Octopus

A new resident to the Aquarium!

In the news today is Paul the 'psychic' Octopus. The English-born Octopus who now lives at Oberhausen Sea Life Zoo in Germany, successfully predicted all seven of Germany's wins in the Football World Cup and also Spain's win, by correctly choosing between two sealed boxes. Statistically this is equivalent to predicting heads or tails eight times, odds of 1 in 128. The World Cup winning nation is now bidding for Paul to re-locate to a zoo in Spain. Humankind tends to get excited by the idea of a creature which exhibits psychic powers, forgetting that they too possess psychic abilities, which usually remain dormant and unused.

Octopuses are zoologically known as Cephalopods, (from the Greek kephale, head and pod, foot). They are classified as predatory molluscs like squids and cuttlefish. One of the most intelligent of all invertebrates, they are capable of using tools and solving problems, have three hearts, and can camouflage themselves instantly, changing their colour and texture to match their surroundings. As they are boneless they are even able to escape from aquariums, squeezing themselves into small spaces. Octopuses have short life-spans of only three or four years.

The Penguin Dictionary of Symbols states, 'the Octopus stands significantly for the monsters who regularly symbolize the spirits of the Underworld and even Hell itself. The Octopus also corresponds to the zodiacal sign of Cancer, (see Crab) and is opposed to the dolphin. This identification is not unrelated to the creatures 'infernal' aspect, the Summer solstice being the gate of the Underworld.

The Octopus is often viewed as a sinister and scary creature. However, like the snake and spider, also invertebrates which needlessly frighten, the Octopus is an exemplary symbol of the unconscious psyche, which, as the psychologist Carl Jung constantly reminded his reader, humanity ignores at its peril.

Norwich Castle

Perched high upon an ancient earthworks in the very centre of the City, Norwich Castle has dominated the city-scape for over 800 years. The Norman conquerors who constructed  both it and the Cathedral, affectionately nicknamed it Blanchefleur or White Flower. One can be sure that the local Saxon populace who paid tithes and taxes to their Norman conquerors would have called it something far less complimentary! The Castle has been a Museum for over 100 years now. Included in its Art Collection is Thorpe Water Frolic and The Paston Treasure.

The Castle Museum is presently hosting two temporary exhibitions, the first: Beatles to Bowie, the sixties exposed, is an exhibition of over 150 portrait photographs of pop stars including The Beatles, Jimi Hendrix, David Bowie and The Rolling Stones. I couldn't help noticing the average age of the people attending this exhibition was near, or at, retirement age, which suddenly made me feel very old! Anyway, it was very enjoyable looking at these now historical photographs. Almost all of the photo's exhibited seemed to be portraits of artists who, immediately a camera-lens is pointed towards them suddenly become extremely photogenic. Even a very young Marianne Faithfull, barely out of Convent school appears supremely photogenic.

Marianne Faithfull, The Salisbury Pub, London (1964) by Gered Mankowitz

It's a curious fact that the great great Uncle of Marianne Faithfull (b.1946) was none other than Leopold von Sacher-Masoch (1836-95) the Austrian nobleman and author of the erotic novel, Venus in Furs (1870). Through his surname and the subject-matter of his novel, the word masochism was introduced into the English language. Faithfull is also credited with introducing to Rolling Stone Mick Jagger the occult novel by Mikhail Bulgakov, 'The Master and Margarita' (1938), which inspired the Rolling Stones song, 'Sympathy for the Devil.'

The other temporary exhibition was perfectly complimentary to pop portraits; Flashback, a retrospective of the art of Bridget Riley (b.1931) .










Riley's optical canvases have always fascinated me ever since seeing one of her works reproduced on an early 1970's LP cover. Although Riley's art-work typifies the psychedelic era, she herself is quite uninvolved with such drug-induced illusions. Will Self has written a perceptive, if somewhat critical review of Riley's paintings. However it was good to be reminded that Britain was innovative in the 1960's in the world of visual art with pop artists including Riley as well as David Hockney, Richard Hamilton, Peter Blake and Norwich-born Colin Self contributing to Britain's 'Golden Age'.

Movement in Squares 1961

Here's another optical image which demonstrates that seeing is not always believing, or rather, how easily the human senses can be deceived.

Do not adjust your screen!

Tragedy of the Street of Flowers

Eça de Queirós circa 1882

I've just finished reading a novel by an author who is considered to be Portugal's greatest 19th century novelist, Eça de Queirós ( 1845 - 1900) author of 'The Tragedy of the Street of Flowers'.

'The Tragedy of the Street of Flowers' is a novel written circa 1875 but which has only come to light recently. Found amongst the deceased author's paper's in 1900, it was not published in Portugal until 1980 when the copyright of Queirós' writings expired. It was translated into English in 2000, a full century since the author's death. Queirós himself stated in 1877 of his novel -

'It's not immoral or indecent. It's cruel..the best, most interesting novel I have yet written... a real literary and moral bombshell'.

Before reviewing this novel a word of praise must be said for the role of translator. Where would we lovers of the novel, in the Babel-like din of World literature be without them ? A good translator can introduce new literature, transforming the reader's understanding of historical, cultural and social conditions throughout the world. They can even cast fresh light upon the inner dialogue and moral dilemmas of well-loved and enduring characters of World literature.

Without having to dedicate the formative years of one's life to mastering several languages to become a polyglot, the classics of European literature would remain a closed book were it not for the translator. From the Icelandic Sagas of the Dark Ages, to the grandfather of all European novels, Cervantes 'Don Quixote', to the psychological analysis of memory by Marcel Proust in his novel of recollections, to Mikhail Bulgakov's surreal satire upon Stalinist totalitarianism, 'The Master and Margarita', homage must be paid to the translator for their devotion of many hours, re-shaping the written word from one language to another. One grows fonder of the translator's skills with the passing of time, placing trust in recognised names for their meticulous precision, inspired insight and often sheer drudgery, to open windows to new works of world literature to the questing reader.

The winner of several awards for her translations, Margaret Jull Costa has breathed new life into Quiroz's novels, translating his witty dialogue and observations on Lisbon society with panache. Together the innovative publishing-house of Dedalus, along with Costa's modern translation and Eça de Queirós' prose combine to make 'The Tragedy of the Street of Flowers' a cracking good read, whether one is familiar with the aesthetics of the 19th century European novel or not. And although it has been called an unfinished or incomplete novel, 'The Tragedy of the Street of Flowers' assuredly does have a full and satisfactory ending.

The story of 'The Tragedy of the Street of Flowers' begins at a theatre in Lisbon with the appearance of Genoveva, a sophisticated and stunningly beautiful woman just arrived in Lisbon from Paris. The young law graduate Vitor da Silva falls in love with her at first sight and becomes a bitter rival to her present lover, Vitor's one-time friend, a wealthy Portuguese dandy named Damasco .

However Genoveva is in reality none other than a Parisian courtesan or high-class prostitute. Throughout the novel her cunning, true to her femme fatale nature, outwits and exploits both Vitor and Damasco, pitting them against each other, exploiting their generosity and lust for her.

In essence the novel concerns itself not only with the struggles and delusions of Vitor and his love for Genoveva but also with Portuguese society at large in Queirós' critical observation of the conceits, shallowness and prejudices of Lisbon society. This is apparent early in the novel when Genoveva throws a evening soiree. The party allows Queirós to parade before the reader an extraordinary gallery of characters from Lisbon society. It's here in the novel that the influence of the founder of the novel of social realism, Honore de Balzac, (1799-1850) author of a vast cycle of over 100 novels which depict the whole spectrum of Parisian society can be detected. Balzac's influence hovers over Queirós' own portrait of the faults, delusions and weaknesses of Portuguese society.

The main protagonist, Vitor reads Romantic authors such as Byron and Tennyson .His feelings throughout the novel, change as often as the wind. Vitor is the orphaned ward of a retired Judge, his Uncle Timoteo to whom his upbringing and care is entrusted.

The wooden-legged Uncle Timeteo is a strong and memorable character in the novel. He served in India where he lost a leg in a tiger-hunt. Extremely wise to the ways of the world, he reads The Times newspaper daily and is, like his creator, an Anglophile and mouth-piece for Queirós' own love of England. Queirós was that most rare bird by today's standards, a European Anglophile, who lived in Newcastle and Bristol as a diplomat for nearly twenty years.

In an era in which much of the world, often quite rightly, perceives English culture, society, and economics as not entirely salubrious, it's refreshing to be reminded of a time long ago when the English were admired, even if those actions are now defined as self-serving Imperial colonialism. Uncle Timon enthusiastically exclaims to Vitor-

'Do you know, Sir, what they've achieved in India? They created everything! Cities, railways, bridges, docks, navigable rivers, plantations. Before, when there was famine in India, they would die in their millions! And now they never lack for rice because the Englishman is there to give it to them'.

Without wanting to post spoilers, early in the novel Uncle Timoteo and Genoveva cross swords when Genoveva, mounted upon a horse, kicks a small child to one side in front of the elderly and honourable Uncle Timoteo. He immediately challenges her to a duel before shuffling to the novel's background when, at the story's denouement, he pieces together the shock Oedipal revelation which tragically affects Vitor's and Genoveva's love-affair.

Other notable characters in a novel full of original characters include the artist Camilo Cerrao, commissioned to paint a portrait of Genoveva, but forever theorizing and changing his mind upon the style, function and nature of art so much that little real painting is ever accomplished. Like much great art a strong vein of both comedy and tragedy runs throughout 'The Tragedy of the Street of Flowers.'

The French novelist Emile Zola claimed that Queirós was a greater writer than Flaubert, (well he would, wouldn't he)! And although Queirós has been compared to realist novelists such as Balzac, Zola and even Proust he is, as a reading of 'The Tragedy of the Street of Flowers' confirms, no mere pastiche of these 19th century Realist novelists, but an original voice of European literature in his own right. Queirós' greatest masterpiece is however considered to be 'The Maias' of 1888. It too engages in satirical observations upon the social pretensions of 19th century Portuguese society, specifically Lisbon society. I'm looking forward to reading 'The Maias' soon!

Heatwave

The south and east of England is presently experiencing a heatwave with the mercury hitting 30 celsius. One more warm night and day to go before it eases. Tomorrow is Norwich City's big civic day with the Lord Mayor's procession. This year the procession has been shifted forward to 5 p.m. instead of 6:30 p.m. I wonder if the organizers are now regretting that change of schedule in view of the predicted heat.

I like to watch this annual event as one can with a little discernment gauge the mood and wealth of the City by the quality and zest of the 70-odd floats that slowly trundle through the City. With an estimated crowd of 30,000 usually the largest assembly of people in the city centre in the year, the event's history can be traced back to the days of the medieval Guilds, associations of various trades and professions celebrating their relative autonomy. For over 400 years the procession was led by the 'Snap' dragon accompanied by the 'whiffler' a crowd-controlling civic who 'whiffled' or waved a sword in the air. Lewis Carroll in his nonsense poem 'Jabberwocky' uses the word thus-

And as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!









Modern version of the Norwich Snap Dragon.











Ancient Whiffler

Another literary reference to Whifflers can be found in Shakespeare's Henry V Act 5 where the line, "which like a mighty Whiffler 'fore the king, seems to prepare his way" occurs.

By far the best information on the tradition and costumes of Norwich Whifflers including a priceless photo of the 1951 Lord Mayor's procession led by mace-bearer and accompanied by two Whifflers can be found at Norwich Whifflers.

On-line dictionary definitions of the word 'Whiffler' deliver a bewildering number of interpretations from - 'One who whiffles, or frequently changes his opinion or course; one who uses shifts and evasions in argument; hence, a trifler' to -

'Whifflers, or fifers, generally went first in a procession, at length a name given to those who went forward merely to clear the way for the procession. In the city of London, young freemen, who march at the head of their proper companies on the Lord Mayor's day, sometimes with flags, were called whifflers, or bachelor whifflers, not because they cleared the way, but because they went first, as whifflers did."

Or even- 'an officer who went before procession to clear the way by blowing a horn, or otherwise; hence, any person who marched at the head of a procession; a harbinger.'

But the Whiffler's ancient historical roots may in fact go back to the early Saxon era as an armed attendant who cleared the way for a procession (from wifle battle-axe, from Old English wifel, of Germanic origin; the attendants originally carried weapons to clear the way) as I first stated, a kind of civic crowd-controller, sometimes genteel and humorous, other times not.

Confusion about the meaning of this word arises from the fact that it's both a verb and a noun; the verb to whiffle, as Carroll uses it as an onomatopoeic, like the sound of a sword or stick being swished in the air; and it's a noun, as a figure of civic authority as in, 'Look out! Here comes the Whiffler!' But now I'm beginning to waffle, it must be the heat. Waffle hmmm, now there's another interesting word.



Civic crier, three Whifflers and Snap Dragon 2009

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.