Alfred, Lord Tennyson’s Charge of the Light Brigade, 1854

It’s 25th Octo­ber 1854, and the Bat­tle of Bal­a­cla­va, one of the piv­otal bat­tles of the Crimean War, is in full flow. Lord Raglan, com­man­der of the British forces, has sent a mes­sage order­ing the approx­i­mate­ly 600 horse­men of the British light cav­al­ry (the “Light Brigade”) to pur­sue and har­ry a retreat­ing Russ­ian artillery bat­tery. Dis­as­trous­ly, how­ev­er, due to a mis­com­mu­ni­ca­tion in the chain of com­mand, the Light Brigade is instead sent on a frontal assault against a dif­fer­ent artillery bat­tery, one very much well-pre­pared and defend­ed.

The Light Brigade comes under with­er­ing fire from three sides, is bad­ly mauled, and is forced to retreat in chaos. The assault ends with very high British casu­al­ties, no deci­sive gains, and the event goes down in his­to­ry as one of the most woe­ful of mil­i­tary blun­ders…

Just six weeks after the event, Alfred, Lord Ten­nyson pub­lished his nar­ra­tive poem “The Charge of the Light Brigade”. Its lines empha­sise the val­our of the cav­al­ry in brave­ly car­ry­ing out their orders, regard­less of the obvi­ous out­come. The poem bequeaths to us the famous phrase:

Theirs not to rea­son why,
Theirs but to do and die

Nowa­days, we casu­al­ly use the phrase “ours not to rea­son why” to shrug away a dubi­ous man­age­r­i­al deci­sion. In the poem, how­ev­er, we are left in no doubt as to what the sol­diers were com­mit­ting them­selves to:

Can­non to the right of them,
Can­non to the left of them,
Can­non in front of them
Vol­ley’d and thun­der’d;
Stor­m’d at with shot and shell,
Bold­ly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hun­dred

The met­ri­cal scheme of the poem lends itself to the des­per­ate charge of the horse­men, the breath­less­ly short lines, drummed out like hoof-beats, cre­at­ing a dra­mat­ic imme­di­a­cy. Phras­es like “jaws of Death” and “mouth of Hell” vivid­ly depict the hope­less­ness of the assault.

Read it in full (as you lis­ten to it here)

 

The Charge of the Light Brigade

I
Half a league, half a league,
Half a league onward,
All in the val­ley of Death
Rode the six hun­dred.
‘For­ward, the Light Brigade!
Charge for the guns!’ he said:
Into the val­ley of Death
Rode the six hun­dred.

II
’For­ward, the Light Brigade!‘
Was there a man dis­may’d?
Not tho’ the sol­dier knew
Some­one had blun­der’d:
Theirs not to make reply,
Theirs not to rea­son why,
Theirs but to do and die:
Into the val­ley of Death
Rode the six hun­dred.

III
Can­non to the right of them,
Can­non to the left of them,
Can­non in front of them
Vol­ley’d and thun­der’d;
Stor­m’d at with shot and shell,
Bold­ly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hun­dred.

IV
Flash’d all their sabres bare,
Flash’d as they turn’d in air
Sabring the gun­ners there,
Charg­ing an army, while
All the world won­der’d:
Plunged in the bat­tery-smoke
Right thro’ the line they broke;
Cos­sack and Russ­ian
Reel’d from the sabre-stroke
Shat­ter’d and sun­der’d.
Then they rode back, but not
Not the six hun­dred.

V
Can­non to right of them,
Can­non to left of them,
Can­non behind them
Vol­ley’d and thun­der’d;
Stor­m’d at with shot and shell,
While horse and hero fell,
They that had fought so well
Came thro’ the jaws of Death,
Back from the mouth of Hell,
All that was left of them,
Left of the six hun­dred.

VI
When can their glo­ry fade?
O the wild charge they made!
All the world won­der’d.
Hon­our the charge they made!
Hon­our the Light Brigade,
Noble six hun­dred!

Ten­nyson
Paint­ing by Richard Caton Woodville, 1894

 

Sur­vivors of the charge

Ilya Repin’s Barge-haulers on the Volga (Volga Boatmen) (1873)

Just as in France where paint­ing and sculp­ture were con­trolled and influ­enced by the Salon, in 19th cen­tu­ry Rus­sia, the equiv­a­lent was the Impe­r­i­al Acad­e­my of Arts in St. Peters­burg. And just as in France, where the Impres­sion­ists rebelled against the con­ser­vatism of the Salon, in Rus­sia a group of artists who became known as the Pered­vizh­ni­ki (Itin­er­ants or Wan­der­ers) rebelled against the Academy’s clas­si­cal ten­den­cies. Instead of the mytho­log­i­cal theme pro­posed for the annu­al paint­ing com­pe­ti­tion in 1863 (“The entrance of Odin into Val­hal­la”), the Pered­vizh­ni­ki were far more inter­est­ed in explor­ing themes of real life in Rus­sia: the Russ­ian peas­antry, the Russ­ian land­scape, the Russ­ian cler­gy. Thus, the Itin­er­ants broke away, cre­at­ed their own group, and paint­ed as they pleased.

A lead­ing mem­ber of the Pered­vizh­ni­ki was Ilya Repin (1844–1930), and here we look at his sub­lime mas­ter­piece, the Vol­ga Boat­men. Repin takes the phys­i­cal labour and fatigue of the com­mon man as his sub­ject, and it’s hard to imag­ine a more phys­i­cal­ly demand­ing and oppres­sive labour than that car­ried out by burlaks, the men (and women) who hauled barges along the riv­er Vol­ga.

The eleven fig­ures in the group have been called metaphors for Rus­sia itself, and there is alle­go­ry aplen­ty for art schol­ars, but the piece is pow­er­ful enough on a straight­for­ward read­ing: Life for the down­trod­den is tough; and there is no hope…

…or is there? In the mid­dle of the dark and beat­en-down fig­ures of the haulers, a young man has lift­ed his head and is star­ing off out of the pic­ture. His is the only vis­age to be illu­mi­nat­ed. The mean­ing is clear: he is rais­ing his head in an act of defi­ance, a sym­bol of hope and the promise of a bet­ter future.  With the ben­e­fit of hind­sight it might even be seen as a fore­shad­ow­ing of the Rev­o­lu­tion that would free the pro­le­tari­at near­ly fifty years lat­er.

For a lit­tle extra atmos­phere, how about lis­ten­ing to this 1936 record­ing of Russ­ian opera singer Feodor Chali­apin singing the dirgy folk song, Song of the Vol­ga Boat­men?

Repin, Self-por­trait

Canteloube’s Baïlèro, sung by Victoria de los Ángeles (1969)

Chants d’Au­vergne (Eng­lish: Songs from the Auvergne) is a col­lec­tion of folk songs from the Auvergne region of France, arranged for sopra­no and orches­tra by French com­pos­er and musi­col­o­gist Joseph Can­teloube in the 1920s. The songs are in the local lan­guage, Occ­i­tan (also known as Langue d’Oc, hence the name of the for­mer province of south­ern France, Langue­doc). Canteloube’s fam­i­ly had deep roots in the Auvergne region, and his arrange­ments are a labour of love borne from an eager­ness to immor­talise the folk­lore and beau­ty of his home region.

The best-known of Canteloube’s col­lec­tion is Baïlèro, and this record­ing, by the Span­ish sopra­no, Vic­to­ria de los Ánge­les, is sure­ly the most beau­ti­ful­ly deliv­ered ver­sion of it.

The song is aching­ly wist­ful. It evokes a sense of long­ing, for what — home­land, lost love, lost youth? — it mat­ters not. Vic­to­ria de los Ánge­les speaks direct­ly to the heart of the lis­ten­er and per­haps her Cata­lan back­ground, con­nect­ed as it is with the peas­ant tra­di­tions of the wider area some­times known as Occ­i­ta­nia, lends itself to the rus­tic charm.

I heard it years ago on a com­pi­la­tion CD and fell for it instant­ly. I feel the sense of land­scape, of affin­i­ty with one’s roots, of being con­nect­ed to one’s envi­ron­ment, and at the same time the plain­tive feel­ing of sep­a­ra­tion and yearn­ing that per­vades the piece. It all adds up to a well­spring of emo­tion­al pow­er.

I only recent­ly looked up the Occ­i­tan words and their Eng­lish trans­la­tion; they are pas­toral in tone (unsur­pris­ing giv­en that they are peas­ant folk-songs), and fea­ture a call-and-response pat­tern between the singer and her shep­herd love.  Of course, it doesn’t mat­ter what the lyrics are; it is the feel of the music and the voice that count, but to some extent the sense of long­ing and sep­a­ra­tion is cor­rob­o­rat­ed by the lyric:

Pas­tré couci foraï,
En obal io lou bel riou
Dio lou baïlèro lèrô…

Shep­herd, the water divides us,
And I can­not cross it,
Sing baïlèro lèrô…

I am pre­sent­ing the music here with some imagery of the moun­tains, lakes and cas­cades of the Auvergne, but real­ly you are as well to lis­ten with eyes closed, feet up, in a qui­et, pleas­ant envi­ron­ment, and a large glass of wine in hand. Enjoy…

Occasional Glimpses of the Sublime

Greet­ings, and wel­come to my blog!

Here’s where I intro­duce the theme of my blog, fol­low­ing which, depend­ing upon whether or not your curios­i­ty is suf­fi­cient­ly whet­ted to con­tin­ue read­ing, I will meet you again at the end of the week with my first post prop­er!

So, what’s it all about, and what’s with the title? Let me explain…

In the his­to­ry of aes­thet­ics, the idea of “the sub­lime” has a long pedi­gree, and its mean­ing has been debat­ed through­out the cen­turies by gen­er­a­tions of artists, writ­ers, poets, musi­cians and crit­ics. These days, how­ev­er, the word “sub­lime” has a pret­ty straight­for­ward def­i­n­i­tion; in every­day lan­guage it sim­ply means “excel­lent” or “excep­tion­al” and can be applied to almost any­thing that can be refined to the high­est point…such as a per­fect­ly exe­cut­ed goal in foot­ball, or an exquis­ite­ly cooked meal.

In this blog, I will take as my lead this mod­ern sense of “excep­tion­al”, and apply it to the var­ied worlds of art, music, film, tele­vi­sion, the­atre, opera, and lit­er­a­ture (any­thing you can see or hear and which I can embed or link to, basi­cal­ly). I will choose exam­ples that I think stand out from the crowd (“occa­sion­al glimpses”) by virtue of their excel­lence or cul­tur­al sig­nif­i­cance, and write about them, hope­ful­ly in an inter­est­ing way, and by so doing, share them with you.

To give you an idea, here are, in no par­tic­u­lar order, some sub­lime cre­ations slat­ed for upcom­ing posts: Bar­bara Bon­ney’s ren­der­ing of Schu­bert’s Ave Maria; the use of Rach­mani­nof­f’s 2nd Piano Con­cer­to in Brief Encounter; Jan Van Eyck­’s Ghent Altar­piece; Ten­nyson’s poem The Charge of the Light Brigade. How­ev­er, the sub­lime is rep­re­sent­ed in pop­u­lar cul­ture, too: also upcom­ing are pieces on Jack Nichol­son’s por­tray­al of Badass Bud­dusky in The Last Detail; Jimi Hen­drix’s influ­en­tial per­for­mance of The Star Span­gled Ban­ner at Wood­stock; and Cook and Moore’s com­e­dy sketch Pete and Dud at the Zoo!

Of course, such things are sub­jec­tive and you are under no oblig­a­tion to agree with me! We all have our indi­vid­ual opin­ions and tastes, after all. How­ev­er, my selec­tions will most usu­al­ly be tried and trust­ed gems of high artis­tic qual­i­ty that are wide­ly admired or acknowl­edged. Join me in my “occa­sion­al glimpses of the sub­lime”, and see if you agree…