William Wordsworth’s Daffodils (1807)

The verges near where I live are sea­son­al­ly awash with daf­fodils, as no doubt are yours if you live vir­tu­al­ly any­where in the UK, so what bet­ter time to take a look at that clas­sic poem that reg­u­lar­ly makes its way into the nation’s favourite poem lists, name­ly William Wordsworth’s I Wan­dered Lone­ly as a Cloud (aka Daf­fodils)? I’m less cer­tain about nowa­days, but when I was young, this poem was the one that lit­er­al­ly every­one knew. If pushed to quote a line of poet­ry you could always fall back upon “I wan­dered lone­ly as a cloud” in the same way you might have said “To be or not to be” if pushed to quote Shake­speare.

Wordsworth was the man who helped to launch the Roman­tic move­ment in Eng­lish lit­er­a­ture when, in 1798, he pub­lished Lyri­cal Bal­lads with Samuel Tay­lor Coleridge. As well as being a vol­ume of poems by the two men, the work includ­ed a pref­ace expound­ing the poets’ lit­er­ary the­o­ry and prin­ci­ples. They want­ed to make poet­ry acces­si­ble to the aver­age per­son by writ­ing verse in com­mon, every­day lan­guage and with com­mon, every­day sub­jects as the focus. This was against the grain, of course — how often do we find an artist, famous to us today, push­ing the bound­aries of con­ven­tion in their own time?

Although ini­tial­ly received mod­est­ly, Lyri­cal Bal­lads came to be seen as a mas­ter­piece and launched both poets into the pub­lic gaze, so when in 1807 Wordsworth pub­lished Poems, in Two Vol­umes, includ­ing Daf­fodils, he was already a well-known fig­ure in lit­er­ary cir­cles. Wordsworth had talked of poet­ry being “the spon­ta­neous over­flow of pow­er­ful feel­ings: it takes its ori­gin from emo­tion rec­ol­lect­ed in tran­quil­i­ty”, and Daf­fodils is the per­fect illus­tra­tion of what he meant ( For oft, when on my couch I lie, In vacant or in pen­sive mood, They flash upon that inward eye, Which is the bliss of soli­tude…) .

It was inspired by Wordsworth and his sis­ter Dorothy hav­ing come across a long and strik­ing swathe of daf­fodils whilst out on a stroll around Ull­swa­ter in April 1802. Dorothy was a keen diarist who record­ed her own feel­ings about the daf­fodils, and this like­ly helped William frame his poem, and indeed, Wordsworth’s wife Mary also con­tributed a cou­ple of lines to the poem: it was a real fam­i­ly affair. If you want to remind your­self of the poem beyond its immor­tal open­ing line, here it is…

I wan­dered lone­ly as a cloud
That floats on high o’er vales and hills,
When all at once I saw a crowd,
A host, of gold­en daf­fodils;
Beside the lake, beneath the trees,
Flut­ter­ing and danc­ing in the breeze.

Con­tin­u­ous as the stars that shine
And twin­kle on the milky way,
They stretched in nev­er-end­ing line
Along the mar­gin of a bay:
Ten thou­sand saw I at a glance,
Toss­ing their heads in spright­ly dance.

The waves beside them danced; but they
Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund com­pa­ny:
I gazed—and gazed—but lit­tle thought
What wealth the show to me had brought:

For oft, when on my couch I lie
In vacant or in pen­sive mood,
They flash upon that inward eye
Which is the bliss of soli­tude;
And then my heart with plea­sure fills,
And dances with the daf­fodils.

William Wordsworth

Aram Khachaturian’s Adagio From Spartacus (1954)

Khacha­turi­an! A great name, for a start, that I recall see­ing writ­ten on the back of one of those com­pi­la­tion albums of clas­si­cal music, owned by my par­ents. That album was actu­al­ly a great intro­duc­tion to the clas­sics; it’s where I first heard The Flight of the Bum­ble­bee, The Ride of the Valkyries, The Blue Danube, The Hall of the Moun­tain King, and, in the case of Khacha­turi­an, the fren­zied Sabre Dance.

Aram Khacha­turi­an was born in 1903 in Tblisi, Geor­gia, of Armen­ian extrac­tion (I think it was that patronymic suf­fix, -ian, com­mon to Armen­ian sur­names – such as Kar­dashi­an – that added a cer­tain some­thing). Fol­low­ing the Sovi­eti­za­tion of the Cau­ca­sus in 1921, Khacha­turi­an moved to Moscow, where he enrolled at the Gnessin Musi­cal Insti­tute and sub­se­quent­ly stud­ied at the Moscow Con­ser­va­to­ry. He wrote sev­er­al sig­nif­i­cant con­cer­tos and sym­phonies, but he is best known for his bal­lets Gayane (from which comes the Sabre Dance) and Spar­ta­cus (from which comes the focus of this blog, the cap­ti­vat­ing Ada­gio of Spar­ta­cus and Phry­gia).

Spar­ta­cus fol­lows the tri­als and tribu­la­tions of the famous glad­i­a­tor-gen­er­al, Spar­ta­cus, the leader of the slave upris­ing against the Romans in 73 BC (which actu­al­ly hap­pened, inci­den­tal­ly, and was exhaus­tive­ly chron­i­cled by Plutarch, but that – as I so often have to say – is anoth­er sto­ry!).

The Roman con­sul Cras­sus has returned to Rome from his lat­est con­quests in a tri­umphal pro­ces­sion. Among his cap­tives are the Thra­cian king Spar­ta­cus and his wife Phry­gia. To enter­tain Cras­sus and his cronies, Spar­ta­cus is sent into the glad­i­a­to­r­i­al ring and is forced to kill a close friend. Hor­ri­fied at his deed, Spar­ta­cus incites his fel­low cap­tives to rebel­lion, and ends up free­ing the slave women, includ­ing Phry­gia. The Ada­gio marks their cel­e­bra­tion.

It open with a del­i­cate syn­co­pat­ed rhythm from the strings, and a series of trills on the flute. A slow ascend­ing scale is played by the cel­los, and the oboe eas­es the music into the famous ‘love theme’ for the first time. It’s tremen­dous stuff and read­ers of a cer­tain age will almost cer­tain­ly remem­ber its use as the theme music to the TV pro­gramme, The Onedin Line.

Below, I present a ver­sion of the bal­let per­formed by Anna Nikuli­na and Mikhail Lobukhin of the Bol­shoi Bal­let. In addi­tion, below that, I have cho­sen anoth­er ver­sion: a piano-only ren­der­ing of the music, and I include it because it is just too exquis­ite to omit. The pianist is Matthew Cameron, who, as well as being a vir­tu­oso con­cert pianist, appears to be good-look­ing and, accord­ing to his web­site, col­lects antique his­toric swords, with a col­lec­tion dat­ing back to the 9th cen­tu­ry. Hat tip!

Aram Khacha­turi­an