Notre-Dame de Paris

Esmeralda and Quasimodo

Last night I watched 'Notre-Dame de Paris' on DVD ( TDK 1996). Based upon the famous nineteenth century novel by Victor Hugo, 'The Hunch-back of Notre-Dame' (1831), Hugo's story has undergone numerous adaptions in various genres throughout the centuries.

Roland Petit (1924-2011) has made a brilliant choreographic adaptation of Hugo's novel. Attracted to stories in which 'beings apart' be they wretched or hideous who fall prey to femmes fatales, the seductive face of death, as in his earliest masterpieces ' The young Man and Death', (1946) and 'Carmen (1949), it's not too surprising that Hugo's tale of love and death should attract the attention of Petit's choreographic skills.

The essentially menage-a-trois story of Esmeralda the gypsy girl, the Arch-Deacon Frollo and the hunch-back Quasimodo is given a fresh and original interpretation by the celebrated French ballet-master. First performed in 1965, Petit's ballet is a hybrid of traditional ballet and modern dance movement. In particular the hand and the many gestures its able to express is liberated by his choreography.

The part of Quasimodo is amazingly danced by Nicolas Le Riche. It requires some considerable balletic skill to dance the part of a deformed and alienated individual. It also adds to one's appreciation of how athletic and graceful the corps de ballet are. The vivid costume colours enhance the crowd scenes which are powerful and dramatic. Equally brilliant is the dancing of Isabelle Guerin as Esmeralda. The music composed by Maurice Jarre adequately supports the action without ever being original enough to be a focus in its own right. The staging at the Opera national de Paris incorporates stark but impressive sets. With a story which is set in medieval Paris, not so geographically remote from the Paris Opera House itself, Roland Petit's choreographic interpretation of Hugo's masterpiece is likely to remain in the repertoire of the National Ballet of Paris for a long time.

Oedipus Egypticus

frontispiece to Oedipus Aegyptiacus

The three door-step sized tomes of Oedipus Aegyptiacus are a triumph of printing, being over five years in completion (Rome 1652 -56). In Oedipus Aegyptiacus the Jesuit priest Athanasius Kircher sets out to explore the esoteric traditions of theosophical systems of Zoroaster, Orpheus, Pythagoras, Plato and the Chaldean and Hebrew Cabala. A good example of such comparative study can be seen in an illustrated page from Oedipus Egypticus elsewhere on this blog, of the differing cultural interpretations of the Zodiac.

In 1999 I was fortunate to attend an exhibition by the University Library of Geneva on Jorge Louis Borges. Included either as representative of Borges reading (or even his own copy I can remember no longer) was a full folio edition of Oedipus Egypticus no less. A delight to see in the flesh so to speak.The figure of Isis from Oedipus Aegyptiacus. She is holding a sistrum, an ancient form of rattle, associated with fertility rites. Her other names from comparative mythology are listed to her left.

Athanasius Kircher (1602-80) has been described as 'the supreme representative of Hermeticism within post-Reformation Europe'. He was certainly one the 17th century's most active scholars of comparative religion. Kircher was also a favourite author of Sir Thomas Browne (1605-82) his near exact contemporary. The 1711 Sales Catalogue of Browne's library includes almost all of Kircher's entire oeuvre; in chronological order he once owned -

Ars Magnesia 1631
Ars Magna Lucis & Umbrae, cum fig. Rome 1646
Obeliscus Pamphilus, cum fig. Rome 1650
Oedipus Aegyptiacus 3 tomi cum fig Rome 1650-56
Magnes sive de Arte Magnetica, cum fig Rome 1654
Iter Ecstaticum Kirceranium, ed. G. Schott 1660
Mundus Subterraneous, cum fig 2 vol. Amsterdam 1665
China Illustrata cum fig. Amsterdam 1667

The English-born musicologist Joscelyn Godwin, one-time Professor of Music at Colgate University, New York State, describes Kircher thus -

'Kircher was a Jesuit and an archaeologist, a phenomenal linguist, and at the same time an avid collector of scientific experiments and geographical exploration. He probed the secrets of the subterranean world, deciphered archaic languages, experimented with alchemy and music-therapy, optics and magnetism. Egyptian mystery wisdom, Greek, Kabbalistic and Christian philosophy met on common grounds in Kircher' s work, as he reinterpreted the history of man's scientific and artistic collaboration with God and Nature'.

There's an interesting connection between Athanasius Kircher and Browne which has been little discerned by scholars. Sir Thomas Browne's eldest son Edward (1644- 1708) was a great traveller, often to the consternation of his parents. Wherever he traveled he acted as the eyes and ears of his stay-at-home father. When Edward Browne arrived in Rome he visited Kircher who showed him his 'closett of rarieties' which included a perpetual motion machine and a talking head.

It would have been near impossible for Kircher not to have known of Browne's Pseudodoxia Epidemica which had been translated into several European languages. One can only wish to have been a fly-on-the-wall in the meeting between Browne's dutiful son and the Jesuit theosophist. Kircher must have given Edward Browne a warm reception had he read commending statements upon his Egyptology in Pseudodoxia such as-

And then the learned Kircherus, no man were likely to be a better Oedipus (P.E. Bk .3 ch. 11 On Griffons)

Browne's high opinion of Kircher's knowledge of hieroglyphs was such that he could declare-

But no man is likely to profound the Ocean of that Doctrine, beyond that eminent example of industrious Learning, Kircherus (P.E. Bk 1 ch. 9)

Upon Kircher's authority Browne altered many of his own speculations upon Egyptian hieroglyphics; he even conceded to Kircher's authority as regards the reason why the tarantella dance is performed, believing in the healing remedy of music if bitten by a tarantella spider, writing-

Some doubt many have of the Tarantula, or poisonous Spider of Calabria, and that magical cure of the bite thereof by Musick. But since we observe that many attest it from experience: Since the learned Kircherus hath positively averred it, and set down the songs and tunes solemnly used for it; Since some also affirm the Tarantula it self will dance upon certain stroaks, whereby they set their instruments against its poison; we shall not at all question it. (P.E. Bk 3 ch. 28)

Kircher's vast work of comparative religion must have made a considerable impression upon Browne when composing 'The Garden of Cyrus' for the copper-plate etching in Oedipus Aegyptiacus known as the Bembine Tablet of Isis, a rich source of speculative comparative religion, is alluded to twice in the Discourse.

Frontispiece Iter Exstaticum Kircherianum 1660: Kircher is about to embark upon a cosmic trip led by the angel Cosmiel.

Another book by Kircher owned by Browne was Iter Ecstaticum Kirceranium (1660) edited by Kircher's devoted pupil Gaspar Schott. One of the strangest of all Kircher's books, it describes how, after listening to three lute-players, the German Jesuit was transported in an ecstatic journey through the planetary spheres. Iter Ecstaticum records Kircher's 'soul-journey' as he is led by the spirit Cosmiel through a cosmic ascent. It also refers to soul-journeys of antiquity such as Plato's Myth of Er and Cicero's 'Dream of Scipio', in which the cosmic voyager hears the heavenly music of the spheres, a cosmic harmony which Sir T.B. was also partial to hearing.

Kircher remained a firm fixture of Browne's reading throughout his life. When compiling an inventory of lost, rumoured and imaginary books, pictures and objects, his Museum Clausum sometime in the 1670's, it's the Jesuit theosophist who fires his imagination adding the pictorial item of-

Large Submarine Pieces, well delineating the bottom of the Mediterranean Sea, the Praerie 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 ; the passage of Kircherus in his Iter Submarinus when he went down about Egypt, and rose again in the Red Sea. Together with a lively Draught of Cola Pesce, or the famous Sicilian Swimmer, diving into the Voragos and broken Rocks by Charybdis, to fetch up the golden Cup, which Frederick, King of Sicily, had purposely thrown into that Sea.

Books on Kircher

* Athanasius Kircher - The last man who knew everything ed. Paula Findlen 2004 Routledge

* Athanasius Kircher - A Renaissance Man and the quest for lost knowledge Joscelyn Godwin 1979 Thames and Hudson

Vanessa Atalanta

The first Red Admiral (Vanessa Atalanta) spotted in the garden this morning. 

A little early in the season to arrive from their migration I would have thought, usually associating this butterfly with the month of September more than late June. However upon reference it is described as, 'a strong migrant, spreading northwards from the Mediterranean region each summer to breed. Adults hibernate and a few survive the winter in Britain'. It would have to be a strong insect to have survived last winter, the coldest for several decades!

Butterflies flit across the pages of 'The Garden of Cyrus', Browne, the keen lepidopterist observing, that the colour of the Caterpillar will shew again in the Butterfly, with some latitude is allowable. Nor can he omit the enquiry how Butterflies and breezes move their four wings from his speculations, even likening butterflies to flowers in the form of the Butterfly bloomes of leguminous plants.

It's also of interest to note that the Ancient Greek word for "butterfly" is ψυχή (psychē), which translates as 'soul', but also as 'mind'. There is of course a wealth of symbolism in literature throughout the world, both ancient and modern which alludes to the transitory, migratory nature of the butterfly, or as it was known as in the seventeenth century, the 'breeze-fly', being likened to the soul.

The Piano

Last night as part of my continuing comparative study between the film of the book , I watched 'The Piano' (1993). Jane Campion, (b.1954), the director of the film, is also author of the novella, 'The Piano'. Her novella, written after the film's making (1994), is in this case more of a development than an adaptation, adding new insights into the character's past history.

'The Piano' is a great triumph for several reasons. Most notably the combination of director Jane Campion's ten years dedication spent writing the story, and the actress Holly Hunter's portrayal of the emotions of the central character, Ada MacGrath, a role which consolidated Holly Hunter's acting career. She plays the part of Scottish pianist and mute, who arrives in New Zealand for an arranged marriage, little more than a mail-order bride. It's no small achievement to act a non-speaking role throughout an entire film and yet still be extremely expressive. The picture of the beautiful and broody Ms. Hunter wearing a Victorian bonnet is one of the film's great images. In addition to the fine acting of Holly Hunter which won her an Academy award, the supporting roles of Ada's frustrated husband and her lover are admirably realized by Sam O'Neill and Harvey Keitel respectively. The role of Ada's nine-year old daughter, Flora, earned Anna Paquin an award for supporting actress, the second youngest ever actress to win win such an award. The film is further enhanced by the lyrical music score of the composer Michael Nyman.

The triangular relationship between Ada, her husband Alisdair Stewart, and George Baines, is set against a backdrop of early colonial New Zealand, one of mud, deforestation and the indigenous Maori population. The film's plot is in essence an evolving love story which is propelled by two short scenes of sex and violence. There's also a good deal of subtle eroticism in the scenes which involve Ada and Baines in their negotiations over ownership of the piano, which itself is no minor 'character' .

Having also recently read the novella, 'The Piano' several interpretative points are worth mentioning. The film, unlike the book, engages in little of the book's internal dialogue other than Ada's short voice-over at its beginning and ending. The entire role of music and the emotion's which it evokes is naturally far less achievable in a novel, while the static nature of internal dialogue is less of a feature in most films. The viewer thus relies upon the acting skills of the central characters to explain why, for example, George Baines is entranced by Ada's piano-playing. But it is the near hypnotic ability of film to involve the viewer in a far greater immediate emotional response than reading can sometimes achieve, through the use of music, but also through graphic imagery, which strongly differentiates film from book.

In the case of 'The Piano' the music is an integral part of the story which further enhances empathy with the characters. The composer Michael Nyman (b. 1944) is quite simply the best of British composers, his previous collaborations with the film-maker Peter Greenaway, introduced him to a wide audience, and in fact the strong rhythmic impetus and gorgeous lyricism of his film-score has ensured that it stands as an enjoyable piano concerto in its own right.

By a curious coincidence like the film 'Respiro', which I reviewed in May 'The Piano' also involves a denouement in which the heroine is rescued and 're-born' in water surrounded by a small crowd of swimmers.

In many ways the success of the film 'The Piano' is the sum total of a harmonious artistic collaboration between director, actors and composer. It's a pity that more films are not so well constructed in direction, acting and sound-track.

Vuvuzela

Weapons of mass earsplitting destruction or harmless fun?

The vuvuleza is manufactured in a wide spectrum of colours, unlike opinion of it which is sharply divided between love and hate. It is currently receiving world-wide attention due to its contribution to the celebration of the football World Cup currently in session.

Its estimated that the one metre in length vuvuleza can emit a sound approximately 130 decibels loud; the most commonly manufactured instruments are pitched at B flat below middle C, very close to the frequency of human speech.

The BBC has received hundreds of complaints about the playing of vuvuleza spoiling viewers enjoyment of the sport, football players have requested fans to desist from its playing during the match and FIFA the organizational body co-coordinating the World Cup have decided not to ban it from matches.

There's considerable apian imagery associated with descriptions of its sound. Its constant drone being likened to having one's head thrust into a giant hive full of very angry bees.

The BBC sports commentator Farayi Mungazi stated that the sound of the horn was the "recognised sound of football in South Africa" and that it is "absolutely essential for an authentic South African footballing experience". He also said there was no point in taking the World Cup to Africa and then "trying to give it a European feel". The chief sports reporter of the Daily Telegraph Paul Kelso described critics of the vuvuleza as "killjoys" and said they should "stop moaning". South African football supporters themselves insist that the instrument is part of their national culture and claim those objecting to it are in fact being intolerant of an integral part of their national culture.

The phrase 'part of the national culture' seems to justify and vindicate all sorts of bizarre behaviour these days, from getting drunk on a Saturday night, to the waving of flags and engaging in war. Against a background of such behaviour the vuvuleza seems a harmless enough enthusiasm.

Its with some hesitation that I am filing this posting under the label of 'music', but then to some the compositions of Karlheinz Stockhausen, for example, barely equate as music. All that one can be certain of is that the world is becoming a place of highly subjective and arguementative opinion, with no centre or fulcrum upon which to establish that most elusive of human values, namely, truth, as regards this subject. One man's joyful sound is another man's irritating noise!