If this be a jest, verily, I am well mocked. My heart, encumbered with unanswered love, Holds those affections deep within, Some as faintly glowing embers, Others as white-hot coals.
Contrary to the lyrics of poetry, The artifice of novels, and the drama of screen, There is no soaring inspiration or felicity In unrequited love, Only a sore appreciation For knowing that I possess humanity, The capacity to give of myself Without the expectation of reciprocation.
In truth, perpetual aloneness, To be unloved, Is a tragedy from an individual perspective, Yet a trivial banality from a societal view, As uncountable multitudes have lived and died alone, Without affectionate human touch, Long before me, And will long after me.”
“A Tale Oft Told” – Lyric by Donald S. Yarab
Lyrics to “A Tale Oft Told” by Donald S. Yarab
If, as the saints of Assisi proclaim, Francis and Giles with hearts both the same, It’s better far to love than to be loved, Then I am blessed, by heaven's grace, beloved.
If this be jest, then jest, indeed, is true, My heart has felt no lover’s steadfast view. Unanswered love has planted seeds of fire, Some as faint embers, some as hot desire.
Not like the verse in poet’s crafted lore, Nor novels, screens, with tales that promise more, In unrequited love, the truth is clear, A sore yet noble proof that I am here.
Though solitude may mark a tragic plight, To one, it’s pain, to many, common sight: A tale oft told, in ancient times and now, For countless souls alone did live somehow.
If love's a gift that’s given without claim, Then I am rich in heart, though poor in name. For in the silence of unspoken dreams, My soul finds strength in love's relentless beams.
The night, it whispers secrets to the stars, Of solitary hearts and hidden scars. Though love unreturned brings shadows near, It carves within a path to persevere.
In dreams, I wander through the fields of time, Where love’s soft echoes linger, so sublime. Each heartbeat sings a song of love unshown, Yet in the pain, a deeper truth is known.
For every tear that falls from longing's eye, A testament to love that cannot die. Though unrequited, love remains so pure, A testament to what the heart endures.
And so, I cherish every silent cry, Each whispered wish beneath the moonlit sky. For in this love, though met with quiet ache, I find a strength that time cannot unmake.
Recently, I have been revisiting Dante’s Divine Comedy, focusing specifically on Paradiso. This journey through Dante’s celestial spheres has inevitably planted within me thematic thoughts of hope, inspiring me to put pen to paper and author a new poem. This sudden burst of creativity, whether of any merit or not, has taken me by surprise. Nonetheless, I have relished the productivity, regardless of its outcome.
For several days, I awoke each morning with my mind fixated on the theme of hope, having pondered over the topic in my sleep with deliberate contemplation. Earlier this week, I awoke with a fully outlined sketch of a poem, realizing that hope, as a concept, evolves dramatically through the stages of life.
In childhood, hope is almost an unknown entity, as we scarcely need it, trusting that nearly every need and desire will be met. This is largely because our understanding of the world and its possibilities is limited. As we grow older, hope becomes more pronounced, with the belief that if we hope earnestly enough, we can obtain almost anything. In young adulthood, this transforms into the conviction that hard work will inevitably lead to the fulfillment of our hopes.
However, as we enter middle age, our perception of hope shifts once again. We begin to see it as a plea, tempered by the realities of justice and merit. By old age, if not earlier, we recognize that despite our hopes and best efforts, many who work hard are denied the fruits of their labor, and many who deserve much are denied their due. By the time silver graces our brow, a bemused smile often accompanies our thoughts of hope, seasoned by the wisdom of experience. We come to understand that hope should not be centered on what we aspire for, but rather on what we can give to others—justice, fulfilled dreams, love, acceptance, and comfort. These are the gifts that we once hoped for ourselves and now, perhaps, are in a position to bestow upon others. If we had any intelligence and kindness, we were doing so all along.
Reflecting on my college years, I recall considering myself an optimistic pessimist. Schopenhauer’s works on pessimism were light reading in those days. Despite this, I was not afraid to embrace hope, recognizing its necessity throughout life. This philosophical introspection led me to author a poem, which I have set to music courtesy of Udio.com. I am pleased with the results and plan to eventually set it to a worthy video. For now, it is available as an audio track with the lyrics provided below.
LYRICS TO “HOPE’S JOURNEY: A TAPESTRY OF LIFE”
Stage I: Childhood
In the garden of my youth, every dream was mine, Hope was just a whisper, a secret so divine. No need to chase the stars, they’d fall into my hand, In a world of endless wonders, a magic wonderland.
Chorus:
Hope, it morphs and changes, like the tides of life’s great sea, From dreams of youth to wisdom’s truth, in each phase we’ll see. In the tapestry of time, it weaves a story bold and true, Hope’s enduring presence, guiding us through all we do.
Stage II: Young Adulthood
As a young and daring heart, hope became my creed, Believing in the odds, I’d conquer every need. With faith and fierce conviction, the future seemed so bright, The power of my spirit, would always lead to light.
Chorus:
Hope, it morphs and changes, like the tides of life’s great sea, From dreams of youth to wisdom’s truth, in each phase we’ll see. In the tapestry of time, it weaves a story bold and true, Hope’s enduring presence, guiding us through all we do.
Stage III: Adulthood
In the prime of my endeavor, hope was like a flame, If I worked with all my might, I’d win the endless game. Justice and ambition, tempered with the real,* A dance of dreams and struggles, the balance I could feel.
Chorus:
Hope, it morphs and changes, like the tides of life’s great sea, From dreams of youth to wisdom’s truth, in each phase we’ll see. In the tapestry of time, it weaves a story bold and true, Hope’s enduring presence, guiding us through all we do.
Stage IV: Middle Age
In the heart of middle age, hope became a plea, An appeal to justice, to merit and integrity. Tempered by the trials, and the lessons learned in time, Hope was now a beacon, in a world less sublime.
Chorus:
Hope, it morphs and changes, like the tides of life’s great sea, From dreams of youth to wisdom’s truth, in each phase we’ll see. In the tapestry of time, it weaves a story bold and true, Hope’s enduring presence, guiding us through all we do.
Stage V: Old Age
In the twilight of my days, hope seems like a dream, A foolish, fleeting fancy, yet it makes me beam. A smile in reflection, of a life so richly lived, Hope was a companion, in the gifts that life could give.
Chorus:
Hope, it morphs and changes, like the tides of life’s great sea, From dreams of youth to wisdom’s truth, in each phase we’ll see. In the tapestry of time, it weaves a story bold and true, Hope’s enduring presence, guiding us through all we do.
Journey’s End:
So here I stand, at journey’s end, with hope a fading light, A smile upon my weathered face, as day turns into night. For hope has been my constant friend, through every twist and bend, A timeless song within my heart, until the very end.
* I have revised this line in Stage III for future “publications” to read: “Ambition was my compass, guiding through the real,” as it was too redundant of the thoughts and words in Stage IV.
Art Credits for the YouTube Video:
Stage I: Childhood
The Voyage of Life: Childhood (oil on canvas, 1842) by Thomas Cole (1801-1848). National Gallery of Art, Washington, D.C.
Stage II: Young Adulthood
Liberty Leading the People (oil on canvas, 1830) by Eugène Delacroix (1798-1863). Louvre Museum, Paris.
Stage III: Adulthood
The Fog Warning (oil on canvas, 1885) by Winslow Homer (1836–1910). Museum of Fine Arts, Boston.
Stage IV: Middle Age
Nighthawks (oil on canvas, 1942) by Edward Hopper (1882-1967). Art Institute of Chicago.
Stage V: Old Age
The Starry Night (oil on canvas, 1889) by Vincent van Gogh(1853-1890). Museum of Modern Art, New York.
Journey’s End
The Monk by the Sea (oil on canvas, 1808–10) by Caspar David Friedrich(1774-1840). Alte Nationalgalerie, Berlin.
Always being suspicious of pithy quotes attributed to famous dead people when the quotes do not cite a source, I had occasion to go down a rabbit hole this afternoon. I was underground for several hours.
Yesterday, I received two issues of The New York Review of Books in the post. The first issue I reviewed was delightful and quickly devoured. It also had a pithy quote at the end of the review entitled Piety & Power (written by David A. Bell). The book under review was about the life of the niece of Cardinal Richelieu, while the quote at issue was attributed to Spinoza. The quote was recorded at the very end of the review as: “Smile not, lament not, nor condemn, but understand.“
Finding the quote intriguing, I marked it for research, which I conducted today. I found multiple variations on the quote but no citation as to its source online. Thus, I became more creative in my online research, and searched for fragments of the quote, and found a variation of the quote which departed more significantly from the usual versions, which had a citation to Spinoza’s Tractatus Politicus, an unfinished work exploring forms of government. He was writing the work in the year of his death. With that citation I was able to locate a copy of the manuscript, in Latin, and translate the entire text, which allowed me to see a most wonderful, robust quote in context, which is most certainly applicable to the dispassionate study of politics (the subject of the manuscript) as well as history.
I was also able to later find, on the Hathitrust.org website, an English translation from the 19th century, with which I will later compare the entirety of my translation. But overall, the comparisons I have made thus far show that my translation is able and where clunky, the older translation is also clunky — thus, the original Latin was clunky in places.
In any event, here is the original source for the quote above – which shows how transmuted the original words have become in the interest of pithy.
“Therefore, when I applied my mind to politics, I intended to demonstrate or deduce only those things which best agree with practice, are certain and indubitable, and to inquire into matters pertaining to this science with the same freedom of mind as we are accustomed to investigate mathematical subjects, but I diligently endeavored not to ridicule, mourn, nor detest human actions, but rather sought to understand them; and so I contemplated human emotions such as love, hatred, anger, envy, glory, mercy, and other movements of the mind, not as vices of human nature, but as properties which belong to it in such a way that they pertain to its nature as the movements of the air pertain to it, such as heat, cold, storms, thunder, and other such things which, although inconvenient, are necessary and have certain causes by which we try to understand their nature, and the mind rejoices equally in the true contemplation of knowing these things which are pleasing to the senses.” [Chapter I, IV]