Caspar David Friedrich’s Wanderer Above The Sea Of Fog (1818)

Back in 2016 when I introduced this blog (here) and the sense of the “sublime” as something of excellence “occasionally glimpsed” herein, I mentioned that the concept of the sublime was one with a long history of being debated by artists and writers over the centuries. I can pad that idea out a bit now, since it has a direct connection to the subject of this week’s blog, and so for fun and edification, here’s a little potted history or mini-essay on the concept of the sublime.

The first known study of the concept was the 1st century AD treatise On The Sublime, ascribed to Longinus and which talks about the use of great or lofty language, intended to inspire awe or veneration, in the field of rhetoric. This treatise was rediscovered in the 16th century and translated into English and French in the following decades, and it had a significant influence on literary criticism and the philosophy of aesthetics in the 17th and 18th centuries.

The concept was developed in Britain in the early 18th century and came to describe an aesthetic quality in nature distinct from beauty, brought into prominence by the writings of John Dennis (1693), Joseph Addison (1705) and Anthony Ashley-Cooper (1709). All three of these authors had undertaken a crossing of the Alps, as part of that familiar Enlightenment pastime the “Grand Tour”, and all three independently expressed their contrasting feelings of fear and pleasure at the awesomeness of nature and derived, as Addison described it, “an agreeable kind of horror”.

Edmund Burke more formally developed this conception of sublimity in A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful in 1756, and German philosophers Kant, Schopenhauer, Hegel and Rudolf Otto each added their academic heft to the subject. Soon, the concept would be realised in the art movement known as Romanticism and we would see the portrayal of landscape in an entirely new manner: not just a visualisation of the simple enjoyment of a beautiful view, as in the classic conception, but rather an examination of a reunion with the spiritual self through the contemplation of nature and its majestic power.

German artist Caspar David Friedrich (1774-1840) was instrumental in creating this notion of a landscape full of romantic feeling: die romantische Stimmungslandschaft. Friedrich’s paintings commonly employed the Rückenfigur, a person seen from behind, contemplating the landscape and inviting the viewer to similarly place himself in that medium and experience the sublime potential of nature. The Friedrich painting that is above all used to characterise this concept is his 1818 oil on canvas, Wanderer above the Sea of Fog.

It depicts a man standing upon a rocky precipice and gazing out across a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce. It is considered one of the masterpieces of the Romanticism movement and to successfully evoke the sublime or Addison’s “agreeable horror”.

Caspar David Friedrich, Wanderer above the Sea of Fog

Richard Wagner’s Ride Of The Valkyries (1870)

There’s nothing quite as Germanic as a Wagner opera, and nothing quite as epic as his magnum opus, Der Ring des Nibelungen (The Ring of the Nibelung). The full cycle of the four parts of The Ring lasts fifteen hours and although pragmatism these days generally means that just one of the parts is performed, I do like the idea of watching it in its entirety. A bit like reading Proust’s In Search Of Lost Time in its 1.2 million word entirety (see my blog on that here). Neither challenge have I yet undertaken, I should say, but back in 1876, it must have been some spectacle to have attended the famous Bayreuth Festival, when the full cycle was performed for the first time, over four days: Das Rheingold (The Rhinegold), Die Walküre (The Valkyrie), Siegfried, and Götterdämmerung (Twilight of the Gods)

The opera is loosely based on characters from Germanic and Norse heroic legend and centres around the eponymous magic ring that grants dominion over the world and how it is fought over by generations of gods, heroes and mythical creatures, until the final cataclysm at the end of the Götterdämmerung. The complexity of the epic tale is matched by the increasing complexity of the music as it progresses, and Wagner wrote for such a gargantuan orchestra that a special purpose-built theatre was built at Bayreuth.

The piece that we all know is the Ride of the Valkyries from Die Walküre, containing that rousing leitmotif as the Valkyrie sisters of Norse mythology (“choosers of the slain”) transport the fallen heroes to Valhalla. The music was used in Apocalypse Now (1979) where it was played on helicopter-mounted loudspeakers during the American assault on Vietcong-controlled villages. And just recently, in the excellent and grittily honest TV documentary film, Our Falklands War: A Frontline Story, it was revealed that it was similarly played loudly over the tannoy as 2 Para were getting into the landing craft in preparation for their first assault on the Falkland Islands.

Here’s a version from the BBC Proms, best enjoyed from a sofa rather than a landing craft.

Cesare Viazzi, Ride of the Valkyries (1906)

 

Michelangelo’s Sistine Chapel Ceiling (1512)

Well, I suppose it had to happen sooner or later, what with the Creation of Adam being astride the top of these blogs week in, week out: it’s time to look at that apex predator of the Renaissance art world, and number one cause of visitors’ neck strain, the Sistine Chapel. No visit to Rome is complete without it, and perhaps no blog on the sublime can afford to omit it.

First, a whistle-stop history tour: Sistine Chapel 101, if you like. Meet Pope Sixtus IV, pope between 1471 and 1484:

Pope Sixtus IV

It was Sixtus (adjective “Sistine” in case you need that mansplained) who commissioned the building of the chapel, which was completed in 1481 and has served ever since as the Pope’s official residence. Sixtus is also known for founding the Spanish Inquisition, but that’s another story, let’s stick with the chapel. He arranged for a team of painters (not Michelangelo yet – he comes later – but including two other famous names, Botticelli and Ghirlandiao) to create a series of frescoes on the walls, depicting the lives of Moses and Jesus.

Fast forward to 1508 and Pope Julius II is in charge (Julius was a relative of Sixtus: nepotism was another of Sixtus’s strong suits):

Pope Julius II

Julius commissioned Michelangelo to complete the decoration of the chapel by painting the ceiling, which he completed four years later in 1512. This was a project that changed the course of Western art and is rightly regarded as one of the crowning artistic accomplishments of human civilisation. Replete with biblical scenes,  stories and characters, the ceiling is a riotous collection of limbs and draperies, at first glance, and indeed a photo of the ceiling doesn’t really do it justice – but given time to appreciate (whilst not bumping into fellow tourists), it is an artistic tour de force that warrants its fame. Click on these images to expand; the first to spot the Creation of Adam wins a prize…

Zack Snyder’s 300 (2006)

Frank Miller is an American artist and writer of comic books and graphic novels such as The Dark Knight Returns, Sin City, and the inspiration for today’s blog, 300. I have not previously delved into the genre of the graphic novel, and actually I’m not today either because it’s the 2006 film of the same name by Zack Snyder, inspired by Miller’s story, that I am writing about. Nevertheless, the film is very much led by the graphic novel vibe and owes its stylistic rendering to Miller’s work.

300 is a fictional retelling of the Battle of Thermopylae in 480 BC between the invading Persian army and the Spartans during the Persian Wars. Some years ago, my family and I went on a driving holiday to Greece and along the way visited the sites of three ancient battles: Marathon, Plataea, and the mellifluously named Thermopylae, the “Hot Gates”. There’s a statue of the Spartan king Leonidas there, his fame resonating down the ages a full two and a half thousand years later (2502, at the time of writing, to be precise). The contemporaneous historian Herodotus wrote about Thermopylae in his Histories: how the Persian king Xerxes I and his army were held at the narrow pass at Thermopylae by a massively outnumbered unit of 300 Spartan soldiers. It’s history’s greatest last stand.

And boy, does the film take this idea and run with it! It is of course idealised out of any remote connection to reality, but this is its whole point: it is graphic novel in motion and is made specifically to be a feast for the eyes. It takes something that is the most brutal, pitiless conception imaginable – that of hand-to-hand, kill-or-be-killed combat with cold metal – and turns it into a ballet, a choreography of battle. Gerard Butler plays Leonidas and brings rousing leadership to its apex: the way he motivates his fighters to battle is up there with Braveheart and Henry V.

With a slight word of warning for those for whom mass battle is not their particular cup of tea, do otherwise watch this battle scene. It encapsulates the valour, the do-or-die spirit, the outright strength and discipline and fighting capability of these trained Spartan soldiers, and it does so, as I say, with a stylistically choreographed beauty that is equally wonderful and disturbing to behold. With the proviso that I would never wish myself in the midst of this scene in a million years (the blood runs cold at the thought), by God it’s thrilling to watch!

300

Leonard Rossiter as Rigsby in Rising Damp (1975)

We tend to think of seventies’ comedy as having failed the test of time and something perhaps best forgotten, due to our modern-day sensitivities regarding outdated cultural norms such as those around gender roles and race relations. Our minds conjure up such stark examples as Love Thy Neighbour and Mind Your Language, and cringe at their naivety, whilst the sight of white actors “blacking up” in It Ain’t Half Hot Mum would cause notable discomfort these days. But to disregard all seventies sitcoms on such a premise is to throw baby out with the bathwater, because in amongst the comedy TV shows from that decade are some absolute gems, and the best of them in my view was Rising Damp.

Rising Damp was written by Eric Chappell on the back of his 1973 stage play The Banana Box and ran between 1974 and 1978, starring Leonard Rossiter, Frances de la Tour, Richard Beckinsale and Don Warrington. Rossiter plays Rigsby, the miserly landlord of a run-down Victorian townhouse who rents out his shabby bedsits to a variety of tenants: Beckinsale plays Alan, a long-haired and good-natured medical student; Frances de la Tour plays Ruth (Miss Jones), the whimsical spinster with whom Rigsby is in love; and Warrington plays the recent arrival Philip Smith, also a student and apparently the son of an African chief. As a black man, Philip initially brings out the knee-jerk suspicions of Rigsby; however, the landlord quickly accepts his new tenant and henceforth regards him with a wary respect borne of Philip’s intelligence and sophisticated manners (something not lost on Miss Jones either).

The characters were fully-formed from day one due to the fact that three of the principal actors had already honed their characters in the stage play (only Beckinsale was new to the role). The dialogue is brilliantly conceived and delivered by the actors with aplomb: their timing is superb, and in Rigsby, of course, we have one of the greatest comedy characters of all time. Watch him here as Alan and Philip tease him about women and the “erogenous zones”, that newly popularised term made possible by the rise of the “permissive society”. Priceless.

Rising Damp cast

Pink Floyd’s The Dark Side Of The Moon (1973)

Readers of my generation may recognise the following common social trope from teenage gatherings and house parties. As music plays, ring-pulls are released from cans of lager, and friendly banter fills the room, in a dim-lit corner, a long-haired layabout is skinning up a joint on the nearest album cover, which always seems to be Pink Floyd’s The Dark Side of the Moon. It perhaps wasn’t always The Dark Side of the Moon, but as a meme it fits pretty well into this snapshot of thematic memory. Mind you, in the era I was attending teenage gatherings, at the start of the eighties, the album was already getting quite old (it had been released in 1973) but it had turned into an enduring and perpetually high-selling album that everyone (the lads anyway) seemed to relate to.

It was the Floyd’s eighth studio album, conceived and developed over years as a concept album exploring varied themes such as conflict, greed, time, death and mental illness, and largely inspired by the band’s arduous lifestyle and the growing mental health problems suffered by former band member Syd Barrett (who left the group in 1968). Primarily developed during live performances, the band added new material during two sessions in 1972 and 1973 at Abbey Road Studios in London.

It’s highly experimental: the group incorporated multitrack recording, tape loops, analogue synthesisers, and snippets from interviews with the band’s road crew and various philosophical quotations. The engineer was Alan Parsons, and he was responsible for much of the sonic feel to the album (not least by recruiting the singer Clare Torry, who appears on The Great Gig in the Sky). It works extraordinarily well, as a whole as much as its individual parts. This actually takes me back to another teenage meme, that of bodies lying around a darkened room, in a pleasant fug, and listening to the album in its entirety.

Here’s the intro to the album put effectively to video by a fan (credit: Marc-André Ranger)…enjoy! Now, where are those Rizlas?

Pink Floyd
The iconic album cover, by Storm Thorgerson

Robert Donat in Goodbye, Mr. Chips (1939)

Some months ago here at OGOTS Towers, in a piece on Walt Whitman’s O Captain! My Captain (see here), we looked at that wonderful role portrayed by Robin Williams in Dead Poets Society: the uber-inspirational teacher, John Keating. Well, this week we’re looking at another stalwart of the fictional schoolroom, one Charles Edward Chipping AKA “Mr Chips”.

Goodbye, Mr. Chips is a 1939 romantic drama based on the 1934 novella of the same name by James Hilton. The film is about Mr Chipping (Robert Donat), a much-loved elderly school teacher at Brookfield public school, who looks back at his career and personal life over the decades. We learn about his rise through the teaching ranks, his friendship with German teacher Max Staefel (Paul Heinreid) and his tragically short marriage to Kathy (Greer Garson), who dies in childbirth along with their baby. From thereon in, Chips’ life is devoted exclusively to the school and he develops a rapport with generations of pupils, eventually teaching the sons and grandsons of many of his earlier pupils.

Although he ostensibly retires in 1914, Chips is soon enjoined to return as interim headmaster due to the shortage of teachers because of the Great War. During a bombing attack by a German Zeppelin, Chips insists that the boys keep on translating their Latin, and to the great amusement of his pupils, chooses the story of Julius Caesar’s battles against the Germanic tribes. Now there’s stiff upper lip!

As the war drags on though, every Sunday in chapel Chips reads aloud into the school’s Roll of Honour the names of the many former boys and teachers who have died in the war. It’s a poignant scene (that you can see below). Upon discovering that Max Staefel has died fighting on the German side, he reads out his name, too. “Funny reading his name out with the others, after all, he was an enemy”, says one schoolboy to another afterwards. “One of Chips’ ideas I suppose” his mate says, “he’s got lots of funny ideas like that”.

Chips retires permanently in 1918, but continues living nearby. He is on his deathbed in 1933 when he overhears his colleagues talking about him. He responds, “I thought I heard you say it was a pity – a pity I never had any children. But you’re wrong. I have! Thousands of them, thousands of them.. and all.. boys”.

Robert Donat as Mr Chips

Rudyard Kipling’s Rikki-Tikki-Tavi (1894)

As a child of the sixties, I was exposed to that great 1967 Disney classic, The Jungle Book; I remember being taken to the cinema to watch it and at the end, as the credits rolled, I begged to stay and watch Mowgli, Baloo and Shere Khan all over again (I seem to remember we’d been a bit late and missed the first few minutes so I built my justification upon that; it didn’t work). Meanwhile, at school, a copy of the book on which the film was based was a staple of the class bookcase: Rudyard Kipling’s The Jungle Book. Most of the short stories must have been read out to us at one time or another but one in particular stands out in my memory: the tale of Rikki-Tikki-Tavi.

Rikki-Tikki-Tavi, so named for his chattering vocal sounds, was a young Indian grey mongoose who befriends an English family residing in India. He gets to know the other creatures inhabiting the garden and is warned of the cobras Nag and Nagaina (names perhaps inspiring J K Rowling to choose, years later, the name Nagini for Voldemort’s snake), who are angered by the human family’s presence in their territory and seek to kill them

Accordingly, Nag enters the house’s bathroom before dawn to kill the humans, but Rikki attacks Nag from behind in the darkness. The ensuing struggle awakens the family, and the father kills Nag with a shotgun blast while Rikki bites down on the hood of the struggling male cobra. The grieving female snake Nagaina attempts revenge against the humans, cornering them as they have breakfast on a veranda, but again Rikki saves the day, pursuing Nagaina to her underground nest where an unseen final battle takes place. Rikki emerges triumphant from the hole, and dedicates his life to guarding the garden.

The stories in The Jungle Book were inspired in part by ancient Indian fable texts such as the Panchatantra and the Jataka tales, and indeed there is a similar mongoose and snake version of the Rikki-Tikki-Tavi story found in Book 5 of Panchatantra. Kipling’s “beast tales” were thus the revival of an old tradition, with Kipling’s own spin gleaned from his experiences growing up in India for the first five years of his life (and with a hearty dollop of abandonment issues, perhaps, after Kipling was sent back to England for an unhappy period, but that’s another story). Here are the opening lines to the story.

THIS is the story of the great war that Rikki-tikki-tavi fought single-handed, through the bath-rooms of the big bungalow in Segowlee cantonment. Darzee, the tailor-bird, helped him, and Chuchundra, the muskrat, who never comes out into the middle of the floor, but always creeps round by the wall, gave him advice; but Rikki-tikki did the real fighting.

He was a mongoose, rather like a little cat in his fur and his tail, but quite like a weasel in his head and his habits. His eyes and the end of his restless nose were pink; he could scratch himself anywhere he pleased, with any leg, front or back, that he chose to use; he could fluff up his tail till it looked like a bottle-brush, and his war-cry as he scuttled through the long grass, was: “Rikk-tikk-tikki-tikki-tchk!

One day, a high summer flood washed him out of the burrow where he lived with his father and mother, and carried him, kicking and clucking, down a roadside ditch. He found a little wisp of grass floating there, and clung to it till he lost his senses. When he revived, he was lying in the hot sun on the middle of a garden path, very draggled indeed, and a small boy was saying: “Here’s a dead mongoose. Let’s have a funeral.”

“No,” said his mother; “let’s take him in and dry him. Perhaps he isn’t really dead.”

They took him into the house, and a big man picked him up between his finger and thumb and said he was not dead but half choked; so they wrapped him in cotton-wool, and warmed him, and he opened his eyes and sneezed.

“Now,” said the big man (he was an Englishman who had just moved into the bungalow); “don’t frighten him, and we’ll see what he’ll do.”

It is the hardest thing in the world to frighten a mongoose, because he is eaten up from nose to tail with curiosity. The motto of all the mongoose family is, “Run and find out”; and Rikki-tikki was a true mongoose. He looked at the cotton-wool, decided that it was not good to eat, ran all round the table, sat up and put his fur in order, scratched himself, and jumped on the small boy’s shoulder.

“Don’t be frightened, Teddy,” said his father. “That’s his way of making friends.”

“Ouch! He’s tickling under my chin,” said Teddy.

Rikki-tikki looked down between the boy’s collar and neck, snuffed at his ear, and climbed down to the floor, where he sat rubbing his nose.

Rikki-Tikki-Tavi book cover
Rudyard Kipling

John Clare’s The Shepherd’s Calendar (1827)

Not everyone is an expert in Romantic poetry (and neither am I, though I concede I’m no slouch) but if I were to ask you to name “the big six” poets of the Romantic era (late 18th to mid-19th century), I bet you’d stand a fighting chance because they almost fall off the tongue: Wordsworth, Coleridge, Byron, Blake, Shelley, and Keats, right? There’s another poet from the era, however, who never rose to the majesty of the aforementioned giants, but who nonetheless is now regarded as a major talent: the “Northamptonshire Peasant Poet”, John Clare.

Unlike some of his contemporaries, John Clare didn’t have the wherewithal to lounge about on the Spanish Steps in Rome (Keats), swim the Hellespont (Byron), or swap ghost stories around the fire at a villa by Lake Geneva (Shelley…oh, and Byron again), because he spent his life as an agricultural labourer, potboy, and gardener, and never left the country.

Born in Helpston in Northamptonshire in 1793, John worked as a farm labourer with his father from being a young boy onwards. The farm and the nature permeating his surroundings provided his inspirations; this was where he found his voice and began writing poems and sonnets. In an attempt to stave off his parents’ eviction from their home, John offered his poems to a local bookseller, who in turn sent them off to the publishing firm who had already published the works of one John Keats. The rural aesthetic appealed and thus, these successful collections of poems were spawned: Poems Descriptive of Rural Life and Scenery, The Village Minstrel and Other Poems, The Rural Muse, and the collection I own: The Shepherd’s Calendar.

Whilst Clare’s earlier poems speak of the harmony and beauty of nature in the English countryside, his later work bemoans the great changes to the environment and society brought about by the Enclosure Acts. These wiped out a whole way of life by abolishing the open field system of agriculture which had been the way people farmed in England for centuries. The ownership of the common land was taken from them and the countryside was decimated as newly-unemployed country folk flowed into the towns to participate in the Industrial Revolution.

The hurt was deep, and in fact Clare found it increasingly difficult to cope with life, and he sadly descended into depression and mental illness, eventually spending many years in an asylum. Whilst there he wrote the poem I Am! which is a window into his mental struggles and a stark contrast to his hard-working but happy heyday. Here’s a poem from the latter period, Spring, with I Am! following…

Spring

Come, gentle Spring, and show thy varied greens
In woods, and fields, and meadows, by clear brooks;
Come, gentle Spring, and bring thy sweetest scenes,
Where peace, with solitude, the loveliest looks;
Where the blue unclouded sky
Spreads the sweetest canopy,
And Study wiser grows without her books.

Come hither, gentle May, and with thee bring
Flowers of all colours, and the wild briar rose;
Come in wind-floating drapery, and bring
Fragrance and bloom, that Nature’s love bestows–
Meadow pinks and columbines,
Kecksies white and eglantines,
And music of the bee that seeks the rose.

Come, gentle Spring, and bring thy choicest looks,
Thy bosom graced with flowers, thy face with smiles;
Come, gentle Spring, and trace thy wandering brooks,
Through meadow gates, o’er footpath crooked stiles;
Come in thy proud and best array,
April dews and flowers of May,
And singing birds that come where heaven smiles.

I Am!

I am—yet what I am none cares or knows;
My friends forsake me like a memory lost:
I am the self-consumer of my woes—
They rise and vanish in oblivious host,
Like shadows in love’s frenzied stifled throes
And yet I am, and live—like vapours tossed

Into the nothingness of scorn and noise,
Into the living sea of waking dreams,
Where there is neither sense of life or joys,
But the vast shipwreck of my life’s esteems;
Even the dearest that I loved the best
Are strange—nay, rather, stranger than the rest.

I long for scenes where man hath never trod
A place where woman never smiled or wept
There to abide with my Creator, God,
And sleep as I in childhood sweetly slept,
Untroubling and untroubled where I lie
The grass below—above the vaulted sky.

John Clare

James McNeill Whistler’s Arrangement in Grey and Black, No. 1 (1871)

With Mother’s Day imminent it seemed apposite to take a look at an image that has been enduringly associated with motherhood, particularly in the US, since the Victorian era: the famous Whistler’s Mother. James Abbott McNeill Whistler (1834-1903) was an American painter, based primarily in England, and a leading proponent of “art for art’s sake”, that credo which considered art to have intrinsic value quite separate from any moral or didactic function. He was all about tonal harmony and saw parallels between painting and music, even entitling many of his paintings as “arrangements”, “harmonies”, and “nocturnes” – his Whistler’s Mother is only colloquially so-called and was really called Arrangement in Grey and Black.

The subject of the painting is, unsurprisingly, Whistler’s mother, Anna McNeill Whistler, who was living with the artist in London at the time. The story goes that Anna Whistler was only acting as a substitute because the original model couldn’t make the sitting, and although Whistler had envisioned his model standing up, his mother was just too uncomfortable to pose upright for long periods of time so insisted on sitting down.

The work was shown at the 104th Exhibition of the Royal Academy of Art in London in 1872, after narrowly avoiding rejection by the Academy (a bone of contention for Whistler for many years after). It seems that all these weird ideas Whistler held about “arrangements” and so on just didn’t sit well with the stuffed shirts of the Academy, and they insisted on adding an explanatory adjunct, “Portrait of the Painter’s mother“, to Whistler’s title. Whistler eventually sold the painting, which was acquired in 1891 by Paris’s Musée du Luxembourg and  is now housed in the Musée d’Orsay.

In 1934, the US Post Office Department issued a stamp engraved with the portrait detail from Whistler’s Mother, bearing the slogan “In memory and in honor of the mothers of America”. In that spirit, this blog is written in memory and honour of my own lovely mum, and to mothers everywhere!

Whistler’s Mother

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