Saturday, June 18, 2011

War and Corpses





I am far from the first to state this - the present-day British government are behaving quite callously by deliberately  targeting those least able to fight back, namely the poor, the disabled, the sick and the elderly, in order to  protect their supporters, the rich. In fact the distribution of wealth of the rich has actually increased during this Recession.

The belief that a fascist government could never come to power here in Britian is quite simply a delusion, for as the  photomontage artist John Heartfield (1891-1968) realized, one reason  why the Nazi party were able to come to power in Germany was a direct consequence of  the Great Depression, along with the self-preserving desire of those with wealth and without any social conscience, to hold onto their wealth at the expense of the poor.  

Propaganda then as now,  manipulates the thinking of  the great majority, who unable to  think for themselves, lazily believe all they are told by the Media; such as, for example, that it's not the Bankers who are to blame, but the previous British government who were responsible for the World-wide recession. However, strangely enough, there's always sufficient funds in the coffers to finance yet another war, except the  present-day involvement in the Libyan conflict, now in its fourth month, is not really a war, but merely assistance to the rebels against the regime of Colonel Gaddafi. As ever, black liquid gold lays at the heart of British military involvement. Under the smoke-screen of establishing democracy the democratic rights of other nations are more important to the present-day British government than the rights of its own people.

Wikilink -  John Heartfield 

Friday, June 10, 2011

Drought



After one of the driest Springs recorded, the drought in five English counties, all in the east of England has now been made official. I would suggest however that this current drought, and the severe shortage of rain which farmers and food-growers are experiencing,  goes much deeper. There's a serious and  wide-spread drought and thirst throughout many regions of the world for a fairer distribution of wealth and resources, moral integrity, compassion, leadership and  spiritual  vision. These droughts can't begin to be remedied until humanity acknowledges, as drought along with volcanic eruption, earthquake, hurricane, flood, famine and  war,  painfully reminds those suffering, that humanity isn't as much in control of its destiny as it imagines, and the words of the Prince of Peace  are heeded-

Whoever drinks water shall be thirsty again; but whoever drinks the water  I  give shall not thirst;  for the water  I give shall be a well of water springing up into everlasting life.



Thursday, June 09, 2011

Sparks


I've been intending to post on Sparks for some time when I stumbled upon a discussion between two American ladies who were wondering where on earth the 1970's pop-music duo had disappeared to. That shared query was  impetus and  motivation enough to merrily tap away at the keyboard today.

The brothers Ron Mael (b.1945) and Russell Mael (b.1948) are long-time residents of Los Angeles, California USA. They released their 22nd  album in 2009, the  experimental operetta, The Seduction of Ingmar Bergman. In 2010 they achieved the unique act of performing in chronological sequence one of their 20 albums every night for 20 nights at the Islington Academy and Shepherd's Bush Empire, London. They may have performed their  last ever live gig in America on December 1, 2010 at the Hollywood Palladium in Los Angeles. Although there's been occasional years of hiatus between album releases, Sparks have effectively been in the music business for over 40 years .

Ron and Russell Mael first cut their teeth and found fame during the early 1970's  when resident in England. Their big hit  in England was  This town ain't big enough for the both of us (1974). The hit introduced the world to Russell's  hall-mark falsetto voice and quirky lyrics and Ron's dead-pan yet scary, facial posturing.With the poetic, teen-age sensibility of a Holden Caulfield (of The Catcher in the Rye), Russell has retained a unique and beautiful voice.  His more reserved elder brother Russell, a 1920's Igor Stravinsky look-a-like,  has developed a powerful rhythmic drive and unique melodic line on keyboards  to accompany his brother. Incidentally its mostly older brother Ron who writes their music, while Russell supplies and sings the quirky lyrics.

Doggedly ignoring all musical trends, styles, fashions and crazes, Ron and Russell Mael  have carved their own idiosyncratic style, a kind of 70's techno-vaudeville, suitable to accompany a Buster Keaton adventure comedy, a true hybrid of American and British pop. According to Wikipedia Sparks have created their own unique musical universe; that's debatable but the brothers Mael have been enjoying a Renaissance in the first decade of the 21 st century. Indeed the 21st century has seen a distinct new creative drive by Sparks and growing critical acclaim with each new album release Their last few albums have built upon the style and success of each previous release. The realm of light opera in often comic has  been a fertile arena for their creativity.  Abandoning their Giorgio Moroder techo-style of the 80's and 90's, ever since the arrival of L'il Beethoven in 2002 their new operatic style has gathered new fans world-wide. There's no opportunity to demonstrate their music  here other than to enthuse over it, but their lyrics are worth quoting for his often acerbic and off-the-wall word-play, witticisms and social observations . Their  humour is  up there with the odd-ball wit of the Marx brothers -
                           
                       How do I get to Carnegie Hall ? Practice man, practice.

Sparks' distinctive humorous album art-work includes one  cover depicting a recent after-math, a light plane crash landed in a back-yard; in another the brothers are seen hands bound  in an out-of-control motor-boat, in yet another, Russell  lays prone having  hit the deck in a boxing-ring. in the other corner Ron, wearing boxing gloves, raises his  arms in triumph. The brothers like to express their decades long working relationship in their art-work.Other long-term sibling or male duo artists which immediately spring to mind include the British artists Gilbert and George and the film-makers the Brothers Quay, directors of the wonderful Piano Tuner of Earthquakes.

If you grew up during the golden decade of 1970's pop music, when the world was a slightly more innocent place, or simply enjoy hearing great 70's style pop music, then Sparks music often frantic and intense yet funny, rhythmically inclined with gorgeous harmonies especially the last four or five albums this century, are well worth hearing. Young listeners may also enjoy. Lovingly and painstakingly recorded in  sophisticated layered production, well worth hearing ! Pass me my Space-hopper ! What is there left for the  American Grandmasters of Pop, Ron and Russell to achieve with 21 albums to their credit ? However they  do like to defy and surprise expectations !

Exotic Creatures of the Deep (2008)

* Strange Animal  - "What a strange animal we are".
 Anyone who seriously contemplates the species arrives at this conclusion quite swiftly.

* (She got me) Pregnant - So how would a fragile male ego cope with finding after a one-night stand that they were pregnant ?

"And then you learn that though she is several thousand miles away/ there is a part of you she's given you and now you have to deal with it."

* Lighten up Morrisey - Sound  advice to some sometime famous Brit. pop star who the Mael brothers admire.  
 "She won't go out with me 'cos my intellect's paper-thin/ She won't have sex with me unless it's done with a pseudonym".
*  This is the Renaissance -  "If you like to read, man you are in luck/ Gutenberg is cranking up a Bible with a centre-fold...Science is here , nothing left to fear"

*  Photoshop - There's some very dramatic multi-track vocals going on here
 "Baldness or aloofness removed without a trace. Photoshop me out of your life".

* I can't believe that you would fall for all the crap in this song
   More lampooning of  the music industry.

Hello Young Lovers (2006)
 

 * Perfume  -Russell names and sings the names of dozens of  perfume brands. 

*  (Baby, Baby) Can I invade your Country -  A  bold statement on Foreign policy.

* Metaphor  -  a track with superb multi-track harmonies by Russell.
"Chicks dig D -I -G metaphors, use them wisely, use them well and you'll never know the hell of loneliness".
*  As I sit down to play the organ at Notre-Dame Cathedral - A track which allows Ron to show-case his keyboard virtuosity, he must be playing at least five keyboards here.

" I got Faith, I got a deep abiding Faith, that in this Sea of faces, this sea of believing faces, there's always one face that's here to escape the rain".


On June 25, 2011 as part of the Los Angeles Film Festival, Sparks will present the World Premiere live performance of  The Seduction of Ingmar Bergman.

 Wikilink


Sunday, June 05, 2011

Bee

He that would exactly discern the shop of a Bees mouth, need observing eyes, and good augmenting glasses; wherein is discoverable one of the neatest pieces in nature, and must have a more piercing eye then mine;  
 -Garden of Cyrus  chap. 3

There's a wealth of literature and religious symbolism  inspired by the  bee. The furry, flying insect is held in great esteem throughout the world despite its sting. Unlike the ant which invariably is likened to the robotic world of  automata, the bee has always been viewed as a hard-working  insect capable of altruism and self-sacrifice for the greater collective  good of the hive. Often used as a symbol of moral worth and integrity, the busy bee appeals greatly to the work-ethic of Protestantism.

The ancient Egyptians described   Pharaoh as He of  the Sedge  and Bee and  used honey as an effective contraceptive. In the Old Testament the story of Samson and the supernatural 'power' of honey can be found. (Judges 14:v.8). The Hebrew word for bee, dbure has the same root as  dbr meaning  'word'

In Classical antiquity bees were often depicted upon tombs as symbols of Resurrection; because the three month winter season when bees seemed to vanish was compared to the three days after the Crucifixion, only to reappear in Spring as if resurrected. In fact until the modern Industrial age, honey was  not only greatly valued as the only available source of sweetness but is also  the one and only food-stuff which  can never 'go off' and is incorruptible.

Bees have also symbolized eloquence, poetry and the mind. The Roman poet Virgil attributed the spark of divine intelligence to them. His fourth book of Georgics contains advice upon how to keep bees. Virgil's poem, over 500 lines long was for centuries one of the best-known works  of apiculture and how best care for  bees.

They alone hold children in common: own the roofs
of their city as one: and pass their life under the might of the law.
They alone know a country, and a settled home,
and in summer, remembering the winter to come,
undergo labour, storing their gains for all.
For some supervise the gathering of food, and work
in the fields to an agreed rule: some, walled in their homes,
lay the first foundations of the comb, with drops of gum
taken from narcissi, and sticky glue from tree-bark,
then hang the clinging wax: others lead the mature young,
their nation’s hope, others pack purest honey together,
and swell the cells with liquid nectar:
there are those whose lot is to guard the gates,
and in turn they watch out for rain and clouds in the sky,
or accept the incoming loads, or, forming ranks,
they keep the idle crowd of drones away from the hive. 
Bk 4 lines 153-169

Because the bee-hive has a radically different social organization to humankind's, bees and the hive have often been used as analogies to human society. Writers such as Shakespeare, Erasmus, Marx and Tolstoy each used the hive to describe human social organization. In his The Fable of the Bees (1714) the political thinker Bernard Mandeville argued that any distribution of wealth, even by theft, fraud and prostitution keeps the wheels of capital rolling and is thus legitimate. However his views were strongly condemned by  contemporaries as immoral.

Of all the varied literature relating to the bee that of the Belgian author and Nobel-prize winner, Maurice Maeterlinck's Life of the Bee (1901) is perhaps the most mystical. In Maeterlinck's work, contemplation of  the bee's life-cycle  and the hive rises to hymn-like heights of rapture. More recently the Swedish author Lars Gustafsson's novel The Death of a Beekeeper (1991) is a first person meditation by a Beekeeper suffering from advanced Cancer upon the imminent approach of death. 

Returning to bee-keeping itself,  'even though as early as the 1530s it was well known that the male drones were sometimes obstacles to honey production, most writers on bees for the purposes of their labor/religious/political metaphors kept the King a King.  However it was known that the queen bee was a female at least since the C17th century. Charles Butler's Feminine Monarchie popularized the notion, and was also the first work to stray from the usual methods towards bees and beekeeping of repeating ancient sources on the subject, and offer something like practical, even scientific treatment. Butler even scores the buzzing of the bees to music'.[1]

The buzzing sound of the bee, in effect its song, has fascinated musicians and composers. The bee is celebrated in Rimsky-Korsakov's The Flight of the Bumblebee, an interlude from his opera The Tale of Tsar Sultan. Its salutary to realise that although Rimsky-Korsakov wrote many operas often of  several hours length, his miniature tone-poem of seventy seconds is the work for which he is best remembered. More recently the British composer Michael Nyman wrote a short concerto for Saxophone and orchestra entitled  Where the Bee dances in which the  melodic line played by the Saxophone  imitates the joyous, zig-zagging flight of the bee.

Thomas Browne's Religio Medici includes a poem of highly original apian imagery; the poet imagining himself  a bee.

And then at last, when homeward I shall drive
Rich with the spoils of nature to my hive,
There will I sit, like that industrious fly,
Buzzing thy praises, which shall never die
Till death abrupts them, and succeeding glory
Bid me go on in a more lasting story.
- R.M. Part 1:13

In fact mention of bees occurs in each of Browne's major works. Abandoning poetry,  his Pseudodoxia Epidemica includes a lengthy digression upon why the bee produces a buzzing sound (Bk.3. chap.27). Browne, rather bravely writes of placing a finger upon a bee in order to determine its buzz. Elsewhere in his writing's there's a curious record, purely in the cause of scientific investigation, of Browne actually eating spiders and bees to determine their culinary and dietary effects, while in Urn-Burial he notes  bee's  funeral rites, ejecting its dead out of the hive.

Because scientific enquiry was invariably  patriarchal in its thinking, it was assumed  that the Hive was ruled by a male;  not until the nineteenth century was it finally accepted that a female Queen, not a male King rules the hive. The construction of the hive has been a source of wonderment to many, not least to  Sir T.B. who in  The Garden of Cyrus waxes lyrical upon its architecture thus-

The sexangular Cels in the Honeycombs of Bees, are disposeth after this order, much there is not of wonder in the confused Houses of Pismires, though much in their busy life and actions, more in the edificial Palaces of Bees and Monarchical spirits; who make their combs six-cornered, declining a circle, whereof many stand not close together, and completely fill the area of the place; But rather affecting a six-sided figure, whereby every cell affords a common side unto six more, and also a fit receptacle for the Bee it self, which gathering into a Cylindrical Figure, aptly enters its sexangular house, more nearly approaching a circular Figure, then either doth the Square or Triangle. And the Combs themselves so regularly contrived, that their mutual intersections make three Lozenges at the bottom of every Cell; which severally regarded make three Rows of neat Rhomboidal Figures, connected at the angles, and so continue three several chains throughout the whole comb.

The bee is an insect now included in the ever-growing inventory of endangered species upon planet Earth. It's recent decline is a matter of great concern. Without bee's ability to pollinate, crops would not grow. In fact humanity's fate is dependent upon the bee. The Varroa mite along with the phenomena known as 'Hive collapse disorder' in which swarms simply vanish, has decimated whole colonies. In recent decades pesticides, along with motor-car exhaust fumes and mobile phone signals have also been blamed for the bee's decline . In fact the plight of the modern-day bee wherever industrial-sized fruit-crop growing occurs, has been likened to  many working hives being over-crowded upon a budget air-line for a long over-night flight, only to be awakened upon arrival without any acclimatization, to a long day's labour immediately upon landing. Needless to say such treatment is motivated purely by economic factors.

The above photo is one of my best snaps. I particularly like how the  bee's furriness and  transparency of its wings is captured.

[1]  Info contribution by Brooke
Wiki-links
 Bee
 Fable of the Bees
Virgil's Georgics IV
Flight of the Bumblebee

Friday, May 27, 2011

Cromer


Because it has a rail connection to Norwich Cromer is  probably the coastal resort I've frequented most. It's been a while since I visited the 'Gem of the Norfolk Coast', which is situated some twenty-odd miles north of Norwich. A barmy summer of crab sandwiches, swimming and putting on the green, now long gone.

Cromer is also the place where over many years I've read innumerable books while on the beach. These days I have a small tent with me in readiness for the vastly differing weather conditions between  hinterland and coast. 

I'd almost forgotten how relaxing it is to turn the pages accompanied by the  sound of  surf  and waves breaking. As ever there was an fairly stiff off-shore wind from an icy North sea, but the quality of light, bracing air and immensity of space, easily compensated. Geographically, the Norfolk coast is famous for being a place where facing due north there is no land between oneself and the frozen ice of the Arctic. A little too early in the year for a swim in the sea.


At low-tide one begins to sense the prehistory of the coast-line. In fact much of the beach was once part of a prehistoric forest bed which was formed between 780,000 to 450,000 years ago.  Known  as the  geological era of  the Cromerian Stage, during the last ice-age or Pleistocene, the Cromerian Interglacial is the benchmark that all European countries use when studying their own  geological  deposits. 

The fossilized skeleton of a steppe mammoth (Mammuthus trogontherii) an elephant some 600,00 years old was discovered not far from Cromer,  at West Runton in 1990.


Further along the coast is the site of  Seahenge,  an early man ceremonial ritual site marked by a circle of wood beams with an upturned tree-root at its centre dated  circa 2100 BCE (scroll down to earlier May post for pics of Seahenge).



It's very pleasant on a summer's evening to sit on Cromer Pier with a drink and watch the sun sink into the sea.





Cromer by James Stark (1794-1859) 'Norwich School'

Wiki-links
West Runton Elephant
Cromerian Stage
Seahenge
Norwich School

Polygraphiae



Included among the many books in the Library of Sir Thomas Browne of  an esoteric outlook is a book entitled Polygraphiae by Trithemius (1462 -1516).

The story goes that the young Trithemius studied at the University of Heidelberg where he became acquainted with the magical arts. Taking shelter from a snowstorm at the Benedictine monastery of Spondheim he became a monk, then the Abbot of Spondheim in the following year. In this position he re-installed discipline, repaired and restored the monastery and established one of Europe’s great libraries with over 2,000 manuscripts, including many works on science and philosophy.

Typical of the fate of many Renaissance Hermetic philosophers, Trithemius was often accused of sorcery and wizardry. The Emperor Maximilian I summoned him in 1503 in order to interrogate him on matters of faith, but Trithemius insisted he was a Christian and Humanist. In addition to being an Abbot of a Christian monastery, Trithemius was also a lexicographer, historian, cryptographer, and polymath as well as occultist. His fame as an occultist originates primarily from the infamy of his  Steganographia  which instructs how to conjure and talk to angels. Trithemius was the teacher of  Cornelius von Agrippa and Paracelsus, while the English Hermetic philosopher John Dee was also influenced by him .

In her scholarly work 'The Occult  philosophy of the Elizabethan Age' (1979) Dame Frances Yates noted-

In 1509-10, Agrippa was in Germany, visiting the learned abbot Trithemius, and it was about this time that he wrote the first version of the De occulta philosophia.  The manuscript of this version exists. It is dedicated to Trithemius, who was undoubtedly an important influence on Agrippa's  studies.

In his less controversial work Polygraphiae Trithemius elaborates at length and in detail upon different forms of secret writing, formulas for making codes and methods of encryption and decryption. Modern-day computer security also relies upon sophisticated codes and programmes of encryption and code in order to function without interference or fraud.

With his love of languages along with his interest in the secret, hidden and undiscerned, it’s little surprise that Sir Thomas Browne not only possessed a copy of Polygraphiae pub. Cologne 1571 (S.C. page 30 no. 17) by Trithemius, but is also credited with coining the  word ‘cryptography’ into the English language. The first recorded usage of the word according to the OED occurs  in ‘The Garden of Cyrus' in which Browne alludes to -
‘the strange Cryptography of Gaffarell in his Starrie Booke of Heaven'.

See also blog entry  - Cryptography and Gaffarel's astrology
Wikipedia entry   - Library of Sir Thomas Browne -  a short introduction and selection of book-titles.

 

Monday, May 23, 2011

Kronos Quartet


The highlight of this year's  Norfolk and Norwich Arts Festival  for myself was the opportunity to  hear the world-famous string-players, the Kronos quartet. The music festival opened with an unique event, the sound of a solo saxophonist accompanied by no less than 200 amateur saxophone players, of all shapes and sizes, throughout the region. It was an extraordinary sound to hear in the city centre outside the  Forum, and no small feat to assemble the collective players upon a stage and then to  depart in  a caterpillar procession .

Memories of the Norfolk and Norwich Festival stretch far back to the days when it was known as the Triennial Festival and held  once every 3 years, during October. My very earliest memory is that of the composer Benjamin Britten dropping in upon a rehearsal of his 'Cantata Noyes Fludd to thank the singers for their efforts. In fact the NNFT is the oldest and longest -running of all British music Festivals. Other recent  highlights which immediately spring to mind include hearing an electrifying performance of Shostakovich's Ballet suite 'The Bolt' by the Russian State Symphony Orchestra, Mahler's 9th symphony performed by the London Symphony Orchestra, a Sea-side  choral oratorio  by Ray Davies of the Kinks, a recorder concerto by David Bedford, the viol consort of Fretwork playing a new work by John Tavener, and the legendary 'father of minimalism' Terry Riley perform, among many other happy musical memories of the Festival. Actually, it's the one guaranteed two weeks in the year a Norwich concert-goer can be guaranteed the opportunity to hear  world-artists perform.

The Kronos Quartet have been playing to audiences  for over thirty years now; their ability to casually change genre and style to demonstrate the flexible  texture and expressiveness of the string quartet is simply amazing. I first heard them playing on Philip Glass's experimental song-cycle 'Songs from Liquid Days' (86) and their sensitive accompanying Astor Piazolla upon the bandeleon in 'Five Tango Sensations', (91) is a firm favourite of mine, as is their playing on the Philip Glass soundtrack to the original 'Dracula'  film (2001). 

From American composers such as Glass, Reich and Riley, to Argentinian tango, Indian Raga and Bollywood to Gypsy folk music, the Kronos  have now released over forty  albums,  the programme at  the Theatre Royal Norwich was equally varied. They played a soft poignant piece by Laurie Anderson entitled 'Flow' and a powerful, pulsing, dramatic theme by Clint Mansell from the soundtrack to the Darren Aronfonsky film 'The Fountain'. It didn't exactly help that the Kronos had decided not to play the evening's programme in the sequence advertised, but this was more than made up for in rapport as frontman David Harrington cracked a subtle joke to the audience, (You have your favourite Icelandic composers, this piece is by ours). The Kronos are not shy of using amplification or tape-recording which more often than not enhances their harmony and unity, as was demonstrated in a new work by Steve Reich, WTC 9//11 which used voices recollecting the tragic event. 

The overwhelming sense I apprehended from hearing the Kronos quartet was that they seemed well aware of their legacy. They have distinguished themselves as reinvigorating and reviving the string quartet to a new world-wide audience. As collective musicians they've proved the traditional combination of instruments is infinitely capable of performing rock and pop as well as jazz or modern minimalism, and this comes across in the confidence, technical brilliance and the unity of their playing. No other string quartet  in modern times has achieved as much, and their performance at Norwich was a memorable one, not least for their generous three encores which included the ever-popular  'Flugufrelsarinn'  by Icelander, Sigur Ros.


Monday, May 16, 2011

King's Lynn

                 
Custom House and statue of George Vancouver

The historic Norfolk market-town of King's Lynn is well worth visiting. King’s Lynn Custom house  (above) was built in 1683 by Henry Bell  and modeled upon Dutch architecture which occupied the site previously. In fact, the influence of  the Dutch  permeates the cultural history of Norfolk. Evidence of the Dutch influence in trade, migration and immigration and even dialect can be found in the place names, family surnames and architecture of  Norfolk including King's Lynn. 

The architecture of King's Lynn's  historic quarter affords a generous insight into its  medieval past and hints of  voyages  of  trade, exploration and  pilgrimage made by its citizens. Situated forty miles due west from Norwich at the mouth of the River Ouse and  the Wash estuary,  sheltered  from the North Sea yet within easy sailing distance to the coast-line of  Scandinavia, North Germany,  Flanders and the Baltic, King's Lynn's  location meant that it became a busy and prosperous  sea-port during the Middle Ages.  Inland it's geographical position to the Midlands and Norfolk meant that it also exported large quantities of  British produce including wool and pottery.


Such was Lynn's sea-trading importance that it was once a member of the Hanseatic League. The Hanseatic League, a confederation of sea-ports radiating around the  Baltic Sea, traded in commodities such as  amber, resins, furs,  rye and wheat. Individual Hanseatic ports had their own representative merchant  warehouses.  There was a Hanseatic representative  in the English cities of Boston, Bristol, Hull, Ipswich, Norwich, Great Yarmouth and York. However, the only surviving example of a Hanseatic warehouse in England can be found standing close to the harbour at King's Lynn.



Nikolaus Pevsner, author of the authoritative guide to the architecture of England,  was  an admirer  of King's Lynn. Pevsner stated that the walk from the Tuesday Market Place to the River by the Customs House was one of the finest in the world. Near the market-place is the medieval Guildhall. Like Norwich's medieval Guildhall its facade has a chequer-pattern design, a symbolic reminder that it was once where revenues were collected, payments placed upon  a table of the same chequer pattern, like a Chess-board. In Britain, the Minister for finance is known as  the Chancellor of the Exchequer,  a  title which retains a  remnant of the  money-collecting tradition.



The church of Saint Margaret’s has some remarkable, ornately-carved pews known as misericords, (folding chairs which flip upwards as in cinemas). They were made for monks to support them standing during long church services and date from circa 1370.




Also in King’s Lynn there’s the  Red Mount, a  peculiar 15th century chapel   described by the architect  Nikolaus Pevsner as 'one of the most perfect buildings ever built' and 'unique'. In a flat landscape it was a prominent land-mark and  stop-over point for  religious pilgrims en route to the holy shrine of Walsingham.

King's Lynn's most famous pilgrim  of the Middle Ages was  Margery Kempe. The daughter of a Lynn mayor, Margery Kempe (c.1373 -1440) was a remarkable woman. In addition to bearing fourteen children when married, she  embarked upon pilgrimages throughout England and Europe to Aachen, Venice, Rome, Spain, Norway,  and even made pilgrimage to Jerusalem and the Holy Land in 1414. A dramatic enactment of Kempe's recorded visit to Julian of Norwich was recently realised by a UEA drama group in their re-construction of their medieval mystery play Mary's Step's.

Margery Kempe's religious mysticism  was portrayed as all accounts of her agree, with  emotional, volatile and fervent  piety, not untypical of much religious sentiment of the Middle Ages. Although she was unable to read or write Margery Kempe dictated her life's events to produce one of the earliest European autobiographies and an informative travelog of the age.

King’s Lynn was also  the birth-place of George Vancouver (1757- 1798). A statue of  the sea-port's  most famous citizen was erected nearby the Custom House. Vancouver was an officer in the British  Royal Navy who explored and charted North America's northwestern  Pacific  Coast, including the coast of Alaska, the Hawaiian Islands and  even the southwest coast of Australia.

It's also in King's Lynn ( in a museum adjacent to the Bus-Station ) that  an important  prehistoric artifact is now on display. It's the so-called 'Seahenge', a timber circle with an upturned tree root at its centre, which was first detected during an exception low-tide in 1998. It's estimated that Seahenge was constructed in the twenty-first century BCE,  over 4000 years ago during the early Bronze Age in Britain.  Like its more famous Stonehenge, the wooden circle of tree-trunks were most probably constructed for religious and  ritual purposes.


                             Seahenge at  Holme-next-the-sea, 1998.

. 
An artist's impression of how Seahenge may have looked 4000 years ago.

Monday, May 09, 2011

Hawthorn tree



The coldest winter for 50 years followed by the driest ever March and then the  warmest ever April are strong indicators that it's not  just the weather but the  very climate which is changing. I've lived  near to  a specimen of  Hawthorn tree for over 30 years and its the first time I've ever seen  one flower in April, invariably it flowers later in May.  

While cucumber and strawberry growers are reporting an early bumper crop, due to the warm weather, by far the most concerning weather feature at present is the fact that in the East of England it's not rained for almost 3 months. Without water life on Earth is unsustainable. The present-day weather extremes are ominous indicators of  climate change.

Tuesday, April 19, 2011

Lobster


'Lobsters in great number about Sheringham and Cromer from whence all the country is supplied.'

 Sir Thomas Browne was a  significant  natural historian so it's not too surprising that The Project Gutenberg EBook has recently  reproduced his  'Notes and Letters on the Natural History of Norfolk'.

 First published in 1902 by Jarrolds of London, Browne's 'Notes and Letters upon the Natural History of Norfolk more especially on the birds and fishes', is a valuable document  inasmuch as it provides evidence not only of Browne's  keen-sighted observations  and  his willingness to assist  the ornithologist Christopher Merritt, but also to the abundance and decline throughout the intervening centuries of particular species in Norfolk. However, those expecting to read highly-stylized 'vast undulations of sound' as exemplified in  the poetic Discourses of 1658 will be sorely disappointed, for it is Browne at his most scientific  note-book prose encountered in his natural history notes.

The county of Norfolk is described by Browne as having a 'great number of rivers, rivulets & plashes of water', elsewhere in his notes he writes of its 'broad waters' which may well be from where the term 'Norfolk Broads' originates. I've written before upon Browne as an ornithologist here's the link.

Thomas Southwell in the 1902  introduction to Browne's notes, 'emphasises the originality which pervades all  Browne's observations, a characteristic so conspicuously absent in the work of most of his predecessors'.

Southwell also laments-

'It may be truly said of Sir Thomas Browne that a prophet hath no honour in his own country; the writings of this remarkable man are little known in the city of his adoption, and a recent movement to erect a monument to his memory has hitherto met with feeble support'.

Although a statue of Browne was in fact erected in his honour upon the tercentenary of his birth  in 1905 by the citizens of Norwich,  it remains true a full century later that, 'the writings of this remarkable man are little known in the city of his adoption'.

Wednesday, April 06, 2011

Willows on the Wensum



Now spring has finally arrived there are some very  green and scenic views near to home. The ancient and senile river Wensum winds slowly through Norfolk entering Norwich just a mile or two from my door-step.

Monday, April 04, 2011

Annunciation



I'm lucky to spend time at present as a volunteer at the church of Saint John Maddermarket. Now that the tourist season is under-way I get to meet visitors from all over the world. The window in the North chapel depicts the Annunciation and was designed by James Powell & Sons. It was donated by  parishioners of the church and cost £165 in 1913. Many visitors to the church of  Saint John Maddermarket  have commented on its pre-Raphaelite style, and it's arguably the most popular stained-glass window in the church.  The centre panel depicts lilies, emblematic of the Virgin Mary. On the well which Mary stands beside there can be seen two scenes from Genesis, the Garden of Eden and Adam and Eve's expulsion from paradise on the right, the scene thus sharply contrasts Eve's disobedience to Mary's obedience.

I'm technically a little late posting this because March 25th  is the date of the church festival  commemorating Lady Day and the Annunciation in the ecclesiastical calender.

But of all the many beautiful religious artifacts located in Saint John Maddermarket my favourite remains the utterly fascinating  Layer Monument.

Thursday, March 31, 2011

Ghosts and Quincunxes

 Frontispiece to 'Urn-Burial' by Paul Nash

In the deep discovery of the Subterranean world, 
a shallow part would satisfy some enquirers.

It’s testimony to Sir Thomas Browne’s antiquity as well as his originality that throughout the centuries, thinkers, writers, artists and composers have responded to his art and thought, including the English artist Paul Nash (1899 -1946). 

Paul Nash was one of the leading English artists during the first half of the twentieth century. He was recruited as an official war artist during the 1920’s and promoted modernism in Britain as well as the avant-garde styles of surrealism and abstraction. In 1933 he co-founded the influential modern art movement Unit One with Henry Moore, Barbara Hepworth, Ben Nicholson and the art critic Herbert Read. 


When  in 1932 Nash was invited to illustrate a book of his own choice he unhesitatingly chose Thomas Browne’s Discourses 'Urn-Burial' and  'The Garden of Cyrus', providing the publisher with no less than 30 illustrations to accompany Browne’s text.  Titles included among Nash's thirty designs include - 'Tokens',  'Buried Urn', 'Funeral Pyre', 'Mansions of the Dead', 'Ghosts' and 'Sorrows'.

In his essay ‘Browne and Paul Nash : The Genesis of Form’ Philip Brocklebank notes that Nash studied Browne’s text carefully and had an exact command of it. According to Brocklebank, Nash's art

‘encourages a readers scattered perceptions to coalesce into new orders; and he contrives to create in colortype and watercolour  a visual equivalent to the prolific allusiveness and the aphoristic immediacies of Browne’s style’.

Brocklebank also noted that Nash responded sympathetically to the themes of death and human mortality in ‘Urn-Burial' ; indeed, both Browne and Nash witnessed the slaughter and horror of war in their life-time. Browne's Discourse 'Urn-Burial' itself has been described as a threnody to the waste of human life during the English civil war.

'When the Funeral Pyre was out, and the last valediction over,
men took a lasting adieu of their interred friends'. 

 'the souls of Penelope's Paramours conducted by Mercury chirped like bats and those which followed Hercule's made a noise but like a flock of birds'.

Nash was equally sympathetic to  the themes of optics, the geometry of nature and Browne's perspicacious observations upon sundry subjects in 'The Garden of Cyrus'. Illustration titles include 'Vegetable Creation', 'Poisonous Plantations' and the running title sub-sections of the Discourse 'The Quincunx naturally considered', 'The Quincunx artificially considered',  and 'The Quincunx mystically considered'. 


A like ordination there is in the favaginous Sockets, and Lozenge seeds of the noble flower of the Sunne.


                                                                                                                                                             
Nor is it to be overlooked how Orus, the Hieroglyphick of the world is described in a Network covering from the shoulder to the foot.




And beside this kind of work in Retiarie and hanging textures, in embroideries, and eminent needle-works; the like is obvious unto every eye in glass-windows. Not only in Glassie contrivances, but also in Lattice and Stone-work...

Book consulted -

Approaches to Sir Thomas Browne, The Ann Arbor Tercentenary Lectures and Essays. edited by C.A.Patrides pub. University of Missouri  Press 1982

Saturday, March 26, 2011

4th Duchess of Norfolk


Today I discovered that the church of Saint John Maddermarket at Norwich now has a page on Wikipedia. The church has memorial stones of several notable people, including the marine artist  Joseph Stannard  (1797-1830) and the theatre director Walter Nugent Monck  (1877-1958) founder of the Maddermarket Theatre nearby. There's also a large funerary  monument to the memory of    Margaret Howard 4th Duchess of Norfolk (1540-1564) which can be seen  high up towards the clerestory at Saint John's.

Here's the  magnificent portrait  of her by the Flemish painter Hans Eworth (c. 1520–1574).

Wednesday, March 23, 2011

Femme Fatale



The French phrase femme fatale (lit. deadly woman) represents male sexual fantasies and fears as well as the sexual empowerment of women. Although portrayals of the femme fatale in literature and film have altered considerably, as a mythic creature she continues to endure. Sociologically the role of the femme fatale can be interpreted as embodying female independence and rebellion against traditional female gender roles. In Jungian psychology the femme fatale is an archetypal figure who represents the lowest manifestation of the anima in the unconscious contents of the male psyche.

Typical descriptions include her being mysterious, subversive, double-crossing, unloving, predatory, tough-sweet, unreliable, irresponsible and manipulative. She is often portrayed as a woman who is extremely attractive with a sultry voice, a provocative body and a complex character. She tends to be very intelligent, in addition to her beauty she often speaks, behaves and dresses in an unusual and striking manner designed to attract male attention. Most importantly, she is extremely dangerous; an entanglement with a femme fatale often involves devastating consequences for a man.

From the enchantress Circe’s transformation of men into pigs to the alluring song of the Sirens in Homer’s epic poem ‘The Odyssey’, to Biblical characters such as Delilah’s emasculation of Samson to Salome’s erotic dance, examples of the femme fatale occur throughout  world literature. Other notable literary characters  include Sheridan Le Fanu’s  ‘Carmilla’ and De Quiros’ Genoveva in  The Tragedy of the Street of Flowers  but there's many other portrayals of the femme fatale  scattered throughout world literature, too numerous to mention.

Depictions of the femme fatale often proliferate whenever there is rapid social change and upheaval. An early cinematic portrayal of the femme fatale can be seen in Von Sternberg’s 'The Blue Angel'  (1930) in which the infatuated fall of school-teacher professor Rath through night-club singer Lola (Marlene Dietrich) occurs. Another historical epoch  in which the role of the femme fatale  was prominent was after the social upheaval caused by World War II  in American society, as depicted in film noir cinema. Notable femme fatales in film noir include Rita Hayworth in  ‘Gilda’, Lana Turner in ‘The Postman always rings twice’ and Barbara Stanwyck in ‘Double Indemnity’.

The writings of the Swiss psychiatrist Carl Jung provide an illuminating  understanding of the psychological significance of the femme fatale. In Jungian psychology the femme fatale is a somewhat negative manifestation of the anima (it’s corresponding term in a woman being defined the animus). It’s worthwhile refreshing one’s understanding of the Jungian concept of the anima. Jung defined the anima as the feminine component in a man’s personality and the totality of all the unconscious feminine psychological qualities that a male possesses. In his words, woman has carried for man the living image of his own feminine soul and likewise man has carried for woman the living image of her own spirit. 

Central to Jungian psychology is the concept of projection, that is, active but unconscious thought  towards another, often towards the opposite sex. Projection in itself is neither good or bad, but an unconscious activity, it is what one does with the projection which matters. Negative effects of projection upon the anima (animus in a woman) are directly related to a man’s unawareness and devaluation of his feminine side, and vice-versa in a woman. 

According to Jung the entire process of anima development  is about the male opening up to emotionality and to a broader spirituality, this includes intuitive processes, creativity, imagination and psychic sensitivity towards himself and others. Just as the anima is the master of a man’s moods and irrational behaviour, so too the animus  is the master of opinions and judgements in a woman. Its important here to emphasis that woman is as much in the unconscious grip of her animus as man is of his anima, resulting in unconscious  judgements, opinions and over-intellectualism  at the expense of feeling in her.

Jung proposed that there were four stages of the anima in man’s psyche, these being Eve, Helen of Troy, the Virgin Mary and at the apex of development of the anima the spiritual wisdom of Sophia.  The character of the femme fatale in literature and film, the lowest rung in the sequential development of a man’s anima equivalent to the temptress of Eve takes on a clearer understanding and profounder meaning in  the light of Jung’s psychology.

The problem of relationship and  the frequent misunderstandings between the sexes  according to Jung arises from the fact that, more often that not, rather than accepting and listening to the real  and flawed person facing one, there frequently  arises unconscious  and projected anima or animus activity which overtake true relating. Whenever a man or woman fascinates us we can be sure that a projected content of the unconscious is at work. For a man, this means recognising that his moods, compulsive sexual fantasies, and insatiable restlessness have a dark feminine side at their source. For a woman it means recognising that the opinions and destructive criticisms that suddenly come into her consciousness have the inner figure of the animus behind them. 

Woman as a femme fatale  in Jung's psychology is none other than an immature and undeveloped aspect of a man's anima figure. The misunderstandings between the sexes are succinctly stated  by Jung thus -

‘no man can converse with an animus for five minutes without becoming the victim of his own anima…. The animus draws his sword of power and the anima ejects her poison of illusion and seduction’.  - CW 9 ii 29

The persona of the femme fatale divides opinions amongst sociologists. Some consider the femme fatale to be closely tied to male misogyny, while for others the role of femme fatale remains an example of female independence and a threat to traditional female gender roles. for it, ‘expresses woman's ancient and eternal control of the sexual realm’. 

Some have argued that Jung's psychology, based upon mythology, simplifies the complexities of  relationships between the sexes. What is certain however is that many years before the American pop-star Britney Spears (b. 1984) entitled her new seventh album Femme Fatale,  the German-born chanteuse, Gothic uber-fraulein and prodigy of Andy Warhol, Nico, (1938-98 photo above)  accompanied by the Velvet Underground, sang Lou Reed’s song entitled Femme Fatale in 1967. Like many self-styled femme fatale’s Nico died prematurely.

The modern femme fatale is as likely to have the same self-destructive tendencies and mental health problems which are usually associated with men, that is, problems arising from alcohol abuse, drug addiction, violence and aggression, negative effects from empowerment not resulting in true equality for women.

Jung's psychological  observations, although less fashionable than once, when fully comprehended, continue to clarify the often confused relations between the sexes today. 


Recommended reading and quotes from - The Invisible Partners: How the Male and Female in Each of Us Affects Our Relationships by John A. Sanford 1979

Thursday, March 17, 2011

Cheltenham Festival

                                      
                          Water-jump at Cheltenham race-course

This year sees the staging of the 100th Cheltenham Festival, a truly unique event in the world sports calendar. It’s the  apotheosis of the British National Hunt horse-racing season. The atmosphere at the Festival  today is considerably enhanced by the fact that it’s Saint Patrick’s Day, with as many as 10,000 Irish fans travelling over the sea to join in the festivities. In fact Irish-trained horses and jockeys seem to be winning almost every race at this year’s Festival. The fabled luck of the Irish with all its fickleness seems to be shining on the Irish, deservedly so for all their recent economic woes.

For many years the climax of the Festival, the Gold Cup, coincided with the British budget day until it was finally realized,  there was a far greater interest nationwide in who would win the Gold Cup than government economic policies. The Budget day has since been shunted to another week. The Cheltenham Festival itself has an enormous financial turn-over, with an estimated half-billion pounds gambled during the 4 day Festival. It would appear that  people gamble as much, if not more, during times of recession, although nowadays football generates a far greater percentage of gambling in total than horse-racing. However, until the advent of mass-spectator sports such as football in the 20 th century, horse racing, the 'Sport of Kings' was in many ways the true National sport of Great Britain, uniting the whole spectrum of British society in participation.

When once a dedicated gentleman of the turf, I had the pleasure of witnessing Imperial Commander win at Cheltenham. He progressed further to win  last year's Gold Cup. And though at present the unlucky star of fast women and slow horses seems to be my ascendant along with a moderating of my stake, I still enjoy the spectacle and thrill  of  watching  man and beast united in equestrian competition and bravery. Actually I do believe I am up a few pennies this week so far, backing both Sizing Australia and Sizing Europe. Who says names are unimportant factors in selecting a winner ?  My earliest Cheltenham memory ? Desert Orchid winning the Gold Cup in the mud in 1989.
  
Jockey of the day on Tuesday at the Festival was surely the champion Ruby Walsh, the reigning Irish National Hunt champion jockey. He was the leading jockey at the Cheltenham Festival in 2004 - 2006 - 2008 - 2009 and 2010. Returning to the saddle after  a 4 month lay-off from a broken leg,  Ruby Walsh won no less than 3 races on Tuesday. What other sportsmen frequently  suffer cuts, bruises and broken bones yet repeatedly  return to the saddle risking injury ? 

Although moral objections are sometimes made about a sport which involves both animals and gambling, in truth National Hunt jump racing is one in which animals are  lovingly cared for by owner and stable-staff  alike. As for gambling, well not every person who drinks alcohol becomes an alcoholic. Gambling can even, as the late Clement Freud observed, teach a few moral lessons, such as how to forebear loss, sharpening an indecisive mind, teach how to live with the consequences of  greed and how to be  modest and magnanimous in winning. Indeed many aspects of  life are a fated combination of  good or bad  fortune supplemented by good or bad decision-making. In brief a gamble. 

Sunday, March 13, 2011

Uranus

                                 Photo of Uranus taken by Voyager 2
  
230 years ago today the German-born British astronomer Sir William Herschel observed a new planet. (March 13, 1781). Herschel’s discovery expanded the known boundaries of the solar system. At first the new planet was named after its discoverer, but was later named after a Greek god as other planets of the solar system. The name of the new planet was chosen  from mythology as the logical progression in genealogical sequence; for Mars was believed to be the son of Jupiter, who in turn was the son of Saturn, who was born from Uranus.

In Greek mythology Uranus (from Greek Ouranous, sky) personifies the heavens and the night sky. Believed to have been born from chaos, Uranus was the primogenitor  of all Greek gods. He was castrated by Cronos or Saturn with a sickle because of his  fathering of monstrous progeny.

Astronomically, Uranus is the seventh planet in orbit from the sun and the third largest of all planets. It was detected as having a ring-system similar, if less spectacular than Saturn on March 10, 1977 by an American astronomical  team led by James L. Elliot (b. 1943 – d. March 3, 2011). Only a little more than 200 years since its discovery, the American space-probe Voyager 2 reached Uranus in 1986, its closest approach occurring on January 24, 1986.  Voyager 2  which was launched in 1977 encountered  the Jupiter system  in 1979, Saturn in 1980 and finally Neptune in 1989. It was the first space probe to provide detailed images of the  ice-giant  planets Uranus and Neptune.

 Astrologically, Uranus is associated with individuality and eccentricity, new and unconventional ideas, discoveries such as electricity, television and invention in general. When Uranus was discovered the events of the French and American revolutions along with the Western Industrial revolution  were shaping the modern world of today. Uranus is also believed to govern societies and any group dedicated to humanitarian or progressive ideals. It  is also the planet associated most with sudden and unexpected change, ruling freedom and originality. Above all planets Uranus rules genius and the characteristics of the zodiac sign of Aquarius. Astrologers noted that the slow-moving  planet of Uranus which takes 84 years to orbit the Sun, entered the zodiac sign of Aries on March 12, 2011. The orbit of the planet Neptune is even slower;  first observed in 1846 it will have completed just one full circuit of the Sun since its discovery on July 12,  2011.










The Mutiliation of Uranus by Saturn by Vasari circa 1560
 Palazzo Vecchio, Florence.

 Book  -   Uranus by John Townley  pub. Aquarian Press 1978