William Taylor of Norwich - 'Kräftig, aber klappernd'.

Born in Norwich, William Taylor (7 November 1765 - 5 March 1836) was an essayist, scholar and translator of German Romantic literature. Along with Coleridge and Thomas De Quincey he was also a leading mediator in Anglo-German literary relations. Indeed, it was because of Taylor's early advocacy of German literature that the influential Allgemeine Literatur-Zeitung (Universal Literary Newspaper) could declare in 1796 -

'Incidentally, German literature has the greatest number of followers in Norwich, for understandable commercial reasons.' [1] 

In his lifetime Taylor was widely read. Importantly,  his translations of German poetry  bridged German Romanticism to English Romanticism. Taylor's translations influenced the poets Coleridge and Wordsworth to produce Lyrical Ballads (1798), a vanguard  literary work of Romanticism which, with its inclusion of Coleridge's long poem The rime of  the Ancient Mariner, changed the course of English poetry. 

More recently, Taylor's name and contribution to English appreciation of German literature is featured in Peter Watson's tour-de-force survey of German science and culture, The German Genius (2010) [2]

William Taylor's diverse  interests included - philology, etymology, chronology, topography, history sacred and profane, ancient and modern, political economy,  statistics, international law, municipal law, Talmudic legend, Muslim ethics, Biblical texts, churches and sects, parliamentary reform, slave trade and almost every category of modern European literature.  Among the thousands of reviews and essays which he wrote are those with titles such as, 'The Jews in England', 'Songs of the Negroes of Madagascar', 'Historic doubts concerning Joan of Arc', 'On the Sublime and Beautiful', an 'Ode in Praise of Tea' and, 'Of the Use of Ice as a Luxury'.

As the only child of a wealthy merchant who traded and exported Norwich goods to continental Europe, Taylor was fortunate in his education. He was taught by the English poet, essayist, literary critic, editor, and author of children's literature, Anna Letitia Barbauld (1743 - 1825) at her Palgrave Academy in Suffolk. 

Barbauld informed her former pupil of her reading aloud a poem translated by him at an Edinburgh literary soiree and of the reception it received -  

'Are you aware that you made Walter Scott a poet ? So he told me the other day I had the gratification of meeting him. It was, he says, your ballad of Leonora, and particularly the lines-

'Tramp, tramp across the land they speed: Splash, splash, across the sea'. [3]

Later, Taylor lauded Barbauld as, 'the mother of his mind'. Barbauld's own career as a poet ended abruptly in 1812, with the publication of her Eighteen Hundred and Eleven, in which she severely criticized Britain's participation in the Napoleonic Wars. Shocked by the vicious reviews it received, she published nothing more. 

 

Anna Barbauld can been in a group of three Muses, standing beside an easel with arm raised, in Richard Samuels' painting Nine Living Muses of Great Britain (1779). 

Devoted to his mother, Taylor never married, but did have a friendship unto the death, begun during  his schooldays when  meeting the serious-minded theologian and antiquarian Frank Sayers (1763-1817) at Barbauld's Palgrave Academy. A portrait of Sayers painted by John Opie dated 1800, hung for many years in William Taylor's library, and in all probability both men were homosexual. [2] 

For many years Taylor's daily routine consisted of rising early and studying until noon, swimming in the River Wensum from a bath house upstream from the city, followed by a long walk in the afternoon. In the evening he liked to drink (heavily) and discuss linguistics, literature and philosophy in society. 

In May 1790 Taylor visited France; arriving at Paris he declared himself to have ‘kissed the earth on the land of liberty.’ He spent nine days at the National Assembly, listening to its speakers debate upon the governance of the new, revolutionary France. The fever of the times are characteristically described by him thus-

'I am at length in that point of space where the mighty sea of truth is in constant agitation and every billow dashes into fragments some deep-rooted rock of prejudice or buries in a viewless gulph some institution of gothic barbarism and superstition. I am at length in the neighbourhood of the National Assembly, that well-head of philosophical legislation whose pure streams are now overflowing the fairest country on earth, and will soon be sluiced off into the other realms of Europe, fertilising all with the living energy of its waters.' [4]

Upon his return to Norwich Taylor translated some of the decrees of the National Assembly and read them at a meeting of the Revolutionary Society (which was named after the 1688 British revolution, not the recent French revolution). 

In 1802, during the Peace of Amiens, Taylor embarked on another tour of Europe, visiting France, Italy and Germany, partly on business for his father. In Paris he met the Norfolk-born political activist, philosopher, political theorist, and revolutionary, Thomas Paine, author of The Rights of Man (1791) 

In 1792, while visiting the Norfolk market-town of Alysham, the English satirical novelist and playwright Frances Burney, (1752-1840) noted of Norwich's political life -

'I am truly amazed to find this country filled with little revolution societies which transmit their notions to the larger committee at Norwich which communicates the whole to the reformists in London. I am told there is scarce a village in Norfolk free from these meetings'. [5] 

It was the British Prime Minister Pitt the Younger who called Norwich the Jacobin city after the clandestine French political movement which agitated for improved worker's rights and conditions. The historian E.P. Thompson in his groundbreaking work The Making of the English Working Classes sets the scene for the radical politics of late 18th century Norwich.  

Norwich, an ancient stronghold of Dissent, with an abundance of small masters and artisans with strong traditions of independence, many have even surpassed Sheffield as the leading provincial centre of Jacobinism......... In August 1792, when the Norwich Revolution Society sponsored a cheap edition of Rights Of Man, it claimed to have forty-eight associated clubs. By October it claimed that the 'associated brethren' were not fewer than 2,000.

But Norwich, was, in other respects, by far the most impressive provincial city. Nineteen divisions of the Patriotic Society were active in September, and, in addition to the weavers, cordswainers, artisans, and shopkeepers who made up the society, it still carried the cautious support of the patrician merchant families, the Gurneys and the Taylors. Moreover, Norwich owned a gifted group of professional people, who published throughout 1795 a periodical - The Cabinet - which was perhaps the most impressive of the quasi-Jacobin 

intellectual publications of the period. Its articles ranged from close analysis of European affairs and the conduct of the a war, through poetic effusions, to disquisitions upon Machiavelli, Rousseau, the Rights of Women and Godwinian Socialism. Despite the many different degrees of emphasis, Norwich displayed a most remarkable consensus of anti-Ministerial feeling, from the Baptist chapels to the aspiring philosophes of The Cabinet from the 'Weavers Arms' (the headquarters of the patriotic Society) to the House of Gurney, from the Foxite Coke of Holkham to the labourers in the villages near the city. The organisation extended from Norwich to Yarmouth, Lynn, Wisbech and Lowestoft. [6]

Throughout his life William Taylor was a Unitarian, attending the newly-built Octagon chapel which was completed in 1756 in the Neo-Palladian style by architect Thomas Ivory (above). Classified  as  'liberal'  in the family of churches, Unitarians place emphasis on reason when interpreting scripture. Freedom of conscience and the pulpit are core values of its tradition. Unitarianism is also known for rejecting several orthodox Christian doctrines, including original sin, predestination, and the infallibility of the Bible. The Unitarian's tolerant creed catered well for the liberal beliefs of several leading Norwich citizens including William Taylor from the year of the Octagon Chapel's completion in 1756 to the present day. [7]

In Taylor's day, the late 18th and early 19th century, the Octagon congregation included most of Norwich's principal Whig families - the William Taylors and John Taylors (unrelated one to the other, the Marsh family (the carriers), several leading medical families, the Aldersons, Dalrymples and Martineaus, beside Alderman Elias Norgate, the Alderman John Green Basely, the Bolingbrokes, some of the Barnards and J.E. Smith the botanist.  [8]

Taylor's great literary protégé without doubt was George Borrow (1803-1881) who lived at Willow Lane while attending Norwich Grammar School during his teenage years. In many ways Norwich's connection to the Romantic movement is embodied in  George Borrow who was of a dashing, Byronic-like appearance, of athletic build, over 6 feet tall with a shock of white, not blonde, hair.  A pugilist with a fiery temper, holding strong opinions including being a fervent anti-Papist, he was  keen to study the culture and language of the Romany people who he first encountered on Mousehold Heath. As a young man Borrow roamed the length and breadth of Britain as a tinker, while also studying the Romany language and its culture. 

Its in Borrow's Lavengro: The Scholar, the Gypsy, the Priest (1851) a literary work which hovers somewhere between the genres of memoir and novel, and which has long been considered a classic of 19th-century English literature, that a conversation between an old man and a young man is recollected. Taylor speaks first,- 

‘Suicide is not a national habit in Germany as it is in England.’

‘But that poor creature, Werther, who committed suicide, was a German.’

'Werther is a fictitious character, and by no means a felicitous one; I am no admirer either of Werther or his author.  But I should say that, if there ever was a Werther in Germany, he did not smoke.  Werther, as you very justly observe, was a poor creature. He is a fool who breaks his heart on any account; but it is good to be a German, the Germans are the most philosophic people in the world, and the greatest smokers: now I trace their philosophy to their smoking......[9] 

In the sequel to Lavengro, the equally unclassifiable The Romany Rye, (1857) Borrow refers to his mentor as -  

'a real character, the founder of the Anglo-German school in England, and the cleverest Englishman who ever talked or wrote encomiastic nonsense about Germany and the Germans'. [10] 

With Taylor's encouragement, George Borrow embarked on his first translation, Klinger's version of the Faust legend, entitled Faustus, his Life, Death and Descent into Hell which was first published in St Petersburg in 1791. Borrow, in his translation however, changed the name of one city, making one passage read:

'They found the people of the place modeled after so unsightly a pattern, with such ugly figures and flat features that the devil owned he had never seen them equaled, except by the inhabitants of an English town, called Norwich, when dressed in their Sunday's best'.

For his ridiculing of Norwich society, the Norwich public subscription library burned Borrow's first publication. The ultimate harsh review.

 

Above - The artist Alfred Munnings' depiction of George Borrow with his gypsy companion Jasper Petulengro  at the summit of St. James Hill with its panoramic view of Norwich. Petulengro says - 'There's a wind on the heath brother, who would wish to die?'

Taylor made his name translating Gotthold Lessing's Nathan the Wise, the themes and subject-matter of Lessing's drama greatly appealing to his radical and progressive convictions.

Nathan the Wise by Gotthold Lessing (1729-81) is set in Jerusalem during the Third Crusade. It describes how the wise Jewish merchant Nathan, the enlightened sultan Saladin, and a Templar knight resolve the misunderstandings between Judaism, Islam and Christianity. Its major themes are friendship, tolerance, relativism of God, a rejection of miracles and a need for communication. Primarily an appeal for religious tolerance, its performance was banned by the church, and was not performed until 1783, after Lessing's death. 

Far more problematic is the  relationship between Taylor and the German giant of literature,  Johann Goethe (1749-1832). Henry Crabb Robinson, who was a classmate of Taylor's at Barbauld's Academy, informed Goethe in 1829, 'Taylor’s Iphigenia in Tauris, as it was the first, so it remains the best, version of any of your larger poems'. 

Taylor sent his translation to Goethe in Weimar; but never heard whether the poet received it, and for this perceived snub he became hostile in judgement of Goethe in his last years. A statement in Goethe's Tages und Jahreshefte suggests the fault and negligence lay with Goethe himself, for he stated-  'A translation of the Iphigenia appeared in England; Unger reprinted it, but I retained neither the original nor the copy'.

 

But in fact, not only is the original edition and Unger’s reprint recorded as once in Goethe's library, but also Taylor’s Historic Survey of German Poetry, which includes the complete Iphigenia in its third volume. 

Goethe wrote about Taylor erroneously, and of his monumental work he dismissively stated, on 20 August 1831 to Carl Friedrich Zelter -

“I received 'A Survey of German Poetry’ from England, written by W. Taylor, who studied 40 years ago in Göttingen, and who lets loose the teachings, opinions, and phrases that already vexed me 60 years ago.”

But in fact Taylor never studied at Gottingen.  Worse harsh criticism was to come for Taylor in 1831 when Thomas Carlyle published a review of his Historic Survey of German Literature. Carlyle's scathing review  seriously damaged Taylor’s literary reputation to the present-day and his hostility and intolerance towards Taylor is also evident in Sartor Resartus (1836) with its pun-like Latin title of 'The tailor retailored'. There may even be intentional word-play upon the proper name of Taylor and the lowly occupation of tailor in its title. Carlyle's novel also includes sharp and critical remarks upon Taylor's creed, that of Utilitarianism, as well as repeated mocking of the excesses of German philosophy and idealism. 

During Norwich's 'Golden Age' in literary and artistic life (circa 1760-1832), William Taylor became acquainted with several of the Norwich School Painters and gave lectures to the Norwich Philosophical Society on art. In a lecture of 1814 he advocated architecture and Urban settings to be higher artistic subjects than those of rural life. His comment may well have been directed towards leading artist of the Norwich movement, John Crome (1768-1821) who produced a number of urban Norwich riverscapes, some of which are set almost on his doorstep, including  Back of New Mills (below) dated circa 1814 -17. 

There's the distinct possibility that Taylor's  influence upon the aesthetics of theNorwich School of Painters may be far greater than hitherto  has been acknowledged. 

One genre of literature which Taylor shared an interest with Anna Barbauld and the poet Southey, was children's literature, in particular, the fairy-tale. Southey is credited as being the author of the original version of Goldilocks and the Three Bears, in 1837, a year after Taylor's death, while Taylor himself wrote a version of Bluebeard and Cinderella.

  

William Taylor's friendship with Robert Southey (above, circa 1795) began in 1798 when Southey visited Norwich as Taylor's guest; the poet revisited him at Norwich in February 1802. In correspondence to Taylor, Southey asks him-

'Can you not visit Creswick next summer ? Coleridge will talk German with you; he is desirous of knowing you; and he is a sufficient wonder of nature to repay the journey'.  [11]

'I wish you could mountaineer it with us for a few weeks, and I would press the point if Coleridge also were here: but even without him we could make your time pass pleasantly; and here is Wordsworth to be seen, one of the wildest of all wild beasts, who is very desirous of seeing you'. [12]

Its testimony to their long friendship that the poet Southey (1774 -1843) who was Poet Laureate from 1813 until his death thirty years later, (Walter Scott having declined the post) could criticize Taylor's literary style yet their friendship remain intact, after writing to him, firstly-

' you too often (like your admirable old townsman Sir Thomas Browne) go to your Greek and Latin for words when plain English might serve as well'.

Perhaps influenced by his German reading, Taylor was fond of introducing newly coined words, most of which were as incomprehensible to the average reader as his ideas. The editors of the periodicals to which he contributed objected about his neologisms, his friends pleaded with him to abandon the habit. Sir James Mackintosh however, remarked of Taylor's idiosyncratic style, 'He does not speak any language but the Taylorian; but I am so fond of his vigour and originality that... I have studied and learned his language'. [13] 

Southey persisted in his pleas-

'How are plain Norfolk farmers - and such will read the Iris - to understand words which they never heard before, and which are so foreign as not to be even in Johnson's farrago of a dictionary ? I have read Cowper's Odyssey and to cure my poetry of its wheyishness; let me prescribe the Vulgar Errors of Sir Thomas Browne to you for a likely remedy.'  [14] 

Ignoring Southey's advice, the poet now severely admonished the Norwich scholar-  

'Now I will say what for a long while what I have thought. That you have ruined your style by Germanisms, Latinisms and Greekisms, that you are sick of a surfeit of knowledge, that your learning breaks out like scabs and blotches upon a beautiful face.......Wordsworth, who admires and reverences the intellectual power and the knowledge which you everywhere and always display, and who wishes to see you here [in the Lake District] as much as I do, frets over your barbarisms of language, which I labour to excuse, because there is no cure for them.' [15]

Taylor defended his literary style thus-

'Were I reviewing my own reviewals, I should say, This man's style has an ambitious singularity which like chewing ginseng, which displeases at first and attaches at last'.

'And yet my theory of good writing is, to condense everything into a nutshell: I grow and clip with rival rage, and produce a sort of yew-hedge, tangled with luxuriance and sheared with spruceness. The desire of being neat precludes ease, of being strong precludes grace, of being armed at points than being impervious at any'. [16]

Southey repeatedly invited Taylor to stay with him, along with Coleridge and Wordsworth at the Lake district, but Taylor repeatedly declined.  It may in fact have been far livelier at the Creswick cottage in the Lake District than Taylor could imagine. Government spies were sent to watch the comings and goings of the poet's residence, for Wordsworth and Coleridge were both known to the authorities for their radical political views, while in 1799 Coleridge and Southey were involved with early experiments with nitrous oxide (laughing gas) supervised by the scientist Humphrey Davy.  

Taylor's aesthetic preference of the urban over the rural is trenchantly expressed in correspondence with Southey thus - 

'How can you delight in mountain scenery ? The eye walks on broken flints; not a hill tolerant of the plough, not a stream that will float a canoe; in the roads every ascent is the toil of Sisyphus, every descent the punishment of Vulcan: barrenness with her lichens cowers on the mountain-top, yawning among mists that irrigate in vain; the cottage of a man, like the aerie of an eagle, is the home of a savage subsisting by rapacity in stink and intemperance: the village is but a coalition of pig-sties; where there might be pasture, glares a lake; the very cataract falls in vain,- there are not customers enough for a water-mill. Give me the spot where victories have been won over the inutilities of nature by the effort of human art, - where mind has moved the massy, everlasting rock, and arrayed into convenient dwellings and stately palaces, into theatres and cathedrals, and quays and docks and warehouses, wherein the primeval troglodyte has learned to convoke the productions of the antipodes'. [17]

To which the poet Robert Southey parried -

'You undervalue lakes and mountains; they make me happier and wiser and better, and enable me to think and feel with a quicker and healthier intellect. Cities are as poisonous to genius and virtue in their best sense, as to the flower of the valley or the oak of the forest. Men of talent may and will be gregarious, men of genius will not; handicraft-men work together, but discoveries must be the work of individuals. Neither are men to be studied in cities, except indeed, as students walk into hospitals, you go to see all the modifications of the disease'. [18]

In his lifetime William Taylor (above) attracted considerable hostility for his radical religious and political views.  Nicknamed  'godless Billy' by fellow Octagon Chapel member, Harriet Martineau (1802-76) who petulantly reminisced of him:

'his habits of intemperance kept him out of the sight of ladies, and he got round him a set of ignorant and conceited young men, who thought they could set the whole world right by their destructive propensities'.  [19]

Taylor was not without a stochastic ability either. As early as 1804 he made the suggestion that ships could be powered with steam before the world’s first commercial steamboat, the North River Steamboat, began operating out of New York in 1807. In 1824 he introduced the idea of cutting through the isthmus of Panama when the first attempt to construct a canal through what was then a  province of Colombia at Panama, did not begin until 1881. [20] 

Both Taylor's life and writings offer a few cautionary lessons to writers, especially those not living at the hub and centre of either conventional society or London, the literary capital of England. Just as Taylor's contemporaries, the various painters associated with the 'Norwich School' discovered, Norwich, with its rural hinterland  of Norfolk and its North Sea coast-line was inspirational for creating art, but its patronage was thin. Art sales and advancement were facilitated far easier in London than Norwich. Likewise, the damage inflicted from a single malignant review can unjustly ruin a writer's reputation, sometimes long after their death.  One possible reason for unjust and critical hostility against Taylor would be prejudice against his sexual orientation.  At one time Taylor considered a vacancy at the British Museum, but it was taken before he applied. One suspects that he loved the familiar charms of Norwich far too much to ever leave the 'Do different' City.  There's more than a hint of humorous self deprecation in his stating- 

'Contented mediocrity is always the ultimate destiny of us provincials'.

But, as his words quoted here hopefully demonstrate, William Taylor was a highly expressive writer, a Vulcan-like wordsmith who wrote thousands of literary reviews and articles on an extraordinary range of topics in his lifetime.

In the late nineteenth century the German literary critic George Herzfelde considered Taylor's translation of Iphigenie auf Tauris to be 'Kräftig, aber klappernd' ('Powerful but Clattering') [21]. Herzfelde's pithy observation seems apt of much of Taylor's idiosyncratic writings and translations.

A single sentence suffices to highlight Taylor's Classical learning, aesthetic sensibility and subtle wit -

'Those who can die of a rose in aromatic pain have not grief in reserve for Medea's last embrace of her children'.

Books

* William Taylor of Norwich: A Study of the Influence of Modern German Literature in England (1897) by Georg Herzfeld 

* C.B. Jewson -The Jacobin City 1975 Highly Recommended

* The Making of the English Working Class - E.P. Thompson 1963 reprinted in 1980 Pelican

*John Warden Robberds A Memoir of the Life and Writings of the Late William Taylor of Norwich (1843).

  

*Review from The Quarterly (1843-44).

Notes

[1] In the original - Uebrigens hat die deutsche Literatur aus sehr begreiflichen mercantilischen Gründen die zahlreichsten Anhänger in Norwich'.  

[2] Peter Watson -  The German Genius (2010) pub.Simon and Shuster page 314

[3] Chandler, David "Taylor, William" in the Oxford Dictionary of National Biography (2004) speculates upon Taylor's sexuality. 

[4] John Warden Robberds - A Memoir of the Life and Writings of the Late William Taylor of Norwich (1843).

[5] The Making of the English Working Class - E.P. Thompson 1963 reprinted in 1980 Pelican

[6] C.B. Jewson -The Jacobin City 1975

[7] Ibid.

[8] Ibid.

[9] Ibid.

[10] Appendix III Romany Rye

[11] Robberds

[12] - [18] Ibid.

[19] The Life of George Borrow by Herbert Jenkins

[20] Perhaps from his reading Sir Thomas Browne's speculation that - 'some Isthmus have been eat through by the Sea, and others cut by the spade: And if policy would permit, that of Panama in America were most worthy the attempt: it being but few miles over, and would open a shorter cut unto the East Indies and China'.

[21] William Taylor of Norwich: A Study of the Influence of Modern German Literature in England by Georg Herzfeld (1897)

Elective Affinities : Johann Goethe and Thomas Browne

Today on the 270th anniversary of the birth of  Johann Goethe (August 28th 1749-1832) its exciting to reveal and elaborate upon the fascinating relationship between the brightest star of German literature to the English physician-philosopher Thomas Browne (1605-82). 

Goethe and Browne were  both polymaths who shared a lifelong interest in topics as diverse as botany, anatomy, optics and antiquity. They also held a shared interest in esoteric topics such as Neoplatonism, Pythagorean numerology and alchemy; subjects vital to their scientific thinking and which influenced their literary symbolism.

Goethe and Browne's affinity in anatomical and botanical studies is remarkably close; for example, whilst Browne acquired the skeletal leg-bone of an elephant for his anatomy studies, Goethe somehow acquired an elephant's skull for study; whilst Browne's botanical studies included sea-holly, a plant found on Norfolk’s coastal sand-dunes, Goethe made botanical observations on sea-holly found on the sand-dunes of the Venice lido.

In his botanical studies Goethe  developed the theory that the characteristics from which all plants grow are variations which are modelled upon a prototype plant or Urpflanze. His theory that Nature follows a pre-ordained pattern, or  'inner form' is in accordance with the popular early nineteenth century German school of Naturphilosophie.Writing in terms comparable to Goethe's Urpflanze or 'Prototype plant' of German Naturphilosophie Browne  in Religio Medici proposed that nature has an invisible, prototype 'inner form' thus-

'In the seed of a Plant to the eyes of God, and to the understanding of man, there exists, though in an invisible way, the perfect leaves, flowers, and fruit thereof'.  [1]

German Naturphilosophie adhered to the Renaissance belief that Creation consists of a hierarchical ladder, as described by Browne thus -

'First we are a rude mass,........next we live the life of plants, the life of animals, the life of men, and at last the life of spirits, running on in one mysterious nature those five kinds of existences, which comprehend the creatures not only of the world, but of the Universe' [2].

German Naturphilosophie based itself upon the rigid numerical system of five 'evolutionary' forms of life, from there being five senses, five planets and from the many references to the number five in the Bible.  A full century and half earlier Browne in The Garden of Cyrus (1658) celebrated  'fiveness' in  Art and Nature via the quincunx pattern. Browne's idea that Nature is permeated by the number of five may have originated either from his reading of Della Porta's Villa (1592) in which the quincunx is stated to be a universal archetype  or simply from his noticing that many flowers consist of five petals. The Garden of Cyrus includes numerous sharp-eyed observations, and names in total over 140 herbs, flowers, trees and plants. 

German Naturphilosophie held the pre-Darwinian belief that Nature possesses an 'inner form' , a belief which is central to both Goethe's and Browne's botanical studies. Goethe's theory that Nature has a fixed, pre-ordained 'Inner Form' was asserted a full century and half earlier by Browne in Religio Medici (1643).

'I hold moreover that there is a phytognomy, or physiognomy, not only of men, but of plants and vegetables; and in every one of them some outward figures which hang as signs of their inward forms. [3]

The two early scientists also shared an interest in Optics; Goethe, as is well-known, stubbornly refuted Newton's theory of Colour, and his motivation for challenging Newton's discoveries remains much discussed. His Fahrenlehre (Theory of Colours) was not received as favourably by the scientific community as its author had hoped. Browne's own study of optics resulted in strikingly original optical imagery in his literary works.

For Goethe science was a source of imaginative insight which had developed from poetry;  the hasty, breathless, fractured tone of an early draught and the published text of Browne's Garden of Cyrus strongly suggests the physician-philosopher's detection of an archetype in nature, the Quincunx pattern, may,  like Goethe's  scientific insights, have originated from a sudden, quasi-poetical, vision.

Browne's mystical insight that the Quincunx pattern embodies the mysteries of nature is not so dissimilar from Goethe's Fahrenlehre (Theory of Colours)  in which the German scientist wanders into contemplation on symbols, in particular the triangle and  the hexagon, thus-

'Colour may have a mystical allusion....The mathematician extols the value and applicability of the triangle; the triangle is revered by mystics;  much admits of being expressed in it by diagrams, and amongst other things, the law of the phenomena of colours: indeed we presently arrive at the ancient mysterious hexagon'.

But as the American paleontologist, evolutionary biologist and historian of science Stephen Jay Gould (1941 - 2002) stated -

'The human mind delights in finding pattern - so much so that we often mistake coincidence or forced analogy for profound meaning'.

In the preface to his Origin of Species (1859) Charles Darwin included Goethe as one who in some way or other anticipated his own ideas. But it was also Darwin who destroyed the 'rule of five' theory of German Naturphilosophie. Before Darwin Creation theories were represented by Classical deities, notably Neptunism and Vulcanism to represent life's origins. Goethe subscribed to the view that life evolved from the element of water, as symbolised by the sea-god Neptune.  However, its the Roman god of fire Vulcan who held significance to Browne, utilizing highly-original proper-name symbolism he alludes to the Roman god in The Garden of Cyrus, in opening, second chapter and apotheosis closing chapter .

Recent scientific evidence suggests life's origins may in fact be a combination of fire and water. Fossil remains of microbes which colonised deep sea hydrothermal volcanic vents more than three billion years ago have been discovered in a region of Western Australia which was once covered by ocean.

Science for Goethe was, equally for Browne, a source of revelation which permitted the enquirer, 'to see how and where God reveals himself that is heaven on earth'. Goethe's scientific outlook has been described as peculiar for being neither inductive or deductive. As an 'intuitive' scientist, one who was suspicious of systems and mathematics in science, his scientific views, like Browne's, have been questioned.

Goethe has been described as - 'one of the last of the universal scientific minds still able to encompass the whole of nature'  and as 'a pantheistic poet wanting to create in science also'. His science has been defined as, 'Platonic ideas in the mind of a creative spirit', all of which is equally applicable to the pre-Newtonian, scientific enquiry of Thomas Browne. An accurate assessment of Goethe's science by John. R. Williams and also applicable to Browne's science, states -

'Goethe's science is an integral part of his life and work,  its flaws are those both of the man and of the age, of his personality and of the current state of knowledge'. [4]

* * * * *

However much  previously overlooked, misunderstood or denied,  both Goethe and Browne were extremely well-versed in esoteric topics such as Hermetic philosophy, Neoplatonism, the kabbalah and alchemy. This deep interest in esotericism influenced their scientific and philosophical thinking as well as their literary creativity.

Goethe first came into contact with esoteric literature while recuperating from a mystery illness during his adolescence when his doctor introduced the budding poet to the occultist circle of Fraulein von Klettenberg. Klettenberg encouraged the young poet to read the esoteric writings of Paracelsus, Boehme and Bruno. However, Goethe's interest in the occult waned once recovered, but in a letter to Klettenberg dated August 26 1770 he wrote, -'Alchemy is still my veiled love' and of her recommendation to read Agrippa the budding poet confessed - 'it set my young brains on fire for a considerable time'.

In 1786 Goethe read Christian Rosenkreutz's allegorical tale The Chymical Wedding which may well have been the inspiration for him to write his Marchen fairy-tale of 1795. Goethe's Tale of the Green Snake and the White Lily is crowded with references to various esoteric beliefs and veiled allusions to the Egyptian mysteries of Isis and Osiris, the cults of Typhon and Horus, the Vision of Zosimus, and the Gnostic Naassenes.  

Goethe found in alchemical terminology apt figures of speech which he utilized in his writings. He once stated, ‘If one deals with the poetic side of alchemy with an open mind it leads to very pleasant reflections’.

Elsewhere, in a statement allusive to the primary template of much esoteric thought, that of polarity or opposites, Goethe declared -

'To sever the conjoined, to unite the severed, that is the life of Nature; that  is the eternal drawing together and relaxing, the eternal syncrisis and diacris'. 

Goethe's allusion to Nature's forces drawing together and separating, strongly resembles the polarity of the alchemical maxim 'solve et coagula'  to dissolve and bind, a fact not unnoticed by a younger English contemporary, the poet and scholar Coleridge (1772-1834).  An enthusiastic admirer of Thomas Browne, Coleridge in 1818 speculated-

Sometimes, it seems as if the alchemists wrote like the Pythagoreans on music, imagining a metaphysical and inaudible music as the basis of the audible. It is clear that by sulphur they meant the solar rays or light, and by mercury the principle of ponderability, so that their theory was the same with that of the Heraclitic physics, or the modern German Naturphilosophie, which deduces all things from light and gravitation, each being bipolar; gravitation = north and south, or attraction and repulsion: light = east and west, or contraction and dilation; [5]

German 'Naturphilosophie' advocated the principle of polarity or opposition, one of the last attempts to reconcile the symbolism of the alchemists to modern chemistry. In Polarity, that is oppositions in nature, German 'Naturphilosophers' perceived the rhythm of the Universe.

As long ago as 1895 the critic R.M.Meyer in the Goethe Jahrbuch proposed that German Naturphilosophie resembled Browne's 'inner form' and that the Swiss theologian Johann Caspar Lavater (1741-1801) may have recommended Browne's Religio Medici to Goethe. [6] Browne spiritual testament was first translated into German in 1746. Lavater read it enthusiastically, primarily for its assertive physiognomic statements, such as-

'there are mystically in our faces certain characters which carry in them the motto of our souls, wherein he that cannot read A.B.C.may read our natures'. [7]

Physiognomy,  the questionable belief that the human face can be interpreted is mentioned in each of Browne's major literary works; as an unreliable, yet theoretical diagnostic tool for physicians, Browne's interest in physiognomy was kindled from his reading the Italian polymath Giambattista Della Porta's (1535-1615)  Celestial Physiognomy.

Lavater vigorously promoted physiognomy, became a famous author on the subject and was subsequently shunned by a skeptical Goethe. It remains unknown as to whether or not Goethe read Browne's Religio Medici.

Goethe's many esoteric interests included numerology which originated from his admittance, shortly before his residence in Weimar, to the Order of the Illuminati, whose teachings were based upon Pythagoras. In his novel Der Wahlverwandtscaften (Elective Affinities) of 1809. Goethe describes the number five as - 'a beautiful odd, sacred number'. Browne's own interest in numerology is admitted frankly in Religio Medici thus - ' I have often admired the mystical way of Pythagoras, and the secret magic of  numbers.'  [8]

In essence, Goethe's personal philosophy was not unlike Browne's, home-spun, flexible and idiosyncratic. In his semi-autobiographical Dichtung und Wahrheit (Poetry and Truth) Goethe confessed -

'Neoplatonism lay at the foundation of my personal religion, the hermetical, the  mystical, the cabalistic, also contributed their share; and thus I built for myself a world that looked strange enough'.

The restless scholar Faust in Goethe's tragic drama shares some psychological traits to those exhibited by the newly qualified Doctor Browne.  After completing many years of study at Oxford and abroad at the Universities of Padua, Montpellier and Leiden, Browne utters as wearily as Faust -

'There is yet another conceit that hath sometimes made me shut my books; which tells me it is a vanity to waste our days in the blind pursuit of knowledge'. [9]

Not unlike Faust, Browne expresses occasional, intense spiritual angst in Religio Medici.

'I feel sometimes a hell within myself, Lucifer keeps his court in my breast'.  [10]

Faust, not unlike the enquiring Browne, yearns in his study of Nature for, 'a glance into the earth! To see below its dark foundations / Life's embryo seeds before their birth / And Nature's silent operations'. [11] 

In his quest for forbidden knowledge Faust 'ponders over spells and signs, symbolic letters, circles and signs'. Such hieroglyphs fascinated Browne who declared -

'surely the Heathens knew better how to join and read these mystical letters than we Christians, who cast a more careless eye on these common Hieroglyphics'. [12]

Although Browne's confessional shares traits exhibited by Goethe's Faust it departs abruptly from it once the pact is made between Faust and Mephistopheles. Browne located Mephistopheles as dwelling internally rather than externally, stating - 'The heart of man is the place the devil dwells in'. [13]

Browne's Christian faith lays at the heart of his medical practise, enquiries into nature and even his rare excursions into the literary world.  Goethe however held an ambiguous and luke-warm opinion of Christianity, objecting to the clanging sound of church-bells in particular.

Whilst Browne's Urn-Burial shares Goethe's antiquarian interests, The Garden of Cyrus shares a number of thematic and symbolic traits to Goethe's late masterpiece Faust II.  As digressive and disjointed in its construction as Goethe's drama and in its associative thought and imagery, with little concern of intelligibility to its reader, it too employs proper-names from Greek mythology to represent scientific and psychological speculations.

During their long, settled, and relatively undisturbed lives, Goethe and Browne became extremely well-read, not only in the scientific advances of their era, but also in Classics of Greek and Roman literature, as the catalogues of their respective libraries reveal. The Classical world, especially Ancient Greece, with its scientific discoveries was for both scholars of great interest and both display a thorough knowledge of Classical literature. The same symbolic names can be found in their respective yet neglected works of fantasy, Faust II and The Garden of Cyrus.

The Greek mythological god Proteus is a good example of a symbolic name shared by the two literary figures. In Cyrus Proteus is 'the symbol of the first mass' whilst  in Faust II   Proteus represents organic metamorphosis. The warrior Achilles, the wanderer Ulysses and the nature-god Pan are also mentioned in both works, as is Greek philosopher and botanist Theophrastus, the first to attempt to categorise plants. But  perhaps above others it may be the Greek god Apollo ruler of beauty of form, order, prophecy, medicine and music who represents symbolic significance and artistic importance to both literary polymaths.

Browne's survey of the artistic, natural, botanical and mystical precedents of the Quincunx  in The Garden of Cyrus may be described in Goethe's words as a delight in-

                         

'Formation, transformation, The eternal Mind's eternal delectation' [14] 

The learned doctor in a drowsy soliloquy concluding The Garden of Cyrus observes that, 'the phantasms of sleep which often continueth precogitations making cables of cobwebs', alerts one to Faust's meditation that -

'How logical and clear the daylight seems

Till the night weaves us in its web of dreams'.

This shared imagery of dreams and  the illusory web is evidence that, like the alchemists before them, Goethe and Browne utilized highly-charged poetic symbolism in their attempt to portray  the unconscious psyche.

Goethe's monumental drama Faust held great meaning to C.G.Jung. For the Swiss psychologist Faust is a work which from its beginning to end is full of alchemical themes and imagery. C.G.Jung even regarded his work on alchemy as a sign of his inner relationship to Goethe and never suppressed or denied the persistent rumour that his grandfather was an illegitimate offspring of Goethe's.

Jung often referred to Goethe's drama Faust in order to amplify a psychological observation.  Of Part II of Faust  he stated -

'The second part of  Faust, was more than a literary exercise. It is a link in the Aurea Catena (The Golden or Homeric Chain in alchemy is the series of great wise men, beginning with Hermes Trismegistus, which links earth with heaven) which has existed from the beginnings of philosophical alchemy and Gnosticism down to Nietzsche’s Zarathustra. Unpopular, ambiguous, and dangerous, it is a voyage of discovery to the other pole of the world. [15]  

Although Goethe's Faust Part I and Browne's Urn-Burial are firmly established works of world literature, their respective, other halves, Faust II and The Garden of Cyrus have baffled and perplexed most readers, resulting in neither work achieving the popularity of their counterparts.

However, 'though overlooked by all', Goethe's dramatic works, Faust parts 1 and II have a remarkable relationship to Browne's Urn-Burial  and The Garden of Cyrus.  For just as  Urn-Burial and The Garden of Cyrus are structured upon the time-honoured schemata of Hermeticism, namely the polarity of Microcosm and Macrocosm, so too are Goethe's Faust I and II 

In conversation with Eckermann Goethe provided clues for employing the concept of polarity in the 'conjoining of Faust I with 'the second part of the tragedy' as he termed it.

'Not all our experiences can be expressed in the round and directly communicated. For this reason I have chosen the means of revealing the more secret meanings to attentive hearts by creative formations which face each other and mirror each other'.

Goethe's understanding of the alchemical quest for Unity necessitated that the 'small world' or Microcosm of Part 1 of Faust, with its subjective world of Faust's love for Gretchen, needed to be balanced with the larger objective world or Macrocosm of Part 2 which, as it wanders through time and space, concludes with Faust's redemption.

Browne's diptych discourses also adhere to the basic tenet of Hermeticism, that of the correspondence between Microcosm and Macrocosm.  Just as Urn-Burial's concern is the earth-bound 'little world' of Man, his suffering, mortality, unknowingness and death, in essence the Microcosm,  The Garden of Cyrus in complete symmetry and polarity features many examples of the Eternal forms and  astral imagery of the heavens, the Macrocosm no less. Equally, just as Faust I concerns itself with the small, little world of man so too the extraordinary settings ranging through time and space of Faust II represent the Macrocosm at large.   As with Goethe’s literary diptych so too with Browne’s diptych Discourses. Only when 'conjoining' the two respective halves of each literary work can  one fully understand and appreciate their total artistic vision.

*  *  *  *  *  *  *

Goethe's many duties and social life in the Weimar Court, his travels and love-affairs, mark him  a much worldlier person than the devout physician. Ultimately Goethe was a humanist, his message being – He who strives on and lives to strive can earn redemption still. Thomas Browne was likewise affirmative of all that is good in man, asserting  - 

'Me thinkes there is no man bad, and the worst, best; that is, while they are kept within the circle of those qualities, wherein they are good:there is no mans mind of such discordant and jarring a temper to which a tuneable disposition may not strike a harmony.  [16] 

Julian Huxley in Religion without Revelation (1967) nominated Goethe, alongside Blake, Wordsworth, Thomas Browne and Dante as, 'one of the immortal spirits waiting to introduce the reader to his own unique and intense experience of reality'. Today Goethe and Thomas Browne are remembered not so much for their scientific endeavours but for the originality of their literary creativity.  Through their respective literary creations both writers have bequeathed their own special vision of Humanity and reality which distinguishes them as 'Universal Citizens', or 'World Sages'.  Johann Wolfgang von Goethe, like Browne before him, belongs to the category of men to whom the improvement of Mankind was a deep concern. Goethe's science and literary creativity has a close, if little recognised elective affinity to Thomas Browne’s.


Notes
[1] R.M.Part I:50
[2] R.M Part 1:34
[3] R.M. Part 2:2

[4] The Life of Goethe: A Critical Biography by John R. Williams pub. John Wiley  and Sons Ltd. Blackwell 2001
[5] Lecture notes of 1818 Lecture XII Miscellaneous criticism Collected works of Coleridge
[6] Richard Meyer 'Zur inner form?' Goethe Jahrbuch 1895 vol. 16 pp. 190 - 191
[7] R.M.Part 2:2
[8] R.M.Part I.12
[9] R.M.Part 2:8
[10] R.M.I:51
[11] Faust Part I Night
[12] R.M.Part 1:16
[13] R.M. Ibid
[14]  Faust Part 2  ed. David Luke Oxford University Press 2008  lines 6287-8
[15]  Memories, Dreams, Reflections C.G.Jung  chapter 6
[16] R.M. 2 :11

Beethoven's String Quartets

The String Quartets of Ludwig van Beethoven (1770-1827) are ranked amongst the greatest of the genre. Frequently technically innovative in structure, experimental in harmony with poignant  melodies and sharp wit, Beethoven's late quartets in particular express not only world-weariness and resignation but also serenity and transcendence. As such they are considered to be amongst the most enigmatic and mysterious of all music within the Western classical tradition.

Its worthwhile reminding ourselves of basics. A string quartet is a musical ensemble  consisting of four string players – two violin players, a viola player and a cellist. A prominent combination in chamber ensembles in classical music, most major composers from the mid 18th century onwards, wrote string quartets. The String Quartet was developed into its current form by the Austrian composer Joseph Haydn (1737-1809) whose quartets in the 1750s established the genre.

Ever since Haydn's day the string quartet has been considered a prestigious form which challenges the composer's art. With four parts to play with, a composer has enough lines to fashion a full argument, but none to spare for padding. The closely related characters of the four instruments combined cover a wide compass of pitch. The writer of string quartets must concentrate on the bare bones of musical logic. Thus, in many ways the string quartet is pre-eminently the dialectical form of instrumental music, and the one best suited to the activity of logical disputation and philosophical enquiry. [1]

The literary figure, polymath and contemporary of Beethoven, Wolfgang von  Goethe (1749-1832) explains the appeal of the string quartet thus-

"If I were in Berlin, I should rarely miss the Moser Quartet performances. Of all types of instrumental music, I have always been able to follow these best. You listen to four sensible persons conversing, you profit from their discourse, and you get to know the individual character of the instruments" [2]

Beethoven's early string quartets were composed between the summer or autumn of 1798 and the summer of 1800. They are clearly born of the tradition of his great predecessors, yet they already strain towards new directions. Succinct themes capable of extensive development; endlessly imaginative melodic manipulation; startling dynamic contrasts; complete, sometimes radical, formal mastery are all evident in Beethoven's first set of six quartets, Op. 18. [3]

The opening movement of the C minor quartet no. 4 of the set of  opus 18  displays much of the tension and angst of a minor key Mozart quartet, along with an indebtedness to Haydn's development of the quartet, as well as some distinctly Beethovian dramatic moments.





Of Beethoven's Middle quartets, the most important are the three so-called Razumovsky Quartets opus 59. (7, 8 and 9) named after the Russian prince who commissioned them. Dating from 1806 a contemporary music journal described the Razumovsky quartets as-

" long and difficult...profound and excellently wrought but not easily intelligible - except perhaps for the third, whose originality, melody and harmonic power will surely win over every educated music lover" [4]

In the Razumovsky quartets, along with his 3rd symphony, the Eroica Symphony in E flat major ,opus 55 (first performed April 1805) Beethoven breaks free from Classical form and convention towards Romanticism with the accent on feeling, self-expression and extended form. Its of these three quartets that Beethoven allegedly replied to an uncomprehending violinist, "Not for you, but for a later age".

The second movement of the E major String Quartet (no. 3 of opus 59) is often likened to music of hymnic transcendence. Beethoven's pupil, Carl Czerny relates it was conceived whilst the composer gazed at the night sky in contemplation of  'the music of the spheres'.




The New Grove Beethoven informs us that-

After completing the Ninth Symphony in early 1824 Beethoven spent the two and a half years that remained to him writing with increasing ease and exclusively in the medium of the string quartet. The five late string quartets contain Beethoven's greatest music, or so at least many listeners in the 20th century have come to feel. The first of the five, op. 127 in E flat of 1823-24, shows all the important characteristics of this unique body of music. It opens with another lyrical sonata form containing themes in two different tempos; the Maestoso theme melts into a faster one, wonderfully tender and intimate. [5]

The composition of  the A minor quartet op. 132 was interrupted by a serious illness in April 1825. An extraordinary 'Hymn of thanksgiving in the Lydian mode' forms its central movement in which the composer gives Thanks for the restoration of his health.



In the Quartet in B flat op. 130, the confrontation of themes in different tempos gives the opening movement an elusive, even whimsical feeling. A deliberate dissociation is intensified by the succession of five more movements, often in remote keys, with something of the effect of 'character pieces' in a Baroque suite. The feverish little Presto is followed by movements labelled by Beethoven Poco scherzando, Alla danza tedesca and Cavatina......[6]

The movement entitled Cavatina sees Beethoven at his most expressive with a heartfelt Welt abschied (Farewell to the World).




No discussion of Beethoven's Late String quartets can be complete without acknowledgement of the observations of Theodor W. Adorno (1903-69). Although the eminent philosopher and musicologist  himself found it impossible to complete a book upon Beethoven's String Quartets, nevertheless  he perceptively articulates defining qualities of Beethoven's late string quartets in the scattered fragments of his writings,thus -

There is in them something like a paring away of the sensuous, a spiritualization, as if the whole world of sensuous appearance were reduced in advance to the appearance of something spiritual.... It can be said that in the latest Beethoven the fabric, the interweaving of voices to form something harmonically rounded, is deliberately cut back. In Beethoven's late style there is altogether something like a tendency towards dissociation, decay, dissolution, but not in the sense of a process of composition which no longer holds things together: the disassociation and disintegration themselves become artist means, and works which have brought to a rounded conclusion take on through these means, despite their roundness, something spiritually fragmentary.  Thus, in the works which are typical of the true late style of Beethoven, the closed acoustic surface which is otherwise so characteristic of the sound of the string quartet with its perfect balance, disintegrates. [7]

Beethoven's String Quartet cycle may be considered unparalleled in scope, inventiveness and emotional depth until the String Quartets of Dmitri Shostakovich (1906-75). The Soviet-era composer's String Quartets match Beethoven's in technical brilliance and profundity  in many ways and therefore invite comparison; however, Beethoven's String Quartets stand independently in their own right, as monuments to the revolutionary genius of the Romantic composer.

Notes

[1] Wikipedia
[2] Goethe 1829 Correspondence
[3] Beethoven String Quartets  Vol.1  Basil Lam BBC Music Guides 1975
[4] Allgemeine musikalische Zeitung 
[5] The New Grove Beethoven  ed. Joseph Kerman and Alan Tyson pub. W W Norton & Co 1983
[6] Beethoven String Quartets Vol. 2. Basil Lam BBC Music Guides 1975
[7] Theodor W. Adorno Philosophy of Music: Fragments and Texts pub. Polity Press. 1998 New Ed 2002

Mark Burrell: North Sea Magical Realist artist extraordinaire

Lowestoft Floods 1953

The absurdly slow and long bus-journey from Norwich to the coastal town of Southwold through the darkest interior of Suffolk, was well worth enduring for an early viewing of Mark Burrell’s latest work, currently exhibited at CraftCo, until the 28th September.  

Mark Burrell (b. 1957 Lowestoft) is an established artist who has developed his distinctive style and unique vision from decades of industrious creativity. Nationally, Burrell’s work has featured frequently on British TV. He was awarded first prize on the programme Moving Art and won the Lucy Memorial Prize at the Royal Overseas League. Internationally, he has exhibited at the Interart Gallery and the Williamsburg historical Art Centre at New York. 

Choosing to work in alkyd resins, giving his canvases a stained-glass luminescence and sometimes restricting his tonal palette in order to create a highly-charged emotional atmosphere, Burrell’s art is strongly feeling orientated. His often dark, near Gothic and sometimes disturbing art is however, not without great beauty and charm also, as is evident in his Memories of a Merry-Go-Round (below).

Burrell’s resourcefulness is such that the closely-knit community of his home-town of Lowestoft has supplied him with an abundance of artistic inspiration.His personal memories of growing up at the now long-gone Beach village, of a Lowestoft town long gone in particular, have provided him with fertile subject-matter. His artistic imagination sometimes draws upon common and personal childhood fears of a ghosts-on-the-washing-line-in-the--moonlight variety such as the Freudian terror of being told one's mother is, 'going to visit the Fish-man' (fish-shop) for example. Childhood memories and fears are prominent in his Bogey Boys.

   

Burrell's extensive back-catalogue also includes a number of  both land and seascapes. In his Lowestoft Floods 1953 (top) Burrell conjures the events of the North Sea Flood at Lowestoft. Taking a bird-eye perspective of the cataclysmic surge tide, local landmarks are featured, along with the chaos of the event. There's perhaps a nod in style in Burrell's canvas to the primitive simplicity of English art as exemplified by Stanley Spencer (1891-1959) (it was while alone in the winter of 1937, when resident in Southwold, Suffolk, that Stanley Spencer begin a series of paintings entitled The Beatitudes of Love). What's certain is that it's a work of considerable artistic imagination for Burrell was not actually born until several years after the event; however, local folk-lore recollection of the disaster in conjunction with Burrell's fertile artistic imagination and distinctive draughtsmanship, contribute to a highly-imaginative reconstruction of the effects of the 1953 North Sea storm tide upon  the east coast town of Lowestoft.

Far from viewing the world through rose-tinted spectacles, Burrell considers the world today to be a sometimes dark place. Sharing this view-point with the German artist Otto Dix (1891-1961) whom he admires, the influence of the Neue Sachlicheit (New Objectivity) artist can be discerned in his Midnight Circus, Backstage (below). 

Mark Burrell, along with fellow North Sea Magical Realist artist, Peter Rodulfo, is also receptive to the ideas of C.G.Jung (1875-1961). In particular the Swiss psychologist's essays The Spirit of Man, Art and Literature, in which the psychic processes and archetypal structures involved in artistic creativity are discussed. Jung's essays, especially On Picasso (1932), Burrell considers to contain the most perceptive of all psychological observations upon artistic creativity he's ever read. 

With words applicable to both Burrell's and Rodulfo's art, C.G. Jung declares in The Spirit of Man, Art and Literature, -

'Whoever speaks in primordial images speaks with a thousand voices; he enthrals and overpowers, while at the same time he lifts the idea he is seeking to express out of the occasional and the transitory into the realm of the ever-enduring'.

and 'All art intuitively apprehends coming changes in the collective unconsciousness'.

Its no sweeping hyperbole to state that Mark Burrell is quite simply the greatest creative artist to flourish from the coastal-town of Lowestoft since the days of the composer Benjamin Britten (1913-76). He's also of a calm, thoughtful and affable disposition in his personality. We therefore cordially wish him along with fellow North Sea Magical Realist artist Peter Rodulfo, many more years of good health and inspiration.

There's a distinctly Mark Chagall-like quality to the beautiful painting entitled Sky of Stars (above); however reproductions barely do justice to the glowing splendour of Burrell's work. Nevertheless they're worth posting, if only to inspire the reader to visit a current exhibition and view the far greater originals for themselves ! 

Links

A film about Mark Burrell

More Mark Burrell paintings at Mark Burrell Art

See also - 

Mark Burrell;s 'The Homing-Ground'

Peter Rodulfo: As the elephant laughed

Edward Browne at the Court of Emperor Leopold

Emperor Leopold I in costume as Acis in La Galatea.

After his continental medical studies based at Padua, Montpellier and Leyden circa 1627-30, Sir Thomas Browne hardly ever left the city of Norwich, other than in a professional capacity, usually when visiting patients residing at one of the many ancient seats of the gentry scattered throughout Norfolk's wealthy farming hinterland.

In contrast to his father, Dr. Browne's eldest son, Edward Browne (1644-1708) travelled extensively before settling down to marriage and establishing a medical practise in London. Edward Browne was educated at Cambridge and became first a Fellow, and eventually the President of the Royal College of Physicians. He possessed characteristic traits associated with a youthful traveller - an insatiable curiosity towards the natural world including its people and their customs, the linguistic skills necessary to relate to all, and letters of introduction and relevant social connections to open doors and receive hospitality. Wherever Edward Browne travelled he acted as the ears and eyes of his stay-at-home father, keeping him informed in regular correspondence.

In total Edward Browne made three long journeys. In the first he travelled to Italy and came home through France. In 1668 he sailed from Yarmouth to Rotterdam visiting Leyden, Amsterdam and Utrecht, ending his journey at Cologne. His next destination was Vienna. Using the Hapsburg capital as a base he visited the mines of Hungary and travelled as far as Styria and Carinthia in southern Austria and Thessaly in Greece. Its in correspondence while in Thessaly that a strong reaction of parental anxiety and concern by his loving and indulgent parent's towards Edward Browne's proposal to travel as far as Turkey can be detected. His last European tour was in 1673, visiting Cologne, Aix-la-Chapelle, Liege, Louvain, Ghent and Bruges. Returning home, Edward Browne published a small quarto travelogue, the full title of which gives some indication of his wide travels - A Brief Account of some Travels in Hungaria, Styria, Bulgaria, Thessaly, Austria, Serbia, Carynthia, Carniola, and Friuli (1673). All three of Edward Browne's travelogues were published together in 1686. [1]

The Lovesick Man

Saturnine blues, this time in the form of an early work by the German artist George Grosz's The Lovesick Man (circa 1916),  a painting which reflects dominant themes in Grosz's art - human nature and individual weaknesses, themes which have lost little relevance today.

George Grosz (1893-1959) was born in Berlin and grew up during the prelude to World War I (1914-1818).  In protest against the nationalist fervour and rabid anti-British sentiment vocalized on Berlin’s streets in the build-up to war, Grosz and fellow artist Jon Herzefelde (1891-1968) provocatively changed their names to an Anglicized form of spelling and pronunciation. Incidentally, there's a stylistic affinity between the pioneering photo-montage developed by John Herzefelde for political propaganda, one or two examples of which I've discussed before and the surreal humour of Terry Gilliam (b. 1940) the creator of cut-out, animated montages which were an integral part of the British TV series Monty Python's flying Circus (1969-71). 

In his tense and unsettling portrait of a lovesick young man, George Grosz alludes to the Ursprung tragic hero of German romanticism, Werther, a character created by Johann Goethe in his Der Leidenschaft der Junge Werther (1774) known in English as The Sorrows of Young Werther. 

In Goethe's phenomenally popular novella of the day, the sensitive and romantic hero Werther is unable to come to terms with the fact that his sweetheart has married another and that his love can never be consummated. He borrows a pair of pistols, and after writing a confessional letter and drinking a bottle of port, shoots himself. Goethe’s semi-autobiographical tale of unrequited love was accused of  encouraging copycat acts throughout Germany, and of making a cult of suicide, accusations which the author strongly denied. 

It's been suggested that the spate of suicides which occurred in Germany following the publication of Goethe's Werther were in fact the result of an increased awareness of educated individuals of the inflexibility of bureaucratic institutions in Germany; this extreme frustration with the deeply-rooted conservatism of German society, effectively prevented the possibility of following  in France's revolutionary path.

Although differing in artistic objective Grosz's symbolism in The Lovesick Man differs little from that of the medieval tradition of Vanitas motifs. In Grosz's early painting not only can a near palpable red heart be seen, but also a revolver in the breast-pocket of the sitter. The empty room with a vacated table and chairs heightens the solitary sitter's loneliness. On his table there's the indulgences of a pipe and cigarettes along with a bottle, probably of alcohol. There's also paper and a pen on his table, suggestive that a confessional, or urgent communication is to be made. The anchor tattooed on his head hints of sinking or wallowing in unloved despair. The bones in the bottom right corner and fish bones symbolically allude to death. In the far background beside a blood-red sickle moon, the rib-cage of a skeleton can be seen. The theme of dissipation and death is developed further with a plant at the top corner which lacks either leaves or flowers. The gun placed next to the sitter's visible heart has strong symbolic associations, hinting that either suicide or a crime of passion is about to be committed.  

Wrapped up in self-absorbed gloom Grosz's anti-romantic hero is capable of senseless acts. The message of Grosz's Marxist morality art- lesson seems to be - self-centred individuals who care only for their own happiness condemn themselves to a solitary madness; they do so at the expense of the well-being of society in general.

George Grosz witnessed the return of the defeated nation's troops to civilian life, the near breakdown of moral order and the subsequent violent conflict between the extreme left and right-wing in street fighting in post-war Berlin. The trauma of hyper-inflation added fuel to the social problems of crime, prostitution, drugs and the black market, endemic on Berlin's streets following World War I.

In January 1919 he was arrested but escaped imprisonment by producing fake identification documents which he'd forged himself. He joined the Communist Party of Germany (KPD) in the same year; however, unlike the Russian communist revolution of 1917, the German communist revolution of 1919 failed, due to various factors too complex to discuss here, not least, the assassination of Communist party leaders Karl Liebknecht and Rosa Luxembourg in January 1919.

In 1921 Grosz was accused of insulting the army and fined 300 German Marks. The court also ordered his satire on German society Gott mit uns (God with us) to be destroyed. Although Grosz left the KPD in 1922 he subsequently spent five months in Russia, meeting Lenin and Trotsky.

By 1924 economic and social stability in the newly established Weimar Republic allowed the opportunity for the creation of radical new art - Fritz Lang's film Metropolis (1927), Hermann Hesse’s novel of crisis and re-integration of identity, Steppenwolf (1927) the new music of Jazz and Kurt Weill spring to mind. The decadent, pleasure-loving years of the Weimar era and the rise of fascism are also the setting of Christopher Isherwood’s autobiographical novel Goodbye to Berlin (1939) which was later was adapted as the film Cabaret (1972).

By 1920 George Grosz had mastered his artistic powers to make powerful statements on the social instability and chaos of post-war Berlin. His art gives a glimpse into a society sharply polarized between rich and poor, and of a Berlin resembling a Dante-like inferno where individuals of varying degrees of power and corruption enact Berlin's social maelstrom on the streets of the metropolis.

Grosz's low opinion of humanity is epitomised in the title of his 1946 autobiography A little Yes and a big No which he wrote once a naturalized American citizen. In a salutary lesson of how serious economic and social upheaval can affect the qualities of empathy with others and encourage selfish behaviour, the embryonic origins of fascism no less, he describes Berlin after World War I- 

"Everywhere, hymns of hatred were struck up. Everyone was hated: the Jews, the capitalists, the Junkers, the Communists, the army, the property owners, the workers, the unemployed, the black Reichwehr, the control commissions, the politicians, the department stores, and the Jews again. It was an orgy of incitement, and the republic itself was a weak thing, scarcely perceptible. … It was a completely negative world, topped with colourful froth that many imagined to be true, happy Germany before the onset of the new barbarism."  

Tragically, although in 1954 Grosz was elected to the American Academy of Arts he continued to be home-sick and returned to Berlin, where he died in 1959 in an alcohol-related accident.

Wiki-Link - George Grosz