The Majestic Oak

The oak tree is featured in religion, literature and art as diverse as Greek mythology, the Judaic Old Testament, Roman literature, fairy-tales, numismatics, Sir Thomas Browne's botanical studies and Carl Jung's archetypal psychology.

Central to one of ancient Greece's most revered of oracles, the rustling leaves of the Dodona oak, and later, thin metal strips hung from its branches which tinkled in the breeze, were interpreted as the oracular voice of gods. In the Greek myth of Jason and the Argonauts, the Golden Fleece is found discovered on an oak tree in a grove sacred to Ares. 

The oak tree was sacred to Roman, Celtic, Teutonic and Druid religious beliefs and associated with the supreme gods of Zeus, Jupiter and Thor, each of whom held dominion over rain, thunder and lightning. It is symbolically associated with lightning and smoke with good reason. It attracts lightning because its roots  itself deep into the earth,  has a high water content and is often solitary standing or the tallest in a forest. Each of these factors contribute to the oak tree attracting lightning. Many religious beliefs also associate the oak tree with smoke, perhaps because it sometimes smoulders long after being struck by lightning.

The ancient Celtic Druids worshipped and practised their sacred rites in oak groves, indeed the very word Druid derives from a Celtic word meaning 'knower of the oak tree'. Historical descriptions of Druids can be found in  Roman writers such as Julius Caesar in his 'Commentary on the Gallic Wars'  as well as in the writings of Cicero, Tacitus and Pliny the Elder. However, after the Roman Emperors Tiberius and Claudius brutally suppressed the Druid Orders all mention of oak-tree worshippers disappears from historical record by the 2nd century CE.

Oak trees feature in the Old Testament, notably when Absalom while riding his mule under a great oak has his head wedged between its branches and is suspended between heaven and earth. The elon tree, most often translated as 'oak' is mentioned in the Bible as the first tree encountered by Abram upon entering the promised land, and as the tree under which Deborah, the nurse of Rebecca, was buried. King Jeroboam meets an unnamed prophet who sits under an oak tree, and the prophet Isaiah speaks of 'oaks of righteousness.' [1]

In the fairy tale by the German Brothers Grimm 'The Spirit in the Bottle' (1814) a destitute scholar wanders in a forest where he encounters a dangerous-looking oak, many hundreds of years old. He hears a faint voice calling out from it, "Let me out, let me out!"  Asking where it is, the voice replies, "I am down here amongst the roots of the oak-tree. Let me out! Let me out!" The scholar loosens the earth under the tree, searches among its roots and finds a glass bottle in which Mercurius, the transformative spirit of alchemy is imprisoned.

During the Roman Republic a crown of oak leaves was given to those who had saved the life of a citizen in battle; it was called the "Civic Crown". A superb Roman era agate survives, which is described thus- 

'In one talon, the eagle grasps a palm branch as a symbol of victory, while in the other it holds an oak wreath. This corona civica  or ' civic crown' was an honour awarded to Augustus, granted only to a Roman who had saved the lives of his fellow citizens. This crown of oak leaves hung above the entrance of Augustus on the Palatine, a permanent reminder that he had rescued not just one, but the entire Roman world. [2] 

From the 16th century onwards the massive trees that were once abundant throughout Europe became rarer due to the construction and expansion of  naval fleets.  Britain was said to be a nation which was protected by a wooden wall, one which was made of oak. Indeed, the composer William Boyce in 1759 composed the tune 'Hearts of Oak' with lyrics by actor David Garrick. Boyce's melody remains the official march of the British Royal Navy.

A large-scale Naval Fleet however comes with no small environmental cost and each ship represents the clearing of several acres of ancient woodland. By the end of the 1700s the British Royal Navy had swelled to a fleet of three hundred ships and the construction of this number would have taken as an estimated 1.2 million oak trees.  Its been calculated that constructing a large, wooden warship such as a Royal Navy ship required around 2,000 to 4,000 mature oak trees, or even up to 6,000. Many of these trees were over 200 years old and were sourced from the woodlands of Europe. In essence, the large-scale National fleets of Spain and later the Dutch and British naval forces, were the primary cause of European deforestation. Today however, England has more ancient oaks than any other European nation. There are an estimated 115  oaks with a circumference of trunk over 9 metres in England and only 96 in the rest of Europe.

The oak tree's biological characteristics of longevity, strength and endurance have frequently been used to represent moral virtues. Because symbols are flexible the oak has been used to symbolize quite different national and individual aspirations. Its leaf can be seen on German coins from both the short-lived Third Reich and the subsequent enduring Republic.  

The late Renaissance natural historian and literary figure Sir Thomas Browne (1605-82) took a keen interest in oak trees. In his miscellaneous tract, 'Observations on several plants mentioned in Scripture' he demonstrates a prodigious memory and familiarity with the Bible. Over 140 plants are recollected by him. World-wide there are many different species of oak tree. Of the Biblical oak tree he stated-

 

'Mention is made of Oaks in divers parts of Scripture, which though the Latin sometimes renders a Turpentine Tree, yet surely some kind of Oak may be understood thereby; but whether our common Oak as is commonly apprehended, you may well doubt; for the common Oak, which prospereth so well with us, delighteth not in hot regions. And that diligent Botanist Bellonius, who took such particular notice of the Plants of Syria and Judæa, observed not the vulgar Oak in those parts. [3] 

Browne knew of Absalom's encounter with an oak tree and of it being sacred to pre-Christian religions- 

'And therefore when it is said of Absalom, that his Mule went under the thick Boughs of a great Oak, and his Head caught hold of the Oak, and he was taken up between the Heaven and the Earth, that Oak might be some Ilex, or rather Esculus.....And when it is said that Ezechias broke down the Images, and cut down the Groves, they might much consist of Oaks, which were sacred unto Pagan Deities'. [4] 

Browne was one of the earliest of naturalists to recognise that of all plants, the oak supports the greatest diversity of life. More than 500 butterfly and moth species have larvae which feeds on oak leaves. Today its known that more than 100 animal species rely on acorns as a crucial food source. Oak acorns sustain field mice, squirrels, chipmunks and jays. Flycatchers, tawny owls and woodpeckers all build their nests in the oak's crevices; blackbirds and warblers feed off the caterpillars on its leaves. Browne succinctly noted of the Oak's diversity- 

'while almost every plant breeds its peculiar insect, most a Butterfly, moth or fly, wherein the Oak seems to contain the largest seminality',  

Browne was also aware of the oak tree's relationship to mistletoe. Mistletoe taps into the oak's vascular system to supplement its own nutrient intake, yet still performs photosynthesis. Browne's description of Druids gathering mistletoe is sourced from his reading of the Roman author Pliny's vast work Naturalis Historia. [5] 

'for the Magical vertues in this Plant, and conceived efficacy unto veneficial intentions, it seemeth a Pagan relique derived from the ancient Druides, the great admirers of the Oak, especially the Misseltoe that grew thereon; which according unto the particular of Pliny, they gathered with great solemnity. For after sacrifice the Priest in a white garment ascended the tree, cut down the Misseltoe with a golden hook, and received it in a white coat; the vertue whereof was to resist all poisons, and make fruitful any that used it. 

Grafting of mistletoe involves great patience and time. Browne knew that soil condition and geography determined the growth of missletoe  but like many others he was unsuccessful in his attempts to graft it.

'The like concerning the growth of Misseltoe, which dependeth not only of the species, or kind of Tree, but much also of the Soil. And therefore common in some places, not readily found in others, frequent in France, not so common in Spain, and scarce at all in the Territory of Ferrara: Nor easily to be found where it is most required upon Oaks, less on Trees continually verdant..... But this Parasitical plant suffers nothing to grow upon it, by any way of art; nor could we ever make it grow where nature had not planted it; as we have in vain attempted by inocculation and incision, upon its native or foreign stock'. 

In his commonplace notebooks Browne wrote of  the tenacity of acorns to germinate and flourish in unlikely places -

'Within a mile of this city of Norwich, an oak groweth upon the head of a pollard willow, taller than the stock, and about half a foot in diameter, probably by some acorn falling or fastening upon it. I could show you a branch of the same willow which shoots forth near the stock which beareth both willow and oak twigs and leaves upon it'. [6]

Allusion to trees in general occurs throughout Browne's 'The Garden of Cyrus or Network Plantations of the Ancients'.  The species of Hazel, Lime, Pine, Fir, Fig, Alder, Willow, Maple, Cypress and Sycamore are all mentioned. Appropriately for a Discourse whose theme is gèmination  Generation and growth the oak and its acorns are mentioned most. 

Early in The Garden of Cyrus artificial examples of the Quincunx pattern are considered. Laurels made from oak leaves are proposed as exemplary of the quincuncial pattern -

'The Triumphal Oval, and Civicall Crowns of Laurel, Oake, and Myrtle, when fully made, were pleated after this order'. 

After supplying his reader with artificial examples, the central chapter of Browne's Discourse focuses upon natural examples of the quincunx pattern, including branches of the oak tree -

'And after this manner doth lay the foundation of the circular branches of the Oak, which being five-cornered, in the tender annual sprouts, and manifesting upon incision the signature of a Starre, is after made circular, and swel’d into a round body'.

Browne's symbolism is precise and well-ordered. Trees in general are mentioned in both Urn Burial and The Garden of Cyrus (1658) crucially, in close relationship to the thematic concerns of each respective discourse. The Oak tree in particular is a conjoining symbol which unites his two-in-one discourses. 

In Urn-Burial it is the decaying and dead aspect of trees which is featured, in particular as fuel for the funeral pyre. The Yew tree is named as frequently found in Graveyards. Fallen and fossilized trees are mentioned thus-

'Moore-logs, and Firre-trees found under-ground in many parts of England; the undated ruines of windes, flouds or earthquakes; and which in Flanders still shew from what quarter they fell, as generally lying in a North-East position'.

The oak tree is utilized primarily as a symbol of Time in Urn-Burial. Its with sombre stoicism that Browne declares -  

'Generations passe while some trees stand, and old Families last not three Oaks'.

Together, Time and Space are the metaphysical templates of Browne's literary mandala. In Urn-Burial the oak tree is a symbol of Time and decay, while in The Garden of Cyrus its the living growth and size in dimensional Space of the oak tree which is highlighted -

'That the biggest of Vegetables exceedeth the biggest of Animals, in full bulk, and all dimensions, admits exception in the Whale, which in length and above ground measure, will also contend with tall Oakes'.  

The oak tree's longevity, strength and endurance have invariably been used to symbolize moral and spiritual values in religious beliefs, as well as in art and literature. 

The Swiss psychologist C.G. Jung in his essay 'The Philosophical Tree' analyzes the rich symbolism of the tree in alchemical literature. Jung interpreted the symbolism of the tree as simultaneously representing the growth and development of the psyche, the individuation process, and the connection between the Underworld and spiritual heights. He noted of trees, and of the oak tree in particular - 

'Trees, like fishes in the water, represent the living contents of the unconscious....The mighty oak is proverbially the King of the forest... It is the prototype  of the self, a symbol of the source and goal of the individuation process. The oak stands for the still unconscious core of the personality, the plant symbolism indicating a state of deep unconsciousness  [7] 

Images:

*Top header -  'Old tree, young pigs' (56x66cm) by  British artist Peter Rodulfo (b. 1958) 

*  Photo of an oak tree at Dodona, in Epirus in northwestern Greece.

* Fairy tale illustration to 'The Spirit in the Bottle'.

*  Roman Agate of  Eagle with palm branch and oak laurel in its talons.

*  Left -1950 50 Pfenning Coin West Germany and Right- 1933 Third Reich One Mark coin

* Photo of 400 year old tree at Woodlands Park, Norwich.

 

*  Norwich School of artists John Crome's 'The Oak at Poringland' (1818-20) Tate Gallery

* Photo of oak leaves and acorns

* 400 year old at Earlham park/ UEA Porter's lodge, Norwich

Notes

[1]  Genesis 12 verse 6,  Genesis 18, Genesis 35 verse 8 , 1 Kings 13 and Isaiah 61 verse 3

[2] 'Moneta : Ancient Rome in twelve coins'  by Gareth Harney  pub. Vintage 2024

[3] Although several books by Pierre Belon (1517–1564) are listed as once in Browne's library, Belon's  'Observations on Several Singularities and Memorable Things Found in Greece, Asia, Judea, Egypt, Arabia, and Other Foreign Countries' (1553) is not. However, Browne must surely have consulted Belon's 'Observations  in order to distinguish between different species of Oak in Judea. 

[4] Thomas Browne Miscellaneous Tract 1    Observations on several plants mentioned in Scripture .

[5]  Browne's source here is Pliny's vast work Naturalis Historia book 16 : 95. 

Listed in 1711 Sales Auction Catalogue page 17 no. 13

[6] Miscellaneous  writings pub. Cambridge University Press 1946 ed. G.Keynes

[7] C.G. Jung Collected Works Volume 13 paragraph 194 

Matthew Bourne's 'The Red Shoes'

Its always exciting when New Adventures Dance Company are booked to perform at the Theatre Royal, Norwich; the return of leading British choreographer Matthew Bourne's ballet The Red Shoes was no exception.

First performed at Sadler's Wells Theatre, London on December 6th, 2016 with a set and costume designs by Bourne's long-time collaborator, Lez Brotherston, Matthew Bourne's ballet The Red Shoes is based broadly on the 1948 film The Red Shoes directed by Michael Powell and Emeric Pressburger, itself being loosely based upon Hans Christian Andersen's fairy-tale 

The generous programme notes for the New Adventures production includes background information to the cult-status British ballet film The Red  Shoes and  the film-score music of Bernard Hermann (1911-75) composer of highly atmospheric music for Alfred Hitchcock's cinematic masterpieces Vertigo (1958) North by Northwest (1959) and Psycho (1960). Bourne has carefully selected several pieces of Hermann's music notably from Fahrenheit 451 which, accompanying innovative dance, gesture and mime, greatly enhance the 'story-telling without words'  narrative of  his ballet.

In interview Matthew Bourne stated, - "the image of the red shoes that, once put on, will not allow the wearer to stop dancing has long been a potent one for creative minds, from Powell and Pressburger to Kate Bush to Emma Rice. I have loved the film since I was a teenager with its depiction of a group of people all passionate abut creating something magical and beautiful. The film's genius was to take a highly theatrical world and turn it into a highly cinematic and at times, surreal piece of film-making. My challenge has been to capture some of that surreal, sensuous quality within the more natural theatre setting" [1].

According to Bourne - "The main message of The Red Shoes is that nothing matters but art. As Michael Powell said: "The Red Shoes  told us to go and die for art." Whilst acknowledging the exaggeration here, I believe it was a piece that asked us to take art seriously as a life-changing force; something that gives intense joy but also asks for and requires sacrifices. It is the love story of two young artists: one a dancer, Victoria Page; and one, a composer, Julian Craster, and the fight between that love and the lure of the highest artistic achievement. [2]

"I'm also exploring how the fairy-tale world of ballet and the stories it tells can actually blend into the real-life tale of love, ambition, artistic and personal fulfillment, until the two are barely distinguishable". [3]

Its as a tight-working ensemble more than featuring any particular star that the New Adventures dance company operate best, though on the evening principal dancer Ashley Shaw in the role of rising star Victoria Page was confident as a star in her own right.  As ever the lighting and special effects were spectacular too, especially the sudden arrival of the  locomotion train.  

The extraordinary choreographic talents of Matthew Bourne (b. 1960) and his latest ballet The Red Shoes (2016) expands the New Adventures repertoire to no less than 12 full-length productions. In  2016 Bourne was awarded an OBE and in 2017 he won the award of Best Theatre Choreographer and the show itself won Best Entertainment at the 2017 Olivier Awards.  The New Adventures  dance company  collectively have garnered over 50 International and National awards.

I've now had the pleasure of seeing several Matthew Bourne's ballets performed at Theatre Royal, Norwich, including- Edward Scissorhands (1995), Highland Fling (2005) and Sleeping Beauty: A Gothic Romance (2012). I could not help but notice that according to the evening's programme notes there has been some kind of major reshuffle in the company; of the 24 dancers, almost half (11) are listed as joining the company as recently as 2017. However, judging by the ecstatic response and standing ovation on the night from the discerning Norwich audience that The Red Shoes seems guaranteed to be a popular, long-lasting addition to New Adventures already highly original repertoire.

Notes
[1-3] Programme notes Theatre Royal Norwich Tuesday 18 -Saturday 22 February 2020
See also -
Sleeping Beauty: A Gothic Romance

Four 'Rarities in Pictures' from Dr. Browne's Musaeum Clausum

When the artists Peter Rodulfo and Mark Burrell, the two leading exponents of North Sea magical realism were introduced to Thomas Browne’s Musaeum Clausum they instantly recognised the seventeenth century physician-philosopher as one possessing an inventive imagination; the paintings listed as  'Rarities in Pictures' in Browne's imaginary art-gallery in particular, attracted their interest. Subsequently, during the summer of 2016, both artists set to work, inspired by the novel idea of bringing to life a picture from Browne's bizarre art-gallery.

Musaeum Clausum (The closed or Sealed museum) is an inventory of lost, rumoured and imaginary books, pictures and objects conjured up by Thomas Browne (1605-82) quite late in his life (an event from 1673 is mentioned), several of which represent pre-occupations which fascinated the Norwich doctor throughout his life. Ever the literary showman with a flair for the theatrical and with subtle humour, Browne declares his inventory to be ‘Containing some remarkable Books, Antiquities, Pictures and Rarities of several kinds, scarce or never seen by any man now living’. 

In recent times Browne's writings in general have attracted the attention of many artists, not least his Musaeum Clausum for its anticipation of modern modes of artistic expression [1]. Indeed, the Argentinian author Jorge Luis Borges (1899-1996) a life-long admirer of Browne who alluded to him throughout his literary career, and the writer most often associated with the literary origins of magical realism once stated, as if with Browne’s Musaeum Clausum in mind  - 

"To write vast books is a laborious nonsense, much better is to offer a summary as if those books actually existed."

Musaeum Clausum's art-gallery of 'Rarities in pictures’ succinctly describes paintings roughly sketched out in a few brush-stroke sentences; some are located in exotic settings such as moonlight, the polar regions and underwater, others depict historical events such as sea-battles, amongst a variety of fancies from the Norwich philosopher-physician's imagination.

The artist Mark Burrell (b. 1957) selected the item entitled ‘A vestal sinner in the cave with a candle’ from 'Rarities in Pictures' as raw material to work on. Burrell’s Sacred Presence (detail above, oil and alkyd resin on board 19 x 19 3/4 inches) depicts a cave in which a young girl with a questioning and slightly defiant expression, stands beside a table on which several candles are lit. A highly-charged and numinous atmosphere is evoked through the lapsed virgin's encounter with a supernatural apparition. A floating, genie-like torso faces her, ambiguous in facial features, the apparition is simultaneously erotic and scary. A ghostly visage can also be seen looking on. As often in Burrell’s art, a numinous atmosphere is enhanced through highly-charged colouration along with skilful portraiture and exquisite detail. 

Candles and the magical light which they create can be seen in several of Burrell’s paintings. Exercising his artistic license Burrell has chosen to paint several lit candles, heightening the drama of the numinous moment. Until relatively recently candles were a primary source of light. In the modern age with its demand for eyes to constantly focus upon the artificial light of the phone, computer and television screen, candle-light is a relaxing and soothing balm to the eyes. Candle light retains its spiritual significance from mankind's very earliest religious experiences to the present-day. 

In  Mark Burrell’s Sacred Presence the torso of a hybrid creature, like a genie released from a bottle, hovers bare-breasted and quivers with secret Freudian allusions, the artist subtly inviting the viewer to project their own unconscious psychological contents onto its presence. From the bare skeletal frame-work of a single sentence description, Burrell has fleshed-out and conjured up a dark and mysterious, and ultimately inexplicable, fairy-tale narrative in his own unique and inimitable style. 

Burrell's Sacred Presence may poetically be described as an Hallucination gothique. It should be noted that the word 'Gothic’ in its original meaning is descriptive of the marvellous and amazing, such as found in Burrell's paintings of fair-grounds, sun-sets, bonfires and fireworks, along with the wonders of childhood, as much as the darker and gloomier associations of the word, while the word 'hallucination' here simply means a vivid, yet controlled, visual imagination, without any association of chemical inducement whatsoever. 

The setting of the cave invites exploration. In the ancient Greek philosopher Plato's famous allegory of the cave, found in book 7 of his discourse The Republic, the human condition is described as one in which unenlightened people forever mistake the fleeting and insubstantial shadows they see projected onto a cave wall for the reality of the Eternal Platonic forms. 

In the cave paintings at Lascaux in France, estimated to be 20,000 years old, various animals can be seen. First discovered in 1940, the Spanish artist Pablo Picasso (1881-1973) after visiting the paleolithic caves remarked, 'They've invented everything'. Picasso subsequently incorporated imagery found in the caves of Lascaux in his own paintings. Indeed its no exaggeration to state, as Picasso realized, that the cave was in fact the setting of mankind’s very first art gallery. 

The subject-matter of Browne’s ‘vestal sinner’ originates from Roman antiquity. The Vestal virgins were entrusted to the task of keeping the sacred flame of the temple dedicated to Vesta permanently alight. A supreme importance was attached to the purity of the Vestal virgins, and a terrible punishment awaited her who violated her vow of chastity. If a Vestal virgin broke her vows she was punished by being entombed alive with a solitary candle in the certainty of death.  

There’s a casual, though entirely coincidental similarity to Burrell's Sacred Presence to a scene in the Mexican-American film director Guillermo del Toro’s cinematic masterpiece of magical realism, Pan’s Labyrinth (2006). Early in the film, the heroine Ofelia who loves reading fairy-tales, descends the steps of a  labyrinth to enter a cavernous space where she encounters a faun who sets her three tasks to complete by full moon. 

The faun in Pan's Labyrinth not unlike the spectral apparition of Sacred Presence is strongly imbued with the daemonic, that is, a benevolent nature spirit, which though seemingly scary, more often than not, is helpful to mortals. The daemonische also describes the particular genius or spirit of a place, something which Burrell expresses vividly in paintings of his home-town of Lowestoft, the sea-town possessing a distinctive character in his art.

Its important here to distinguish between the word daemonic with the much latter word 'demonic' and not to confuse the daemonic with the demonic. The Greek word daimōn was applied to the Judeo-Christian concept of an evil spirit by the early second century CE. Just how the original Greek word 'daemonic' alluding to the Spirits inhabiting Nature transformed to become 'demonic' is a good example of how the prejudices and hostilities of the Judeo-Christian world towards the Greek civilization  condemned Greek nature worship and labelled all such Nature-spirits originating from Greek civilization as pagan. [2]

There are many accounts in Greek mythology of mortals who encounter supernatural beings. In ancient Greek myth, the hero Oedipus challenges the female Sphinx who devoured all travelers who could not answer her riddle. When Oedipus gave her the correct answer he caused the Sphinx's death.

The Greek hero Oedipus is the subject of an early work of  portraiture by Mark Burrell. Painted over twenty years ago and measuring 6" x 9", Burrell’s portrait through sheer serendipity corresponds well to Browne's interest in the esoteric art of physiognomy as represented in the 'Rarities in Pictures' item - 

Three Draughts of passionate Looks; .............of Oedipus when he first came to know that he had killed his Father, and married his own Mother. 

This early work of Burrell's is a fine anticipation of what is now a highly-developed feature of his mature work, namely, portraiture involving great psychological insight.

* * * *

The artist Peter Rodulfo (b. 1958) is a star of equal brilliance in the celestial firmament of North Sea magical realism. Mercurial in subject-matter, style, dimensions and the medium of his art (Rodulfo is a sculptor as well as a painter) he is now clocking up forty-plus years of industrious creativity. However, one never gets the impression of any Sisyphean effort to Rodulfo’s art, even though he confesses his paintings are problems which he only sometimes solves. Most often, a joyful delight in productive, often experimental creativity weaves throughout Rodulfo's varied and wide-ranging art-works, like a silken golden thread in finely-woven tapestry .

Peter Rodulfo also selected an item from Browne’s Museum Clausum during the summer of 2016, his painting Dr. Browne  goes Submarining originating from the 'Rarities in Pictures'  item of -

Large Submarine Pieces, well delineating the bottom of the Mediterranean Sea, the Prairie or large Sea-meadow upon the Coast of Provence, the Coral Fishing, the gathering of Sponges, the Mountains, Valleys and Deserts, the Subterraneous Vents and Passages at the bottom of that Sea .... Together with a lively Draught of Cola Pesce, or the famous Sicilian Swimmer, diving into the Vorago's and broken Rocks by Charybdis, to fetch up the golden Cup, which Frederick, King of Sicily, had purposely thrown into that Sea.

Adhering closely to Browne’s description, Rodulfo’s giant-sized (180 x 220 cm) oil on canvas displays the artist's masterful utilization of a strong blue pigment, in conjunction with skilful perspective and an exuberant delight in marine-life. In fact there are now many art-works by Rodulfo in which marine life is a primary feature. Three paintings by the artist focus upon the stages and symbolism of the Night Sea Voyage, for example. 

An attentive viewing of Rodulfo’s 'Large submarine Piece' reveals not only the silhouetted figure of a diver, but also,‘the golden Cup, which Frederick, King of Sicily, had purposely thrown into that Sea’.  The deep fathoms of water from the golden cup resting upon seabed to surface is effectively conveyed through a shaft of hazy sunlight at the top left of the painting. A platypus with its wide, flat bill can be seen diving headlong in its top right. The viscous nature of the sea is hinted through various pieces of flotsam and jetsam floating in the water. There's also a skillful use of perspective in the outlines of rock formations, along with finely-worked frottage which enhances the depth of Rodulfo's aquatic vision.  

Digital photography can never fully reproduce an original art-work, especially one which is so large in its dimensions. Nevertheless, a detail from Rodulfo’s jumbo-sized painting (above) goes some way towards highlighting the fantastic detail of its imagery. 

In Rodulfo’s submarine fantasy, with its hints of civilizations such as Atlantis as recounted in Plato’s Timaeus, the gods of a distant time, far from being stern and implacable, are portrayed as approachable and cheerful and above all, not necessarily patriarchal whatsoever. Male and Female together, they suggest some long-lost civilization celebrating the Hieros Gamos or 'Sacred Marriage' when men and women were co-equal in a meaningful way, long since forgotten.  

Its interesting to note that both Burrell and Rodulfo were attracted to paint items allusive to the hidden in nature. For whilst Burrell selected an item featuring the subterranean, that is, under the earth, Rodulfo opted for the submarine, that is, under the sea. These settings may be considered as allusive in symbolism to the subconscious of the human psyche. Its a moot point in terminology between the difference of subconscious and unconscious, it being far easier for an artist to depict examples from under nature than the unnatural and 'not of nature'. Of  far greater importance is the fact that both Rodulfo and Burrell are well aware that much in human relationships and affairs is influenced and driven by the hidden, subconscious psyche. 

It would be a daunting task to even begin naming the numerous influences of Rodulfo’s and Burrell’s art. Both artists live and work in historic North Sea ports which for centuries have been vigorous conduits, not only of travel, trade and commerce, but also of cultures, fashions, ideas and  art. Nevertheless, above all others it's the Swiss artist Paul Klee whom Peter Rodulfo admits to admiring most, while for Mark Burrell the English artist Stanley Spencer is held in the highest regard. Both artists also take a casual interest in the psychology of C.G. Jung and the psychological element is evident in both artist's work, consciously and unconsciously, as the shared symbolism of their respective paintings suggests, the subterranean setting of Mark Burrell's Sacred Presence harmoniously matching the submarine setting of  Peter Rodulfo's Dr. Browne goes Submarining.

                                                  *    *   *  *

In the nineteenth century Russian artist Ilya Repin's scene from the medieval Russian fairy-tale of  the minstrel singer and sailor Sadko, the hero is seen visiting a submarine kingdom. Repin's fanciful painting entitled Sadko visiting the Underwater Kingdom (1876) alludes to lost civilizations, along with depiction of a wide variety of  marine-creatures. One wonders if the Russian composer Rimsky-Korsakov ever viewed Repin's painting, the subject of Sadko and his fairy-tale adventures are the plot of Rimsky-Korsakov's triumph of national opera, Sadko (1889). Rimsky-Korsakov's contemporary and great rival, Peter Tchaikovsky also found Russian fairy-tales to be inspiring. The music of Tchaikovsky's world-famous and well-loved ballets Swan Lake (1875-77) and The Sleeping Beauty (1890) along with Igor Stravinsky's  ballet The Firebird (1911) are all structured in plot and narrative upon fairy-tales. 

In the sixth scene of Rimsky-Korsakov's opera Sadko the minstrel Sadko descends to the Sea-Tsar's kingdom in order to win his daughter's hand in marriage. 

                                                          *   *  *

Cheerfulness, along with humour and wit are prominent characteristics of much of  Peter Rodulfo's art, not least in his choosing to realize one of the funniest of all the items in Browne’s 'Rarities in Pictures' namely, An Elephant dancing upon the Ropes with a Negro Dwarf upon his Back.

Painted sometime late 2016/early 2017, in addition to an elephant dancing upon a tight-rope with a gyrating liveried flunky upon his back, a lobster, butterfly, tortoise, starfish, seagull and the tail of a large cetaceous creature can be seen, all of which are visible evidence of Rodulfo's great love of animals. Elephants in particular can be found lumbering about in several of Rodulfo's paintings, including his key-signature art-work As the Elephant Laughed (2012). Elephants feature in Rodulfo's art perhaps because their colossal size and docile intelligence impressed strongly upon the artist's memory when resident in India as a young boy. 

In Rodulfo's Elephant Dancing on the Ropes the rough hide of an elephant has been imitated with a thick, heavy layering of paint worked onto the canvas with a spatula. The elephant's hide is strongly lit by moonlight shining  upon its back. The drama of the moment is further enhanced by the setting rays of the sun catching the tail of a large cetaceous creature about to dive, along with the strobing beams of a lighthouse on the distant horizon. The swell of the sea in its foreground, complete with ripples and bubbles are also skillfully delineated. 

Its interesting to note that although they are quite different in mood, Rodulfo's highly amusing painting of an elephant lolloping along a rope and Burrell's sombre Sacred Presence nevertheless share imagery involving moonlight and candles. 

There are two possible sources from which Thomas Browne may have been informed about tightrope-walking elephants. As an antiquarian and a keen numismatist he may have seen ancient Roman coins which appear to depict tight-rope walking elephants, but alas, such coins are in fact of elephants treading upon serpents, with the attendant symbolism of such an act, and not tight-rope walking at all. 

A far more reliable source for tight-rope walking elephants occurs in Suetonius' Lives of the Caesars. The ancient historian records that it was the Roman emperor Galba (3 BCE - 69 CE) who introduced the spectacular novelty of tight-rope walking elephants at the festival of Floralia [3]. Perhaps Browne, who owned a copy of Suetonius' Lives of the Caesars read of tight-rope walking elephants there. However, what can be of little doubt is that Browne, who candidly confesses in Religio Medici that-

 'I can look a whole day with delight upon a handsome Picture though it be but of an Horse'. [4] 

he would have immensely enjoyed viewing Rodulfo's mirth-inducing realisation of An Elephant dancing upon the Ropes with a Negro Dwarf upon his Back.

Incidentally,  imagery involving elephants as well as the bottom of the sea occurs in Sir Thomas Browne's phantasmagorical discourse The Garden of Cyrus (1658) while the physician-philosopher's vigorous introduction of new words into the English language includes the words 'hallucination' as well as 'submarine'.

Rodulfo and Burrell first became aware of each other through fellow artist Guy Richardson (b. 1933) though in the eventuality they first met at a New York bar while exhibiting their art in America. As the senior member of North Sea magical realism  Guy Richardson has influenced both Rodulfo and Burrell at various stages of their artistic careers. His mixed media artwork, A Shark-wrestler in a bottle is related to themes and preoccupations encountered in both artist's work, it being a fusion of Rodulfo’s wit and humour and Burrell’s intensity of expression. 

This post is dedicated to Ms. Katerina Mayfaire  - perhaps America's biggest fan of North Sea Magical Realism, with many thanks for her inspiration.

Notes

[1] The German photographer Klaus Wehner and his art-project entitled Museum Clausum  from 2001 Link here.
The avant-garde composer Eve Beglarian and her electronic music piece entitled the Garden of Cyrus  and an American rock-band naming themselves The Garden of Cyrus spring to mind.
[2] Thanking  Ms. Clair Papillion for bringing this distinction to attention.
[3]  Suetonius Lives of the Caesars Galba section 6.
[4] Religio Medici Part II. Section 9.

The Tale of Tales

Loosely based upon one of the earliest of all European collections of fairy-tales, Italian film director Matteo Garrone's adaptation of Giambattista Basile's The Tale of Tales is a triumph of cinematography. Starring Salma Hayek and Toby Jones, Garrone's Tale of Tales (2015) is sumptuous in costume, decor and location and exemplary of magical realism in cinema.

Early in the first of three overlapping stories, the childless King and Queen of Longtrellis consult a ghoulish necromancer who mysteriously declares- 

'the equilibrium of the world must be maintained, every desire and action corresponds to another, every life calls for a life, birth is always stained by death, death in turn is simply one element of birth'.  

These philosophical aphorisms alert one to the fact that the fairy tales collected by the Neapolitan courier and poet Giambattista Basile (1566-1632) The Tale of Tales (Lo cunto de li cunti) are far removed from the sentimental fairy tales of Hans Christian Andersen (1805-75) and even further removed from the syrup and saccharine servings of modern-day Disney adaptations. 

Taking the advice that the heart of a sea-dragon must be found and cooked by a virgin in order for the Queen to become pregnant, the King of Longtrellis duly embarks upon an aquatic hunt. This first story although deviating from the original plot, nevertheless, like each one of the three overlapping stories of Garrone's  Tale of Tales remains in essence faithful to the moral of Basile's fairy-tale collection. All three stories focus upon the deceptive world of appearances and the fatal consequences which occur when obtaining false desires.

Besides being well-acted, notably in the roles portrayed by Salma Hayek and Toby Jones, the Neapolitan flavour of Basile's tales is conveyed well in costume, decor and location. The Tale of Tales was filmed entirely in Italy, including  at Naples at the Royal Palace, at the Palace of Capodimonte and its gardens, at Apulia's Castel del Monte, Sicily's Donnafugata Castle, Gole dell'Alcantara in Alcantara, Abruzzo's Castello di Roccascalegna, Tuscany's Moorish castle of Sammezzano  and the towns of Sorano and Sovana. All of which are atmospheric backdrops contributing to the film's stylish narrative.

    

In the second tale of The Tale of Tales, the fatal mistake of misdirected desire is once more focussed upon. The King of Highhills (Toby Jones) is distracted by a flea while listening to his daughter accompanying herself on guitar while singing. He captures the flea and lovingly nurtures it. The pet flea grows to monstrous proportions to become a secret hobby of greater importance to him than the future of his daughter. When the flea dies the King concocts a bizarre challenge for the hand of his daughter in marriage which backfires with fatal consequences when an ogre visits his castle to take up his challenge.   

In the third story featured in The Tale of Tales the dissolute and lustful King of Longtrellis (Vincent Cassell) also hears a woman singing and becomes obsessed with seducing her.  However, unknown to him, the voice he hears belongs to one of two  aged and withered sisters. Unable to see his obsessive love he persuades her to grant him the favour of at least poking a finger through a hole for him to kiss (some quite overt Freudian symbolism going on there). Once obtaining his full desire and disgusted at her true appearance, he orders his guards to commit an act of defenestration upon his rejected lover. Caught mid-flight in the branches of a tree she is suckled by a sorceress and transformed into a beautiful young woman.  

In Basile's fairy stories the staple diet of fairy tales world-wide can be found, seemingly impossible tasks to be performed, humans transformed into animals such as cats, doves, foxes and whales which talk, dramatis personae of dwarves and ogres, cruel step-mothers, magicians and sorceresses, peasants and Kings, true love found and tales of rags to riches. Basile's stories also include moral aphorisms such as, 'Ingratitude is a nail, which, driven into the tree of courtesy, causes it to wither' and, 'One hour in port, the sailor freed from fears, forgets the tempests of a hundred years'. as well as astrological aphorisms one character uttering, 'He is a madman who resists the stars',  another says 'Praised be Sol in Leo !' The pipes of Pan, with their seven reeds one larger than another are also mentioned. 

Such is the sophistication of Basile's tales in their construction that in the 2007 Penguin translation of his tales, the translator observes - 

Each tale is introduced by a rubric that sums up the story and a preamble that includes a summary of the audience's reactions to the previous tale as well as reflections on the teaching of the tale to come (often leading to discussions of favourite Renaissance and Baroque topics such as fortune and virtue, wit, envy), and concludes with a moralizing proverb, often from Basile's Neapolitan wit [1]

'Heaven sends biscuits to him who has no teeth'.

Basile's plots often reverse expectations, his language is described as - 'an unusual stylized Baroque version of the Neapolitan dialect, at times mellifluous, at times coarse and provocative; his critical commentary on his era was so far ahead of his time that it still has a bearing on contemporary society'. [2]   

'Basile's tales are inhabited by supernatural creatures and propelled by forms of magic entirely disassociated from any religious system, at a time when the strict orthodoxy of the Counter- Reformation influenced public and private expression. The Tale of Tales is a work that simultaneously  evokes the humus of seventeenth century Naples- its landmarks, customs and daily rituals, family and professional life - and conjures forth a fantastic world whose originality still holds strong attraction today'. [3]

Giambattista Basile (1575-1632)

Another critic describes Basile's tales as -'bawdy and irreverent but also tender and whimsical; acute in psychological characterization and at the same time encyclopaedic in description; full, ultimately, of irregularities and loose ends that somewhat magically manage to merge into a splendid portrait of creatures engaged in the grave and laborious, gratifying and joyful business of learning to live in the world - and to tell about it. '[4]

Basile's dark and baroque fairy-tales are equal in importance to those of Charles Perrault (1697) or the Brothers Grimm (1810); indeed The Tale of Tales contains the earliest literary versions of many celebrated  fairy tales  - Cinderella, sleeping Beauty, Rapunzel, and Hansel and Gretel among others. Throughout the past two centuries, in particular, the Brothers Grimm highly influential collection of fairy tales, almost every nation and culture from Russian to Lapp to Aborigine have sought to collate a definitive collection of their own fairy-tales. It was not until the 20th century in Italy that a definitive collection of fairy-tales were collated. Basile was a key influence and source to Italo Calvino's masterly compilation Fiabe Italiane (Italian folktales) of over 200 Italian fairy tales, which  Calvino describes thus-

   

Taken all together, they offer, in their oft-repeated and constantly varying examinations of human vicissitudes, a general explanation of life preserved in the slow ripening of rustic consciences; folk stories are the catalog of the potential destinies of men and women, especially for that stage in life when destiny is formed i.e. youth, beginning with birth, which itself often foreshadows the future; then the departure from home, and, finally, through the trials of growing up, the attainment of maturity and the proof of one’s humanity. This sketch, although summary, encompasses everything: the arbitrary division of humans, albeit in essence equal, into kings and poor people; the persecution of the innocent and their subsequent vindication, which are the terms  inherent in every life; love unrecognised when first encountered and then no sooner experienced than lost; the common fate of subjection to spells, or having one’s existence predetermined by complex and unknown forces. This complexity pervades one’s entire existence and forces one to struggle to free oneself, to determine one’s own fate; at the same time we can liberate ourselves only if we liberate other people, for this is the sine qua non of one’s own liberation. There must be fidelity to a goal and purity of heart, values fundamental to salvation and triumph. There must also be beauty, a sign of grace that can be masked by the humble, ugly guise of a frog; and above all, there must be present the infinite possibilities of mutation, the unifying element in everything: men, beasts, plants, things. [5]

In contemporary study of the fairy tale, Jack Zipes, the most industrious scholar in the field, has developed a politically committed, cultural materialist perspective which explores the multiple ricochets between historical facts and mentalities (including class and gender values) with fairytale scenarios. His extensive criticism, from Don't Bet on the Prince (1986) to his recent The Irresistible Rise of the Fairy Tale (2007) has simultaneously helped give fairy tales greater stature as literature and led to sharp controversy about their pernicious or liberating influence upon audiences, especially the young.[6] According to Zipes -

'In the fairy tale man is freed from the mystery's obligation of silence by transforming it into enchantment; it is not participation in a cult of knowledge which renders him speechless, but bewitchment. The silence of the mystery is undergone as a rupture, plunging man back into the pure, mute language of nature; but as a spell, silence must eventually be shattered and conquered. This is why, in the fairy tale, man is struck dumb, and animals emerge from the pure language of nature in order to speak'. [7]

Fairy tales have attracted the attention of many great artists, poets, illustrators and composers. Adapted for theatre as the framework for countless Christmas pantomimes and the inspiration for various composers (some of the greatest ballets of all-time are based upon fairy-tales, namely, Tchaikovsky's Swan Lake and The Sleeping Beauty as well as Stravinsky's ballet The Firebird) the literary genre of the fairy or folk tale continues to be a source of inspiration, entertainment and interpretative discourse throughout the world. 

Celebrating the power of the imagination the fairy story is a literary genre which may be considered as exemplary of magical realism. In the modern-era, Cinema with its combination of sound and moving image is another medium through which magical realism can be convincingly experienced.

In the Mexican film-director Guillermo del Toro's Pan's Labyrinth (2006) the worlds of fascist Spain and the dark fantasy world his adopted daughter Ofelia explores are juxtaposed to eventually collide, with tragic, yet redeeming consequences. Del Toro's Pan's Labyrinth, along with The Tin Drum (Schlöndorff 1979) The City of Lost Children (Caro and Jeunet 1995) Donnie Darko (Richard Kelly, 2001) Being John Malkovich (Spike Jonze 1999) Amélie ( Jeunet 2001) The Piano Tuner of Earthquakes (Brothers Quay 2005) The Science of Sleep (Michel Gondry 2006) and many of the films by Terry Gilliam are among my personal favourites. There is however nowadays an increasingly amorphous and mushrooming of the term 'magical realism' and an ever-lengthening list of films which critics claim are exemplary of the generic term, thus rendering the label near meaningless.   

The psychologists Sigmund Freud and Carl Jung occupied themselves with the inner meaning of fairy tales and folk motifs, and both had disciples who dedicated full-length studies to the analysis of fairy tales. The Swiss psychologist C.G.Jung (1875-1961) wrote two major studies on fairy-stories, 'The Phenomenology of the Spirit in Fairytales' and 'The Spirit  Mercurius' which analyzes the Brothers Grimm's 'The Spirit in the Bottle'. Jung interpreted fairytales, along with alchemy and dreams, as conduits to the unconscious psyche, noting-  

'Fairytales seem to be the myths of childhood and they therefore contain among other things the mythology which children weave for themselves concerning sexual processes. The poetry of the fairytale, whose magic is felt even by the adult, rests not least upon the fact that some of the old theories are still alive in our unconscious. We experience a strange and mysterious feeling whenever a fragment of our remotest youth stirs into life again, not actually reaching consciousness, but merely shedding a reflection of its emotional intensity on the conscious mind'. [8] 

According to Jung, 'As in alchemy, the fairytale describes the unconscious processes that compensate the conscious, Christian situation...the fairytale makes it clear that it is possible for a man to attain totality, to become whole, only with the spirit of darkness, indeed that the latter is actually a causa instrumentalis of redemption and individuation'. [9] 

'Myths and fairytales give expression to unconscious processes, and their retelling causes these processes to come alive again and be recollected, thereby re-establishing the connection between conscious and unconscious'.  [10] 

C.G. Jung believed that - 'It is extremely important to tell children fairy tales and legends, and to inculcate religious ideas into grown-ups, because these things are instrumental symbols with whose help unconscious contents can be canalized into consciousness, interpreted and integrated'. [11] 

The function of the fairy-tale according to Jung is - 'to tell us how to proceed if we want to overcome the power of darkness: we must turn his own weapons against him, which naturally cannot be done if the magical underworld of the hunter remains unconscious'. [12] 

It was however Jung's disciple, Marie-Louis von Franz (1915-1998) who took fairy-tales seriously enough to devote many years of her life exploring their psychological symbolism. von Franz's books remain fruitful reading for those wishing to study fairy-tales from a Jungian perspective in  greater depth. [13]

In conclusion, returning our attention to  Basile's fairy-tales  - In an interview at the Cannes film festival in 2016 the Italian film director Matteo Garrone quoted Calvino's description of Basile as a kind of 'deformed Neapolitan Shakespeare' and described his own film adaptation of Basile's tale as being fantasy with horror. In what must surely have been a labour of love, i.e. to restore a neglected work of Italian literature, Garrone's film is to be applauded for raising the profile of Basile's little-known collection.

Notes

[1] Giambattista  Basile  The Tale of Tales Penguin Books Wayne State University Press 2007
[2] Ibid.
[3] Ibid.
[4] Ibid.
[5] Italo Calvino  - Italian Folktales  pub. 1956 trans. 1980
[6] Once Upon a Time - A short history of fairy tale - Marina Warner OUP 2014
[7] Ibid.
[8] C.G.Jung Collected Works Vol.  17 para 43

[9]  CW vol. 9 i: 453 'The Phenomenology of the Spirit in Fairytales' (1945/48)

[10]  CW 9 ii: 280
[11] CW 9 ii: 259
[12] CW 9 i: 453 'The Phenomenology of the Spirit in Fairytales' (1945/48)
[13] The Feminine in Fairytales - M.L. von Franz - Spring Publications 1972
The Psychological Meaning of Redemption Myths in Fairytales - M.L. von Franz Inner City books 1980.

The Wooden Prince

First performed in Budapest, a full century ago on May 12th 1917,  Béla Bartók's ballet-pantomime The Wooden Prince is based upon a fairy-tale which focuses upon the themes of love and loneliness, the contrasting natures of men and women, the artist's relationship to creativity and the triumph of love over adversity.

The Hungarian composer Béla Bartók (1881-1945) is arguably one of the unhappiest examples of a composer who learned to live with neglect. Throughout most of his career, discouragement, the struggle to find an audience, failing health and chronic poverty, dominated his life. It was only after his death in 1945 that public recognition of his musical genius occurred.

In 1914, the writer Béla Balázs, who also wrote the text for Bartok's opera Bluebeard’s Castle, found the composer, “in a gloomy and hopeless state of mind. He was thinking about emigration, or of suicide.” The Wooden Prince was a composition in which Bartók’s fortunes seemed, at least temporarily, to change. Balázs suggested to Bartók the idea of a musical pantomime. Composition began in 1914; it was the first serious work Bartók had attempted in many months. Progress was sporadic, but he persisted, inspired by the promise of a staged production. It may well have been the subtext of Balázs's pantomime about the fate of the creative artist which inspired him.

The orchestral score of The Wooden Prince is the largest ever employed by Bartok. The composer calls for four flutes and two piccolos, four oboes and two english horns, four clarinets, E-flat clarinet and bass clarinet, four bassoons and two contrabassoons, three saxophones, four horns, four trumpets and two cornets, three trombones and tuba, two harps, celesta, glockenspiel, xylophone, triangle, castanets, cymbals, side drum, bass drum, tam-tam, and strings. Its total performance time is approximately fifty minutes.

Termed a symphonic poem for dance by the composer, each individual dance of The Wooden Prince varies sharply in character. Highlights of the orchestral score include a terrifying Tolkien Ent-like march of trees, a jazz influenced dance upon waves featuring three saxophones, a playful dance of the princess in the forest scored for solo clarinet, harp and pizzicato strings, and a vigorous comic dance in which Bartok caricatures the movements of the wooden dummy prince lurching through abrupt shifts of tempo with a pulsing, repetitive rhythmic stamp.

The Wooden Prince reveals a number of influences upon the composer's maturing style. Its brilliant, original and colourful orchestration may have resulted from Bartok’s encounter with the repertoire of the Ballet Russe who visited Budapest with the Hungarian premieres in 1913 of Stravinsky’s two new ballets, The Firebird with its libretto based upon a conglomerate of Russian fairy tales, and the puppet-drama Petrushka.

The tone-poems of the Austrian composer Richard Strauss were also an influence upon Bartók who reportedly was stunned when first hearing Also Sprach Zarathustra (1890) at its Budapest premiere in 1902. Other influences include Bartok's careful study of Debussy’s scores at his friend and fellow composer Zoltan Kodály’s suggestion; and the discovery of Eastern European folk music, which had given him a second career as a pioneer ethnomusicologist.

The libretto of The Wooden Prince tells of a handsome young prince who sees a beautiful princess playing flirtatiously among the trees. He impulsively falls in love with her and struggles to win her heart. In his way stand the wishes of a fairy who wishes the prince to belong alone in her magical nature world, and who uses all her powers to prevent him from reaching the princess. In the third dance, termed a 'grand ballet', the forest itself, and then a river are summoned to turn the prince away from his goal, while in the distance the princess sits at her spinning wheel in the castle, oblivious to his effort. To gain her attention the prince fashions an image of himself, that he can lift above the trees for her to glimpse. He takes his crown, his sword, and, eventually, his golden hair, arranges them on a dummy, and watches as the princess instantly stops sewing and dashes down through the forest to find this handsome prince she has seen . The princess falls in love not with the real prince, but with the wooden dummy he has made, resulting in the dejected prince retreating into solitude. The wooden prince is brought to life by the fairy. The princess is disappointed once the dummy breaks down, catches sight of the real prince, and succeeds in regaining his heart. The prince abandons solitude for the embrace of lover. As the curtain falls the story ends with the lovers, now certain of their affection, standing quietly gazing into each other’s eyes.

Opening in the key of C major with distinct reference to the music of Richard Wagner's Rheingold, the introduction of The Wooden Prince displays great psychological mastery as its music slowly transforms from a mood of calm and tranquillity to one of full-blown tension and crisis.

Early in the ballet there is an uncanny evocation of a vast green forest and 'Water- music' in which Bartok vividly conjures a direct image of nature, applying the lessons of his impressionistic phase from the music of Debussy. The French composer's influence can be heard in the third dance of the ballet, Dance of the Waves which features three saxophones. 

The Belgian inventor Adolphe Sax's great contribution to music, the saxophone is featured in various other orchestral works, in particular those of French composers including Bizet in his L'Arlesienne suites dating from the 1870's, Ravel's Bolero (1928) as well as his orchestration of Mussorgsky's Pictures at an Exhibition (1922) and Debussy's Rhapsody for Saxophone and Orchestra (1903). Others who composed for the saxophone's distinctive voice include Rachmaninov in his Symphonic Dances (1940), his last ever composition, Vaughan Williams in Job, A Masque For Dancing (premiered in concert form in October 1930 at the Norfolk and Norwich Festival), Alexander Glazunov in his Concerto for  Alto Saxophone and String Orchestra (1934) and Benjamin Britten in his Sinfonia da Requiem (1941).

One would have thought the saxophone to be the perfect instrument to depict a bustling metropolis in Bartok's subsequent work The Miraculous Mandarin, a story of sex, crime, murder and robbery, but in fact it's in the third dance of The Wooden Prince, entitled Dance of the Waves, with its three saxophones, that one of the earliest allusions  in orchestral music to jazz can be heard. 

The full sequence of dances in The Wooden Prince is as follows-

Part 1  [Prelude before the curtain rises]   [Awakening of Nature]

First Dance -  Dance of the princess in the forest.
Prince falls in love with her.

Second Dance -  Dance of the trees.
Trees, brought to life by the fairy, prevent the prince from reaching her.

Third Dance -  Dance of the Waves.

Fourth Dance - Dance of the princess with the wooden doll.

Fifth Dance - Princess pulls and tugs at the collapsing wooden prince.

Sixth Dance  - She tries to attract the real Prince with seductive dancing.

Seventh Dance - Dismayed, the Princess attempts to hurry after the Prince. Prince and Princess embrace. Nature returns to a peaceful state.

In addition to the Italian story-teller Carlo Collodi's world-famous tale of the adventures of a wooden doll who becomes a boy, Pinocchio (1883) there are several ballets which feature a dummy or mannikin.

Leo Delibe's comic ballet Coppelia (1870), Tchaikovsky's The Nutcracker (1892) based upon E.T.A. Hoffman's dark tale of 1816, and Stravinsky’s ground-breaking score for the Ballet Russe, Petrushka (1911) all feature a puppet or doll-like character. In the frenzied courtship dance of the princess with the puppet wooden prince Bartok utilizes exotic pentatonic harmonies and vigorous rhythms which are imitative of  music in the score of Stravinsky's ballet, Petrushka. 

A rare Hungarian video-clip of the moment the princess meets and dances with the wooden prince gives an idea of the intricate relationship between orchestral score and its choreography.  

In the ballet's apotheosis the melody featured at the moment of the couple's final coming together is the Hungarian folk-song Fly, Peacock, quoted by Bartók in his First String Quartet and which Zoltán Kodály also quotes in his Peacock Variations.

The librettist of The Wooden Prince, Béla Balázs stated that the wooden puppet symbolizes the creative work of the artist, who puts all of himself into his work until he has made something complete, shining, and perfect. The artist himself, however, is left poor. as in that common and profound tragedy in which the creation becomes the rival of the creator, or the bitter-sweet dilemma in which a woman prefers the poem to the poet, the picture to the painter.

For the American music-historian Carl Leafstedt, the character of the Prince in Bartok’s ballet-pantomime is one of a symbolic chain of lonely selves which populate Bartok’s stage works. These include - Bluebeard, Judith, the Prince, Mimi and the Mandarin -  all of whom are character’s seeking, and sometimes finding, however briefly, the release from solitude and the wholeness which love can bring. Leafstedt also noted - ‘Bartok extends and makes dramatically convincing, the prince’s gradual resignation and his ensuing embrace by Nature, as the fairy commands all things in the forest to pay homage to the disconsolate man. In so doing he enlarges the work’s symbolism: the prince’s grief is not merely a transitory grief over a lost opportunity, but a life-altering moment of realization. He sees, with a clarity never before experienced, the emptiness of humanity’s pursuit of love, and in that moment of realization gains symbolic admittance into a realm lying beyond reason, beyond suffering, where man, alone, can lay down the burdens of his soul on the breast of Nature. This apotheosis forms the emotional centre of Bartok’s ballet; it is surrounded on either side by the quicker, more extroverted dances of the princess and wooden prince. [1]

The literary genre of the fairy tale has become increasingly scrutinized and analysed. Taken seriously by the psychologist C.G. Jung, notably in  his two essays dating from 1948, 'The Phenomenology of the Spirit in Fairytales' and in his analysis of the Brothers Grimm fairy-tale The Spirit in the Bottle in his The Spirit Mercurius 1948). Jung viewed fairy tales like myths to be spontaneous and naive products of soul which depicted different stages of experiencing the reality of the soul.

Jung's close associate, Marie-Louis von Franz (1915-98) considered fairy tales, along with alchemy, as examples of how the collective unconscious compensates for the one-sidedness of Christianity and its ruling god image. For Jungian analysts fairy tales are the 'purest and simplest expression of collective unconscious psychic processes' which represent the archetypes in their simplest, barest and most concise form'. 'In this pure form, the archetypal images afford us the best clues to the understanding of the processes going on in the collective psyche'.

Marie-Louis von Franz  speculated - 'I have come to the conclusion that all fairy tales endeavour to describe one and the same psychic fact, but a fact so complex and far-reaching and so difficult for us to realize in all its different aspects that hundreds of tales and thousands of repetitions with a musician’s variation are needed until this unknown fact is delivered into consciousness; and even then the theme is not exhausted. This unknown fact is what Jung calls the Self, which is the psychic reality of the collective unconscious'.

An attentive reading of  the complex orchestral score of Bartok's The Wooden Prince reveals a multitude of 'copy-book' motifs found in the soundtracks of numerous Hollywood films, including the genre of cartoon or animation. This is none too surprising for some of the most gifted of European composers, including Rachmaninov, Stravinsky, and Bohuslav Martinu, as well as Bartok, sought asylum in America before and during World War II. Their influence upon the development of American music cannot be under-estimated.

With its psychological motifs, impassioned moments and stark rhythms which originate from Bartok's study of Eastern European folk music known as Verbunkos, The Wooden Prince can now be recognised as not only an example of how European orchestral music  influenced future  music-making in America, but also as an orchestral work as radical and innovative as Stravinsky's Le Sacre du Printemps (1913) in 20th century music. 

Although productions of The Wooden Prince as a ballet are few in number today, it remains in the Hungarian dance repertoire to the present-day, as can be seen in the following video-clip.

Bibliography and Notes

Bartok Orchestral Music  John McCabe BBC pub. 1974

[1] The Cambridge Companion to Bartok  edited by Amanda Bayley pub. CUP 2001 includes - The Stage Works: Portraits of loneliness  by Carl Leaftstedt

Discography

The Wooden Prince and Cantata Profana - Chicago Symphony Orchestra and chorus conducted by Pierre Boulez  DGG 1991

Naxos - The Wooden Prince - Bournemouth Symphony Orchestra conducted by Marin Alsop 2008

Illustrations


Top - A photo of Nikolay Boyarchikov's 1966 choreographic version of  The Wooden Prince at the Mikhailovsky Theatre, Saint Petersburg.

Next - Cover of 1917 Budapest publication of Béla Balázs The Wooden Prince.

An essay for Carl living in Hungary.