A Christmas Savor

Holy Family by Rembrandt, 1640.  

Oil on wood. Musee du Louvre, Paris 

I wrote this poem after hearing a conversation in the grocery store about how many bottles of cloves a woman needed for her hot mulled wine. She thought 4 bottles would do. I thought to myself, "Good gracious, woman! How much mulled wine will you be serving at this party?"

Iconic Realism: God's Son, King of the Universe, born in a humble stable, nurses on His holy Mother, Mary as any baby does with his mother. Cultural dilemma highlighted: Through humility, we learn the power of God.  

Then, I pondered about the true meaning of celebrating Christmas, drinking today versus then, arrogance versus humility, and this poem arrived: 

A Christmas Savor

What shall I drink? Egg nog or grog?

What did the Holy Family drink

on that holiest of nights?

Did Mary lean over to Joseph

after giving birth to Jesus and say,

“Joseph, be a dear and pour me 

another glass of Chardonnay?”

To which Joseph replied,

“Mary Darling, all we have is 

a little mulled wine left over

from the party the other day.”

Or…

Did a father, proud

after such a long trip

offer his lovely bride a sip

of water to give her joy

upon delivering this

beautiful, healthy boy?

Did the baby cry

in a humble home

and looking to his mum,

so beautiful and warm,

snuggle up to 

her swollen breast

and savor sweet milk

from the Mother Blessed?

© Jeanne I. Lakatos

Happy Thanksgiving! (Click the photo below to hear some lovely Thanksgiving Hymns.)

Photo from Google Images

As Thanksgiving Day draws near, and we Americans reflect upon the many blessings in our lives, I extend my sincere thanks to all of you ladies and gentlemen who have visited this blog. Your kind words and gentle spirits have meant the world to me. 

God bless! ~ Dr. Jeanne Iris

"Rudy" of the Univ. of Notre Dame football team and Iconic Realism

Daniel E. Ruettiger, "Rudy" of the 1975 Notre Dame football team (Google Images) 

                                                 

'Rudy' portrayed by Sean Astin in the film (Google Images)

In the film, Rudy, Daniel E. Ruettiger's dream of becoming a member of the iconic Notre Dame football team illustrates iconic realism in that this student, a most iconic, unlikely candidate for achievement at the prestigious University of Notre Dame, placed himself in such a candidacy through his perseverance. This action led to successful achievement of his personal goals. Rudy wasn't the highest achieving student, so no one in his family thought he could achieve this goal of attending the Univ. of Notre Dame, let alone play on the football team, but he was determined, and that determination was an inspiration. The film, portraying his struggle to achieve his goals, has become an American classic, illustrating the cultural belief that a stalwart commitment to a positive dream can contribute to its becoming a reality. 

Humbly, I am thankful to the University of Notre Dame for housing my book in their library. 

You can hear me explain this analysis on my Podomatic page by clicking HERE. 

Frank Capra's 'It's a Wonderful Life' and Iconic Realism (Click this title to view bar scene from the film.)

Photo from Google Images: bar scene from film, It's a Wonderful Life

The 1946 film, It's a Wonderful Life, produced and directed by Frank Capra, illustrates iconic realism through the character of Clarence the angel. Here, an icon of virtue takes the good-hearted man, George Bailey, by the hand to show him the positive impact he has made on the consciousness of his hometown. 

This juxtaposition of the wealth in righteousness versus the poverty of the inane demonstrates how one individual's benevolent acts can positively affect the lives and ultimately the culture of a community. 

Sydney Owenson's "The Missionary" and Iconic Realism

In her novel, The Missionary, Sydney Owenson presents two religious communities, the Hindu community of 17th century India and the European Roman Catholic community during the Spanish Inquisition. Set in the year, 1620, after the establishment of the British East India Company in the lush jungles and arid desert of Western and Northern India, this tale illustrates a political genesis of European imperialism represented by the two central characters, Hilarion, a 25-year-old Portuguese Franciscan Nuncio and Luxima, a young, widowed Brahmin priestess.  

To some readers of this narrative, Owenson may appear to be telling an adventurous romance in an exotic setting to entertain her aristocratic readers, and this may be partially true. However, her romantic novel illustrates much more, for iconic properties of parochial dynamism reside at the core of each character’s restrictive community. These properties include the intense need for the Missionary to convert non-Christians to Catholicism and the deep conviction of a Hindu’s integration of natural and spiritual beliefs. Furthermore, Owenson creates an unrestrictive, fertile setting, where the Catholic missionary represents dogmatic and imperious Britain and the Hindu priestess, faithful to her own belief and community, represents the fervent hope for freedom of faith found in Owenson’s Catholic Ireland. 

Therefore, in her novel, The Missionary, Sydney Owenson illustrates the semiotic theory of iconic realism by representing two disparate icons, each placed within a realistic community, only to reveal a cultural reality that, without a truly spiritual connection, strict adherence to an intolerant dogma ultimately leads to the consequence of cultural cynicism.