Golden October evening light in Woodlands Park.
Tuesday, October 12, 2010
Monday, October 04, 2010
Sotherton Coat-of-arms
A detail from the early 17th century Sotherton memorial.
The Sotherton coat-of-arms.
Norwich Heraldry
A detail from the early 17th century Sotherton memorial
Norwich City's coat of arms, the Lion and Castle.
Andromeda and Perseus
Recently, while looking at late 1500's / early 1600's art-work of illustrations relating to alchemy, I discovered Joachim Wtewael's painting of Perseus and Andromeda. Wtewael's Perseus and Andromeda is strong evidence that throughout the centuries, the myths of ancient Greece, with their many tales of transformation of mortal to immortal, love-intrigues between goddesses and heroes, and inter-action between gods and man, were a potent force upon the Western artistic imagination.
Joachim Wtewael of Utrecht (1566-1638) was a Northern Mannerist painter who stylistically adopted formal devices such as brilliant and decorative colour, contrived spatial design and contorted poses to great effect, as in his Perseus and Andromeda. Wtewael is also known for combining artifice with naturalism in his paintings and an ability to integrate two contrary aesthetics of Dutch 16th and 17th century painting, uyt den geest (from the imagination) and naer t leven (after life). He painted contrasting works such as Momento Mori, a naturalistic domestic Kitchen scene, as well as a highly-formalised treatment of the myth of Vulcan surprising the lovers Venus and Mars, a popular myth throughout the Renaissance.
The Greek myth of Andromeda and Perseus tells of how Andromeda was chained to a rock on the shore as a sacrifice to the sea-monster Cetus. The sea-god Poseidon had sent the monster Cetus as a punishment for Andromeda's mother Cassiopeia's claim that she was more beautiful than the Nereid's. However, as soon as the hero Perseus, on his journey from the Gorgon saw Andromeda, he fell in love with her and petitioned Cepheus her father that if he could destroy the monster he would give him the rescued girl as a wife. After oaths were sworn, Perseus confronted the monster, killed it and set Andromeda free. The myth is immortalized in the constellations of Draco, Perseus and Andromeda clustered together in the northern quarter of the night sky.
The Greek myth of Andromeda and Perseus, that of the damsel in distress saved by a knight in shining armour is an archetypal myth which has inspired numerous painters throughout history as a subject worthy of artistic expression. Artists have responded to the myth of Andromeda and Perseus from either a conscious or unconscious need to express the freeing of the feminine, or perhaps in recognition of the repression and suppression of the feminine in their respective society, or even simply as a pliable and exciting love and action story. It's a true roll-call of the Western artistic tradition how many famous artists have been inspired to devote their creativity to this myth.
Beginning with Italian Renaissance artists Piero di Cosimo (1462-1521) and Varsari (1511-74) to Dutch artists Peter Paul Rubens (1577-1640), Rembrandt (1606-69) to the Neo-classical artists Tiepolo (1696-1770), Ingres (1780-1867) and in the 19th century to Romantic, Pre-Raphaelite and Decadent artists, Delacroix (1798- 1863), Burne-Jones (1833-1898) and Gustav Dore (1832-1883) there seems to have been no artistic era which has not been attracted to this most archetypal of myths; that of entrapped beauty and a hero who comes from the sky and kills the beast and wins her love.
Greek myths in general have been a constant source of inspiration to artists and thinkers throughout the centuries. It's interesting to note in passing that these include German alchemist Count Michael Maier (1568 -1622) who based much of his spiritual alchemy upon Greek myth. While the founder of psychology, Sigismund Freud named his first psychological theory after a hero of Greek mythology, Oedipus.
As Christianity developed it created its own mythology, often borrowed and adapted from ancient myth. The story of Saint George and the Dragon has many striking similarities in theme to Perseus and Andromeda, and in all probability the Greek myth is the archetypal model for the Christian legend of Saint George. Examples of differing cultures and belief-systems distant in time to each other yet sharing similar myths hint ultimately of the syncretic nature of myth, and are, as Jung realised in his long study of mythology, fairly frequent coincidences in comparative religion.
Remembering that myths originate from the earliest dawn of memory and consciousness and have been elaborated upon throughout the generations; the myth of Perseus and Andromeda, essentially that of the hero rescuing the 'fair prize' of a damsel in distress from the monster is in Jung's study of the archetypes, none other than a recognising of, integration and winning of the lesser known, 'undeveloped' or 'other' half' of the psyche, the anima by the Hero.
Jung argues that throughout western history, the male psyche has often belittled or even ignored, often to his detriment, qualities such as passivity, the skill of listening, empathy, sensitivity of feeling and capacity for intuition. Such mental qualities are often considered as somehow 'lesser' or 'feminine' qualities. However, in Jungian psychology, the feminine, the anima in a man and animus in women, are the very prizes which are 'hard to obtain'. Realization of the anima is the goal of the seeking Hero in his perilous quest of individuation, totality and psychic wholeness.
Jung argues that throughout western history, the male psyche has often belittled or even ignored, often to his detriment, qualities such as passivity, the skill of listening, empathy, sensitivity of feeling and capacity for intuition. Such mental qualities are often considered as somehow 'lesser' or 'feminine' qualities. However, in Jungian psychology, the feminine, the anima in a man and animus in women, are the very prizes which are 'hard to obtain'. Realization of the anima is the goal of the seeking Hero in his perilous quest of individuation, totality and psychic wholeness.
What's most notable in Joachim Wtewael's canvas, besides its overt eroticism, is its near hallucinatory luminescence in colouration and unusual perspective; these qualities remind one of other artists who were conjurers of magical, fantastic elements in their paintings.
Wtewael's Perseus and Andromeda reminds one of both the Flemish painter Hieronymus Bosch (1450-1516) and of the Spanish surrealist Salvador Dali (1904-1989). Though centuries apart both these painters possessed a highly polished technique, as well as an inclination towards mysticism. Indeed, both Bosch and Dali painted The Temptations of Saint Anthony (1946) both contributing to Christian mythology, developing the early Christian legend that Saint Anthony, the early desert Father experienced mystical visions during his long solitary desert sojourns.
In their respective paintings of The Temptations of Saint Anthony Dali and Bosch share a fantastic imagination and a brush-stroke technique able to make manifest the creatures from their imagination . Their message is that the real monsters which beleaguer humanity are far more likely to be engendered from an inner spiritual conflict of the individual than from any external reality.
Hieronymus Bosch - A detail from the left panel of the triptych
- The Temptations of Saint Anthony c.1500
The highly spiritual landscape of the desert, a place of solitude, meeting of God, temptation and devilry has become in both Bosch's and Dali's Temptations of Saint Anthony crowded and populated with bizarre creatures of fantasy, many of a flying or air-borne nature. The monsters in Bosch and Dali are far more numerous and scary than anything in Greek myth, perhaps because the temptations of the Christian Saint Anthony involves temptations of sexuality. Both works are heightened by an intensity of religious fervour. In Bosch's work one's eye is drawn to the close proximity of optical tricks and the grotesques which surround the suffering Saint. Above him the sky is teeming with flying demon creatures. In a detail from the triptych the Desert Father is praying while seemingly helpless in flight astride a flying creature.
In Dali's painting the eye is drawn away from the tormented Saint into a deep, seemingly infinite background in which a procession of improbably spindle-legged, almost floating elephants emerge to totter through the desert. Carried upon the back of one elephant is a closet-like Ark enclosing the bare breasted torso of a female nude. An extremely tortured image, quite esoteric in its symbolism and almost revelling in its sexual neurosis. The fantastic landscape and drama of Wtewael's Andromeda, with its untroubled and unashamedly sexual female nude is no less surreal in perspective and imagery.
Sunday, October 03, 2010
Workforce
Workforce (Ryan Moore up) winning the English Derby June 6th 2010
The Prix de' l' Arc de Triomphe is the richest prize horse race in Europe. Well established as a mile and a half race, its open for horses of all ages and is staged in the last days of the Flat racing season on the first Sunday in October; the first Arc was on Sunday October 3rd, 1920 at Longchamp outside Paris as a celebration of the newly-established era of peace following the First World War. The Arc is as much a monument to French victory as a show-case for French horse-racing in its reputation. Top horse trainers from Ireland, France and Great Britain dream of winning this prestigious Group One race of international status.
Workforce, a 3 year-old horse which won the Derby by 7 lengths has today won the Prix de l' Arc de Triomphe. Owned by Prince Khalid Abdullah, trained by Sir Michael Stoute (his first Arc win) and ridden by Ryan Moore, Workforce is only the 6th horse to win both the English Derby and the French Prix De l'Arc Triomphe in the same season. No horse however will ever beat the achievement of last years Arc winner in 2009, the truly unique equestrian star, Sea the Stars.
Since the opportunity of air-travel for horses has developed horse-racing is rapidly becoming a world sport. The next big international race is the Australian Melbourne Cup in November.
A Hero's Daughter
Andreï Makine's novel 'A Hero's Daughter' was first published in 1990. Written in French it was translated into English in 2004 by Geoffrey Strachan. Andreï Makine was born in Siberia in 1957. Granted asylum in France in 1987, he wrote his first novel, A Hero's Daughter in French but was unable to find a publisher, no-one believing that a Russian could write a publishable novel in French. He has since won two of France's most prestigious literary prizes, the Prix Goncourt and Prix Medicis.
'A Hero's Daughter' is the story of the young Ivan Demisdov who fights bravely as a soldier during World War II, defending Moscow from the Nazi invasion. He falls in love with a nurse who saves his life on the battle-field, marries her, endures the years of famine and raises their daughter Olya. When years later his wife dies, Ivan begins to drink vodka heavily and wanders around Moscow, exploiting his status as an honoured military hero. The main story centres upon the 1980's decade of Perestroika and Glasnost initiated by President Gorbachev. Its during this era of reconstruction and openness that Ivan discovers his daughter Olya to be working for the KGB as a high-class call-girl. In return for Western-style luxuries and privileges Olya passes onto the KGB trade secrets of visiting business-men extracted during 'pillow-talk' with her clients. The historical events of Glasnost force both father and daughter, Ivan and Olya, to self-examination and to question their role in society and their contribution to its moral values.
Although it's is translated from French to English, 'A Hero's Daughter', in essence is a Russian novel in story, theme and insights. As in Olga Grushkin's novel, The Dream Life of Ivan Sukhanov also set in the era of Glasnost and Perestroika, Makine selects the 1980's decade, when radical social and political change in Russia occurred, as the setting of his novel. It's a fertile era for Russian asylum novelists, offering the opportunity to examine the re-structuring of Russian society from a relatively objective historical distance and to discourse upon the corruption and moral bankruptcy revealed by the new era of Glasnost.
Written with poignant moments of self-reflection and realization of individual worth, 'A Hero's Daughter' has been described as nothing less than the moral history of Russia. Its a thought-provoking novel which displays Russian themes in its preoccupations and descriptive power; conveying changes in Russian social history through the thoughts and deeds of fictitious creations. Another hallmark of Makine's novel and of many Russian writers in general is the seemingly effortless ability to involve the reader in the psychology of its characters, in alliance with an intense understanding of the human condition.
Saturday, September 25, 2010
The Green Man
Recently I visited Norwich Cathedral, intrigued by the fact that it possesses more medieval bosses than any other church in Christendom. In total over one thousand sculpted and colourfully painted scenes from the Bible are depicted upon its ceilings, including many examples of the 'Green Man' in its cloisters.
The Green Man is an elusive figure in Christian iconography. Often portrayed as a man with foliage spouting abundantly from his mouth or peeping from behind vegetable growth, lurking or hidden from immediate view, there is no real explanation as to why this clearly pagan symbol frequents Christian churches.
Its been proposed that the Green Man represents the natural cycle of mortal life, birth and death, or perhaps is the spirit or god of the yearly renewal of life; no-one really knows why this pagan symbol can be found in many Christian churches; its mythological meaning has been lost in the mists of time and scientific literalism. Equally intriguing is the fact that during the iconoclasm of the Reformation, when images of God, the Saints and the Virgin were gouged, defaced and broken in many Churches, images of the Green Man remained unscathed.
Its been proposed that the Green Man represents the natural cycle of mortal life, birth and death, or perhaps is the spirit or god of the yearly renewal of life; no-one really knows why this pagan symbol can be found in many Christian churches; its mythological meaning has been lost in the mists of time and scientific literalism. Equally intriguing is the fact that during the iconoclasm of the Reformation, when images of God, the Saints and the Virgin were gouged, defaced and broken in many Churches, images of the Green Man remained unscathed.
Norwich Cathedral did not escape from the iconoclasm of the Reformation. Bishop Joseph Hall (1574-1656) described the events which took place in 1643 at Norwich Cathedral thus-
'Lord, what work was here! What clattering of glasses! What beating down of walls! What tearing up of monuments! What pulling down of seats! What wresting out of irons and brass from the windows and graves... and what a hideous triumph on the market-day before all the country, when, in a kind of sacrilegious and profane procession, all the organ-pipes, vestments, both copes and surplices, together with the leaden cross which had been newly sawn down from over the Greenyard pulpit, and the service-books and singing-books... were carried to the fire in the public marketplace; a lewd wretch walking before the train in his cope trailing in the dirt, with a service book in his hand, imitating in an impious scorn the tune, and usurping the words of the litany used formerly in the church... the cathedral open on all sides ... filled with musketeers.. drinking and tobacconing as freely as if it had turned alehouse.'
Colour along with number is primordial of all symbols and a vast subject to discourse upon. The colour green is associated with naivete in colloquial speech and more importantly, with ecological awareness and the growing political movement for the responsible care of the planet.
O blessed green, which givest birth to all things, whence know that no vegetable and no fruit appears in the bud but that it hath a green colour. Likewise know that the generation of this thing is green, for which reason the Philosophers have called it a bud.'
Sunday, September 19, 2010
The Piano Tuner of Earthquakes
During the week-end I viewed again, 'The Piano Tuner of Earthquakes' (2005) directed by the brothers Quay.
The Pennsylvanian-born twins, Timothy and Stephen Quay (b. 1947 ) are best known for their short-length, highly original animation films. Since graduating from the Royal College of Art in 1969 they have been based mainly in London.
The sources of the brothers Quay's influences and references are diverse and esoteric, including much from East European culture, in particular originating from the art, film-makers, graphic designers and writers of Prague, such as the film-maker Walerian Borowczyk (1923-2006), the authors Bruno Schulz (1892-1942) Franz Kafka (1883-1924) and animator Jan Svankmajer (b.1934).
In their short animated film 'The Cabinet of Jan Svankmajer' (1984) homage is made to the Czech pioneer of stop-start film animation. It also features a re-construction of a fantasy character by the illusionist painter, Archimboldo (1530-93) entitled 'The Librarian'. Archimboldo was a favoured Court painter of Rudolph II (1552-1612) the Holy Roman Emperor who was fascinated with alchemy and whose Imperial court attracted talents such as the English occultist John Dee.
The curious artifacts in museums such as Rudolph II's 'Wunderkammer', along with medical collections and psychiatric art-work as well as obsolete mechanical contraptions also feature as inspiration at the court of the Quays. Lesser esoteric artistic projects have involved their creativity in the world of television advertising in which their distinctive animation is instantly recognizable.
The brothers Quay second full-length film incorporates all the strangeness of their peculiar and bizarre automaton with a fine supporting cast and a near surreal plot. The film opens with a quote by the Roman historian Sallust: "These things never happen, but are always." Its an enigmatic and multi-layered story which concerns the fate of a famous opera singer Malvina van Stille (Amira Casar). On the evening before her wedding to Adolfo, (Cesar Sarachu) whilst singing an aria from Vivaldi's Nisi Dominus entitled, 'For so he gives his beloved dreams', she seemingly dies and is abducted by Doctor Droz to his remote Mediterranean villa, cum sanatorium, where she is revivified. Near-mute, veiled and hypnotized, she remains under Dr. Droz's spell. The mysterious character of Dr. Droz has echoes of Prospero, Svengali, Caligari, Mabuse and Frankenstein all rolled into one. Acted by Gottfried John, a German actor who frequently appeared in Rainer Werner Fassbinder's films, the mad genius of Dr. Droz is portrayed with a droll, dry sophistication. Dr Droz is also the sinister master of a small gang of robotic odd-job men at his villa who at turns are gardeners, henchmen and stage-performers. Droz invites a piano tuner named Filberto (Cesar Sarachu in a dual role) to his Villa, to inspect his seven hydraulically operated automata, while also preparing to stage a 'diabolical opera' unlike any other with Malvina performing.
Early in the film there is an allusion to the Lisbon earthquake of 1755, a force of nature which rumbles ominously in the back-ground to the disturbing automata Filberto is challenged to maintain. The piano tuner is distracted from his task by the seductive attentions of the beautiful maid, Assumptia (Assumptia Serna). It is however Filberto's fatal attraction towards Dr. Droz's silent, veiled patient, Malvina which proves to be the nemesis of his eventual, astounding fate.
As ever with the brothers Quays rich pot-pourri of sources and references are involved. The plot of Adolfo Bioy's novella, 'The Invention of Morel' and Jules Verne's story, 'The Carpathian Castle' are both cited as literary influences upon the plot. However, like the Surrealists before them, the brothers Quay exploration of the workings of the unconscious psyche, along with show-casing their highly-original creativity is foremost among their artistic preoccupations. The crowning artistic glory of 'The Piano Tuner of Earthquakes' is that the clockwork, cogs and strings of the Quay's strange automata and puppets feature as an integral part of the film's story.
In a short scene featuring one of the brothers Quay marvellous automata, the grinding teeth and writhing tongue of a grotesque figure occurs in Filberto's dream, a highly suggestive allusion to the distorted and unconscious perspective of the senses whilst asleep. In fact 'The Piano Tuner Of Earthquakes', like several of the Quay's animation shorts, contains a succession of dream-like images which can react upon and disturb the complacency of the viewer's unconscious psyche.
Described as 'a hermetic vision which is as beautifully seductive as it is chillingly inaccessible, with mise-en-scene like a baroque painting by an Old Master', by one film critic, don't expect to see a film with lots of action, dialogue and a simple plot to follow. Do however expect an exquisitely photographed, rich in tonal palate, well-acted film in which fascinating animation is featured, all conjured by the brothers Quay. It's a film which may well leave you wondering about the nature of illusion and dreams and which may engender a fascination, not unlike one of Dr.Droz's automata which compels one to return to view its surrealistic tale again! In brief, as time will surely demonstrate, a 21st century master-piece of cinema!
Saturday, September 11, 2010
The City of Lost Children
'The City of Lost Children' (1995) is a highly imaginative blend of fantasy, science-fiction and fairy-story by the French film-makers Jean-Pierre Jeunet and Marc Caro. Set in a dystopian world of steel-grey docklands and a phosphorescent green sea, the action involves a semi-robotic gang of one-eyed henchmen called Cyclops who kidnap children for the evil Doctor Krank (Daniel Emilfork) to 'feed' upon their dreams. The crazy doctor Krank is the resident of a sea-rig laboratory along with Uncle Irvin, a disembodied brain who floats in an aquarium and six identical cloned brothers, amazingly filmed and acted by Dominique Pinon.
When Krank's hench-men the Cyclops, kidnap the young brother of circus strong-man One (Ron Perlman), he unites with Miette (Judith Vittet), the ring-leader of a gang of children who are the enforced subjects of sadistic and conjoined school-mistresses, to rescue him. The blossoming romance between the adult strong-man One and the nine-year old orphan heroine Miette is particularly touching, challenging and transcending taboo notions of relationships between child and adult.
Together Jeunet and Caro conjure up an imaginative and claustrophobic landscape in which sets, special effects, photography, fast narrative pace and performances equally contribute to a brilliant film. It's a self-contained world in which lugubrious fog-horns, low-tech mechanisms and humorous sequences of cause and effect occur. Among the many inventive special effects throughout the film the sight of a Titanic-sized ocean-liner crashing through dock-lands, is particularly stunning.
Not unlike Terry Gilliam's 'Brazil' (1985) and their earlier collaboration, also set in a dystopia, 'Delicatessen' (1990) Jenet and Caro's artistic agenda is in essence a discourse upon the world of appearances and the loss of soul in the modern world. As the credits roll the sound-track features the distinctive voice of Marianne Faithfull singing, 'Who will take your dreams away?'
Wednesday, September 01, 2010
Plums
Plums are just about ripe now. They are another fond memory of childhood summers spent with my Grandmother.
My garden still has the statutory two fruit trees planted by a progressive City Council for every tenancy almost nearly 60 years ago. The pear-tree is a bit decrepit now, but one can't imagine social-housing planning planting fruit-trees for tenants anymore. However the Norwich Labour Party's fruit-tree scheme was more of a remedial measure to ease the malnutrition and poverty of the working population. For although the City of Norwich can boast of being England's second City circa 1400-1700, historically it has also for centuries been recorded as one of the lowest paid regions of the UK.
My garden still has the statutory two fruit trees planted by a progressive City Council for every tenancy almost nearly 60 years ago. The pear-tree is a bit decrepit now, but one can't imagine social-housing planning planting fruit-trees for tenants anymore. However the Norwich Labour Party's fruit-tree scheme was more of a remedial measure to ease the malnutrition and poverty of the working population. For although the City of Norwich can boast of being England's second City circa 1400-1700, historically it has also for centuries been recorded as one of the lowest paid regions of the UK.
Sunday, August 29, 2010
Browne miscellanea
In addition to the major works of Sir Thomas Browne (1605-82), namely Religio Medici, Pseudodoxia Epidemica, the 1658 two-in-one Discourses, 'Urn-Burial' and 'The Garden of Cyrus' and the posthumously published 'Christian Morals', there are a number of minor and miscellaneous writings by Browne.
Foremost amongst his minor writings are the 12 miscellaneous tracts. Topics as diverse as botany in the Bible, the Saxon language, ancient earthworks, a Nostradamus-like prophecy on the world's future as well as an inventory of lost and imaginary books, pictures and objects, constitute the bulk of the 12 miscellaneous tracts available on-line.
Foremost amongst his minor writings are the 12 miscellaneous tracts. Topics as diverse as botany in the Bible, the Saxon language, ancient earthworks, a Nostradamus-like prophecy on the world's future as well as an inventory of lost and imaginary books, pictures and objects, constitute the bulk of the 12 miscellaneous tracts available on-line.
The collected miscellaneous writings of Sir Thomas Browne are a detailed portrait of the learned physician and his many hobbies and interests; they also give a unique insight into life in 17th century Norwich and Norfolk. Browne's notes on the Natural History of Norfolk in particular remains a valuable and fascinating record. Reprinted as a separate volume in 1905, it was considered worthy of study by the renowned Naturalist Ted Ellis. Browne's descriptions of rural Norfolk in the 17th century read as a much wilder habitat, densely populated with all manner of bird-life. His occasional usage of the phrase 'Broad waters', from where the very term 'Norfolk Broads' originates is of particular note.
Browne describes Norfolk bird-life and his witnessing of bird behaviour against a predator thus-
Teale, Querquedula, wherein scarce any place more abounding. The condition of the country & the very many decoys, especially between Norwich and the sea, making this place very much to abound in wilde fowle..........Divers sorts of Eagles come over & are seen in the winter, & especially such as pray upon fowle in broad waters & marshes.......Fulicae cottae, cootes, in very great flocks upon the broad waters. Upon the appearance of a Kite or buzzard I have seen them unite from all parts of the shoare in strange numbers, when if the Kite stoopes neare them they will fling up and spread such a flash of water up with their wings that they will endanger the Kite, & so keepe him of agayne & agayne in open opposition;
Falconry terms are not only alluded to in Religio Medici (Part 1 :10) as well as a short tract on Falconry among the miscellaneous tracts (tract 5), the question as to how much Browne was a keen bird-fancier and a participant in the gentleman's sport of hawking is made clearer through a perusal of the miscellaneous writings.
Some fenne Eagles shott in the wing, I have known kept a year or 2 after & fed with guts, fish herrings, or any offell; very tame and inoffensive. An Aquila Gesneri, or of the great sort, was given me in this countrie which I kept 2 years feeding it only with cats, puppes, and rats, without any water all that time. I offered it a gentleman to make a flight at the Bustard, butt it succeeded not. It was presented at last to the College of Physitians at London, where it perished in the common fire.
Far from a puritan in his tastes, Browne was perhaps an epicure in his dining habits. In an age of few pleasures its amusing to read in his Notes on the cookery of the Ancients
I wish we knew more clearly the aids of the ancients, their sauces, flavours, digestives, tasties, slices, cold meats, and all kinds of pickles. Yet I do not in dining know whether they would have surpassed salted sturgeons’ eggs, anchovy sauce, or our royal pickles.
Browne's gourmet tendencies are confirmed in this commonplace notebook entry -
Take a Legge of mutton, roast it gently & slash it that the gravie may come out & so agayne till it will runne: then take the gravie & lett it seperate the fat by cooling, then put thereto a quarter of a nuttmegge, a small sprigge of Rosmarie, & a little Thmye: set it upon a gentle fire and add unto it 2 spoonfulls of claret & a little salt. You may if you please beat up the yelke of an egge therewith & take x or xii spoonfulls. 2 neat pickles may bee contrived, the one of oysters stewed in their owne liquor with Thyme, Lemon pill... olive, onyon, mace, pepper; adding Rhenish wine, elder vinegar, 3 or 4 pickle cowcumbers. Another with equall parts of the liquor of oysters & the liquor that runs from herings newly salted, with the former Ingredients, adding upon occasion, dissolving anchovie therein, or pickling therin a few smelts, or Garlick, especially the seeds thereof. High esteem was made of Garum by the ancients, & was used in sawces, puddings, &c. If simply made with Aromatic mixture, as is delivered, it cannot butt have an ungrateful smell, however a haut goust & appetisant tange, for it was the liquore or the resolution of the gutts of fishes, salt and insolated. This way may bee tried by us yeerly, & is still continued in Turkey. And may bee made out of the entralls of mackarel, the liquor that runs from the herings, wh. may dissolve Anchovies other Apnia's, & with mixture of oysters & Limpetts & testaceous fishes,....whereof every one makes his one pickle varieth the taste of sea water. The neatest way is to have pickles always readie, wherein wee may make additions at pleasure, or use them simply in sawces. The ancients loaded their pickles with cummin seed & the like, distasteful unto our senses.
Meticulous attention to detailed description in Browne's cookery notes is equally evident in his 'elaboratory' operations. Indeed some alchemists even likened the art of alchemy to cookery. Not only is alchemy discussed in Religio Medici, but many esoteric authors are listed as once in his library. There's also the fact that the 1658 Discourses are constructed upon esoteric schemata, employing highly-original symbolism of considerable psychological depth; as well as his recording of many experiments in his 'elaboratory' such as -
Take 2 ounces of purified sylver and with twice or thrice as much of the best aqua fortis dissolve it in a boltshead. Then poure your solution into a glassse body covered with his Alembick, and so upon sand drawe of about half the humidity of the Aq. fortis. Let your vessells coole, and you will find you have obtained a substance somewhat like salt, which putt into as good a crucible as you can gett, lett your fire bee gentle at the beginning least your matter boyle over; and so encrease it by degrees till it commeth to bubble, and looke like an oyle at the bottome of your cruicible. Then you may pour it out into such a pot as is used for Regulus antimonii or any other as you shall thinck more convienient. This is the sylver caustick.
Although he heartily recommended William Harvey's discovery of the circulation of the blood to his disciple Henry Power, and is credited in the OED for introducing words such as 'medical' 'pathology' and 'hallucination' into the English language, Browne also entertained some ideas on medicine which are nowadays considered bizarre by modern sensibilities. His medical credentials, like his scientific credentials are Janus-like and float between the rational, modern world and the older, esoteric tradition of correspondences. His medical recommendation for gout, a common consequence for members of the English gentry who lived a leisurely life with a rich diet.
If you have a mind to proceed farther, you may trie amulets & transplantation: may trie the magnified amulet in Muffetus of spiders leggs worne in a peece of deeres skinne, or tortoyses or froggs leggs cutt of alive and wrapt up in the skinne of a kid: may give pultisses taken from the affected part of a dogge & lett a whelp lay in the bed with you. And may also consider the Sigill of Paracelsus.
A great deal of original eye-witness material upon the social life of Norwich can be found in Browne's miscellaneous writings, especially in his letters and note-books. Always interested in the human aspect, in particular the unusual element, a short note exists on a 'binge-drinking' session in seventeenth century Norwich. With the preciseness of a reporter and without any moralizing on the matter, doctor Browne writes with evident interest -
Rob. Hutchinson at the Wheatsheaf in St. Peters in Norwich dranck a gallon of Brandie burnt & sweetend in the month of June 1675 in the space of 14 howers. Hee drank it hot, fell into a fever & complained of an extra-ordinarie burning in his stomack, butt recovered in 7 dayes, with a great loathing for Brandie after. He is aged 56. Another man who drank with him dranck also a gallon of burnt brandie for his share & road home into the countrie after it, and seemed not to suffer any more then a burning heat in his stomack for some days. Hee dranck a good quantitie of beere after hee made an end of his gallon of brandie.
And finally, just occasionally, whenever the demands of his profession abated, his duties as head of a large household eased and upon completion of religious worship and prayer, Browne somehow found time to jot down the odd philosophical aphorism, some of which were later used into his literary works. These little-known aphorisms are an assortment of curious psychological self-portraits, occasional prophetic remarks, witty aesthetic judgments and tiny gems of wisdom. Such examples include-
* I attained my purpose and came to reach this port by a bare wind, much labour, great paynes and little assistance.
* I cannot fancy unto myself a more acceptable representation or state of things then if I could see all my best friends, and worthy acquaintance of fourtie yearres last past, upon the stage of the world at one time.
* Hee that found out the line of the middle motion of the planets holds an higher mansion in my thoughts then hee that discovered the Indies, and Ptolomie that sawe no farther then the feet of the Centaur, then hee that hath beheld the snake of the southern pole.
* The rationall discoverie of things transcends their simple detections whose inventions are often casuall & secondaries unto intention. Many things are casually or frequently superadded unto the best authors & the lines of many made to contain that advantageous sense which they never intended.
* In a peece of myne published long ago the learned Annotator/commentator hath paralleled many passages with other of Mountaignes essays, whereas to deale clearly, when I penned that peece I had never read 3 leaves of that Author & scarce more ever since.
* If the substantial subject be well forged out, we need not examine the sparks, which irregularly fly from it.
The Magic Christian
Last night I watched Joseph MacGrath's adaption of Terry Southern's 1960 novel 'The Magic Christian' (1969). Call me culturally biased but it seems to me that this British production of a Southern novel is a slightly more sympathetic adaption than 'Candy'. Nevertheless like 'Candy' it was creaky and badly-outdated viewing in places, even with the author writing the screen-play. The film has a song written especially for it by Paul MacCartney, with the band Badfinger performing 'Come and get it', as well as a number of cameo appearances, including British comedians, Graham Garden, Spike Milligan and John Cleese.
By far the highlight of the film and the funniest sequences occur aboard S.S. Magic Christian, a luxury cruiser including Yul Brynner in glamorous drag and boa-feathers crooning 'Mad about the Boy' to a shy Roman Polanski, a rampaging escaped King Kong gorilla, Dracula in the form of Christopher Lee frightening passengers, a genial but drunken Captain at the helm of S.S Magic Christian (Wilfred Hyde White) which is motored by galley-mistress Raquel Welch wearing a fur bikini and cracking a whip on topless female rowers; I lost count of how many celebrities make a fleeting cameo appearance in this film.
The message that, 'Everyone has their price' by the multi-millionaire Sir Guy Grand, acted by Peter Sellers, to his adopted son Ringo Starr, is demonstrated throughout the film, sometimes with funny consequences. The film's conclusion which highlights Sir Guy Grand's message, is a scene which shows that people will do anything, no matter how degrading to acquire money, even climbing into a large vat of vile fluids to collect bank-notes scattered in it. In essence, Terry Southern's black satire is an acerbic indictment which satirizes the effects of amoral consumer capitalism upon ethics and morality.
By far the highlight of the film and the funniest sequences occur aboard S.S. Magic Christian, a luxury cruiser including Yul Brynner in glamorous drag and boa-feathers crooning 'Mad about the Boy' to a shy Roman Polanski, a rampaging escaped King Kong gorilla, Dracula in the form of Christopher Lee frightening passengers, a genial but drunken Captain at the helm of S.S Magic Christian (Wilfred Hyde White) which is motored by galley-mistress Raquel Welch wearing a fur bikini and cracking a whip on topless female rowers; I lost count of how many celebrities make a fleeting cameo appearance in this film.
The message that, 'Everyone has their price' by the multi-millionaire Sir Guy Grand, acted by Peter Sellers, to his adopted son Ringo Starr, is demonstrated throughout the film, sometimes with funny consequences. The film's conclusion which highlights Sir Guy Grand's message, is a scene which shows that people will do anything, no matter how degrading to acquire money, even climbing into a large vat of vile fluids to collect bank-notes scattered in it. In essence, Terry Southern's black satire is an acerbic indictment which satirizes the effects of amoral consumer capitalism upon ethics and morality.
Friday, August 27, 2010
Sunflower
I'm not a very green-fingered person so I was well pleased that at least one seed from the packet flowered! Poets seem to be inspired by Sunflowers, often favouring the wilting, withered kind. The American poet Allen Ginsburg (1926-97) in his 'Sunflower Sutra' 1955 was inspired by the Sunflower to write-
Look up at the Sunflower, he said, there was a dead gray shadow against the sky, big as a man, sitting dry on top of a pile of ancient sawdust....A perfect beauty of a sunflower! A perfect excellent lovely sunflower existence!
The British Liverpudlian poet Brian Patten (b.1946) in a first-line entitled poem from the collection 'Vanishing Trick' 1976 wrote of sunflowers
You missed the sunflowers at their height
Came back when they were bent and worn
And the gnats, half-froze, fell one by one
Into the last of the sprawling marigolds.
Floating somewhere between meticulous 'occular observation' and 'cosmic awe', Sir Thomas Browne in his Discourse 'The Garden of Cyrus' notes-
A like ordination there is in the favaginous Sockets, and Lozenge seeds of the noble flower of the Sunne. Wherein in Lozenge figured boxes nature shuts up the seeds, and balsame which is about them. - Chapter 3
The British Liverpudlian poet Brian Patten (b.1946) in a first-line entitled poem from the collection 'Vanishing Trick' 1976 wrote of sunflowers
You missed the sunflowers at their height
Came back when they were bent and worn
And the gnats, half-froze, fell one by one
Into the last of the sprawling marigolds.
Floating somewhere between meticulous 'occular observation' and 'cosmic awe', Sir Thomas Browne in his Discourse 'The Garden of Cyrus' notes-
A like ordination there is in the favaginous Sockets, and Lozenge seeds of the noble flower of the Sunne. Wherein in Lozenge figured boxes nature shuts up the seeds, and balsame which is about them. - Chapter 3
It cannot be a coincidence that the Sunflower is featured in the Discourse, 'The Garden of Cyrus', as symbolically it's the Solar half of the 1658 literary diptych. The pattern enclosed within the seed-structure of the Sunflower-head is a fine example of 'how nature geometrizeth' and exemplary of the 'Quincunciall Lozenge' pattern as illustrated in the Discourse's frontispiece.
1658 Frontispiece to The Garden of Cyrus
The pattern of seeds in the Sunflower is also a good example of the Fibonacci sequence of numbers in Nature. The Fibonacci number sequence, a mathematical progression can be detected in many works of nature. The spiral structure of the Pineapple and Pine-cone also have the Fibonacci numbers in their structure. They too are noted in 'Cyrus'. Browne's own highly symbolic number, the number five is included as part of the Fibonacci sequence - 0 - 1- 1- 2- 3- 5- 8- 13- 21 - 34 - 55
There's a big difference between the first photo at the top and the bottom photo's posted. Taken within a few minutes of each other , one against a background of sky, the other in a dark corner, reveals the strong effect that bright light and shade has upon colours.
Ginseng
It's often imagined that the use of the root plant Ginseng in 'complementary' or 'alternative' medicine is a relatively new phenomenon, but in fact the trade and medical use of Ginseng has a long history.
There are several claims surrounding the discovery and trade of Ginseng in North America. One source states that it was found growing in Quebec in 1716 by Father Lofitau, a Jesuit Missionary to the Iroquois Indians. Another source claims that American settlers discovered Ginseng in New England in the mid 1700’s. It is known for certain however that by the late 1700's the trade in the shipment of Ginseng from America to China made considerable profit.
Perhaps because the fleshy Ginseng root is shaped resembling the body and limbs of a human, all manner of medical and 'all-healing' properties have been attributed to it. It is scientifically recognised for its anti-carcinogenic and antioxidant properties. Widely cultivated in China for centuries Ginseng is used in Chinese medicine as a muscle relaxant. As early as the 17th century one English doctor noted of Ginseng -
Deare Sonne, - You did well to observe Ginseng. All exotick rarities, especially of the east, the East India trade having encreased, are brought in England, and the profitt made therof. Of this plant Kircherus writeth in his China illustrata, pag. 178, cap. "De Exoticis China plantis".
This extremely early reference to Ginseng, highlights the deep similarity of mind shared by both seventeenth century scholars. Sir Thomas Browne established a European reputation for himself as a scientist, botanist, archaeologist and commentator upon comparative religion with the publication of his encyclopaedia Pseudodoxia Epidemica (1646-76); a work which also frequently cites, 'that eminent example of industrious Learning, Kircherus'.
The various scholastic commendations applied to Kircher as "the last Renaissance man" (Edward W. Schmidt), "a giant among seventeenth-century scholars", "one of the last thinkers who could rightfully claim all knowledge as his domain" (Alan Cutler); and perhaps most aptly of all, 'the supreme representative of Hermeticism within post-Reformation Europe' are equally applicable of Kircher's follower, Sir Thomas Browne of Norwich. As to whether either Kircher or Browne actually ever acquired or ingested Ginseng, it is not known, perhaps not!
This extremely early reference to Ginseng, highlights the deep similarity of mind shared by both seventeenth century scholars. Sir Thomas Browne established a European reputation for himself as a scientist, botanist, archaeologist and commentator upon comparative religion with the publication of his encyclopaedia Pseudodoxia Epidemica (1646-76); a work which also frequently cites, 'that eminent example of industrious Learning, Kircherus'.
The various scholastic commendations applied to Kircher as "the last Renaissance man" (Edward W. Schmidt), "a giant among seventeenth-century scholars", "one of the last thinkers who could rightfully claim all knowledge as his domain" (Alan Cutler); and perhaps most aptly of all, 'the supreme representative of Hermeticism within post-Reformation Europe' are equally applicable of Kircher's follower, Sir Thomas Browne of Norwich. As to whether either Kircher or Browne actually ever acquired or ingested Ginseng, it is not known, perhaps not!
Monday, August 23, 2010
Candy
These days I often purchase books from Charity shops enjoying finding random literature to read. Terry Southern's 'Candy' (1958) was one such book. Hailed as the 'first and best of our new wave of American writers, defining the cutting edge of black comedy' (Joseph Heller), Terry Southern's 'Candy' is a parody of Voltaire's 'Candide'. It's a satirical story of a big-hearted blonde who finds her affectionate nature invariably exploited. Candy's adventure to find the meaning of life discovers that American society is obsessed with sex and that every man she so innocently encounters only wants to have sex with her!
Well-written snappy dialogue, quite funny and playful in its depiction of sex, it's hard to believe that in England a book as tame as D.H.Lawrence's 'Lady Chatterley's Lover' with its occasional vulgar word was the test-case for the Obscene publications Act of 1959, while in America, 'Candy' a non-stop erotic comedy which borders on pornography at times, could be published with little public concern. It does get a little tiresome to read the phrase 'clitoral stimulation' over and over again, as if a naughty school-boy is writing, but then for 1958 that is quite a daring phrase. Ten years after its publication a film of the book was made which quite frankly must be one of the biggest turkey's of all time. Luckily a friend's phone-call interrupted my viewing a hammy performance by Richard Burton, a mere 17 minutes into the film. I simply could not return to watch further cringe-worthy performances by the likes of Marlon Brando, Walter Matthau and Ringo Starr.
Early in his career Southern seems to have met and been revered by nearly everyone associated with the 'Counter-Culture'. In Greenwich Village he associated with Jack Kerouac and Allen Ginsberg. Living in Paris he heard musicians such as Charlie Parker, Dizzy Gillespie, Thelonious Monk and Miles Davis perform. He also met leading French intellectuals Jean Cocteau, Jean-Paul Sartre and Albert Camus. In London he befriended the painter Francis Bacon, The Rolling Stones and The Beatles, appearing on the cover of 'Sergeant Pepper's Lonely Heart Club' album in sun-glasses.
Interspersed in Terry Southern's life (1924-1995) one of promise, disappointment, unsuccessful projects and an increasing reliance upon amphetamine pills, are several note-worthy screen-plays for 'cult' films. His career as a screen-writer developed when the maverick actor Peter Seller's gave a copy of his favourite book, Southern's 'The Magic Christian' to the film-director Stanley Kubrick to read. Terry Southern's screen-plays includes the films Doctor Strangelove (1964), Barbarella (1967), Easy Rider (1968) and the film of his novel 'The Magic Christian' (1969) which like Candy was written ten years earlier.
'The Magic Christian' is the vehicle for some of Southern's blackest humour in which he demonstrates that people will do anything, absolutely anything to acquire money. The writer Hunter S. Thompson said of the novel , 'I started reading The Magic Christian and I thought I was going to go insane... it was an incredible influence on me.' The film of 'The Magic Christian' (1969) is not a complete turkey but episodic and uneven with many cameo appearances including Roman Polanski, Yul Brynner, Raquel Welch as well as British comedians, John Cleese, Grahame Chapman and Spike Milligan.
Terry Southern's life, like so many artists associated with the 'Counter-culture' was cut short prematurely through his heavy drinking and drug-abuse. His black humour and sly surreal perspective upon American society and its values has many imitators but he was one of the first American 'counter-culture' writers to gain fame and notoriety. His influence endures.
Saturday, August 21, 2010
Peruvian Bark
Because throughout history to the present-day malaria is a world-wide killer of thousand of lives, the discovery of Peruvian Bark is a well-documented chapter in the history of medicine. The ability of bark from the cinchona tree to combat the symptoms of malaria, its eventual synthesizing as Quinine, and its subsequent world-wide usage is a vast subject. However one small footnote on Peruvian Bark in the history of British medicine may yet be added.
The discovery of Peruvian Bark's medicinal properties is attributed to several people. The Jesuit priest Agostino Salumbrino (1561–1642) who had trained as an apothecary is credited as among the first to observe that the indigenous Quechua or Inca people used a diffusion of the bark from the cinchona tree to alleviate the symptoms of malaria. Indeed the original Inca word for the cinchona tree bark, 'quina' or 'quina-quina' roughly translates as 'bark of bark' or 'holy bark'. It's also recorded that in 1638, the countess of Chinchon, the wife of a Peruvian viceroy used the bark of the cinchona tree to relieve the fever-induced shivering symptoms experienced during the onset of malaria to remedy a 'miracle cure'.
While its effect in treating malaria and also malaria-induced shivering was unrelated to its effect to control shivering from rigors, Peruvian Bark was nevertheless hailed as a successful medicine for malaria. Modern science has detected that the bark of the cinchona tree contains a variety of alkaloids, including the anti-malarial compound quinine which interferes with the reproduction of malaria-causing protozoa, and also quinidine, an antiarrhythmic.
It was the Renaissance maverick alchemist Paracelsus who first urged the physician to examine and analyse substances from the vegetable, mineral and animal kingdoms in search of new medicines. By the seventeenth century with the colonization of South America by the Spanish and Portuguese, as well as migration to North America, an abundance of published reports upon the flora and fauna of the American continent became available to the physician. Foremost amongst such reports were those of the Jesuit missionaries who collected facts on all manner of botanical, geographical and social phenomena they encountered in their imperial-orientated colonization; including the discovery of the Cinchona tree's medical properties. For these reasons Peruvian Bark was also widely-known as 'Jesuits' powder'.
In 1658 the English weekly Mercurius Politicus announced that: 'The excellent powder known by the name of 'Jesuits' powder' may be obtained from several London chemists'. However Peruvian Bark did not achieve full official approval and was not entered into the British Pharmacopoeia until 1677. This was mostly due to religious prejudices. Because it was known as 'Jesuits' Powder' it was associated with Catholicism. Even seemingly well-educated persons such as King Charles II, who took an active interest in the scientific inquiries of his age, sanctioning approval for the Royal Society was wary of 'Jesuit's Powder' because of its presumed association with Catholicism. However when suffering from malarial fever Charles II consulted Mr Robert Talbor, who had found fame for his miraculous cure of malaria. Talbor was obliged to give the King the bitter bark decoction in great secrecy. The treatment completely relieved the King from malarial fever and he rewarded Talbor with a life-times membership of the prestigious Royal College of Physicians.
Incidentally its alleged that Oliver Cromwell died of Malaria, refusing Jesuit's Powder as a remedy, simply because of his hatred of Catholicism! But as autopsy's were inaccurate in the seventeenth century, this allegation may simply be nothing more than Royalist propaganda enhancing the virtue of 'progressive monarchy' in contrast to the anti-monarchist Republic which was established by Cromwell.
Many physicians throughout England in the seventeenth century were interested in reports of the healing qualities of Peruvian Bark, in particular those who lived in regions prone to the spread of malaria; East Anglia with its many marshes, broads and Fens; geographic areas whose large tracts of low-laying land and many slow-flowing or stagnant stretches of water were ideal for the spread of the insect-borne virus. In correspondence dated 1667 to his youngest son, Dr. Thomas Browne of Norwich requested-
When you are at Cales, see if you can get a box of the Jesuits' powder at easier rate, and bring it in the bark, not in powder.
Its suggestive from this letter in his request to his son to obtain Jesuits' powder from a Continental source and not from London, that Dr.Browne may have been wary the thriving trade in Peruvian Bark could be vulnerable to dilution by apothecaries. Its also evident from his preference to obtain it from a continental source and insistence on bark and not powder that he was well-familiar with Peruvian Bark's composition.
Incidentally, it was for the entertainment and education of his youngest son Thomas that Sir Thomas Browne penned the Latin work Nauchmachia, a descriptive account of a Sea-battle in antiquity. Tragically however, young Midshipman Thomas was listed as lost at sea, presumed dead shortly after receiving this letter, he was most probably a fatality in the Anglo-Dutch naval-battle of Lowestoft in 1665.
But by far the most detailed document in British medical history of a physician's assessment of Peruvian Bark occurs in an undated and untitled note concerning the Cortex Peruvianus or Quinana Peruve by Dr.Browne.
While its effect in treating malaria and also malaria-induced shivering was unrelated to its effect to control shivering from rigors, Peruvian Bark was nevertheless hailed as a successful medicine for malaria. Modern science has detected that the bark of the cinchona tree contains a variety of alkaloids, including the anti-malarial compound quinine which interferes with the reproduction of malaria-causing protozoa, and also quinidine, an antiarrhythmic.
It was the Renaissance maverick alchemist Paracelsus who first urged the physician to examine and analyse substances from the vegetable, mineral and animal kingdoms in search of new medicines. By the seventeenth century with the colonization of South America by the Spanish and Portuguese, as well as migration to North America, an abundance of published reports upon the flora and fauna of the American continent became available to the physician. Foremost amongst such reports were those of the Jesuit missionaries who collected facts on all manner of botanical, geographical and social phenomena they encountered in their imperial-orientated colonization; including the discovery of the Cinchona tree's medical properties. For these reasons Peruvian Bark was also widely-known as 'Jesuits' powder'.
In 1658 the English weekly Mercurius Politicus announced that: 'The excellent powder known by the name of 'Jesuits' powder' may be obtained from several London chemists'. However Peruvian Bark did not achieve full official approval and was not entered into the British Pharmacopoeia until 1677. This was mostly due to religious prejudices. Because it was known as 'Jesuits' Powder' it was associated with Catholicism. Even seemingly well-educated persons such as King Charles II, who took an active interest in the scientific inquiries of his age, sanctioning approval for the Royal Society was wary of 'Jesuit's Powder' because of its presumed association with Catholicism. However when suffering from malarial fever Charles II consulted Mr Robert Talbor, who had found fame for his miraculous cure of malaria. Talbor was obliged to give the King the bitter bark decoction in great secrecy. The treatment completely relieved the King from malarial fever and he rewarded Talbor with a life-times membership of the prestigious Royal College of Physicians.
Incidentally its alleged that Oliver Cromwell died of Malaria, refusing Jesuit's Powder as a remedy, simply because of his hatred of Catholicism! But as autopsy's were inaccurate in the seventeenth century, this allegation may simply be nothing more than Royalist propaganda enhancing the virtue of 'progressive monarchy' in contrast to the anti-monarchist Republic which was established by Cromwell.
Many physicians throughout England in the seventeenth century were interested in reports of the healing qualities of Peruvian Bark, in particular those who lived in regions prone to the spread of malaria; East Anglia with its many marshes, broads and Fens; geographic areas whose large tracts of low-laying land and many slow-flowing or stagnant stretches of water were ideal for the spread of the insect-borne virus. In correspondence dated 1667 to his youngest son, Dr. Thomas Browne of Norwich requested-
When you are at Cales, see if you can get a box of the Jesuits' powder at easier rate, and bring it in the bark, not in powder.
Its suggestive from this letter in his request to his son to obtain Jesuits' powder from a Continental source and not from London, that Dr.Browne may have been wary the thriving trade in Peruvian Bark could be vulnerable to dilution by apothecaries. Its also evident from his preference to obtain it from a continental source and insistence on bark and not powder that he was well-familiar with Peruvian Bark's composition.
Incidentally, it was for the entertainment and education of his youngest son Thomas that Sir Thomas Browne penned the Latin work Nauchmachia, a descriptive account of a Sea-battle in antiquity. Tragically however, young Midshipman Thomas was listed as lost at sea, presumed dead shortly after receiving this letter, he was most probably a fatality in the Anglo-Dutch naval-battle of Lowestoft in 1665.
But by far the most detailed document in British medical history of a physician's assessment of Peruvian Bark occurs in an undated and untitled note concerning the Cortex Peruvianus or Quinana Peruve by Dr.Browne.
I am not fearful of any bad effect from it nor have I observed any that I could clearly derive from that as a true cause: it doth not so much good as I could wish or others expect, but I can lay no harm unto its charge, and I have known it taken twenty times in the course of a quartan. In such agues, especially illegitimate ones, many have died though they have taken it, but far more who have not made use of it, and therefore what ever bad conclusions such agues have I cannot satisfy myself that they owe their evil unto such medicines, but rather unto inward tumours inflammations or atonie of parts contracted from the distemper. Source: Brit. Mus. Sloane MS 1895
Because the above statement is undated with no addressee, there's no evidence for who, where or when Dr. Browne penned his assessment of Peruvian Bark. One would like to imagine that it was an assessment made for the benefit of King Charles II who had met and knighted Browne in 1671. It could theoretically have been surreptitiously passed onto Charles II via Browne's eldest son Edward who resided in London, had access to the Royal Court and was later President of the Royal College of Physicians. But it could as easily have been written for the benefit of any enquiring member of the gentry. In any case it demonstrates that not only was Dr. Browne well informed of the latest medical discoveries, even aware of excessive and 'illegitimate' usage of 'Jesuits' Powder', but was also able to independently assess such discoveries.
Flower of Chinchona pubescens
Friday, August 13, 2010
Pears
Ripening Pears first appear in late summer only to disappear early winter.The current World recession has resulted in economic hardship and unemployment for many. However, the suffering engendered by natural disasters such as the Haiti earthquake earlier this year, the floods in Pakistan and China in which millions of people face enormous challenges of survival are quite simply beyond the imagination and endurance of much of Western society. Such natural disasters firmly place mere economic hardship into perspective.
One wonders how many individuals in Western society who continue to enjoy a comfortable life-style could ever begin to cope with the suffering faced by those experiencing natural disaster. And yet our comfortable life-styles are often maintained by exploitation, inflicting great suffering upon innocent fellow humans, even if geographically remote, in the form of Warfare, military occupation of land and unfair trading conditions.
The Renaissance physician and alchemist Paracelsus possessed a deep insight into human nature. He was not only a radical doctor but also a theologian as profound as Luther; even though much of his writings remain untranslated from an obsolete Middle German dialect; nevertheless Paracelsus made important observations upon human nature worthy of contemplation.
The following quotation is exemplary of Biblical and alchemical notions of the trial of metals being likened to the testing of the human soul.
It is in extremis, things reveal their nature and become visible; then we can say: he is an upright man, a steadfast man, he manifests his inner being.....One man reveals more traits of loyalty and less of disloyalty; one man is to a large extent this, another man that. Therefore we should keep an eye on the outward characteristics which nature gives a man by shaping him in a certain way. For nature shapes the anatomy of a pear in such a way that the pear develops into a pear tree; and she creates a medlar's anatomy, in such a way that it develops into a medlar bush; and the same is true of silver and of gold. Nature also forges man, now a gold man, now a silver man, now a fig man, now a bean man.
Quotation from -Parcelsus Selected Writings ed. Jolande Jacobi Princeton Uni. Press 1951
One wonders how many individuals in Western society who continue to enjoy a comfortable life-style could ever begin to cope with the suffering faced by those experiencing natural disaster. And yet our comfortable life-styles are often maintained by exploitation, inflicting great suffering upon innocent fellow humans, even if geographically remote, in the form of Warfare, military occupation of land and unfair trading conditions.
The Renaissance physician and alchemist Paracelsus possessed a deep insight into human nature. He was not only a radical doctor but also a theologian as profound as Luther; even though much of his writings remain untranslated from an obsolete Middle German dialect; nevertheless Paracelsus made important observations upon human nature worthy of contemplation.
The following quotation is exemplary of Biblical and alchemical notions of the trial of metals being likened to the testing of the human soul.
It is in extremis, things reveal their nature and become visible; then we can say: he is an upright man, a steadfast man, he manifests his inner being.....One man reveals more traits of loyalty and less of disloyalty; one man is to a large extent this, another man that. Therefore we should keep an eye on the outward characteristics which nature gives a man by shaping him in a certain way. For nature shapes the anatomy of a pear in such a way that the pear develops into a pear tree; and she creates a medlar's anatomy, in such a way that it develops into a medlar bush; and the same is true of silver and of gold. Nature also forges man, now a gold man, now a silver man, now a fig man, now a bean man.
Quotation from -Parcelsus Selected Writings ed. Jolande Jacobi Princeton Uni. Press 1951
The Kingdom of this World
I've just finished reading the El reino de este mundo, 'The Kingdom of this World' (1949) by Alejo Carpentier. Alejo Carpentier (1904-1980) was a Cuban writer and musicologist who lived in Europe from 1928-38. He returned to Cuba in 1939 to marry but disliking its political atmosphere choose to live in Venezuela instead. However, when the Cuban revolution occurred in 1959 he returned to become Vice-President of the National Council of Culture, Professor of the History of Culture and eventually Director of the Cuban State publishing House.Carpentier's novella (112 pp.) is set in Haiti at the end of the eighteenth century. It describes the events in which African slaves fought French colonists for their freedom and human rights to establish a short-lived Black Republic. It's written from the perspective of the protagonist Ti Noel, a black slave who witnesses the events in Haiti first-hand.
Although Haiti achieved independence in 1804, the protagonist Ti Noel realizes that the newly-formed Republic is in some ways even worse than colonial rule, 'for the colonists... had at least been careful not to kill their slaves, for dead slaves were money out of their pockets'. Whereas in the new Black Republic the death of a slave is seen as an easily replaceable commodity, the high-birth rate ensuring a constant supply of new slaves. Thus as it ever was, the cry to defeat tyranny with freedom is replaced by the new ruling elite's justification of a new form of tyranny.
Alejo Carpentier's left-wing viewpoint on the human condition argues that-
...a man never knows for whom he suffers and hopes. He suffers and hopes and toils for people he will never know, and for who, in turn, will suffer and hope and toil for others who will not be happy either, for man always seeks a happiness far beyond that which is meted out to him. But man's greatness consists in the very fact of wanting to be better than what he is. In laying duties upon himself. In the Kingdom of Heaven there is no grandeur to be won, inasmuch as there all is an established hierarchy, the unknown is revealed, existence is infinite, there is no possibility of sacrifice, all is rest and joy. For this reason, bowed down by suffering and duties, beautiful in the midst of his misery, capable of loving in the face of afflictions and trials, man finds his greatness, his fullest measure, only in the Kingdom of This World.
Carpentier is credited with coining the term lo real maravilloso (roughly the "marvelous reality") in the prologue to 'The Kingdom of this World' and the novella is often cited as one of the very earliest examples of the genre of 'magic realism', in which reality and elements of fantasy are mixed to produce a cocktail of highly imaginative literature. Carpentier's familiarity with the Surrealist movement while living in Paris, his admiration of the Spanish author Miguel de Cervantes, his left-wing politics, interest in Voodoo and ethnicity, all amalgamate in 'The Kingdom of this World' to produce what is seen by many as one of the earliest examples of 'magical realism' writing.
The Argentinian author Jorge Luis Borges is credited as one of the key innovators of 'magic realism' writing in which aspects of reality are blurred with magical elements. The Colombian author Gabriel Garcia Marquez's novel 'One hundred years of solitude' (1967) is also often cited as a seminal example of this genre. However, although 'magic realism' is frequently associated with the literature of South America, the human imagination transcends national boundaries.
Other novelists who have utilized elements of 'magic realism' in their writing include (and this inventory is far from inclusive) the Australian novelist Peter Carey's 'Illywhacker' (1985), Salman Rushdie's 'The Satanic Verses' (1988), Patrick Suskind's 'Perfume' (1985), Gunther Grass' 'The Tin Drum'(1959) and not least, the supreme worlk of Russian magical realism, if not the 20th century, Mikhail Bulgakov's 'The Master Margarita' (1940).
But in fact the employment of 'magical' or 'fantastic' elements in modern Literature, in particular English Literature can be traced as far back as Jonathan Swift's' 'Gulliver's Travels' (1735). 'Fantastic' or fantasy elements pervade English literary works, especially literature loved by children and adults alike, including Lewis Carroll's 'Alice in Wonderland' (1865), and Kenneth Grahame's 'The Wind in the Willows' (1908) .
Personally, dare I propose it, one of the greatest of all 'magical realism' writings is by an author whom Jorge Borges was a great admirer of, Sir Thomas Browne's 'The Garden of Cyrus' (1658). As T. S. Eliot long ago realized, 'Mankind cannot bear very much reality'.
Monday, August 09, 2010
Bus in a Hole
1988 - A surprise stop for the passengers of the number 26.
No-one was hurt.
Perhaps I should not have mentioned the other day that geologically Norfolk is predominantly composed of chalk, (Aug 7th post) because a new hole has now appeared in a Norwich road some 9 feet deep! Memories from 1988 when a double-Decker bus fell into a hole have now resurfaced. This world-famous image of an extraordinary event is well worth seeing again aS visible proof that living in Norwich can sometimes be exciting!
Norwich in fact is renowned for having subsidence problems. Not only does it have many chalk mines, but also a network of tunnels underneath its streets and buildings, including more undercrofts than any other UK city.
It's possible that the chalk mines of Norwich date from as early as the 11th Century. Chalk was mined underneath the City and extracted in great quantities to burn into lime for mortar. Flint was also mined and used as stone for building. Mining tunnels known to exist under medieval Norwich can be found between 12 and 90 feet under the surface . They vary in size from 6 to 16 feet in height and from 6 to 12 feet in width . These tunnels and mines are often arranged in a grid-like pattern. City engineers have to regularly inspect these tunnels in order to determine their condition and to prevent any further collapses.
The most investigated system of these tunnels is a 1600-feet-square grid maze of tunnels beneath Earlham Road. It was re-discovered in 1823; coloured lights were fitted and some of the large passageways were given attractive names such as Beehive Lane, Bacchus Street and Royal Arch. They were once a popular attraction for tourists and local courting couples to wander through.
A full history and record of the extensive underground passages, undercrofts and mines in Norwich has yet to be written.
Norwich in fact is renowned for having subsidence problems. Not only does it have many chalk mines, but also a network of tunnels underneath its streets and buildings, including more undercrofts than any other UK city.
It's possible that the chalk mines of Norwich date from as early as the 11th Century. Chalk was mined underneath the City and extracted in great quantities to burn into lime for mortar. Flint was also mined and used as stone for building. Mining tunnels known to exist under medieval Norwich can be found between 12 and 90 feet under the surface . They vary in size from 6 to 16 feet in height and from 6 to 12 feet in width . These tunnels and mines are often arranged in a grid-like pattern. City engineers have to regularly inspect these tunnels in order to determine their condition and to prevent any further collapses.
The most investigated system of these tunnels is a 1600-feet-square grid maze of tunnels beneath Earlham Road. It was re-discovered in 1823; coloured lights were fitted and some of the large passageways were given attractive names such as Beehive Lane, Bacchus Street and Royal Arch. They were once a popular attraction for tourists and local courting couples to wander through.
A full history and record of the extensive underground passages, undercrofts and mines in Norwich has yet to be written.
Saturday, August 07, 2010
The Supper at Emmaeus
Here's another painting Sir Thomas Browne may have once viewed. 'The Supper at Emmaus' by Cornelis Engelsz (1575-1650).
Its a painting which is a great example of the Dutch 'Golden Age', combining two of the most popular of all Dutch genres, Biblical scenes combined with still-life. The detail of the various supper items depicted in the foreground, bread, fish and meat is exceptionally realistic. The central message of the picture is in the stark contrast between the very public, lavish and earthy supper in the foreground, to the private, frugal and heavenly supper depicted in the dimly-lit background. The Resurrected Christ, having broken bread has just revealed his identity to two of his disciples. (Luke 24 verses 13-35).
'The Supper at Emmaeus' (1612) was owned by the lawyer and MP Nathaniel Bacon (1550 - 1622) who was knighted in 1604. He was the uncle of Nicolas Bacon (1623-1666) also of Gillingham Hall. As Browne was a friend and visitor of Nicolas, even dedicating his Discourse 'The Garden of Cyrus' to him. it's highly possible he could have viewed this painting when visiting Gillingham Hall. The painting was subsequently purchased from the Bacon family by Norwich Castle Museum in 2004.
Hydrangea
Hydrangea thrive upon chalky soil of which there's plenty throughout the low-laying county of Norfolk.
The large hydrangea shrub in my garden is certainly over thirty years old, maybe as old as my plum and pear tree, planted when the houses and gardens of Woodlands Estate were first established early in the 1950's. I personally associate the large flowering heads with happy summer days spent with my grandmother as a child.
The Oxford English Dictionary defines hydrangea as - a shrub with flowering heads of white, blue or pink florets, native to Asia and America. Origin, mod. L. from Gk hudro -'water' + angeion 'vessel' (from the cup shape of its seed capsules).
The large hydrangea shrub in my garden is certainly over thirty years old, maybe as old as my plum and pear tree, planted when the houses and gardens of Woodlands Estate were first established early in the 1950's. I personally associate the large flowering heads with happy summer days spent with my grandmother as a child.
The Oxford English Dictionary defines hydrangea as - a shrub with flowering heads of white, blue or pink florets, native to Asia and America. Origin, mod. L. from Gk hudro -'water' + angeion 'vessel' (from the cup shape of its seed capsules).
Monday, August 02, 2010
Oscar and Lucinda
Last night I watched the film 'Oscar and Lucinda' (1997) directed by Gillian Armstrong. Set in the middle of the 19th century, it's the story of Oscar (Ralph Fiennes) the son of strict Plymouth Brethren parents and Lucinda (Cate Blanchett) an independent-minded Australian entrepreneur.
When attending Oxford reading theology, Oscar is introduced to the joys of gambling, specifically horse-racing. Frequently lucky and believing himself to be inspired by divine providence, the bumbling and socially-inept Oscar persists in donating his winnings to the poor. Meanwhile Lucinda discovers a passion for glass and purchases a Glass-works with an inheritance. Oscar and Lucinda first meet aboard a ship bound for Australia. The pretext for their meeting is ostensibly for the purpose for Lucinda's confessional, Oscar having recently been ordained and emigrating. The pair soon become friends with a shared passion for card-playing. Oscar's justification for gambling is that of the famous wager of Pascal which argues that all Christians are gambling their souls in hope of God's existence, love and redemption.
Without wanting to post spoilers, the crux of the romantic drama concerns a wager between Oscar and Lucinda of their respective inheritances, that Oscar can transport a glass Church from Sydney to Bellingen on the North-west coast of New South Wales, a journey which involves the crossing of no less than six rivers and hazardous terrain.
Based upon the Peter Carey novel which won the 1988 Booker prize, 'Oscar and Lucinda' is a film which established Cate Blanchett's acting career. The other notable star of this film is, as with 'Picnic at Hanging Rock' (Dir. Peter Weir 1975), the stunning Australian scenery. 'Oscar and Lucinda' also highlights the basic living conditions of the early Australian colonists.
The residue of Protestant ethics continues to associate gambling as a sin, even among those whose morality is no longer determined by Christian ethics whatsoever. This is primarily due to the fact that during the 18th century a day at the races spent gambling was viewed as a threat to the established social order. A Lord attending Newmarket races could by the day's end be a pauper and a pauper could acquire the wealth equivalent to a Lord. Primarily for this reason alone, the notion of acquiring wealth without industriousness, circumventing the Protestant work-ethic, preachers railed from the pulpit against the 'sin' of gambling. And to be fair, there is a scene in the film which highlights the very worst consequence of ruination from gambling, namely, suicide. However, as Oscar fully realises, many aspects of life and love are in fact far from being certainties, but very uncertain gambles in most lives.
At the present time of writing the author Peter Carey, who has won the Booker prize twice, is priced at 5-1 to win the Booker again, with the Greek-Australian Christos Tsiolkas, author of 'The Slap', priced at a 9-1. Personally, I'm considering having a small bet that Carey wins the Booker Prize for an unprecedented third time. Just don't put your shirt on it !
When attending Oxford reading theology, Oscar is introduced to the joys of gambling, specifically horse-racing. Frequently lucky and believing himself to be inspired by divine providence, the bumbling and socially-inept Oscar persists in donating his winnings to the poor. Meanwhile Lucinda discovers a passion for glass and purchases a Glass-works with an inheritance. Oscar and Lucinda first meet aboard a ship bound for Australia. The pretext for their meeting is ostensibly for the purpose for Lucinda's confessional, Oscar having recently been ordained and emigrating. The pair soon become friends with a shared passion for card-playing. Oscar's justification for gambling is that of the famous wager of Pascal which argues that all Christians are gambling their souls in hope of God's existence, love and redemption.
Without wanting to post spoilers, the crux of the romantic drama concerns a wager between Oscar and Lucinda of their respective inheritances, that Oscar can transport a glass Church from Sydney to Bellingen on the North-west coast of New South Wales, a journey which involves the crossing of no less than six rivers and hazardous terrain.
Based upon the Peter Carey novel which won the 1988 Booker prize, 'Oscar and Lucinda' is a film which established Cate Blanchett's acting career. The other notable star of this film is, as with 'Picnic at Hanging Rock' (Dir. Peter Weir 1975), the stunning Australian scenery. 'Oscar and Lucinda' also highlights the basic living conditions of the early Australian colonists.
The residue of Protestant ethics continues to associate gambling as a sin, even among those whose morality is no longer determined by Christian ethics whatsoever. This is primarily due to the fact that during the 18th century a day at the races spent gambling was viewed as a threat to the established social order. A Lord attending Newmarket races could by the day's end be a pauper and a pauper could acquire the wealth equivalent to a Lord. Primarily for this reason alone, the notion of acquiring wealth without industriousness, circumventing the Protestant work-ethic, preachers railed from the pulpit against the 'sin' of gambling. And to be fair, there is a scene in the film which highlights the very worst consequence of ruination from gambling, namely, suicide. However, as Oscar fully realises, many aspects of life and love are in fact far from being certainties, but very uncertain gambles in most lives.
At the present time of writing the author Peter Carey, who has won the Booker prize twice, is priced at 5-1 to win the Booker again, with the Greek-Australian Christos Tsiolkas, author of 'The Slap', priced at a 9-1. Personally, I'm considering having a small bet that Carey wins the Booker Prize for an unprecedented third time. Just don't put your shirt on it !
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