Old age hath yet his honour

At my age I’m sometimes visited at home by a nurse. On her last visit the nurse had to work around Carl the cat, so I began showing her this catpost with its anno 1955 video of a space alien teaching math to an earthling holding a slide rule.

https://jonathanmorse.blog/2026/09/03/shall-we-say-a-colleague/

But I interrupted the contemplation long enough to ask, “Do you know what that is?”

Not only did the nurse not know; she didn’t even know the term slide rule.

Two-beat pause.

But as the object of visits from a nurse, I am now officially eligible for inspiration from Tennyson’s Ulysses. About to embark for the last time, that aged hero looks back and gives his last command:

   There lies the port; the vessel puffs her sail:
There gloom the dark, broad seas. My mariners,
Souls that have toil’d, and wrought, and thought with me—
That ever with a frolic welcome took
The thunder and the sunshine, and opposed
Free hearts, free foreheads—you and I are old;
Old age hath yet his honour and his toil;
Death closes all: but something ere the end,
Some work of noble note, may yet be done,
Not unbecoming men that strove with Gods.
The lights begin to twinkle from the rocks:
The long day wanes: the slow moon climbs: the deep
Moans round with many voices. Come, my friends,
‘T is not too late to seek a newer world.
Push off, and sitting well in order smite
The sounding furrows; for my purpose holds
To sail beyond the sunset, and the baths
Of all the western stars, until I die.

Accordingly, I withdraw some of the consolation that literary culture has allotted to us who read. But what if the tale of my own journey were so unheroic that it couldn’t reach its happy ending on schedule, or any ending on any schedule? What if my life were only to continue unscrolling down its page,  not in verse with a regularizing syllable count but in prose?

What if I am a Struldbrug? An innumerate Struldbrug without full stops, trying to say slide rule?

Two-beat pause.

But look back yourself. What you see at about minute 6:45 of this video from anno 1940 will be slide rules — slide rules in motion, as if they were still being moved by men’s hands.

Moved through 1940, as if the men who held them in their hands in 1940 were still alive, still holding.

https //archive.org/ /DialComesToT

Of course they’re only an optical illusion. Nevertheless, the illusion somehow looks alive, despite the time. Within the illusion, does it look as if these men counting down have learned from their stopwatch how to stop time but start again?

Two-beat pause. Then words capable of reproducing themselves on their soundtrack and becoming thereby unchangeable:

“Oh Gramps, that’s yummy!”

Mirrored from either side

Invented in 1854, the mass-produced 6-by-9 centimeter carte de visite photograph was at its peak of collectible popularity during the 1860s, when Oliver Wendell Holmes remarked,

So Thomas Wentworth Higginson was only exhibiting the common taste of 1862 when he asked Emily Dickinson for her picture. He would have been startled by the first sentence of her reply: “Could you believe me without?” Miss Dickinson went on to explain:

It often alarms Father – He says Death might occur, and he has Molds of all the rest, but has no Mold of me, but I noticed the Quick wore off those things, in a few days, and forestall the dishonor – You will think no caprice of me –

   The Letters of Emily Dickinson, ed. Cristanne Miller and Domhnall Mitchell (Harvard University Press, 2024), no. 345.

And no image followed, then or ever after.

But before, when she was only sixteen, a single earlier image was graven. It was a daguerreotype: an early kind of photograph which was reflective, like a mirror, and unique: lacking a negative and therefore reproducible only by rephotographing. That description sounds like a metaphor custom-fitted for a Dickinson Diana, but the 1847 daguerreotype is mostly generality. William C. North, the traveling “Daguerrian artist” who uncovered his lens in the presence of Emily Dickinson, performed exactly the same repertoire for her mother: pose, prop book and all. Nor was he killed by his own dogs for his presumption.

Daguerreotypes are pitiable on their own terms, too. Consisting only of a thin mercury-amalgam film deposited on a hard surface, a daguerreotype has to be shielded behind glass, and any contact with anything else that’s hard will leave a permanent mark. Over time, contact will be almost unavoidable. And if you try merely to look hard, aided by a lens or a video program, the blemished metal superficies will defeat your vision right there.

But I ask you to run the video once again, this time under the control of a program that commands, “Clean the metal with benzoyl peroxide, but leave the flesh to its blemishes.”

More detail will appear, but it will be only surface detail. Even after it has scribed itself into metal, it will remain only gossip.  “With a metallic grin,” it will titter that sixteen-year-old Emily’s acne was bad and she may have had her hair in a net.* You’ve been trying to penetrate, but you’re still only skating across the impenetrable.

But keep skating. Skate on until you freeze into a snow queen. Because most daguerreotypes  are mirror images, I think we’re warranted in asking Photoshop to reverse itself and make the queen’s icy image our own mirror. Look, therefore. Wait five seconds.

And see: this image’s eye is capable of piercing any lens between itself and you, whether it’s a lens of glass or a lens of vitreous humor. The imaged body moves itself from side to side, toward you.

How ‘scape you killing?

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* Fr243, “That after horror”