Blog #14 - Variation on a Myth: Endymion - Vickie GG
When we watched Shadowlands, I was interested to learn that Joy was a poet, so I read some of her poems. I particularly liked "Endymion: I Had Prayed to the Distant Goddess," and so I wanted to read the original myth and consider what is unique or interesting about Davidman's take.
Before comparing the two versions, it is worth noting that Davidman's poem (standing on its own) is a great example of the German "sehnsucht," or longing, that we've discussed in class. The intensity of the speaker's (presumably Endymion's) longing is evidence in that he "prayed"..."all that while," that his desire for Selene is described as a "mad wish," and the descriptions "I had lain for many nights and sighed because she was no nearer" and "the year's dream has come true." But the line that best exemplifies the speaker's sehnsucht is "though I knew the moon was brighter for the distance." This line, which follows "I had lain for many nights and sighed because she was no nearer," somewhat tempers the celebration of finally (maybe - see below) acquiring the dreamed-for attention and love of the moon goddess, reminding readers that the "distant glory" (as Dr. Redick put it in one of his poems), the "divine and unobtainable," as Davidman's poem puts it, is esteemed by many to be even better than the attainment of the object of one's longing. (Not sure I actually agree with that idea, but let's just go with it for the moment...)
Now, to the differences between the "original" myth(s) and Davidman's poem. Using this source as a brief, cursory introduction to the myth(s), I noticed many interesting differences. The biggest change is the ambiguity in Davidman's poem: it is unclear both whether or not Selene has actually visited Endymion, as well as whether the point of this poem's action is when Endymion and Selene first meet / commune / get intimate OR whether this poem is at the point when Endymion is already in eternal (youthful) slumber, and this is just one of the many nights (forever) when Selene is visiting him. (I tend to think the former, since I assume he wouldn't really be conscious enough to think / write this poem if he were already in eternal slumber.)
Both of these aspects of uncertainty - but especially the fact that it is unclear if Selene has visited him at all or "actually" remains in the sky (or both) are further evidence of the sehnsucht discussed above. But this ambiguity also speaks to questions we've talked about in this course regarding the "reality" of myth. Is Davidman calling into question the veracity of the original myths? Doubtful. But she may be reinforcing the idea that a myth doesn't have to be historically true to contain meaningful truths or to move readers (like we discussed in regards to the myth-within-a-myth in Till We Have Faces). In other words, even if it is only in Endymion's head that "the cold white moon"..."surrounded me in silver dew, all of the brightness soft within my arms," his love is not the less for his inability to actually consummate it.
And yet, it is very interesting that Davidman turns this story into a (potentially) unrequited love rather than a reciprocal love (as in the original myths). Why? Are we back to sehnsucht again? Probably, since there's a stronger sense of that concept if there's unrequited and unfulfilled love than if there are two lovers who love equally and are able to actually be together.
As a feminist, it is also interesting to me to have a female poet speak in the voice of a male speaker about a female (goddess). And, even though the above reasons why we don't hear or (definitively) see Selene in this poem make sense, I am still a little bummed that this poem is so male-centric, since the trope of the (heterosexual) male gaze or the male longing is so overdone (and sexist). But then again, do we have to assume that he speaker is Endymion? Or, even if so, could Endymion be envisioned as a female persona by virtue of the author's sex (or regardless of the author's sex, since there's no gender-identifying aspects to the speaker within the poem's text)?
Before comparing the two versions, it is worth noting that Davidman's poem (standing on its own) is a great example of the German "sehnsucht," or longing, that we've discussed in class. The intensity of the speaker's (presumably Endymion's) longing is evidence in that he "prayed"..."all that while," that his desire for Selene is described as a "mad wish," and the descriptions "I had lain for many nights and sighed because she was no nearer" and "the year's dream has come true." But the line that best exemplifies the speaker's sehnsucht is "though I knew the moon was brighter for the distance." This line, which follows "I had lain for many nights and sighed because she was no nearer," somewhat tempers the celebration of finally (maybe - see below) acquiring the dreamed-for attention and love of the moon goddess, reminding readers that the "distant glory" (as Dr. Redick put it in one of his poems), the "divine and unobtainable," as Davidman's poem puts it, is esteemed by many to be even better than the attainment of the object of one's longing. (Not sure I actually agree with that idea, but let's just go with it for the moment...)
Now, to the differences between the "original" myth(s) and Davidman's poem. Using this source as a brief, cursory introduction to the myth(s), I noticed many interesting differences. The biggest change is the ambiguity in Davidman's poem: it is unclear both whether or not Selene has actually visited Endymion, as well as whether the point of this poem's action is when Endymion and Selene first meet / commune / get intimate OR whether this poem is at the point when Endymion is already in eternal (youthful) slumber, and this is just one of the many nights (forever) when Selene is visiting him. (I tend to think the former, since I assume he wouldn't really be conscious enough to think / write this poem if he were already in eternal slumber.)
Both of these aspects of uncertainty - but especially the fact that it is unclear if Selene has visited him at all or "actually" remains in the sky (or both) are further evidence of the sehnsucht discussed above. But this ambiguity also speaks to questions we've talked about in this course regarding the "reality" of myth. Is Davidman calling into question the veracity of the original myths? Doubtful. But she may be reinforcing the idea that a myth doesn't have to be historically true to contain meaningful truths or to move readers (like we discussed in regards to the myth-within-a-myth in Till We Have Faces). In other words, even if it is only in Endymion's head that "the cold white moon"..."surrounded me in silver dew, all of the brightness soft within my arms," his love is not the less for his inability to actually consummate it.
And yet, it is very interesting that Davidman turns this story into a (potentially) unrequited love rather than a reciprocal love (as in the original myths). Why? Are we back to sehnsucht again? Probably, since there's a stronger sense of that concept if there's unrequited and unfulfilled love than if there are two lovers who love equally and are able to actually be together.
As a feminist, it is also interesting to me to have a female poet speak in the voice of a male speaker about a female (goddess). And, even though the above reasons why we don't hear or (definitively) see Selene in this poem make sense, I am still a little bummed that this poem is so male-centric, since the trope of the (heterosexual) male gaze or the male longing is so overdone (and sexist). But then again, do we have to assume that he speaker is Endymion? Or, even if so, could Endymion be envisioned as a female persona by virtue of the author's sex (or regardless of the author's sex, since there's no gender-identifying aspects to the speaker within the poem's text)?
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