H.P. Lovecraft’s Poem “Nemesis” Gets Unexpectedly Sung to the Tune of Billy Joel’s “Piano Man”

"The internet made me do it," says musician Julian Velard. For whatever reason, it made him take H.P Lovecraft's 1917 poem "Nemesis" and mash it up with Billy Joel's "Piano Man." Find the original poem below. But know Velard "had to cut a couple lines to get it to fit." Enjoy.

Thro’ the ghoul-guarded gateways of slumber,
Past the wan-moon’d abysses of night,
I have liv’d o’er my lives without number,
I have sounded all things with my sight;
And I struggle and shriek ere the daybreak, being driven to madness with fright.

I have whirl’d with the earth at the dawning,
When the sky was a vaporous flame;
I have seen the dark universe yawning,
Where the black planets roll without aim;
Where they roll in their horror unheeded, without knowledge or lustre or name.

I had drifted o’er seas without ending,
Under sinister grey-clouded skies
That the many-fork’d lightning is rending,
That resound with hysterical cries;
With the moans of invisible daemons that out of the green waters rise.

I have plung’d like a deer thro’ the arches
Of the hoary primordial grove,
Where the oaks feel the presence that marches
And stalks on where no spirit dares rove;
And I flee from a thing that surrounds me, and leers thro’ dead branches above.

I have stumbled by cave-ridden mountains
That rise barren and bleak from the plain,
I have drunk of the fog-foetid fountains
That ooze down to the marsh and the main;
And in hot cursed tarns I have seen things I care not to gaze on again.

I have scann’d the vast ivy-clad palace,
I have trod its untenanted hall,
Where the moon writhing up from the valleys
Shews the tapestried things on the wall;
Strange figures discordantly woven, which I cannot endure to recall.

I have peer’d from the casement in wonder
At the mouldering meadows around,
At the many-roof’d village laid under
The curse of a grave-girdled ground;
And from rows of white urn-carven marble I listen intently for sound.

I have haunted the tombs of the ages,
I have flown on the pinions of fear
Where the smoke-belching Erebus rages,
Where the jokulls loom snow-clad and drear:
And in realms where the sun of the desert consumes what it never can cheer.

I was old when the Pharaohs first mounted
The jewel-deck’d throne by the Nile;
I was old in those epochs uncounted
When I, and I only, was vile;
And Man, yet untainted and happy, dwelt in bliss on the far Arctic isle.

Oh, great was the sin of my spirit,
And great is the reach of its doom;
Not the pity of Heaven can cheer it,
Nor can respite be found in the tomb:
Down the infinite aeons come beating the wings of unmerciful gloom.

Thro’ the ghoul-guarded gateways of slumber,
Past the wan-moon’d abysses of night,
I have liv’d o’er my lives without number,
I have sounded all things with my sight;
And I struggle and shriek ere the daybreak, being driven to madness with fright.

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Depression & Melancholy: Animated Videos Explain the Crucial Difference Between Everyday Sadness and Clinical Depression

“Depression,” the TED-Ed video above informs us, “is the leading cause of disability in the world.” This may be a hard fact to swallow, the product, we might think, of pharmaceutical advertising. We all feel down from time to time, we think. “Then circumstances change, and those sad feelings disappear.” Isn’t it like this for everyone? It is not. “Clinical depression is different. It’s a medical disorder, and it won’t go away just because you want it to.”

Depression can linger for up to two weeks, and become so debilitating that sufferers cannot work or play. It interferes with important relationships and “can have a lot of different symptoms: a low mood, loss of interest in things you’d normally enjoy, changes in appetite, feeling worthless or excessively guilty,” restlessness and insomnia, or extreme lethargy, poor concentration, and possible thoughts of suicide. But surely we can hear a paid promotional voice when the narrator states, “If you have at least 5 of those symptoms, according to psychiatric guidelines, you qualify for a diagnosis of depression.”




What we don’t typically hear about in pharmaceutical ads are the measurable physiological changes depression writes in the brain, including decreased brain matter in the frontal lobe and atrophy of the hippocampus. These effects are measurable in humans and rats, in study after study after study. But while most of us know the names of a neurotransmitter or two these days, not even neuroscientists fully understand the biology of depression. They do know that some combination of medication, therapy, and, in extreme cases electroconvulsive treatment, can allow people to more fully experience life.

People in treatment will still feel “down” on occasion, just like everyone does. But depression, the explainer wants us to understand, should never be compared to ordinary sadness. Its effects on behavior and brain health are too wide-ranging, pervasive, persistent, and detrimental. These effects can be invisible, which adds to an unfortunate social stigma that dissuades people from seeking treatment. The more we talk about depression openly, rather than treating as it as a shameful secret, the more likely people at risk will be to seek help.

Just as depression cannot be alleviated by trivializing or ignoring it, the condition does not respond to being romanticized. While, indeed, many a famous painter, poet, actor, etc. has suffered from clinical depression—and made it a part of their art—their examples should not suggest to us that artists shouldn’t get treatment. Sadness is never trivial.

Unlike physical pain, it is difficult, for example, to pinpoint the direct causes of sadness. As the short video above demonstrates, the assumption that sadness is caused by external events arose relatively recently. The humoral system of the ancient Greeks treated all sadness as a biological phenomenon. Greek physicians believed it was an expression of black bile, or “melaina kole,” from which we derive the word "melancholy." It seems we’ve come full circle, in a way. Ancient humoral theorists recommended nutrition, medical treatment, and physical exercise as treatments for melancholia, just as doctors do today for depression.

But melancholy is a much broader term, not a scientific designation; it is a collection of ideas about sadness that span thousands of years. Nearly all of those ideas include some sense that sadness is an essential experience. “If you’ve never felt melancholy,” the narrator says, “you’ve missed out on part of what it means to be human.” Thinkers have described melancholia as a precursor to, or inevitable result of, acquiring wisdom. One key example, Robert Burton’s 1621 text The Anatomy of Melancholy, "the apogee of Renaissance scholarship," set the tone for discussions of melancholy for the next few centuries.

The scientific/philosophical/literary text argues, “he that increaseth wisdom, increaseth sorrow,” a sentiment the Romantic poets turned on its head. Before them came John Milton, whose 1645 poem Il Penseroso addresses melancholy as “thou Goddes, sage and holy… Sober, stedfast, and demure.” The deity Melancholy oversees the contemplative life and reveals essential truths through “Gorgeous Tragedy.”

One of the poem’s loftiest themes showed the way forward for the Romantics: “The poet who seeks to attain the highest level of creative expression must embrace the divine,” write Milton scholars Katherine Lynch and Thomas H. Luxon, "which can only be accomplished by following the path set out in Il Penseroso.” The divine, in this case, takes the form of sadness personified. Yet this poem cannot be read in isolation: its companion, L’Allegro, praises Mirth, and of sadness says, “Hence loathed Melancholy / Of Cerberus, and blackest midnight born, in Stygian Cave forlorn / ‘Mongst horrid shapes, and shrieks, and sights unholy.”

Rather than contradict each other, these two characterizations speak to the ambivalent attitudes, and vastly different experiences, humans have about sadness. Fleeting bouts of melancholy can be sweet, touching, and beautiful, inspiring art, music, and poetry. Sadness can force us to reckon with life’s unpleasantness rather than deny or avoid it. On the other hand, in its most extreme, chronically intractable forms, such as what we now call clinical depression, sadness can destroy our capacity to act, to appreciate beauty and learn important lessons, marking the critical difference between a universal existential condition and a, thankfully, treatable physical disease.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

The Raven: a Pop-up Book Brings Edgar Allan Poe’s Classic Supernatural Poem to 3D Paper Life

You know a story has staying power not just when when we keep telling it decades and even centuries after its composition, but when we keep telling it in new forms. Even when Edgar Allan Poe set his literary sights on writing a poem that would win both high critical praise and a wide popular audience back in 1845, he could hardly have imagined that it would still bring haunted delight to its readers, listeners and even viewers more than 170 years later. But The Raven does endure, not just in the various celebrity readings we've featured here on Open Culture but in numerous illustrated editions, a beloved Simpsons segment, and now even a pop-up book.

Though The Raven: a Pop-up Book, illustrated and designed by Christopher Wormell and David Pelham, adapts Poe's work of supernatural verse into a perhaps unexpected medium, it does so with thoroughness indeed.




Flip through it as do the hands in the video above, you'll find springing to paper life before you not just the poem's lovelorn narrator and the talking crow who pays him a visit, but every element of the setting as well, from the furniture and other objects of the narrator's study — the velvet chair, the books, the bust of Pallas, the locket with the image of lost Lenore — to the seaside castle in which this vision of the story locates it.

Those of us who haven't opened a pop-up book since childhood might be surprised to see how far its art has come. Not only would the illustrations of The Raven: a Pop Up Book hold up in a mere two dimensions as well, they interlock in three to form relatively complex geometric structures, ones that sometimes move with an almost eerie hint of naturalness. (You may, as I did, want to watch the narrator open his locket-holding hand more than once.) What's more, the design allows viewing from more than one angle, providing details that those who only look at the book straight on will never see. Using the archaic apostrophe of which Poe himself might have approved, Boing Boing's Cory Doctorow recommends the book "if you're gearing up for Hallowe'en and want to get your kids in the spirit of things" — and especially if those kids wrongly believe themselves too old for pop-up books or too 21st-century for Poe. Get your copy of  The Raven: a Pop Up Book here.

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Hear Benedict Cumberbatch Read John Keats’ “Ode to a Nightingale” and Other Great Works by Shakespeare, Dante & Coleridge

Would Benedict Cumberbatch have such ardent fans if he couldn't read poetry so well? Almost certainly he would, although his way with verse still seems not like a bonus but an integral component of his dramatic persona. Though not easily explained, that relationship does come across if you hear any of the actor's readings of poetry. In the video above, Cumberbatch performs "Ode to a Nightingale," the longest and best-known of John Keats' 1819 odes that casts into verse the poet's discovery of "negative capability," or as he defined it in a letter two years earlier, "when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason."

Yet one senses that the Cumberbatch fans who put up these videos, such as the one accompanying "Ode to a Nightingale" with imagery reminiscent of a Tiger Beat pictorial, care less about his negative capability than certain other qualities. His voice, for instance: the uploader of the video combining five poems just above describes as "the velvety dulcet tones of a jaguar hiding in a cello."




That compilation includes "Ode to a Nightingale" as well as Shakespeare's "The Seven Ages of Man" ("All the world's a stage"), Lewis Carroll's "Jabberwocky," a piece of Dante's Divine Comedy, and Samuel Taylor Coleridge's "Kubla Khan." With Coleridge's dream of Asia and Dante's Italian vision of the afterlife, this poetic mix does get more exotic than it might seem (at least by the standards of the eras from which it draws).

But Cumberbatch, who in 2015 received the honor of Commander of the Most Excellent Order of the British Empire from the Queen and even read at the reburial ceremony of King Richard III, clearly matches best with the canon of his native England. As a versatile performer, and thus one who presumably understands all about the need for negative capability, Cumberbatch and his cello-hidden jaguar delivery (a poetic description, in its own way) has done justice in the past to Kafka, Kurt Vonnegut, and Moby-Dick. Still, one wonders what poem Cumberbatch could perform in order to achieve an unsurpassable state of peak Englishness. How long could it take for him to get around, for instance, to "If—"?

Cumberbatch's reading of "Ode" will be added to our collection, 900 Free Audio Books: Download Great Books for Free.

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

A Reading of Edgar Allan Poe’s “The Raven” in 100 Celebrity Voices

For every august personage who’s taken a crack Edgar Allan Poe’s evergreen poem, "The Raven," there are thousands more who haven’t.

Humorist Jordan Monsell is doing what he can to close that gap, providing a sampling of 100 mostly male, mostly white, mostly human celebrity voices. It’s a solo recitation, but vocally a collaborative one, with a fair number of animated characters making their way into the credits, too.

He certainly knows how to cast outside the box. Traditional Poe interpreters such as Vincent Price and John Astin bring some well established creep cred to the enterprise. Monsell picks Christopher Walken and Christopher Lee already have existing takes on this classic, and Anthony Hopkins and Willem Dafoe are welcome additions.




But what to make of Jerry Seinfeld, Pee-Wee Herman, Johnny Cash… and even poetry lover Bill Murray? Manic and much missed Robin Williams may offer a clue. What good is having an arsenal of impressions if you’re not willing to roll them out in rapid succession?

While some of Monsell's impersonations (cough, David Bowie) fall a bit short of the mark, others will have you regretting that no one had the forethought to record Don Knotts or JFK reciting the poem in its entirety.

The titles offer a bit of a misnomer. In many instances, it’s not really the performers but their best known characters being aped. While there may not be too great a vocal divide between playwright Wallace Shawn and Vizzini in The Princess Bride, The Dude is not Jeff Bridges, any more than Captain Jack Sparrow is Johnny Depp.

The project seems likely to play best with nerdy adolescent boys… which could be good news for teachers looking to get reluctant readers onboard. Show it on the classroom Smart Board, and be prepared to have mini-teach-ins on Katharine Hepburn, Walter Matthau, the late great Robert Shaw, and other big names whose day has passed. Shrek, Gollum, and Harry Potter’s house elf, Dobby, are on hand to keep the references from feeling too moldy.

The specter of Poe gets the coveted final word, a balm to the ears after the triple assault of Christian Bale’s Batman, Mad Max’s Tom Hardy, and Heath Ledger’s Joker. (It may be a matter of taste. You’ll hear no complaint from these quarters with regard to Mickey Mouse, Bert Lahr’s Cowardly Lion, or The Simpson’s Krusty the Klown, wonderfully unctuous.)

The breakneck audio patchwork approach doesn’t do much for reading comprehension, but could lead to a lively middle school discussion on what constitutes a successful performance. Who served the text best? Readers?

Furthermore, who’s missing? What voice would you add to the Monsell’s roll call, below?

Morgan Freeman

Kermit the Frog

Johnny Cash

Ringo Starr

David Bowie

Rick Moranis

Gary Oldman

Peter Lorre

Adam Sandler

Don Knotts

William Shatner

George Takei

Michael Dorn

Daffy Duck

Ricky Gervais

Foghorn Leghorn

Liam Neeson

Nicholas Cage

John Travolta

Anthony Hopkins

Rod Serling

Cookie Monster

Jay Baruchel

Jeff Bridges

Johnny Depp

Archer

Dr. Phil

Gollum

Mandy Patinkin

Wallace Shawn

Billy Crystal

Owen Wilson

Dustin Hoffman

Krusty the Klown

Apu

Christian Bale

Michael Caine

Tom Hardy

Heath Ledger

Mickey Mouse

John Wayne

Jerry Seinfeld

Phil Hartman

Goofy

Al Pacino

Marlon Brando

Jack Lemmon

Walter Matthau

Christopher Walken

Rowlf the Dog

John Cleese

Robin Williams

Katharine Hepburn

Woody Allen

Matthew McConaughey

Cowardly Lion

Jimmy Stewart

John C. Reilly

James Mason

Sylvester Stallone

Arnold Schwarzenegger

Stewie

Daniel Day Lewis

Maggie Smith

Alan Rickman

Dobby

Jack Nicholson

Christoph Waltz

Bill Murray

Dan Aykroyd

Sean Connery

Bill Cosby

Christopher Lloyd

Droopy Dog

Kevin Spacey

Harrison Ford

Ronald Reagan

JFK

Bill Clinton

Keanu Reeves

Ian McKellen

Paul Giamatti

Sebastian

Stan Lee

Jeff Goldblum

Hugh Grant

Kenneth Branagh

Larry the Cable Guy

Pee-Wee Herman

Shrek

Donkey

Charlton Heston

Michael Keaton

Homer Simpson

Yoda

Willem Dafoe

Bruce Willis

Robert Shaw

Christopher Lee

Edgar Allan Poe

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Follow her @AyunHalliday.

Harry Dean Stanton (RIP) Reads Poems by Charles Bukowski

Variety is reporting tonight that Harry Dean Stanton has died in Los Angeles, at the age of 91. He's best remembered, of course, for his roles in David Lynch's Twin Peaks, HBO's Big Love, Alex Cox's Repo Man, and Wim Wender's Paris, Texas. Over a 60 year career, Stanton made appearances in 116 films, 77 TV shows, and several music videos. He also lent his voice to an Alien video game and recorded poems by Charles Bukowski. Above and below, hear him read "Bluebird" and "Torched Out." Both recordings come from the 2003 documentary, Bukowski: Born Into This. Back in 2012, Stanton headlined an L.A. tribute to the Los Angeles poet.

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The Periodic Table of Elements Presented as Interactive Haikus

British poet and speculative fiction writer recently got a little creative with the Periodic Table, writing one haiku for each element.

Carbon

Show-stealing diva,
throw yourself at anyone,
decked out in diamonds.

Silicon

Locked in rock and sand,
age upon age
awaiting the digital dawn.

Strontium

Deadly bone seeker
released by Fukushima;
your sweet days long gone.

You can access the complete Elemental haiku here.

Follow Open Culture on Facebook and Twitter and share intelligent media with your friends. Or better yet, sign up for our daily email and get a daily dose of Open Culture in your inbox. 

If you'd like to support Open Culture and our mission, please consider making a donation to our site. It's hard to rely 100% on ads, and your contributions will help us provide the best free cultural and educational materials.

via Mental Floss

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