Love through history

Well, here we are, the sur­viv­ors of yet anoth­er Valentine’s Day. And Lapham’s Quarterly has decided to bless us with a splen­did essay on the sym­bol­ism of the heart through his­tory, which coin­cid­ent­ally ends up being a his­tory of the gen­es­is of “romantic love”. Per­son­ally, I was struck by how love in Galen­ic the­ory is tied to the liv­er (also the seat of forti­tude) while the rest of the emo­tions gets to occupy the heart: How much cour­age does it take to love?
Anoth­er can of worms, unopened, is the ques­tion of how Love-Then could be under­stood by us (lov­ers all?) now, or if at all.

West­ern wind when wilt thou blow
That small rain down can rain?
Christ, that my love were in my arms,
And I in my bed again.

 

While these Middle Eng­lish lines may sound com­fort­ably famil­i­ar, I sus­pect it is their short­ness that sug­gests easy com­pat­ib­il­ity to our notions. As soon as poets become more elab­or­ate, “love” emerges as very his­tor­ic­ally spe­cif­ic and idio­syn­crat­ic indeed:

Take me to you, impris­on me, for I,
Except that you enthrall me, nev­er shall be free,
Nor ever chaste, except you rav­ish me.

 

It might not be quite fair to resort to Donne to dis­pel that com­fort­ably squishy feel­ing of fake under­stand­ing that “West­ern wind” has con­jured up. Then again, who but Donne with his blend of sex, faith, and viol­ence in the Holy Son­nets can make us post­mod­erns under­stand that to the 17th cen­tury love may eas­ily be spir­itu­al & lofty (divine lit­er­ally, in this case, with “you” being God) as well as down­right creepy. No prob­lem there, it seems. And, lest I should be accused of being too hard on Donne, here’s Boswell’s Dr. John­son for you:

In a man whom reli­gious edu­ca­tion has secured from licentious indul­gences, the pas­sion of love, when once it has seized him, is exceed­ingly strong; being unim­paired by dis­sip­a­tion, and totally con­cen­trated in one object. This was exper­i­enced by John­son, when he became the fer­vent admirer of Mrs. Port­er, after her first hus­band’s death. Miss Port­er told me that when he was first intro­duced to her moth­er, his appear­ance was very for­bid­ding: he was then lean and lank, so that his immense struc­ture of bones was hideously strik­ing to the eye, and the scars of the scrofula were deeply vis­ible. He also wore his hair [i.e. no wig], which was straight and stiff, and sep­ar­ated behind: and he often had, seem­ingly, con­vuls­ive starts and odd ges­tic­u­la­tions, which ten­ded to excite at once sur­prise and ridicule. Mrs. Port­er was so much engaged by his con­ver­sa­tion that she over­looked all these extern­al dis­ad­vant­ages, and said to her daugh­ter, “This is the most sens­ible man that I ever saw in my life.” […] But though Mr. Topham Beau­c­leark used archly to men­tion John­son’s hav­ing told him, with much grav­ity, “Sir, it was a love mar­riage on both sides,” I have from my illus­trous friend the fol­low­ing curi­ous account of their jour­ney to church upon the nup­tial morn: “Sir, she had read the old romances, and had got into her head the fant­ast­ic­al notion that a woman of spir­it should use her lov­er like a dog. So, Sir, at first she told me that I rode too fast, and she could not keep up with me; and, when I rode a little slower, she passed me, and com­plained that I lagged behind. I was not to be made the slave of caprice; and I resolved to begin as I meant to end.”

Of which Romantic error John­son, that “most sens­ible man,” speedily lib­er­ated his love by rid­ing up alone next, leav­ing the future Mrs. John­son to catch up with him if she could, reduced to tears.

Eliza­beth “Tatty” John­son, wid­owed Porter

A slightly cal­lous sens­ib­il­ity goes eas­ily hand in hand with pas­sion­ate devo­tion and fer­vent admir­a­tion, it seems, and surely, the fore­most respons­ib­il­ity of a hus­band is the mor­al edu­ca­tion of his wife: The woman must know her place! “I resolved to begin as I meant to end.”

I have decided to include the full descrip­tion of John­son’s splen­did physique above to give you an idea of who it is who does the snub­bing, erm, edu­ca­tion. Note the wid­ow Port­er­’s not unsub­stan­tial charms, by com­par­is­on. This wed­ding party was not to be the stuff of old romances, indeed, nor, how­ever, of more mod­ern equi­val­ents either.
Love comes in many guises, and some of them are thank­fully his­tor­ic­ally obsolete.

Posted in Poetry 16th-20th Century | Leave a comment

Russians on the screen, Russians in print

Helen Mir­ren and Chris­toph­er Plum­mer as the Tol­stoy couple

I just fin­ished watch­ing The Last Sta­tion, the Tol­stoy movie from the sum­mer of 2010, and won­der­ing about screen Rus­si­ans (old style) as opposed to screen Rus­si­ans (new style, i.e. Orlov). In the inter­view from the DVD’s spe­cials, the dir­ect­or goes on about how he tried to make the movie feel Rus­si­an though it was shot in Ger­many (with bits actu­ally in Halle and land­scapes from Sax­ony-Anhalt, Thuringia and Branden­burg), while at the same time try­ing not to make it too Rus­si­an. He claims he was aim­ing for a more uni­ver­sal implic­a­tion — rela­tion­ships and love. IMHO that has suc­ceeded beau­ti­fully; I have rarely seen a more touch­ing and thought­ful rendi­tion of love in all its aspects, and one that keeps me com­ing back, and think­ing. It is a very impress­ing movie and the act­ing is, well, simply stunning.
And yet there it is, behind the dir­ect­or’s words: If you want a ser­i­ous, widely applic­able mes­sage, you need to move away from see­ing merely two Rus­si­an couples, a spin­ster, and a bach­el­or friend. That would be too simple(s)? Or too not­ably con­struc­ted and didactic?
Whatever it is, I found myself think­ing of my daugh­ter­’s fore­most objec­tion to Pnin by Nabokov: “The nar­rat­or seems all funny at first, but he’s just mer­ci­less with Pnin. He only makes fun of his main char­ac­ter. And Pnin ends up really too pathet­ic for words. It’s cruel.” That stopped me short in my pre­vi­ous defence of Nabokov’s sar­casm, then, because I could not help remem­ber­ing that I once worded my main objec­tion against Thack­er­ay’s Van­ity Fair in very sim­il­ar terms when I was a stu­dent. And that when I did so, all those many years ago, my biggest oth­er example, my example for a truly humane nar­rat­or was Chek­hov’s short story voice, which, no mat­ter how clin­ic­ally dis­sect­ive, always remains aware of a char­ac­ter­’s dig­nity. Even (or par­tic­u­larly!) if oth­er char­ac­ters fail miser­ably in accord­ing one anoth­er this respect. The most evid­ent example of such fail­ure would be the med­ic­al stu­dent in “Any­uta” whose cal­lous indif­fer­ence and assumed superi­or­ity to his girl speak volumes in con­trast to her prim­it­ive devo­tion and admir­a­tion. Chek­hov is not one to shrink from depict­ing the det­ri­ment­al con­sequences of a love based exclus­ively (stub­bornly) on self-deni­al (think “The Darling” here, anoth­er one of his stu­pidly self-effa­cing female char­ac­ters), yet the respons­ib­il­ity for the abuse this devo­tion meets with again and again rests with those char­ac­ters who fail to accord these women a share in basic human dig­nity and respect. Those who selfishly use this devo­tion to their own ends and dis(re)gard the women who provide it.
Noth­ing could pos­sibly be more Rus­si­an than the Darling of Check­hov’s short story, yet there is no need to lessen that fea­ture to make her impact uni­ver­sal, and make her ignor­ance, devo­tion, and cheer­ful cling­ing-vine-self cringingly pain­ful to any read­er. Yet as a human fig­ure to her nar­rat­or, Darling remains unscathed. (In fact, some­times I can­not help think­ing there is a quiet admir­a­tion for her sheer per­sist­ence in Check­hov’s nar­rat­or. Noth­ing, ulti­mately, gets this woman down: water off a goose’s back. Fair enough, she can be seen as vacu­ous but the sheer sur­viv­al she accom­plishes is admir­able. And she can love, so deeply.)
& See­ing as I brought in Thack­er­ay as an example: This is not so with Thack­er­ay, whose nar­rat­or in Van­ity Fair sees only twis­ted aber­ra­tions and cor­rup­tion. Thack­er­ay’s cling­ing-vine-char­ac­ter, that sac­char­ine Amelia, really has it com­ing a long way. She only gets in George Osborne what she deserves for her wil­fully naive blind­ness and stu­pid­ity, and boy, does she cop it.
Fair enough, there is social satire and social drama. Pnin is clearly of the Thack­er­ay vari­ety, mer­ci­less and, well, cruel, while the movie The Last Sta­tion takes a very Check­hovi­an stance; indeed the dir­ect­or men­tions in the inter­view he read the four most import­ant plays by Check­hov just before cre­at­ing the final screenplay.
Which still leaves the ques­tion unanswered why a con­tem­por­ary rendi­tion of Rus­si­an char­ac­ters’ exper­i­ences and feel­ings at their most basic (love & death) would not be uni­ver­sally applic­able, why they should need to be less Rus­si­an to be more access­ible… “The Coast of Uto­pia” by Tom Stop­pard would be anoth­er con­tem­por­ary example, BTW, where Rus­si­ans whenev­er they move close to the ste­reo­type (party­ing on too much Vodka in Lon­don, buy­ing morn­ing coats in Par­is, moon­ing around the Medi­ter­ranean) become ridicu­lous. Any suggestions?
Is this a long-term con­sequence of the Cold War? Has the West­ern view­er or read­er become so detached that Rus­si­an char­ac­ters’ idio­syn­crasies now eas­ily provide com­ic fare — yes, laughter as ban­ish­ing fear of the Oth­er — but no longer have iden­ti­fic­at­ory potential?
More poin­tedly, per­haps: Does Orlov then need his whiskers and fur to be appeal­ing and not merely pathet­ic? And if so, what nos­tal­gic appeal is added by his great-grand­father­’s nine­teenth-cen­tury uni­form and medals? Orlov, Count Tol­stoy, the revolu­tion­ary fools in “The Coast of Uto­pia”, even Pnin, all have a feud­al and mil­it­ar­ist­ic back­ground that is pecu­li­arly tsar­ist. Here’s anoth­er thought…

Por­trait of Aleksandr Orlov’s Great-grand-father

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Tricky one: Short stories as novels?

What do one Brit­ish cult author, mainly of com­ics, and a can­on­ized Cana­dian author have in com­mon? Space as fic­tion­al organ­ising prin­ciple! Both Moore’s Voice of the Fire and Humphrey’s The Frozen Thames are short story col­lec­tions, chro­no­lo­gic­ally arranged, and focus­ing on one (uni­fy­ing) set of sym­bols. The first amounts to a loc­al his­tory of the author’s homet­own of Northamp­ton, the second travels up and down the river Thames, but focuses on all the implic­a­tions winter, ice, death, and his­tory may have.

It was quite tricky find­ing illus­tra­tions for this set: most of the Northamp­ton pho­tos I  traced at Google Earth. The very first thing you’ll notice if you look at the town at the centre of Moore’s nov­el at GE will be the extent to which Moore has depar­ted in his fic­tion from the (rather mundane) mod­ern Northamp­ton his con­tem­por­ar­ies would recog­nize. Northamp­ton, indeed, becomes a magic­al place — suit­able to a prac­ti­cing magus, one sus­pects. http://www.arthurmag.com/2007/05/10/1815/ No prob­lems find­ing old pait­ings etc. of the frozen Thames, on the oth­er hand, which is a nice remind­er of the fact that Humphreys’ choice of space for her short story col­lec­tion has fas­cin­ated gen­er­a­tions: not a pecu­li­arly Cana­dian obses­sion, therefore!

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Attention peoples!

Orlov in his jacuzzi

Aleksandr Orlov (wet) and factot­um Sergej (with steamed glasses)

Meet the Gentry: Aleksandr Orlov, here seen with his devoted side-kick, Sergej, enjoy­ing the splend­our of his bub­bly jac­uzzy bath. Orlov may seem like a meme all of his own. Brows­ing around his ever-expand­ing homepage, now includ­ing the vil­lage of Meerkovo http://meerkovo.comparethemarket.com/meerkovo ,
one cer­tainly can­not help but notice the way his pop­ular­ity has soared bey­ond all expect­a­tions of his ori­gin­al invent­ors. So, when will there be a full vari­ety of meerkat dolls on sale, now that Aleksandr’s bio­graphy, A Simples Life, has sold so well? http://www.dailymail.co.uk/news/article-1325327/Orlov-fictional-meerkat-writes-secretly-ghosted-best-seller.html
(here’s
The Guard­i­an’s take on that issue: http://www.guardian.co.uk/books/2011/jan/01/year-2010-books-bestseller-chart)
The Ger­mans seem to think him one of those examples of that ever-elu­sive cat­egory “Brit­ish humour”: http://www.sueddeutsche.de/panorama/britischer-humor-ein-erdmaennchen-raeumt-ab‑1.1034999
Yet there is sound eco­nom­ic­al suc­cess hid­den in those furry whiskers, as Har­rods found out: http://www.webuser.co.uk/news/top-stories/427603/compare-the-meerkat-toy-sold-out 
For all his intense, almost pain­ful indi­vidu­al­ism, Orlov is soundly based on dec­ades of West­ern ste­reo­typ­ing of Rus­si­ans in exile.
And yes, he’s fluffy!

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Verse by Verse

A ver­it­able smor­gas­board of deli­cious tit­bits, a sample of sheer delights! For the poetry lov­er, romantic, pas­sion­ate, dreamy, funny or oth­er­wise, I hope this will be not merely the place to look for details of upcom­ing course read­ings, but a chance to indulge in elo­quence. You are here­with offi­cially encour­aged to use the com­ment sec­tion to this cat­egory for your own poet­ic out­pour­ings (be pre­pared for feed­back!), as well as for any kind of thought you would like to add to the poems we will encounter.

Frozen in time

Posted in Poetry 16th-20th Century | 7 Comments

My Secret Favourite

conference logo

Under Con­struc­tion: Gate­ways and Walls

Aus­trali­an con­vict nov­els” is in synch with my cur­rent big research pro­ject,  a com­par­at­ive genre study of all 40something Aus­trali­an con­vict nov­els to date. Which is one of the reas­ons why it has been placed at level III of the B.A. mod­ules… Obvi­ously, the focus with­in this cat­egory will be on the imme­di­ate nov­els we will be read­ing, but as I’m going to present a paper on Tas­mania in con­vict nov­els at this year’s Tri­an­nu­al con­fer­ence of the EACLALS in Istan­bul http://www.eaclals2011.boun.edu.tr/ you can expect a great deal of activ­ity. Hope­fully, I will get to present a second paper along the lines of a more the­or­et­ic­al genre dis­cus­sion at this year’s GNEL con­fer­ence in Han­over http://www.gnel2011.uni-hannover.de/ though I haven’t heard from these guys yet. I’ll keep you posted.

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Testing… testing.…

Apo­lo­gies ahead for the utter noob­ness of this, my vir­gin­al first entry. This is indeed more dif­fi­cult than I thought: I’m cur­rently strug­gling with the struc­ture of pages to cat­egor­ies and homepage to “most recent” post. Bear with me…

Hope­fully, this will turn into a blog to accom­pany the fol­low­ing term’s
Auf­baumod­ule. The idea is to encour­age dis­cus­sion fol­low­ing our sessions,
for which (really) Stud-IP is just an incred­ibly dis­cour­aging for­um. I will
also cer­tainly divulge little com­ments on my own cur­rent research pro­jects, both
small and big, add ref­er­ences of interest to those of you who plan their B.A.
thes­is, and post pics of con­fer­ences, new books etc., or link any-odd
thing that might catch my fancy. I’ve delib­er­ately restricted/opened the
blog to all uni users, btw, as I hope to entice my former stu­dents to catch up on
what goes on “down below” the M.A. level.

In short: a place to enjoy!
I’m all giddy with com­ment anti­cip­a­tion already! 🙂

Posted in Allgemein | 4 Comments