19 20 5655 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/311ec97bbe5977b7868d8948411e59a3.mp3 ed4835d55d92ad575364369443bab42f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:52:42 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Arrays and Faces Description An account of the resource Audio recording of a lecture given by Tutor Emeritus Phil LeCuyer on September 5, 2025 as part of the Dean’s Lecture & Concert Series. The Dean’s Office has provided this description of the event: "In this lecture arrays are contrasted to sequences as paradigms of thought. Sequences are based on causation. What are arrays based on? Several examples of arrays will be considered, including the human face. When viewed and understood as an array, what can a face tell us about being human?" Creator An entity primarily responsible for making the resource LeCuyer, Phillip Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2025-09-05 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Thought and thinking. Arrays. Genesis. Talmud. Maimonides, Moses, 1135-1204. Guide of the perplexed. Cezanne, Paul, 1839-1906. The card players. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_LeCuyerP_Arrays_and_Faces_2025-09-05 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/97ffcb53537aa508ce7e7dd395a20093.pdf 543a5bc6c2cc4a1799b3bb72ddc40e10 PDF Text Text SYMBOLIC HISTORY Through Sight and Sound 12. Ars Nova: 14th Century CHARLES G. BELL ST. JOHN'S COLLEGE SANTA FE, NEW MEXICO or 1260 CANYON ROAD SANTA FE, NEW MEXICO 87501 September 1995 Last Revised January ‘96 �Charles Greenleaf Bell, 1260 Canyon Rd., Santa Fe, NM 87501 SYMBOLIC HISTORY Through Sight and Sound 12. Ars Nova: 14th Century 1) 1a) Chinese, attributed to Li ch'eng 10th cent., but probably 11th cent., Buddhist Temple in the Mountains, detail of hanging scroll, Kansas City Same, closer detail of the Temple In Xanadu did Kubla Khan A stately pleasure-dome decree: Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea. Coleridge's Road to Xanadu led from Purchas' Pilgrimage through the "green and fountainous wilderness" of Bartram's Florida; but the actual journey to the Khan's summer palace at Shandu, north of Peking, was described by Marco Polo, with other marvels of the opulent East — tales for which the Venetians of 1300 called him "Marco Millione," fable-monger. The architecture of that China has largely perished, but pictures, from the 9th century down, display a space and atmosphere unparallelled in Dark Age Europe. 2) Spanish (Asturian), c. 845, exterior, Church of S. Miguel de Lillo Europe, shortly to transform the world, juts from the landmass of Asia and Africa (linked by racial migrations even to America) like the eye of a potato. And through the Dark Ages — as in this forest outpost of the Byzantine, a small 9th-century church near Oviedo, in the rim of Spain not quite conquered by the Moors — the geographical disproportion might equally have applied to the culture. 3) 9/2/95 Mexican, Totonac, before 9th cent., El Tajin (CGB '75) Ars Nova: 14 Century 1 �C.G. Bell Symbolic History Over how much of the globe were those the centuries of great temple-building civilizations: in Mexico the forest and upland cities whose offshoots would astonish Spanish conquerors, even after 600 years, when Europe had peaked to the Renaissance — here one of many pyramids at El Tajin, north of Vera Cruz. 4) Japanese, c. 749-60 (rebuilt c. 1700), Buddha Hall of Todai-Ji And all over Asia, religious houses, monasteries and abbeys, with gilded idols, as Marco Polo says, "in masterly style" — this from 8th-century Japan (rebuilt about 1700, after a fire), the Great Buddha Hall of Todai-Ji — a transplant from Tang China, like the silk painting and poetry, or the music of the bamboo flute. Music: 5) Shakuhachi played by Goro Yamaguchi, from "A Bell Ringing in the Empty Sky," Nonesuch 72025 (1/2 through) Chinese, c. 9th cent. (Tun-Huang), Kuan-yin leading a soul toward Paradise, British Museum, London From China, about the 9th century, Kuan-yin leading a soul toward paradise; 6) 6a) Japanese (Kamakura), 13th cent., The Descent of Amida, Kyoto, Zenrin Ji Same, detail ['95 video addition] from Japan, 13th, the mystical descent of Amida. (fade Shakuhachi, on low note) 7) Indian (Orissa), c 975 A.D., Mukteswara temple at Bhubaneswar Music: "Ritual for Attaining the Quality of Spiritual Adepts" (close), Mus. Anthol. of Orient, Tibet I (BM 30 L 2009) In the then Buddhist center of India, the Mukteswara temple at Bhubaneswar — with ritual music preserved in Tibet. 8) 8a) Cambodia, early 12th cent., Angkor Wat, Temple to Vishnu (or V8) Same, c. 1200, Buddha figures in former Vishnu shrine ['95 video addition] From the jungles of Cambodia, where the Kingdom of the Khmers rose toward the 12th century climax of Angkor... 9/2/95 Ars Nova: 14 Century 2 �C.G. Bell Symbolic History (fade Buddhist Ritual) 9) Mohammedan (Abbasid), 842-52, Minaret of the Great Mosque of Samarra; video uses V9, a wider view Or the power of Islam, spread at its height from the Indus through Spain, with its centuries of Moslem and Jewish lore: Avicenna on geology, precursing Leonardo by 500 years: Mountains may be due to two different causes. Either they result from upheavals of the earth's crust, such as might occur in violent earthquake; or they are the effect of water, which cutting for itself a new route, has denuded the valleys... (An argument still pursued in Goethe's Faust.) How these world glories overshadow 10) Asturian Spain, c. 845, interior, Santa Cristina de Lena, near Oviedo all Christian Europe could vault in its time of troubles — Music: Mozarabic, 9th cent., lst Lamentation, MHS 1584 the followers of Charlemagne barely holding out against Moors, Vikings, Magyars. Here an interior of another 9th-century church of Asturian Spain, with the Mozarabic chant which, as revived, can hardly be distinguished from Gregorian. (fade Lamentation) Who could have guessed the germinal force of that backward landmass, that potato's eye? 11) 11a) Norman French, c. 1151, Geoffrey Plantagenet tomb-plaque, Le Mans Cathedral; first, video detail of face, Va11 ['95 video addition] Same, upper half of the figure Yet from the first Crusade, the earliest reaching of Romanesque toward Gothic, the scale is tipped. 9/2/95 Ars Nova: 14 Century 3 �C.G. Bell Music: Symbolic History Richard Coeur-de-Lion, 1193, "Je nuns hons pris," AS 18 Through the enamel flattening of a tomb-plaque in Le Mans, Geoffrey Plantagenet draws the sword of redeemed heraldic self, the fleur-de-lys, the rampant lion — keen as the Trouvère cry of his grandson Richard Coeur-de-Lion from his Dürenstein captivity. a12 & 12) Arnolfo di Cambio, 1277, Statue of Charles I of Anjou, King of Sicily, Capitoline Museum, Rome; three-fourths and full-face views, with video detail of a12 [so 1995 video] (cut Richard Coeur-de-Lion) The earth-assertion is bolder by the Italy of Dante's youth: here, from his Valley of Princes, "colui dal maschio naso", Charles of Anjou, carved, 1277, by Arnolfo di Cambio, architect of the Cathedral of Florence. Thus from the close of Dante's De Monarchia: Twofold are the ends which unerring Providence has ordained for man: the bliss of this life, typified by the earthly Paradise, and the bliss of life eternal... And since none, or very few, can reach temporal happiness unless mankind enjoys the tranquility of peace... this must be the constant aim of him who guides the globe and whom we call the Roman Prince, in order that, on this threshing floor, mortals may exist free and in peace. As if the travels of Marco Polo had set the half-barbaric but exploratory West, already individual, outward, utopian, Va13) 13) 13a) V13b) 13c) Li Ti, c. 1150, Hunter Retuning in the Snow, whole (Iris) ['95 video revision] Same, a central detail Chinese, Yen Hui (Yuan), 13th cent., Taoist Immortal, in crippled beggar's body, sees himself taking the Sky Road, Kyoto, Japan ['95 video revision] Same, detail Chinese (Sung), 11th-12th cent., A goddess carried away on a Phoenix, Museum, Peking Music: 9/2/95 Shakuhachi, again "A Bell Ringing in the Empty Sky," near close, Nonesuch 72025 Ars Nova: 14 Century 4 �C.G. Bell Symbolic History against the continuance of an Eastern passive, meditational way, its roots coeval with the soul-search of the Greek and Alexandrian — the Tao Te Ching (CGB, from Waley): The way that can be told of is not an Unvarying Way... All things, however they flourish, return to the root from which they grew; This return to the root is called Quietness. Quietness is called submission to Fate... Only one who rids himself of desire sees the Essences... The ten thousand things are born of Being, but Being itself is born of Not-being... Therefore the sage arrives without going, Sees all without looking, Does nothing, yet achieves everything... (close Shakuhachi) The West as if created to revolutionize that Oriental transmission of quietist dream — 14) Dante Death Mask, 1321, one of three supposed copies, Palazzo Vecchio, Florence [or V14, wider view] down to the Victorian blatancy of Tennyson's claim: "Better fifty years of Europe than a cycle of Cathay." In all history two cities stand out as transformational, Athens and Florence; and while no maker can be isolated in such an interplay, Florentine Dante (of this alleged death mask) comes as close as any to world-center. 15) Michelino, 1465, Dante and his Book, Cathedral, Florence Thus the next century saw him, by the domed and towered town, guide to the eternal realms, Hell, Purgatory, the starry spheres, which his art has humanized, mediating the incarnate birth everywhere nascent in Gothic Christianity — a birth which reached at once toward Reformation and Renaissance. 16) German Gothic, 1290-98, Head of a Prophet, Strasbourg, W. Front The North was no less roused: Roger Bacon, 1271 — like the prophets of Strasbourg: 9/2/95 Ars Nova: 14 Century 5 �C.G. Bell Symbolic History More sins reign in these days than in any past age... The Holy See is torn by deceit and fraud... The new Orders, horribly decayed, follow lechery, gluttony, pride... Princes, barons, knights, oppress one another and the people with wars and exactions — the people more debased than tongue can tell... The ancient philosophers, though without quickening grace, lived incomparably better than we... Among the wise there is no doubt but that the church must be purged. Yet that lean monastic reproof a17) 17) 17a) Giovanni Pisano, 1302-10, Prophet from the Pulpit, Pisa (A of 17) Double: [A] Pisano, Prophet from the Pulpit, and [B] Bernini, 1620, Head of Neptune, detail, Victoria and Albert Museum, London Bernini: B of 17; while video has shown the Double, then A; again, Double, then B, detail swells in the Divine Comedy to such deliberate might as Giovanni Pisano gave the prophets of the Pisa pulpit (left) or the Pistoia inscription: Giovanni carved it, who does no empty works — born of Nicola but blessed with greater science — him Pisa bred and gave knowledge over things of sight. While Dante's Peter flames against his Church: Rapacious wolves dressed in the robes of shepherds Are seen from here in all the Christian pastures — Avenging wrath of God, how long, how long? (CGB) (Paradiso XXVII) No wonder the opening prophecy of a saving greyhound, VELTRO (V and U interchangeable) would seem a Lutheran anagram: LUTERO. And as Pisano's gesture of assertion points over 300 years to Bernini's conscious Baroque (right); so Dante's St. Peter has only to widen the bellows and open the stops of Milton's cloudier organ, to become in "Lycidas" that "Pilot of the Galilean Lake": He shook his Miter'd locks, and stern bespake, How well could I have spar'd for thee, young swain, Enow of such as for their bellies sake, Creep and intrude, and climb into the fold... 9/2/95 Ars Nova: 14 Century 6 �C.G. Bell Symbolic History Blind Mouthes! 18) Double: [A] Hellenistic, 1st cent. B.C., Medici Venus, Uffizi; and [B] G. Pisano 1302-10, Temperance, Pulpit, Pisa; + V detail of Double In Dante's Ulysses, recovery of the antique seeds the future: "And of our oars made wings for the mad flight." So Giovanni Pisano's Temperance (right) remakes the Classical Venus de Medici (left). "Instead of looking in the same direction as her body and thus affirming her existence in the present," Kenneth Clark writes in his book on The Nude, "she turns and looks upward over her shoulder toward the promised world of the future." Clark does not pursue how that sowing of negation raises a body of actual flesh and blood, energized by the unfolding of Christian paradox — as, in Weber and Tawney, Christendom hosts the Capitalism it condemns. a19 and 19) G. Pisano, c.1284-96, Sibyl (contrasting details of the head), Cathedral Museum, Siena It is somehow the hallmark of the Divine Comedy to give life-glory to what is theologically disclaimed: Paolo and Francesca, lashed on the dark wind — (compelling as Giovanni Pisano's Sibyl): When we read how the desired smile was kissed by such a lover, (Quando leggemmo il disiato riso/ esser baciato da cotanto amante), this one, who will never be parted from me, kissed my mouth all trembling (la bocca mi baciò tutto tremante.) The book became our gobetween; that day we read in it no further (quel giorno più non vi leggemmo avante). 1st 20) Norman French, 1195-99, Richard Coeur-de-Lion's Chateau Gaillard on the lower Seine Music: French, 13th cent., Dance, (Cape) AS 16 (A,2) When the blood of the North, northern poetry and dance, the chivalric castle — here Richard Coeur-de-Lion's Chateau Gaillard over the Seine — (fade French Dance) respond to the stimulus of Italy, Roman, Byzantine, Moorish — 9/2/95 Ars Nova: 14 Century 7 �C.G. Bell Symbolic History a21) Italian, c. 1240, Frederick II's Castel del Monte, Apulia, from a distance, over pine trees (CGB '84) 1st 21) Same, Castel del Monte, from closer (CGB,'84) Music: Italian, 14th cent., Lament of Tristan, AS-16 (B,2) they take the heightened torque of conscious mind and person: — the Castel del Monte, built for Frederick II fifty years later in Apulia — a pride like that to which Dante compares the giants who rim the pit of lowest hell and whom Jove still threatens when he thunders. Even the musical dance, in the Italian Lament of Tristan, 14th century, draws its passions to the formal contrast of supertonic against tonic phrase. (fade Lament of Tristan) 2nd 20) Music: 9/2/95 Chateau Gaillard, nearer view of 20, Again French, 13th cent., Dance Ars Nova: 14 Century 8 �C.G. Bell Symbolic History The French 13th-century dance has not a shadow of that consciousness. So too with plot. In the old French romance of "The Palfrey," the timeless is hardly stretched by human will. The knight does not scheme to get the rich vavasour's daughter, nor she to avoid the knight's uncle, her father's choice. It is the vavasour who requests the knight's horse to bear his daughter. In self-sacrifice the knight accedes. Moonrise misleads the bridal party; the horse, "with the will and guidance of God," brings the girl through dreamlike forests to the castle of her love. In that plot nothing is plotted. (close Estampie) 2nd 21) Again Castel del Monte, view of portal (CGB '84) A century later, in Boccaccio's "Falcon", also of a wealthy woman and a poor man, stellar chance admits the tug of will: Frederigo wills to sacrifice his falcon to his love; Madam Giovanna wills to marry him for his act. (close Lament of Tristan) 22) 22A) 22B) 22c) Double: [A] French Gothic, mid-13th cent., Shepherd from the Old Jubé, Chartres (CGB '80); and [B] G. Pisano, 1302-11, Musica, from the Pulpit, Cathedral of Pisa A of 22: Shepherd, Chartres; video: detail only B of 22: Musica, Pisa; video: detail only G. Pisano, c. 1312, Head of Temperance, from Margaret of Luxenbourg's Tomb, Priv. Collection (here video repeats the Double, 22) Such aesthetic form-shaping assimilates the Pastourelle of 13th-century France to the Italy of the "sweet new style." The French poem has the naive charm of the shepherd of the old Choir Screen at Chartres (left): Riding out the other day From Saint Quentin to Cambrai, I saw a shepherdess who stood, In a wood, Her color like the rose in May, Who sang: I have a true love Deft and gay, Though I am dark of hue. (CGB) En non Deu, J'ai bel ami, 9/2/95 Ars Nova: 14 Century 9 �C.G. Bell Symbolic History Cointe et joli, Tant soie je brunete. When Dante's friend Cavalcanti seized on the form, "In un boschetto trovai pastorella" ("In a small wood I found a shepherdess"), its passion sets a torch to the earthdenials where it burns: [Pound] She drew me on to a cool leafy place, Where I gat sight of every coloured blossom, And there I drank in so much summer sweetness It seemed Love's god connived at its completeness. Menommi sotto una freschetta foglia, La dov' io vidi fior d'ogni colore; E tanto vi sentio gioi' e dolzore, Che Dio d'Amor mi parve ivi vedere. Such arts of the profane have not survived, though flesh makes a related plea (right) in the smiling translucence of Giovanni Pisano. 23) 23a) Arnolfo di Cambio, c. 1281, Thirsty Old Woman, Perugia Giotto, 1306, Injustice, detail, Arena Chapel, Padua; + V closer detail Wherever the Gothic flame strikes, it kindles, in the timeless, a revelational realism — thus Arnolfo di Cambio's Old Woman from a fountain, unforgettable as Dante's swollen counterfeiter in the fever of dropsical thirst: You who pass by, pity the grief of Master Adam. I had what I desired in life; Now I crave a single drop of water. Always with me are the little streams That down their cool rills murmur to the Arno From the green summits of the Casentine, And parch me worse in memory than this fever. (CGB) In the polytonal modulations of Giovanni da Cascia, music, about 1320, explores such descriptive intensities: here the setting of a single word for gloomy thickets, "cupi" — thick as Dante's wood of suicides in the Inferno: "Non fronde verde, ma di color fosco;/ non rami schietti, ma nodosi e 'nvolti;/ non pomi v'eran, ma stecchi con tosco..." Music: 9/2/95 Giovanni da Cascia, c. 1320, from Per larghi prati, Phil 802904 Ars Nova: 14 Century (fade) 10 �C.G. Bell Symbolic History As these chords stretch a residually bare-fifth structure, a24) 24) Giotto, 1297-1300, St. Francis' Miraculous Spring, Upper Church, Assisi, especially the mountain background [cf. Va24 video revision, '95] Double: [A] Roman, c. 10 A.D.(?), Temple of Minerva, portico, Assisi; and [B] Giotto, 1300, Homage to St. Francis, Upper Church, Assisi the art of Giotto and his followers reaches for the basis of its earthly claim. Cennini's advice almost a century after this Giotto St. Francis — how to paint a mountain: set up a jagged rock in the studio and paint it large — reminds us that the very seeing of objects was suspended in the nominal (mountain is rock). Could Giotto's eyes have shown him the Augustan temple in the square of Assisi as slim and weightless as he has painted it, though he could walk every day under its actual brooding mass? How great, then, the recovery which Renaissance required. a25) 25) Giotto, 1297-1300, Christmas at Greccio, whole, Assisi; + V detail Same, Christmas at Greccio, closer detail of Cross Music: Again, Giovanni da Cascia, same passage, but starting earlier at "entrando" So with Dante's explanation of spots on the moon, where he invokes the strangest experiment with mirrors, to dismiss material cause in favor of an immediate and occult operation of God's virtue. Or Giotto's startling naturalism: the Greccio cross suspended against the sky, made surreal by the tensionless ring placed not where it should be, but where it will show, on the back side of the pole. a26) 26) 26a) Giotto, 1304-06, Marriage Feast at Cana, Scrovegni (Arena) Chapel, Padua; + V detail Double: details of a26 and 26a (video takes these singly, as shown) Giotto, 1304-26, Meeting at the Golden Gate, Scrovegni Chapel, Padua; + V detail Everywhere causal imagination lays hold of a world shrouded in faith acceptance. Why did they run out of wine at the Feast of Cana? Giotto's glutton answer (right) is as naively comic as Dante's Ciacco in Hell, or Belacqua dawdling and joking on the slopes of Purgatory. (close da Cascia) 9/2/95 Ars Nova: 14 Century 11 �C.G. Bell Symbolic History On the other hand, at the joyful meeting of Joachim and Anna before the Golden Gate of Jerusalem, it is from symbolic transreality that the hooded dark figure of Sibylline prophecy interrupts a delight from which Mary, with the sword that pierced her heart, would spring. 27) Giotto, 1304-06, Three Heads of Christ, from Scrovegni Chapel, Padua 27a, b, c) Same, right, left, and center details, separately Here, as in the pocket tragedies of Dante, a realism of Gothic suspension — what we can only call symbolic realism — drives a temporal wedge into the eternal kingdoms. The projection of person into creed, which marks these Christ-heads from Giotto's Padua Chapel — (left) from the hypnotic raising of Lazarus; (far right) lashing the moneychangers out of the temple; (center) the mystic removal from accusing Caiaphas: "Thou hast said" — no less attends Dante's passage "through an eternal place": his fury on the wrathful Styx: "I saw him so fanged by the muddy people, that still I thank and praise God for it." — his pity for the noble damned: "Are you here... Siete voi qui, ser Brunetto?" — up to the smiling peace of Piccarda, lost and found: "E'n la sua volontade è nostra pace." 28) 28a) Double: [A] Roman Christian, mid-3rd cent.(?), Resurrection of Lazarus, Catacombs of St. Callixtus, Rome; and [B] Giotto, 1304-06, Lazarus fresco, cropped, Scrovegni Chapel, Padua; + V single of A B of 28: Giotto, Lazarus fresco; + V detail In two treatments of the Raising of Lazarus, that heightening of drama looms (as in recorded masses our Solesmes-droned incipits break to polyphony — here the Tournai Creed). Music: Missa Tournai, c.1300-30, Credo, opening, SAWT 9517-A Ex (fade) On the left, the scene from the Catacombs of St. Calixtus (3rd century) dissolves classical outwardness in Gospel mystery: "If it were not so, I would have told you." But Giotto's Padua fresco, from which we have just detailed Christ's summoning face, in its bold grappling with the scripture ("Lord, by this time he stinks"), matches Dante's most startling encounters — Buonconte da Montefeltro, in Purgatory: 9/2/95 Ars Nova: 14 Century 12 �C.G. Bell Symbolic History 1'angel di Dio mi prese. . . God's angel took me; and a spirit of hell Cried: "You of heaven, with right do you rob me? You take this shadow to eternal weal For one small tear that defends him from me; But on his hulk I will work otherwise. (CGB) (So the charged sky, loosing floods, sweeps the corpse down the Arno.) 29) Double: [A] Irish, c. 800, Temptation of Christ, Book of Kells, Trinity College, Dublin, + V detail of single; and [B] Duccio, 1303-11, Temptation, from the Predella of the Maesta, Frick Collection, New York City; + V single In this pair, the Kells' Temptation of Christ, about 800 (left) offers a first emergence of drama from the Dark-Age symbolic and caligraphic; yet how could this cockroach Satan, this bodiless Lord of 9/2/95 Ars Nova: 14 Century 13 �C.G. Bell Symbolic History Flies, stage a real temptation? If we leap from that over 500 years, the Temptation from Duccio's Maesta (right) penetrates Sienese Byzantine (about 1305) with the already advancing spearhead of Giotto. Here the allegorical kingdoms of this world begin to spread themselves before the dramatic precursor of Milton's conscious Messiah. 30) Double: [A] S. Italian, c. 1260, Mosaic detail, Apse, Salerno Cathedral; and [B] Giotto, 1304-06, Wedding Procession, detail, Scrovegni Chapel, Padua; first double, then 30A and 30B, singles How truly Vasari saw Giotto as the turning point from Byzantine to the new nature and humanity. From the apse mosaic of Salerno Cathedral (left), we sample what he calls "that gross and incompetent age," inherited from the Greek and Roman fall: the great artists having died out... the few Greeks who survived, belonging to the old but not the Ancient world, could only trace outlines on a ground of color... Over and over again they produced figures in the same style... standing on tiptoe and staring as if possessed... as can be seen in every old church in all the cities of Italy. While, Giotto's Bridal Procession of the Virgin, in its melodious dignity of space, renews the wonder of Vasari's praise: And it was indeed miraculous that in those days Giotto could paint with such sublime grace, especially when we consider that he learned his art, so to speak, without any instructor. Though there is a liability in separating Gothic observation from the old Godpossession of supernatural forms. Giotto's miracle is his harmonization of the sacred — his deification of earth's beauty. 31) 31a) Triple: [A] S. German, c 1290, Queen Emma, Emmeramskirche, Regensburg (CGB '59); [B] Duccio, 1308-11, St. Catherine, from the Maesta, Museo del Duomo, Siena; and [C] Botticelli, 1483-85, Madonna of the Magnificat, detail, Uffizi, Florence Duccio, St Catherine, B of the triple 31 By 1300 the saintly queens of transalpine Gothic (this Emma of Regensburg, left) had brought the chivalric to such refinement as would sweeten through Duccio (center), 9/2/95 Ars Nova: 14 Century 14 �C.G. Bell Symbolic History the St. Catherine of his Maesta, about 1310 — as in poetry through Dante's Beatrice and Petrarch's Laura — toward the Simonetta Virgins of Botticelli (right). Thus Petrarch of Laura in Paradise: God's chosen angels and his spirits blest, Tenants of heaven, when my lady died, Came in sacred wonder to her side: "What light is this, what glory manifest?" (CGB) Like Dante, Petrarch makes his lost love an intercessor: Lady in bliss, pray that I may join you. 32) 32a) Giotto, 1306-10, Madonna Enthroned, Uffizi, Florence (CGB '59) From the same, Angel to the right (from CGB '59, Dante 32a; digital: both angels) Such, in Giotto's enthroned Madonna, is the rapturous fusion of earth and heaven, in a glorified art-body. Petrarch, at the last, would turn from love's idolatry to Christ alone ("no hope in any other" — "tu sai ben che 'n altrui non ò speranza"); but what would move Wyatt ("The long love that in my thought I harbor") and Surrey ("Swete is his death that takes his end by love") was that "worship of a mortal thing," which gives the Laura sonnets their incarnate sheen, as of Giotto's flower-bearing angels. 1st 33) 9/2/95 Giotto, 1304-08, Noli me tangere, from Resurrection, Arena Chapel, Padua Ars Nova: 14 Century 15 �C.G. Bell Symbolic History It was an evocation everywhere latent in the analogies of Gothic love. Chaucer's early elegy, The Book of the Duchess, draws its bowers of Zephyrus and Flora from the French Romance of the Rose: As thogh the erthe envye wolde To be gayer than the heven. By that suspension (as in Giotto's Christ and the Magdalen) precision floats in a mystery of suggetive mood — Chaucer's hound through the forest to the man in black, That sat and had yturned his bak To an ook, an huge tree. 1st 34) Simone Martini, c. 1340, Frontispiece of Petrarch's "Virgil," Ambrosiana, Milan; + V detail 34a) Giotto, 1304-06, Annunciation, double: half-figures of [A] Angel and [B] Virgin, Scrovegni Chapel, Padua (cf. whole-figure double, Dante 28) 2nd 33) Detail of 33, Giotto's "Noli me tangere" [video dwells on the above slide and this] 2nd 34) Detail of 34, Simone's Virgil (video skips this detail, used with 1st 34) 35) Ambrogio Lorenzetti, c 1340, St. Dorothy, Pinacoteca, Siena 35a) Same, close-up of face (cf. Mozart 8) [Note: video somewhat varies the placement of the above slides, 34-35a] Such veiled artistry reaches its height when Petrarch by the stream hears the voice of Laura. Perhaps Simone Martini, painting in Avignon this frontispiece for a Virgil commentary owned by Petrarch, his friend, best catches its illumination of nature [CGB]: If birds' lament, green leaves' or tendrils' stir To the soft sighing of the air of summer, Or through the wave-wash at the petalled shore Of a clear stream, crystal's liquid murmur Sound, where I sit bowed to the forest floor — Her, whom heaven showed and earth now covers, I see and hear and know, as if the power Of her live voice responded from afar: "Why do you spend yourslf before your years?" She asks in pity. "Or wherefore and for whom 9/2/95 Ars Nova: 14 Century 16 �C.G. Bell Symbolic History Pour the wasting river of your tears? You must not weep for me. My life became, Dying, eternal; and to eternal skies, The dark that seemed to close them cleared my eyes." Se lamentar augelli, o verdi fronde mover soavemente a l'aura estiva, o roco mormorar di lucide onde s'ode d'una fiorita e fresca riva, là v'io seggia d'amor pensoso e scriva; lei che '1 ciel ne mostrò, terra n'asconde, veggio et odo et intendo, ch'ancor viva di sì lontano a' sospir miei risponde: "Deh perché innanzi '1 tempo ti consume?" mi dice con pietate: "a che pur versi degli occhi tristi un doloroso fiume? Di me non pianger tu, che' miei dì fersi morendo eterni, e nell' eterno lume, quando mostrai de chiuder, gli occhi apersi." That dawn-in-Purgatory shimmer, as in Ambrogio Lorenzetti's Dorothy, music, too, marvellously parallels in the spectral equivocations Dante's friend Casella may have taught the "First Generation" of Petrarch's time. 36) Score: Jacobo da Bologna, c. 1340, "Lux purpurata radiis," last page (video: details only) The last page of Jacobo da Bologna's Lux exhibits the techniques. Next to last bar: the "double-leading-tone" chord: G#, C#, E, the sharped G leading to A, the sharped C to D, a bi-tonal suspension before the bare fifth close. (Music: last bars of the "Lux...") Such enigmatic minors, under rhythmic runs, with the syncopated pulses called hocquetus or "hiccough" (bar 55 and faster in 61 and 63) stamp the whole piece with the compelling search of Ars Nova; all are illustrated in the performance of this last page. (Music: same piece, last page - end) 37) 37a) 9/2/95 Simone Martini, 1325-26, Musicians from Knighting of St. Martin, Lower Church of St. Francis, Assisi Same, detail of heads Ars Nova: 14 Century 17 �C.G. Bell Symbolic History The piece, the rendition we require, could not be better exhibited than in the musicians Simone Martini paints in the Knighting of St. Martin — an expectance of gaiety in sadness, both dissolved in the bare-fifth distance of the eyes — as if de Van, Archimbaud, and Bonté had studied the fresco before they recorded in 1937 for L'Oisseau Lyre. Chaucer, too, had come, by Italian mediation, from the timeless immersion of The Book of the Duchess to the ambivalence of Pandarus: "I have a lusty wo, a joly sorrow"; the dramatic poignance of Troilus' speech to the moon: "Iwis, whan thow art horned newe,/ I shall be glad, if all the world be trewe". Let us hear the whole Jacobo da Bologna motet, moving from these musicians 1st 38) Simone Martini, 1333, Annunciation, double detail: [A] Angel and [B] Mary; Uffizi, Florence to Simone Martini's Annunciation, where the intended moods, as of Mary, may never be fathomed, yet imperatively advance the question. 2nd 37) Again, Simone Martini, Musicians, St. Martin Chapel, Assisi, top half Music: 2nd 38) 39) 39a) 40) 40a) 41) 41a) Jacobo da Bolgna, c. 1340, "Lux purpurata radiis," OL-2 Again, Simone Martini, Annunciation, central panel (CGB '59) Same, Angel, upper half, with lilies (CGB '59) Same, Virgin, upper half (vertical Alinari detail) Same, Angel, horizontal upper detail Same, Virgin, similar detail; for which the video uses V40a: Same, Virgin, vertical of the whole figure Same, Angel, vertical of the whole kneeling figure Same, the whole Altar, showing the frame [Note: in the above sequence, the video varies the order of slide images] (end Lux) European culture has evolved by circulation. When Sienese Simone went to Avignon, the current of Gothic that had quickened the Italian new art, flowed back to quicken the North, as Chaucer would learn from Dante, Petrarch, Boccaccio. 9/2/95 Ars Nova: 14 Century 18 �C.G. Bell 42) 42a) 42b) 42c) V42d) Symbolic History Double: [A] Taddeo Gaddi, 1332-38, Presentation of the Virgin, S. Croce, Florence; and [B] Pol de Limbourg, c.1416, Purification of the Virgin, Tres Riches Heures, Musée Condé, Chantilly Taddeo Gaddi, Presentation, A of 42 Pol de Limbourg, Purification, B of 42 Double ['95 insert]: [A] T. Gaddi, Drawing (after 42), Louvre, Paris; and [B] Pol de Limbourg, Purification, repeat of 42b Lorenzo Monoco, 1413, Adoration of the Magi, Predella of the Coronation of the Virgin, Uffizi, Florence ['95 insert] How far that Italy inspired the Burgundian, a comparison of Taddeo Gaddi's Presentation of the Virgin fresco, about 1335 (left). with Pol de Limbourg's miniature, about 1415, will imply. After Giotto's massive advance, his school seems almost to lose ground. Yet the imitative and softening continuance quietly confirms an observational base by which the style of 1400, all over Europe, would prepare for the next great natural thrust of Masaccio and the Van Eycks. So from Gaddi (perhaps through the drawing now in the Louvre ) the Giottesque livens to the Duc de Berry's Tres Riches Heures. From this International crest, the style-tide (as in music) was already returning to the Italy of Lorenzo Monaco, Gentile da Fabriano, Fra Angelico. a43) b43) 43) Taddeo Gaddi, 1332-38, Vault of Baroncelli Chapel, Santa Croce, Florence Romanesque, early 13th cent., Fresco of battle, simulating tapestry, Cathedral of Aquileia, near Trieste Taddeo Gaddi, 1332-38, Annunciation to the Shepherds, Santa Croce, Florence; + V detail Music: Solage, c. 1370(?), (Avignon), from Fumeux Fume, Seraphim SIC6092 (face 3) Two conquests seem related: in music, of expressive modulation (here 14thcentury Solage); in painting, of light through darkness. By the deceptive ease of words, 12th-century Chrestien had told how a thousand men in search of Erec rode toward Limors "in the moonlight shining clear"; as Dante later had touched the glowing mosques of Dis with prophetic chiaroscuro: "red as if come from fire... as you see in this low hell." 9/2/95 Ars Nova: 14 Century 19 �C.G. Bell Symbolic History But the first known art depiction is by Giotto's pupil, Taddeo Gaddi, a fresco of shepherds on the night ground lighted by an angel glowing in the sky to which Boccaccio's Latin Eclogue "Olympia" offers a radiant parallel: when the poet's lost daughter appears as a spirit, lighting the shepherds' cottage and refulgent wood: "Look, the beeches are untouched, the leaves luxuriant and hazels verdant in the flaming light." (end Solage) a44) 44) Piero della Francesca, 1452-59, Constantine's Vision, lower spread, San Francesco, Arezzo Same, whole; first, V detail of angel, from v44a ['95 video addition] Music: Ockeghem, 1475(?), Intemerata Dei Mater, close of lst section, (Munrow) Seraphim SIC 6104 (face 6) It was a magic the Renaissance would perfect (as Ockehgem the noble deepening of tessitura). Skipping Pol de Limbourg's Burgundian Gethsemene, with torches and a starry sky, we reach the Italian middle term, Piero della Francesca's 1455 Dream of Constantine. Vasari: Above every other consideration of skill and art is Piero's representation of Night, where he depicts an angel in flight, foreshortened with his head downwards, bringing the signs of victory to Constantine, who sleeps in his tent... as revealed in darkness by the angel's light. Through such imitation of nature (Vasari says) artists have reached "the perfection we see today." a45) 45) 45a) Raphael, 1513-14, St. Peter's Escape from Prison, Vatican, Rome; center & left of fresco; + V detail: angel, center Same: slide shows the whole; video returns to the left side (cf. V45) Same, left section, guards, moon on armor; + V lower detail Music: Josquin Des Prez, c. 1415(?), Huc me sydereo, opening, ARC 2533-360 Thus (contemporary with Josquin's motet of Christ's descent from the stars) Raphael, in the Vatican fresco of St. Peter's escape from prison, kindles on armor the 9/2/95 Ars Nova: 14 Century 20 �C.G. Bell Symbolic History gleam of torches and moon — a magic to which literature also would aspire: Spenser, when the Red Cross Knight goes into Errour's "darksome hole": his glistring armor made A little glooming light, much like a shade... a46) 46) (fade Josquin) Simone Martini, 1328, Guidoriccio, detail, Palazzo Publico, Siena Same fresco, whole (video gives the whole, then the detail) In the cities of Italy, freed by the decline of the Empire and the 1305 withdrawal of the Papacy to Avignon, we seek the terms of that first clear Western rush of spirit into time. At its core is the tension of new humanism and old faith. The same Simone Martini who curtained beauty in ritual gold, painted in the public hall of Siena the pride of Guidoriccio, an oriflamme of force, against the unvalidated bare expanse of Middle-earth. The same Petrarch who gave mystery to love, revived the heroic in his Latin poem Africa, was crowned Laureate in Rome, wrote the first patriotic ode of the modern West, a call to Cola di Rienzo to restore the empire to honor: a47) b47) 47) Simone Martini, 1325-26, St. Martin before Emperor Julian, Chapel of St. Martin, Lower Church, Assisi Same frescoes, detail of Emperor and Saint, from the Knighting of St. Martin Bonino da Campione, c. 1363-70, Tomb of Bernabò Visconti, Castello Sforzesco, Milan; + V detail For you, as for no other, fate unfurls The banner of its good, immortal fame: I say you have the power to redeem The noblest state that ever ruled the world. (CGB) In life as in art, this eruption of tonal vigor in the modal void prompts Petrarch's ambivalent cry (Phisicke against Fortune, Twyne translation, 1579): There is no warre woorse then this, no not civile warre: For that is between factions of citizens in the streetes of the cities, but this is fought within the minde, betweene the partes of the soule. 9/2/95 Ars Nova: 14 Century 21 �C.G. Bell Symbolic History Boccaccio also lived that strife, in which the claims of heaven and earth stood almost at parity. Even his De Casibus, written as a penance for the Decamerone, and to teach the vanity of earth, precurses Renaissance tragedy in its fall of the great (see Farnham): "The human mind has a fiery vigor, a celestial origin, an insatiable desire for glory." In Milan, the Visconti tomb mounts the mailed fist of power on the grave. 1st 48) Ambrogio Lorenzetti, 1337-40, Good Government in the Country, section to the left; Palazzo Publico, Siena In Petrarch's 1336 letter on the ascent of Mont Ventoux, the romance of man and nature — Leonardo, Goethe, Thoreau — pierces the Medieval. So in the vast panorama of Good Government in the Country by that Sienese painter-humanist, Ambrogio Lorenzetti, the Dimensional table unfolds, contending against spacelessness. 9/2/95 Ars Nova: 14 Century 22 �C.G. Bell 49) Symbolic History Chinese Buddhist, 8th cent., landscape from Queen Vaidehi's meditation at sunrise; Cave 172, Tun-huang, W. China Of course, from the silk route in the Asian highlands of West China, Buddhist frescoes from 600 years before might have staggered the Dark Age traveler with a preview of that space the West must search for. Though if Marco Polo had passed the cave-city of Tun Huang, he would surely have felt the quiet of all the East had refined from the Classical — 2nd 48) Again, Lorenzetti, Good Government in the Country, right (or V2nd 48) 2nd 48a) Same, Good Government, detail of wheat harvest; digital: left, moutains against the lunge of the embryonic West . So the often quoted yet still amazing passages of Petrarch's mountain climb: Nothing but the desire to see so conspicuous a height drew me on... There is a summit higher than all the others... I stood there almost benumbed, overwhelmed by a gale of wind and the wide and open view... Clouds were gathering below my feet... the Alps were frozen stiff and covered with snow... One could see the sea and the waves that break against Aigues Mortes... The Rhone River was directly under our eyes... But these are excerpts, wrenched from a frame of moral and Christian symbol: on the vanity of life, the waste of years; finally, as Augustine opened the Bible in the garden, Petrarch opens his Augustine to a page which admonishes against the climb itself: "And men go to admire high mountains, oceans, stars, and do not heed themselves." 2nd 49) Tun-huang, Landscape, whole, with Queen seated below Where Queen Vaidehi, imprisoned by her son, sits in meditation before a vision of the (now oxidized) rising sun — the whole outward realm mild inwardness. 50) 50a) 9/2/95 A. Lorenzetti, same, detail of party leaving the city gate A. Lorenzetti, c 1345(?), view of Castle and Lake, Museum, Siena Ars Nova: 14 Century 23 �C.G. Bell 50b) Symbolic History A.Lorenzetti, 1331, detail from St. Louis of Toulouse admitted to the Franciscans; frescoes in San Francesco, Siena In the foreground party leaving Lorenzetti's 1340 town, it is the actual which is contended for — to order the phenomenal by a rule of hand and mind. So in the search that would bring mathematical science out of theology and alchemy, Nicholas of Oresme, about the same time, was examining the Breadths of Forms, how rates of change can be graphed as curvatures: ...no two changes whereof one is uniform or uniformly non-uniform, while the other is uniformly non-uniformly non-uniform, are to one another in a rational proportion, since one is pictured by a rectilinear and the other by a curvilinear figure. Analytical geometry and calculus lurk in that insight of the backward West. It is the "Human Comedy" of Boccaccio, the Decameron, which exemplifies Ars Nova realism. In its plots of will and wit, reality sharpens the modes of the transreal: 51) 51a) 51b) Lorenzetti, 1337-40, Good Government in the City, whole, Palazzo Publico, Siena (video may vary the following details) Same, detail of a street, a Lady on a white horse Same, detail of buildings and meeting streets so too in Lorenzetti's Well-governed City. Boccaccio: under guise of confession and pure conscience, a lady makes a solemn friar her go-between, he ignorant of the matter... 9/2/95 Ars Nova: 14 Century 24 �C.G. Bell Symbolic History We must not ask how an attractive wife, left on her own when her husband is out of town, can need such a stratagem. From her balcony she admires, desires. Hardly a plot of wit if she could drop the man a note. She goes to a friar, his observed companion: "Father, tell your tall acquaintance, whatever his name, to let me alone. I scorn his solicitations." The friar summons his friend: "I have it from the lady, the rich merchant's wife: she can hardly stand on her balcony without your pestering her." The roused youth seeks the balcony, smiles. 52) 52a) Same, closer detail of the Lady on a horse Same, foreground center, detail of dancing ladies Back goes the lady, hot-foot, to the friar: "He has sent me this purse and girdle. Return it; I am not as he thinks." Her gift conveyed, a last move remains: "Holy father, I know not how he has learned that my husband is out of town, but last night he stole into my garden, climbed the tree to my bedroom window, so that I had to shut the casement. Either you stop him, or I tell my kinsmen." Once more the priest's rebuke: "Rake-hell! Because her husband's out of town, you climb the tree to her window." Night has only to fall for the puzzle-plot to be solved. 53) 53a & b) Anglo-French, c 1425, page of the Flood and Drunkeness of Noah, Bedford Book of Hours, British Museum, London Same, vintage and drinking below; Ark detail above As that ingenuity spreads north, it generates a fabliaux realism of nature under stylized devices (this Noah page from the Bedford Hours). In Chaucer's "Miller's Tale," the clerk, Nicholas, who sings to the psalter ("and Angelus ad Virginem he sang"), Music: English, c. 1300(?), Angelus ad virginem, RCA V LM-6016 (I,4) boards in the very house with Alisoun, and the carpenter-husband is so much at Osenay the two can frisk it as they please, Queynt-catching, holding by the haunch-bones: (fade 1voice opening) "Lover, love me all at once." (to 3-voice close) Why then that incredible device of Noah's flood, the great tubs hung in the attic for the night they all sleep there, until Nicholas and Alisoun descend for their pleasure; why the counter-plot of Absalon, jolly clerk pleading at the window: "Speak, sweet bird", until the hot coulter scalds Nicholas' tout — why, but that his screaming "Water!" may wake the cuckold as to the 9/2/95 Ars Nova: 14 Century 25 �C.G. Bell Symbolic History Biblical flood, to cut loose the tub and break his leg as he crashes through the floors? (end Angelus ad Virginem) a54) b54) 54) English Carving, c 1380(?), St.John the Baptist, Hereford Cathedral, from old Church of St. Nicholas, (CGB '84) English Gothic, 1220-60 (spire 1334), Cathedral, Salisbury (CGB '86) Same, the tower and spire (CGB '66) But in those last works of Chaucer, northern Gothic, having absorbed the Italian, stands on the threshold of 15th-century humanization. Two phases precede that fulness, the perfection of high Gothic, and the impact of Ars Nova. For High Gothic — with the close of a 1300 Motet to St. Thomas of Canterbury — we range Salisbury tower, Worcester nave, and a scene from the Douce Apocalypse. Music: 55) 56) English, c. 1300, from "Thomas gemma Canturiae," (Deller) Nonesuch H-71292 English, 12th-14th cent., Worcester Nave and Choir (CGB '74) English MS, c. 1265-70, Douce Apocalypse, p.58, Mystical Vintage, Bodleian Library, Oxford; + V detail (close Thomas motet) Into the lilting and linear sweetness of that Ars Antiqua, 57) French-Italian, c. 1343-47, Fish Pool, fresco, Papal Palace, Avignon Italian late-Gothic unmistakably drives. We pick it up from mid-14th century in an Avignon fresco (surely the Pope, like Chaucer's Franklin, "had many a bream and many a pike in stuwe"); while the Amen of an English Gloria asserts the new rhythms and double-leading-tones. 9/2/95 Ars Nova: 14 Century 26 �C.G. Bell Music: 58) Symbolic History English, c. 1370, Gloria, Amen, (Deller) from BGS 70680 Bohemian, c. 1350, Nativity from Vyssi Brod Altarpiece, National Gallery, Prague; video: detail only (close Gloria) (Here a Nativity from Prague.) As such vitality spreads over Europe, 1st 59) Master of the Rohan Hours, 1420(?), Portrait of Louis II of Anjou, Bibliotheque Nationale, Paris two trends appear, complementing the 1400 expansion of consciousness. One, of the court, points (like the works of Chaucer) to Renaissance; 1st 60) Master Bertram, 1379-83, Creation of Animals, Panel from the Grabow (or St. Peter’s) Altarpiece, Kunsthalle, Hamburg; video: detail only the other, of the people, points (like Langland's Piers Plowman) toward Reformation. Both feature in Froissart's History. 2nd 59) French, c 1360, Portrait of John the Good, Louvre, Paris This 1360 portrait of John the Good of France suggests, in Froissart, the preRenaissance ruler, Count Gaston de Foix, who combines Frederick II's political boldness with the devotions of a faithful son of the Church. "More gallant deeds of arms," he says, "have been performed within these last forty years, and more wonderful things have happened, than for three hundred years before." 2nd 60) Master Bertram, same alterpiece, Rest on the Flight to Egypt, Kunsthalle, Hamburg; + V detail While all over northern Europe, the humbler religious arts (here Meister Bertram, 1379) draw from Gothic itself the simple humanity and active piety which spoke in the Peasants' Revolt in England, 1381. "The mischief," says Froissart, "was all through the too great comfort of the commonality." 9/2/95 Ars Nova: 14 Century 27 �C.G. Bell Symbolic History A crazy priest of Kent, John Ball, excited crowds in the market place: "My good friends, matters cannot go well in England until all things shall be in common. Are we not all descended from Adam and Eve? Yet by our labor they support themselves in pomp... We must ourselves seek to amend our condition. a61) 61) a62) Le Mans, 14th-15th cent., South Transept with window (CGB '74) French Gothic, early 14th cent., Rose and Lancets of North Transept, Amiens Amiens, 14th-15th cent., South Transept, with window (CGB '76) Music: Ars Nova (French?), c. 1320, Opening of Gloria, Messe de Tournai, SAWT-9517 The change to the 14th century is least felt in architecture — that high Gothic soaring over town-center hard to supercede. Though construction went on, and transepts especially, at Beauvais, Le Mans, this north window at Amiens, display a lighter openness a bolder filigree. In music, the Gloria of the Tournai Mass about 1320, initiates that brilliance. (fade Tournai Gloria) But the masterpiece of French Ars Nova is the Mass Guillaume de Machault wrote late in life (some like to think for the 1364 Coronation of Charles V — 62) a63) 63) Albi, Southern France, 1282-1365, Cathedral interior (painted 1500-10) Hannequin de Bruges and Nicholas Battaille, c. 1373-81, Apocalypse Tapestries, 41st scene, Chateau d'Angers, France Same, detail of the 7-headed beast about when this vaulting of Albi was carried through in Italian Gothic — its polychrome completed after 1500). Machault too had learned from Italy, as from the French Ars Nova of de Vitry. His Mass thews the organa of Notre Dame with the rhythm of quavers against wholes, and with that double-leading-tone chord, by which the entire Credo is fiercely punctuated — its cadences, as in Jacobo da Bologna, a bi-tonal homing-in on both tonic and dominant (here Deller). Music: Machault, c. 1364(?), Mass, from Credo "Et in unum... saecula", (Deller) BG-LM 1 SD (fade Deller) Stirring, with the isorythmic acerbities so stressed in De Van's older recording, to associate the Apocalypse tapestries of Angers, late-Gothic at its most forceful, hung 9/2/95 Ars Nova: 14 Century 28 �C.G. Bell Symbolic History between two realities — medieval symbol blazoning the art-force of concrete Rebirth. Thus the tremendous Amen which closes the Creed. a64) 64) 64a) a65) 65) Same Angers school, Angel from an Apocalypse, Palace of the Legion of Honor, San Francisco, California Again Hannequin and Battaille, Fall of Jericho, Angers Angers Tapestries continued, Fall of Fire Same, St.John and beast, left detail of 65 to follow Same, St. John, Beast and Woman, whole Music: Va66) 66) Guillaume de Machault, Messe de Notre Dame, close of Credo, (De Van) AS-3 (end De Van) Video pans first to the Woman, from right side of 65 Double: [A] Angers Tapestries, from 65, closer detail of the Woman; and [B] Franco Flemish, c. 1400, Crescent Madonna, from Philip the Bold's Prayer Book, Brussels; + video 66B, and slide, 66A) Yet the designer Bondol, who so far sacrificed softness to Apocalyptic strength, was, like Machault, in touch with that other advance of late Gothic. So his Virgin seated on the moon and crowned with stars (left) slightly yields to the Flamboyant grace which by 1400 would perfect a flower-ultimate: this Crescent Madonna (right) from the Prayer Book of Philip the Bold. Thus even Machault's driving Creed relents for the "Ex Maria Virgine." Music: Machault, Mass, cont., Ex Maria, from Credo, AS-3 (fade) Indeed, this Gothic Mass, in a contrasting performance by the lyrical Cape group, lures to that other pole — 9/2/95 Ars Nova: 14 Century 29 �C.G. Bell 67) Symbolic History Giottino(?), c. 1360, Pieta Uffizi (CGB '59); video: close detail only the rich humanization of mood flowing from 1360 Florence 68) French late-Gothic, c. 1375, from Altar Frontal of Narbonne, Pieta and Harrowing of Hell, Louvre, Paris and generating in many northern centers (here the altar frontal of Narbonne), a passionate harmony of God in the world. Such is the homely wonder by which, in Langland's Vision, Piers the Plowman becomes Christ, Come with a cross before the common people. And right like in all limbs to our Lord Jesu. 2nd 67) Again, Giottino, Pieta, central section (CGB '59); first, video of the whole, from 1st 67 So the softer Machault: Music: Machault, Mass, lst Agnus, (Cape, etc.) ARC-3032 2nd 68) Again from Narbonne Frontal, detail of Pieta; video adds V66B 2nd 68a) Again, B of 66, Crescent Madonna ('95 insert) a69) Vb69) c69) 69) 69a) (end 1st Agnus) Bohemian, 1348 (completed in the 19th cent.), Karlstejn Castle, SW of Prague Same, interior, Chapel of the Holy Cross Master Theodoric, c. 1364, Church Father, Karlstejn Chapel Master Theodoric, c. 1363-65, Magi, detail of Mary and Child Same, closer detail of the face of Mary, Karlstejn Chapel In the visual arts, the center of that ripe Incarnation was probably the Prague into which the reformer Hus was born. The works Master Theodoric painted in the Holy Cross Chapel there just before 1365 seem, by their shadowing and touch of flesh, of a later date. Music: 9/2/95 Jan of Jenstejn, c. 1385, Decet huius cunctis horis, with Bourdon, (Deller) BG-680 (last 2 stanzas with Amen) (close) Ars Nova: 14 Century 30 �C.G. Bell Symbolic History Yet what they attest was happening all over Christian Europe: the timeless mystery was being reenacted in the immediacy of here and now. Thus, from the late century, this melodious sequence on the Visitation by Jan of Jenstejn, Archbishop of Prague, with improvised Bourdon, filling out the progressions of triadic chords. 70) 70a) Bohemian, c 1395, Limestone of St. Peter of Slivica, detail, National Gallery, Prague Same, detail of the face In this Bohemian Peter about 1395, by a nameless master, we have quietly turned — within faith itself — from the hierarchic severity where Gothic began, to a kind of Brotherhood of the Common Life — that lay-community and school founded in the Low Countries about 1380, where Thomas à Kempis and Cusanus and Erasmus would be trained — a Christ Imitation as heartfelt as the words of John Hus from Constance: I entreat you, as touching the truth of God, which I did preach and write from the utterances of the saints, that ye cleave fast to it... I entreat the lords to show mercy unto the poor, and be righteous towards them. I entreat citizens to conduct their trade righteously... I entreat teachers that, leading godly lives, they may instruct their.pupils faithfully... I entreat you to love one another, to suffer not the good to be oppressed by violence, and to grant truth unto all... I have written this letter to you in prison in chains, awaiting on the morrow to be condemned to death, having full hope in God, that I may not swerve from the truth of God... In what gracious manner the Lord God is with me amid sore temptations, ye shall know when we meet in His presence in joy... We have come midway in the journey of the West. To sense the import of this threshold, we frame it in a sequence of heads — 71) 9/2/95 Carolingian (Swiss), 9th cent., Apostle from Johanneskirche, Müstair, Grisons Ars Nova: 14 Century 31 �C.G. Bell Symbolic History with musical closes, where the tonal dynamic mounts toward the assertion by which the West would revolutionize the world. And first, in seeming denial of what is to follow, the Gregorian cadence (Kyrie, 4th mode) avoids the tensile quest of tone-center, as this 9th-century apostle of Müstair dissolves all claims of earth and self in an aether of God-hope. Music: 72) Close of Kyrie III (Pentecost Mass), Solesmes, Decca 7543 French Gothic, c. 1260, Phillipe II (August) detail, Rheims Later Romanesque and Gothic launch the arrow of creative act: Thomas Aquinas: "This is the earthly goal of man... that upon the tablet of the soul the order of the universe and all its parts may be enrolled." In King Philippe II of Rheims, (13th century), as in Perotin's rhythmic organizing over stretched-out Gregorian, already, within the tightening of creed — its first viable road — the Western gold rush is on. Music: 73) Perotin, c. 1220(?), "Viderunt," close, lst Quadruplum, Rokseth Memorial Album, O.L. 230-31 Bonino da Campione, Barnabò visconti Tomb Milan, bust of 47 above So much so that sequent modifications seem mere changes of style — the 14thcentury defiance of Dante's heroes stretching the bounds of hell. Thus the doubleleading-tone cadences of Ars Nova, with this detail from the equestrian already seen, the armored Visconte of Milan. Music: 74) Gherardellus, c. 1350, Caccia, close (Cape etc.) ARC 3003 Donatello, 1447-53, Gattamelata, detail, Padua; video: head only By the 15th century of Donatello and of Dufay's Mass L'homme armé, the Armed Man, the fullness of incarnate self operates in a last Machiavellian cleavage — temporal giants emergent in the old creed. Music: Dufay, c. 1460(?), close of Hosannah, Messe "L'Homme armé," Ducretet-Thomson 320 c 108 That first assurance was insular. 9/2/95 Ars Nova: 14 Century 32 �C.G. Bell 75) Symbolic History Alesandro Vittoria, 1586, Bust of Doge Niccolo da Ponte, Seminario, Venice The Venetian, closing a tragic century of philosophic struggle and religious war, deploys its somber powers more vastly in the music of Gabrielli, the universal realism of the art of 1600. Music: 76) Giovanni Gabrielli, 1615, In Ecclesiis, close, Angel S-36443 Andreas Schlüter, 1704, Bust of Frederick II of Hesse, Schloss, Bad Homburg; video: detail only And still the proclamation would be, if not heightened, fleshed and inflated to the 1700 breaking point of heroic virtú: Schlüter's Elector of Hesse, with a tympanic ultimatum from Lully's Te Deum. Music: 77) Lully, c. 1670, Te Deum, close, London, DTL 93043 David D'Angers, 1838, Bonaparte, bronze, Angers Museum Even there the compulsive ardor did not peak, but rose, after the trough of 18thcentury manners and mockery, to the breaking wave on which the art, thought, and music of the time of Napoleon was borne — Music: 78) Beethoven, 1817-24, Ninth Symphony, Finale, close, (Weingartner) Col. SL-165 N. Korean, 1974, Opera photo: "Fate of a Self-defense Corps Member"; video: detail only a frenzy of expectation, of utopian demand, which would exorcise, by the export zeal of Marx, all over the East and rising Third World, the vestiges of ancient adherance — as in Malraux's La Condition humaine — the last opium dream of quietist refinement. 79) 79a) 9/2/95 Italian, 13th-14th cent., Towers of San Giminiano, through Fall trees, Tuscany; + V detail Another view of the same towered town Ars Nova: 14 Century 33 �C.G. Bell Symbolic History How the future kindles in the 1300 departures of Italy: — When the horn sounds, like Roland's, in Dante's Inferno — ...io senti' sonare un alto corno — and through the dusk the giants who stormed heaven seem, over the rim of lower hell, such towers as bristled all Italy then in the rivalry of pride (preserved in the fossilized city of San Giminiano, here through autumn leaves) as error fled, fear grew upon me... Like Montereggion of the twelve towers, rose, half-sunk in earth, the terrible Giants, whom Jupiter still threatens when he thunders — (CGB) torregiavan di mezzo la persona li orribili giganti cui minaccia Giove del cielo ancora quando tuona — San Giminiano, where Dante went as ambassador before he was banished — how it casts a time-shadow: Here and higher we have set our stamp All over the rock island of Manhattan. Prophetic as Petrarch's invoking God for his Italy: Saviour, hear my plea: By the pity that brought you down, Give this earth your care, Our blessed human shore; And may your truth here sound — Such as I am — through me. (CGB) 80) 80a) Bonino da Campione, mailed fist of Bernabò Visconte, close detail of the horseman of 46 Same statue, detail of horse and rider (after an intermediary video detail) It is less the mailed fist (the German word Faust) of the Visconti twice seen, than the spirit, energized over the polarity of the embodied Kingdom, the Word working in the world ("In the beginning was the Deed"). If that is the war of which Petrarch said there is no worse, what can we do but sing — Ars Nova — "Benedicamus Domino"? 9/2/95 Ars Nova: 14 Century 34 �C.G. Bell Music: 9/2/95 Symbolic History Italian, mid-14th cent., Benedicamus domino, beginning and end, SIC-6052 Ars Nova: 14 Century 35 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charles G. Bell's Symbolic History: Through Sight and Sound Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Description An account of the resource Scripts of Mr. Charles G. Bell's Symbolic History series. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 36 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ars Nova : 14th Century, Symbolic History, Part 12 Description An account of the resource Script of Part 12 of the Symbolic History series by Charles G. Bell. Creator An entity primarily responsible for making the resource Bell, Charles G. (Charles Greenleaf), 1916-2010 Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource [1988-1990] Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_BellC_Symbolic_History_Script_12_Ars_Nova--14th_Century Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/2405b81983962ea7400ffee0f1b368fe.jpg 5dea53d9adf82ed3a030ab48a8b7e43d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Identifier An unambiguous reference to the resource within a given context SJC-P-1124 Title A name given to the resource Arthur Kungle Jr. Presents Govenor Blair Lee III with an Offspring of the Liberty Tree while Rebecca Fine and Steve Edwards Look On Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1978-01-30 Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Lee, Blair III Kungle, Arthur Jr. Fine, Rebecca Edwards, Steve Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Alumni Liberty tree https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/dec2d57e20d6e180a3811d1f57f241cb.pdf 0923b73d561d5f8e0ad1f6b248a7b868 PDF Text Text AS by YOU LIKE IT WILLIAM SHAKESPEARE Directed by J. ROBERT DIETZ Set and Lighting by ROLF BEYER Music Arranged by RICK PELASARA Costumes by JOSEPH LEWIS Choreography by DONNA WELBY THE CAST DUKE SENIOR, exiled. . . . . . .......... DENNIS GROSSMAN DUKE FREDERICK, his brother ......... .RICHARD WIMTERSTEIN AMI EHS ) . , ,. _ . „ . ( JOHN GRAY JAQUE3) lc>rafl ^tending on Duke Senior. . ...... (^M SHARE LE BEAU, a courtier attcauinp, on Duke Frederick. . .DANIEL SZELAG CHARLES, a wrestler ..... . ........ . . . .PETER MAYER OLIVER ) e _. n . ,, „ ( RICHARD VERKON ORLANDO) 80nS °£Slr R°Wland dS B°yS ' ' • ' ' '(DANIEL GIULVEZAN ADAM, servant to Oliver. ............ .TIMOTHY JENKINS TOUCHSTONE, a clown. , ..... . . . . . . . . .KEVIN GILMARTIN CORIN ) (TIMOTHY JENKINS SILViUS) shepherds . . . . . . . . . . . . . . . ( JOHN GMY WILLIAM) ( PETER MAYER ROSALIND, daughter to Duke Senior. . . . . . . . .LESLIE FLANDERS CELIA, daughter to Duke Frederick ........... DQ^JA. WELBY PHOEBE, a shepherdess. . . . . . . . . . . . . . . .NANCY AREUSTO AUDREY, a country wench. ..... ... ...... JOYCE AUDLEY MISTRESS, to Duke Frederick. . . . . . . . . . . . .JACQUE BURTEN THE SCENE Oliver's Garden; Duke Frederick's Court; the Forest of Arden There Will Be One Intermission NATIONAL PLAYERS appears under the exclusivr Mrs. Edith Dappert Box 191 Delrnar, Hew York 12054 "-vagemcmt of �E C>l Pi t\™ nr ° OC o "-CM 3 •o > C 2o m ~1.2 ^•?1 «> ; .1 c U.I K The National Players present WILLIAM SHAKESPEARE'S you £ike It SPONSORED BY THE CARITAS SOCIETY OF ST. JOHN'S COLLEGE •A BENEFIT FOR THE SCHOLARSHIP FUND- RECEPTION REFRESHMENTS � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 2 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource As You Like it Date A point or period of time associated with an event in the lifecycle of the resource 1973-04-27 Identifier An unambiguous reference to the resource within a given context Bx2-12 Description An account of the resource Program and Ticket of the 1973 production of "As You Like It" Subject The topic of the resource Shakespeare, William, 1564-1616 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/91e10cd46e110e7cd7721a227a44a306.mp3 492b9be77965bbc93606f0d9031b2391 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data wav Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:01:23 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource At the Crossroads of the Cave: Plato and Heidegger on History and Nihilism Description An account of the resource Audio recording of a lecture delivered on November 17, 2017 by Gregory Fried as part of the Formal Lecture Series. Creator An entity primarily responsible for making the resource Fried, Gregory, 1961- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2017-11-17 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission make an audio recording of my lecture, and retain copies for circulation and archival preservation at the St. John's College Greenfield Library. Make an audio recording of my lecture available online. Make typescript copies of my lecture available for circulation and archival preservation at the St. John's College Greenfield Library. Make a copy of my typescript available online." Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Fried_Gregory_2017-11-17 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/337601e7d514481346be8a0089182b25.jpg edefbbdd9f281fc615921afb276fad16 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Resolution Resolution of the image in dpi. 300 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource At the retirement party for Eva Brann, the dean reads with surprise at a galley copy of her newest book, The Past-Present, delivered by tutor Pamela Kraus and designer Adrienne Rogers, 1997 Description An account of the resource At the retirement party for Eva Brann, the dean reads with surprise at a galley copy of her newest book, <em>The Past-Present</em>, delivered by tutor Pamela Kraus and designer Adrienne Rogers, 1997. Creator An entity primarily responsible for making the resource Harvey and Harvey Photographers Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, Md. Date A point or period of time associated with an event in the lifecycle of the resource 1997 Rights Information about rights held in and over the resource In copyright. Type The nature or genre of the resource still image Format The file format, physical medium, or dimensions of the resource jpg Subject The topic of the resource Brann, Eva T. H. Kraus, Pamela, 1945- Rogers, Adrienne Retirement Identifier An unambiguous reference to the resource within a given context COM-FAC-BRANN-P-0023 Deans Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/fdf76224d7534fb924b715c96430b3df.pdf 16dafb5633b3d3c11de8d5f717310c44 PDF Text Text Symbolic' C.G. Bell synfiOLiC' ^t^sTOJly TFi’rougFw SigFvt ancC SouncC 36. 1) Htomic Rge: [istow '-fH' / Frontiers Neio and Lost Tfioto of1946, ^Picasso ivitfi J^rjcmfoise QiCot, Cote (CS^zurjgprVpSetmCs- la)' ^S^Hit/-dtLai( Music: -j Charlie Parker (1920-55, Saxophonist & Composer), Bird Nest, from Jazztone LP ^ I'2,1^ Our search is infd the strange euphoria of the post-war world. With what release of spirit Picasso, after the immurement of oc­ cupied France (and as the saxophone harmonics of Charlie Parker, miraculous bird, sounded the rebirth of jazz), with what release Picasso moved to the Cote d'Azur with Frangoise Gilot, new mistress, then wife, for his storm-happiest years (until she broke off, with their two children in 1952). Though the tensions under all that liberation were to seize on one such sun-bathing day, when former model-love’ Dora Maar, also walking the beach, would drive a crucifying heel into the sleeping Fran9oise's outstretched hand. 2) (Picasso, 1946, La Hole (Ce Vivre, QritnaCdi Museum, LLntiBes;^ ^ cCetaU Had not jazz put off the old chord-norms of the hunjanist claim (music) for an energy as stripped to the radical as in nuclear* fire — all particles accelerated? So with Picasso's abstractioiis: whether of satyr delight, this Joie de Vivre, also of 1946; or the converse its bacchanal held in retrospection (music skip toward cicse) 3) (Picas0, 1944-43, Lhe CdarneC (House (Museum of Modem S4.rt (ETcfiiBition); + 1? detaU this oil and charcoal summary of world outrage. The Charnel House, from a year earlier — "painting," as Picasso said, "an instru­ ment of war," and, "In former times... a painting was the result of additions. For me, the painting is the result of destructions." (music) 7/1994 Atomic Age: Frontiers New and Lost 1 �. Bell Symbolic History So by the acid bath of jazz, ghetto squaloigy^, and Parker's addiction turn to rhythmic drive-, keen for the abandon of either Picasso extreme. It is the flame leap from "No" to "Yes," Existentialist Sartre: "Man is condemned to be free." (end Bird Nest) 4) Joseph Wright of T>er6y, 1775, J^ireworhs for the eUction of Tope Tins (Menen, (Cetait Trace that Chain-reaction of the West: as the 18th century veered toward Storm and Stress, Wright of Derby revelled in this papal firework. So Goethe, in the Elective Affinities would seal with a firework festival the fate of his balanced couple, Edward and Charlotte, now drawn like chemicals to Ottilie and the Captain: Rockets roared skyward, bombs thundered, fireballs traced the night, squibs coiled and crackled; there were spouting wheels of sparks...crossing and weaving together. Edward, whose heart was afire, fed eager eyes on the spectacle of flame. But to Ottilie's gentle and volatile spirit, this roaring and blinding birth and decay gave less pleasure than pain. 5) ‘Turner, 1834, ‘Bumin£ of the JCouses of TarCiament, Museum, of JLrt, ThiCacCeCphia; A,^detaiC Music: Liszf 1853, Sonata in B Minor, Allegro, near close, (Arrau) Philips 6500 043 ^ And when Turner, learning that the Houses of Parliament were ablaze (1834), passed the night in ecstatic sketching of that cata­ strophe, did not the storm-topographer of an England veering from Austen to the Brontes, also seal the fire-compact, as of Liszt's B Minor Sonata? 6) 6 a) ‘lurmr, 1834, (Burning of tfo SHouses of TarCiament, waurcoCor, 'Brittsfi Museum, on view at the Tate, London; +31^ detaiC Turner, 1835, The ‘Burning of the Jhouses cf TarCiament, CCeveCancC Museum of 7/1994 Atomic Age: Frontiers New and Lost 2 �.G. Bell Symbolic History But Listz s heavy chords, the spatial rhetoric of even the Turner sketches, bare the Promethean complicity, the half-god struggle of consciousness which J.H. Miller's Poets of Reality would make a postromantic syndrome, from Faust and Melville, through Conrad's Heart of Darkness: How many powers of darkness claimed him for their own... Never before did this land... river... jungle, the very arch, of the blazing sky, appear so impenetrable to human thought, so pitiless to human reason... through Yeats ^ of man. Ravening, raging and uprooting that he may come Into the desolation of reality... down to Eliot: . . . De Bailhache, Fresca, Mrs. Cammel, whirled Beyond the circuit of the shuddering Bear In fractured atoms... T) Currier ancC Ives, 186S, J^aCC of ^Hicfimond, ‘llir£inia, fired By Confederate rioters; + detail Such Currier and Ives' attempt at the Civil War burning of Richmond — reaching in Faulkner's Absalom to the combustion of Sutpen's Hundred: The entire staircase was on fire. Yet they had to hold her... (Miss Coldfield)... clawing and biting at the two men who dragged her back and down the steps as the draft created by the open door seemed to explode like powder among the flames, as the whole lower hall vanished... Clyde... in that window from whi5h she must have been watching... for three months — the tragic gnome's face... against a... background of fire. -ut/kA (/ From such exsufflicate and blown surmises (that war of romantic values) 7/1994 Atomic Age: Frontiers New and Lost 3 �Symbolic .G. Bell 8) Japanese. (BuMfdstj !Heian, Znd ficUf of the 10th cent., iTii 86) Same, History J^ire-£uard.ian, William Carlos Williams seemed to have taken a direction as dia­ metrically opposed as, in art, that of the ancient Buddhist Fireguardians — this 10th century silk-painting from Kyoto. So William's "Burning the Christmas Greens" from about 1945, a time as serious as any for fire-death poems, yet when all that unmistakably symbolic Christmas foliage — "Green is a solace/ a promise of peace.../ those sure abutments" — roars into "a landscape of flame," "a world! Black/ mountains, black and red.../ ...and ash white/" — "in/ that instant," we break (as Williams, in the college crisis of which long after he would write Marianne Moore, must have broken, from programmatic morality and swelling utterance into the "inner security" of "despair... I resigned, I gave up") so in the poem, by a leap of sheer immediacy, we break: breathless to be witnesses, - as if we stood ourselves refreshed among the shining fauna of that fire. How do the arts of our century attest that transformation? 9) Miro^ 1917, The 9dan in pyjamas, CoTection of Mr. and Mrs. SanrneC Mono Chicago, IL; + V detail Music: Bartok, 1917, from 1st Movement, 2nd Quartet (2nd forte passage) Concert Disk CS-501, Rec. I, Side 2 Consider — with three excerpts from the quartets of Bartok — Miro"^ early, middle, late. 1917, Man in Pajamas, a First-War attack in the mood of Kafka and with the weapons of Van Gogh, Expressionist, Fauve. From the same year, Bartok's Second Quartet twists com­ parable dissonances. (fade Bartok 2nd Quartet) 7/1994 Atomic Age: Frontiers New and Lost 4 �Symbolic 10) History / Miro, 1924, iHaumity, CoCUction of ^CamC(Penrose, Lon(Con<^V<U^ ".hoS^rtefcS-So", Rec"?re"‘ By 1924 Dada and the Surreal have led Miro into a shorthand of ironic play: Maternity - left and above, the mother’s haired head; right and below, a skirt-pelvis with a displaced hole; two children, as m Charity, a bald male below at a profile breast; above, a girl with hair, at a breast full-view — these elements tied with Calligraphic wire, the vertical, crossing a pluck like a floating worm. In Bartok of the 1920's, the Pizzicato from the 4th Quartet seems to distill such cleverness. 11) (Mtro, 1960, r[Ee!P^(C (Disl^ CoCCection of Mr. and Mrs. Victor (KCam, Off 11a) Same, (P^d'Dis!^ detail; witH various video details Music: Bartok 1939, from the last Movement of the 6th String Quartet, Bartok barely lived into the Post war; but his Sixth String Quartet of 1939 (here from the closa) has already found in avantgarde the mythopoetic renewal of transcendental. And in this Mir(< Red Disk of 1960, Dada Rorschach is launched into an orbit of cosmic excitement, as of the death-birth explosion of a star. Here is the flame-tie to William Carlos Williams' effortless acceptance: as if we stood ourselves refreshed among the shining fauna of that fire. 12) ^laPe,182S-27, 'Dante drawings, Purgatory 27, Dante Before ententuj the fire, Mg-tionaC gallery of Victoria, MelBoume ; mZjL 12a) Same, Purgatory 27, detail; VUm More than a century before, Blake had hymned Regeneration y such blaze. Would he have found it strange that the Second World War, under deepening materialism and after the disillusions of the First, should grow so yeasty with the now mass ferment — as if 7/1994 Atomic Age: Frontiers New and Lost 5 �Symbolic G. Bell History this Tharmas-Dante, entering at the summit of Purgatory the liberating fire ("poi s'ascose nel foco che li affina"), were also for our charnel house a passage through the threefold sleep of vegetative Beulah into the fourfold kindling of creative desire? So N.O. Browns Ap.^n.t Death is furiously impelled, from its Resurrection close, toward the chapter sequences of what would become almost a Hippie Bible — T.nve's Bodv: beyond "Boundary," through "Fire" and Free­ dom" to the "Nothing" of Cage’s Silence. al3) Samie-C TaCrmr, c. 1829, In a Sfiorefiam garden, detail, 9/ietoria and MBert 9d.usenm, London 13) Same, Shoreham garden, rohoCe Music: Schubert, 1818, from Litaney auf das Fest aller Seelen, (Schwarzkopf) Angel 35023 And when in Palmer (before 1830) Blakean vision touches a Shoreham garden - as Schubert's "Ruhn in Frieden alle Seelen" loads the litany for the Feast of All Souls with sensuous promise: The kingdom of Love is within you — (^^de Schubert) 14) ‘Bonnard, 1946-47, SUmond Lree in Blossom, Odg-tionaC Oduseum of (Modem J4.rt, Baris 5 14 a) Same, Mmond Lree, detail; + various video details Music- Benjamin Britten, 1962, from War Rpquiam, near close, Decca MET 252-3 Again, it is strange, in the pure flame of Bonnard’s 1946 flowering Almond Tree, to open the curtains of war and Dachau searing to such a renewal, in the shimmering now of modernity. So the close of Britten’s War Requiem. Of 1962; so from St.-John Perse, the Seamarks (Amers) finished 1957, its austerity swayed to the groundswell of Blake and Whitman. ...We who perhaps one day shall die, proclaim man as immortal at the flaming heart of the instant. 7/1994 Atomic Age: Frontiers New and Lost 6 �Symbolic History .G. Bell - Vhomme immortel au foyer de Vinstant. Bu. in music we are confronted not only by an uP^-val m *e classical tradition, IS) SolCock. 1947, ^ Joslyn 14n Mu^euv, OmU 9(s6r<^ka, detail but by the fertile anomaly of jarz. where ^ Pnmitivi^m attested from Negroid to Pop received G!laxy, absorbing had moved into transcendental rapture, t Tobey’s white-writing in the cosmic unleashing of y Nature'" I am Nam ai.n in American poetry the visionary claim opens to t _2 Ginsburg’s 1955 banana dock and rusted locomotive, with the smogdried Sunflower of that child-affirming Sutra; Ig) Tun,' (mtH tfo ^ bollock 1949, r^otosrav^d taftiU palntwg Below) Lm, (KsmemBer 9, 19S9^^^^f‘tt _ We're not our skin of grime, bleak dusty imageless locomotive, were all beautiiu uolfen sunflowers inside, we're blessed by our own feed & golden hairy naked accomplishment-bodies growing imo mad black formal stmflowers in the so^ fef soied on by our eyes under the shadow of the mad mcoXte rYverbank' sunset Frisko hilly .mean evening sitdown vision. Yet who could forget that behind Pollock's star-cloud drips, 1933, Tainms, sam; and [Cj 1943, v j, Slpw CTort Cim;tvsasleaofl4.and'B,-rl-<~^ 17c) 4^ C of 17, ‘iollocfu SBe-'Wolf lay a violence abstracted (early 1930's, top) from his «^"‘To 7/1994 Atomic Age: Frontiers New and Lost 7 �Symbolic ^.G. Bell History totems) to the fury of the wartime She-Wolf (below, 1943)? Could the dance of galactic action sublimate such an explosion of self and __ (end Dancing in the Dark) 61 18) ^ — (DouSCe, ‘Ifwmas ^ Benton: [Si] 1917, StUC Life, 7ine SLrts, CoCumBus, and tB] 1938-39, Tersepfwne, Bita Benton, tKjinsas City^ ^ 18 a) Lfwtnas Benton, 1938, SusannaH and tfu BCders, BaCaee of tHe Legion of S{onoT, San Brancisco CSL Benton, of Pollock at art school; "not an exceptional student... incapable of drawing logical sequences. He couldn't be taught any­ thing" (Life. Nov.9, 1959) — Benton, who had begun in Paris, 1917 (left), with awkward abstraction, and then come round, as in this 1938-9 Persephone endangered by Gloomy Dis as farmer, to Amer­ ican scene (avant garde and reaction buffeting each other through the century like Dante's misers and spenders in the Fourth Circle of Hell: "Tieni!" and "BurlH") — Benton, staggered in age by the Ab­ stract Expressionist outbreak: "The art of today is the art of the 1920's, which we repudiated" (had not the 1940 jLife collection of American Painting pronounced: "The wave of French modernism had spent its force by late 1929"?) — Benton had voiced the pioneer myth where Pollock began: A windmill, a junkheap... a Rotarian in their American setting have more meaning to me than Notre Dame, the Parthenon, or the heroes of the ages. 19) BericCean (Ictynos, Bfiidias, etc), 447-32, Bartfienon from the BropyCaea, In ^his Preface and Essays (1853 and '65) Mathew Arnold blamed our poetry, from Shakespeare down, for sacrificing architec­ tonic order to a brilliance of impression, image, effect. It was the Greeks, he says, who understood "the poetical character of the action in itself... They regarded the whole; we regard the parts." So it was not our "poor, starved, fragmentary, inadequate creation," but criti7/19 94 Atomic Age: Frontiers New and Lost 8 �Symbolic .G. Bell History cism, that "disinterested endeavour to learn and propagate the best that is known and thought in the world," which must point to such epochs of affirming wholeness — though "we shall die in the wilderness." 20J ^fiidias, 477-32 ‘S.C, Parthenon, ‘East Eed-iment, H&ad of SeCene's 3{orse, ‘Britisd Masmm, London (CQ‘B '77) ‘1720a) Same, Eartfienon, ^rtd frieze, detaiC, foutfis witd sacrificiaC o?o SLcropoCis Museum. Mdens (C(fB '77) Selene's horse from the Parthenon keeps Olympian repose, even as he sinks, restive, with the moon-chariot, into the sea. It is easy to project Arnold backward to the Greeks — the 4th Ode of Sophocles’ Antigone (Fitts and Fitzgerald): She raced with young colts on the glittering hills And walked untrammeled in the open light: But in her marriage deathless Fate found means To build a tomb like yours for all her joy. Hard to apply him forward. allowed? What would he have condemned; what • If spirit builds against entropy, it is by complicity with flame, whether in Greek tragedy or the atomic West. a21) 621) c21) 21) EoCCocI^ 1948, Mfmder 1, Museum of Modem Sirt, 9^zu ‘ford^City Irisd MS., c. 800, ‘Bood^of f 34, detaiC, ‘Trinity CoCCe^e LiBrary, London Leonarda (^f^nci, 1498, SaCa deCCa S4sse, Sforza CastCe, MiCan ‘Dou6C^'^^Tdcd^l93S, Seared, Sydney Janis CoCCection, fordi and a21 Eodoedj MymSer 1 (UvV \d»A> 21a) Tlyain, 21J4, Eodoedf Seared And what if abstraction, fragmenting the wholeness Arnold desired, might purge the sickness he deplored — that private loss, become a laughter to the gods? What Arnold invoked is the oldest polarity of thought and perception — from Heraclitus to Plato, one and many, form and flux. 7/1994 Atomic Age: Frontiers New and Lost 9 �Symbolic History It was the field in which Pollock came to the breakthrough of his drips _ as if the interweaving line of the Book of Kells, of Leonar os branchings in the Sforzescb ceiling, had been seized on to compose a personal agony. Yet how could the triumphal abandon of ftat apo­ calyptic wallpaper, in euphoric balance from 1947 to 50 this significantly entitled "Number One," above), exorcise the frustratio it rooted in? Inaction would recur, with works of fiercer strugg e this "Search" (below), his last, before he challenged death on a dark road. Was the consuming passion of the New York school the simul taneous overthrow and mastery of form in flux? zz> Cezanm, c. 1860, muraC btubcape found under ■aaOfuper, Jos do ‘Bouff^ near SHTijen-Trovenu) Music: (CetaiC Mendelssohn, 1843 (Overture 1826), Midsummer Night’s Dream Cezanne, archetypal modern, began before 1860 with a classic^ commitment like Arnold's. This oil-mnral found under the wa paper in the las de Boufffev then being built by Cezanne s father, l«ans to the style the Carr^and Claude received from late Renais­ sance It was a love whic^ would affect music from Mendelssohn s Midsummer Night’s Dream Nocturne to our time. Zi) (lade Nocturne) Ceainm, 1867-70, Die Jdurda, TPoferilrt Qotkry, Uvtrooob + "l^dcUiU Music- Borodin, 1876, close of 1st Movement„2nd Symphony, MHS 4013 But Cezanne, through the ’sixties, countered the classical with as lurid a violence as any of the Russians — here from the First Movement of Borodin's Second Symphony. Would Arnold have heightened the condemnation he made of his own Empedocles, against a morbid distress, without catharsis, of which the representation is painful, not tragic? (®nd A eg 7/1994 Atomic Age: Frontiers New and Lost 10 �Symbolic 'G. Bell 24) History Cezanne, 1885-86, OvCont Sainte-Victdre, O^etropoCitan O^luseutn of Art, O^tv O^orli City; Music: Borodin^ 1876, Opening of Third Movement., 2nd Symphony, MHS 4013 Marvellous, how Impressionism, absorbed into Cezanne s ground of primitive force, houses the Poussin dream, but in a fabric of always more daring modernity. Surely the great calm paintings of the ’80's, this Mont Sainte-Victoire, confront Arnold with radical re­ covery of classical dignity. In music the third movement of the Borodin Second is at least comparably aimed; while the abstract imperative in fiction must have pushed Tolstoi to War and Peace, Melville to Mohv Dick and Billy BuddAndante) 25) Cezanne, 1904-06, 9^ont Sainte-Victoire, 9Qin^tmuseum, 'BaseC; A V fetaiC — Music: --------- Borodin, 1876, close of Fourth Movement, 2nd Symphony, MHS 4013 But Cezanne continued, up to the year of his death in 1906, the more shimmeringly cubistic analysis of Mont Samte-Victoire. In this rendition, perhaps his last, the dissolution of forms in a quilt of color binds flux itself into compositional patterns, startling as the new mathematics from Lobachevsky through Riemann, Dedekind, Cantor, Hilbert, to Russell and Whitehead. While the same Borodin Symphony moves^ in the last move­ ment toward a comparable suspension of tonality. aerobatics stirs euphoria. Already such Borodin) 26) BouBCe: Bicasso [A] 1895-96, first Covmunion, OvCtiseum Bi and [B] 1969, Largeffeads, QaC. Hipsenyart, Lucerne (zHde^^ 26a) Again, !g ^ u r of 26:Larye Heads Meanwhile, the 14-year-old Picasso had begun (1895) with this First Communion (left), against which we set from 73 years later (four years before the artist's death) an oil sketch called Large 7/1994 Atomic Age: Frontiers New and Lo 5 �Symbolic .G. Bell History Heads". Here the demolitions of world and art have come, in Nietzsche's phrase, "as ia cleansing wind" to the Romantic charnel house, blasting its sentimental verisimilitudes. After two wars, with totalitarianism, earth-rape and nuclear juggling paradox and indignity fuse in the death-life of energy. Would that tragic return have pleased or troubled the author of "Dover Beach ? / 2 7) J^ranz von Stuck c. 1900(?), Mcndsum, oU Suimiw. 27 a) same, ^ I Mahler, 1883-5, Lieder eines fahrendenden Gesellen (from the last: "Ich bin ausgegangen...") VOX PL9100 Music: For the clinging heart's miasma that wind had to clear away, let Franz von Stuck's "Evening Star," with Mahler's early Songs of a Wanderer," join the clandestine brew of Browning s Porphyria s Lover": And made her smooth white shoulder bare. And all her yellow hair displaced. And, stooping, made my cheek lie there — to curdle in Meredith's Modern Love: Ah what a dusty answer gets the soul When sick for certainties in this our life! Von Stuck's lighted house on the horizon (left) among trees, the stream albng which a wife (surely) and lover have walked to kiss in the glow of Venus — such visceral fullness as Mahler drew from Brahms and Bruckner — fills a bog of romantic identification, where (fa^® Mahler) tragedy drowns in wish and waste. 28) T>ou6U: [A] TicMsso, 1900, Lovers in the Street, ^^eum, (Mru^na; and f^B] ‘Brancusi, 1912, Lhe 9Qss, 9duseum, iPhiCadeCphia; + detam^ ^ ^ Music: 7/1994 Webern, 1913 (Pub.1924), Bagatelles 1 and 2, Opus 9, V-LM 2531 Atomic Age: Frontiers New and Lost 12 ^ ^ �Symbolic 'G. BeU History By 1900, in Picasso (left), the embrace shifts to a public street, shedding romantic resonances; nature, morality, poetic ideals — a detachment which, with Brancusi's 1912 Kiss, achieves physiochemical crystalization. Is this minimaiiy altered block of stone (right) carved in earnest, irony, or play? Snch indulgences have been erased So in Webern's 1913 Bagatelles, attenuation of melody and chord precludes the moods of Mahler. (end Bagatelles) / 2mCZ7) Z^mn, von StudiMemlstem, dctaif erj -fCc€<rue,>, Even O'Neil thought in Mourning Becomes Elegm "to see the transfiguring nobility of tragedy in as near the Greek sense as one can grasp it." Though his lacerations wind the gut out on a spoo . "staring into the sunlight with frozen eyes. 2nd: 28) S^ain of 28, 'Brancusi's !Kjss Here before the first World War, that feedback howl was damped. Though Arnold's Greek baby may have gone out with the bath. 29) 9kkn7r<mf^tlu^'iSS7,'Eden,Co(k^ofthcS^t 29a) Same, •EtUn. /etaiffWfcl tfaiu Music: '^-‘1 ^ Morton Feldman, 1968, from False Relationships and the Extended Ending, Composer Rec. Inc. SD 276 In the Post-war indeterminacies of graphic music — Morton Feldman's "False Relationships and the Extended Ending huge stained-canvas improvisations of Helen Frankenthaler, we find ourselves spaced out from the old human condition. If this 1957 Eden, by its love-garden title and playful "hundred-hundred calli­ graphy (is that God caught above, red-handed?), plays at passion passion's involvement has melted away — albeit in a world of cold war. Silent Spring, Korea, Viemam. (•b''® Feldman 30) Limoges 'EncrneC, c. 1200, fuUkr and Vancing Woman, from a CRat, •Sntish 9A.usamt, London 7/1994 Atomic Age: Frontiers New and Lost 13 �Symbolic 'G. Bell History 30 a) Same, S^iddter and ivonmn, detail Music: English, 13th cent., from Bryd one brere (at words), Sawt Q C n /I >rA FY In early Gothic, iconographic distance had been as automatic as the suspension of earthly loves in ascetic creed. Yet passion, (m this Limoges enamel of fiddling and dancing, or the English love song "Bird on the briar") burns through that denial with a flame sharper for its cowl of modality, bare intervals, the vacancy of yearning faces. Who could conceive at that remove the danger of romantic abandon. (fade Bryd one brere) 31) Tintoretto, 1SS7, Susanna and SCders, detaiC, 0<iinstfiistonscfies Oduseum, Music- Giovanni Gabrielli, c.1585(?), Canzona a 5 (New Ybrk Brass) In the Renaissance (here Tintoretto expansive celebration of flesh is held allegory, drama, myth, where the fires of raised and sublimated. The boundary with Giovanni Gabrielli) the in the transpersonalities of life and love can be at once condition for Shakespearean tragedy — Romeo and Juliet. Thou art not conquered; beauty's ensign yet Is crimson in thy lips and in thy cheeks... Antony and Cleopatra: Your crown's awry, ni mend it, and then play (fade Gabrielli) is that cleanness of combustion. fma-ecuA, 1S64, Taolo ami J^ramesca, ScfiMtgaCCay,^Cu^ (C§^ S9) 32) 32 a) Sam, francesaa, 7/1994 Atomic Age: Frontiers New and Lost 14 �Symbolic \G. Bell History Brahms, 1855-75, Piano Quartet in C Minor, Op.60, from 3rd Movement, Andante (Festival Quartet), RCA VLSC 233U Music: Past 1860, time of Brahms, even myth and legend—Dante s Paolo and Francesca: But tell me, at the time of the sweet sighs (al tempo de dolci sospiri) By what and how did love bring it about That you should know the dubious desires (i dubiosi desiri)? — even Dante's creed-suspended flame becomes, in this Feuerbach, a (fade Brahms) lure to adulterous loves. As that seduction sighs and writhes with Munch toward fin-desiecle — this love-death Madonna of orgasm, sheathed in a mantle of mummy-embryo and sperm — w^ are whelmed in Expressionistic paradox, that the abandoned cliniax of pain-passion is also its turn to symbolic alienation. Strindberg: (Playing with Fire) Daughter-in-law I will run away too! We shall die together! Friend (takes her in his arms...) Now we are lost!... Fire of hell that burns and parches all that was green and flowered! Ah! (They part and sit down again in their former chairs.) a34) (Picasso, 1932, Qirt at the (Mirror, detaiC, Museum of Modem Art, (hQCC 34) Same, §irC at the Mirror, whoCe In Picasso's 1932 Girl at a Mirror, those morbid loves are caught in a crystalline change, "pearls that were his eyes." What we are looking at must be model-mistress Marie Therese. How her belly swells with wish and pregnancy (though daughter Maia was not yet 7/1994 Atomic Age: Frontiers New and Lost 15 �Symbolic :G. Bell History conceived); but the old vulnerabilities are distilled into color-forms. The curtain has been drawn on the loading of the post-romantic bed. 3S) ‘WesseCtttann, 1967, Qreat Simerican 4198, WaCCTaf-^Kicfiartz Museum, After the Second War, in the always rising market for novelties, however corn-porny the pop-art titillation of Wesselmann's Great American Nude, number 98, mouth and tit disclaim the hunger of the femme fatale. Euphoric euthanasia! a36) 36) ford MaddoTC •Brown, 1837, 'Ta^ •four Son, Sir,' detaiC, fate qaUery, London Same, fakg^ four Son, Sir," wHoCe; i\^^l7cCose detail What had been intolerable in romantic pain, its arrogation to so much, when, on the scale of Oedipus or LeM.> it deserved so little. Ford Maddox Brown's 1857 protest "Take Your Son, Sir (womb-cloth, crass father reflected in the mother-haloing mirror) brings home. So Charles Bovary's bungling operation on the clubfoot (of the same years). He has cut the tendon and strapped the foot for straightening in his famous machine. The strethopode was writhing in hideous convulsions... the box was removed. ...the livid tumefaction spread over the leg, with blisters... whence there oozed a black liquid. a3 7) •EdvardMuncfi, 1883-86, fhe SietChM, detail, Motional gallery, Oslo 3 7) Same, •Tfie Siet Child, whole Gangrene, in fact, was spreading more and more. Hyppolyte looked at Bovary with eyes full of terror, sobbing: "When shall I get well?... How unfortunate I am!" The amputation follows: A heart-rending cry rose on the air. Bovary turned white to fainting... he listened to. the last cries of the 7/1994 Atomic Age: Frontiers New and Lost 16 �Symbolic fG. Bell History sufferer... like the far-off howling of some beast being slaughtered. Thirty years after that Flaubert, Munch, in The Sick Child, began with the lacerative heritage. 38) 'Edvard Oduncfi, 1940, 'Betzueen tde CCocf^ and tfie Bed, SeCf-Bortrait, OduncH Oduseum, Oslo; + V detaiC By Munch's 1940 Self Portrait, "Between the Clock and the Bed," a pain no less, goes almost funny-paper grotesque. So in Faulkner's As I Lav Dying, where Cash has broken his leg and the father has poured cement on it "to ease hit some," the scene, through the eyes, of a boy (Vardaman), turns to idiot laughter: Cash's leg and foot turned black. We held the lamp and looked at Cash's foot and leg where it was black. "Your foot Iboks like a nigger's foot. Cash," I said. a39) Francis Bacon, 1964, HlenTietta Moraes, detail, Ian Stoutz^r, London; + V^^^detail 39) !francis Bacon, 1964, (DouBCe Bortrait of Lucien Ifread and IfranliSiuerBacfi (artist's collection?); + detail "I reckon we'll have to bust it off," Pa said... They got the flatiron and the hammer. Dewey Dell held the lamp. They had to hit it hard. And then Cash went to sleep. "He's asleep now," I said. "It can't hurt him while he's sleep." Music; Stockhausen, 1961-65, from Momente, voices, instruments, etc.. Nonesuch H-71157/^nto 2nd record face) Though for Francis Bacon — this so-called double Portrait of Lucien Freud and Frank Auerbach (1964) — we should advance in literature (perhaps with Stockhausen's Noise Momente) to the most mutilated post-war extension of Faulkner's picaresque — Molloy. 7/1994 Atomic Age: Frontiers New and Lost 17 �:G. Bell Symbolic History Beckett's fiction of a crippled anti-hero — as germane as the new mathematics of fractals bridging, order and chaos, to the mauled flesh 40) CDouBCe: [Si] Ticasso, 1939, (Portrait of SaBartes as SpanisB. Qrandee, Jirtist's Collection; and.1(3] Ifrancis (Bacon, 1972, Sdf-(Portrait, (Jdar^orougB QaCCery, (Kszo forSi 40a) Single \r\.<LLX> (Bacon, Sdf Bacon singled out from the infinitely varied brilliance of Picasso (this 1939 Sabartes as Spanish grandee, left) — Bacon struggling through a lifetime, doggedly (as in his 1972 self-portrait, right), to hang the old carcass between abstraction and the pathos of touch — like Socrates, asked in the Parmenides if dung has an eternal form. 41) fronds (Bacon, 1964, (Cfiree figures in a (Ppom, fonds (dgtionaC d'Sirt Contemporain, (Paris; + f detail 41a) (Bacon, 19S4, fwo figures in Qrass, (Private ColCn, (Paris 4lB) (Bacon, 19S3, frvo figutes, (Private Collection, So from Beckett's Molloy. with one of Bacon's life-of-a-salesman triptychs: So you get up and go to your jnother, who thinks she is alive... But could I crawl, with my legs in such a state, and my trunk? And my head... Flat on my belly, using my crutches like grapnels, I plunged them ahead of me into the undergrowth, and when I felt they had a hold, I pulled myself forward by the wrists... And from time to time I said. Mother, to encourage me, I sup­ pose... The forest ended in a ditch...and it was in this ditch that I became aware of what had happened to me... I lapsed down to the bottom of the ditch... Molloy could stay where he happened to be. 42) (DouBle: [Si] (Picasso, 1940, Woman ‘Drejtng (Ker (Hair, (Museum of (Modem Sirt, (NfC; and [(B] fronds (Bacon, 1964, left detail of 41 (,cj 42a) (Bacon, 1973, friptydi, Sirtist's Collection (video: left detaUonly) 42B) (Bacon, 1946, (Painting, Museum of (Modem drt, (MfC 7/1994 Atomic Age: Frontiers New and Lost 18 �Symbolic ZG. Bell History For body too, it is on the bitterest malformations of Picasso (left: this 1940 Woman Dressing her Hair) that Bacon (right: detail) has seized. How far down both he and Beckett root the Existential claim: rMollov^ "deep down is my dwelling... somewhere between the mud and the scum." Even Beckett, Bacon, Stockhausen — in their agony — are post­ war equilibrists. (fade Stockhausen) 43) gentiCe cCa ifManoj 1423, O^tivity, Tr&cCeCCa, Uffizi, (A (Cg^B '48)vP^ d^&taiC ) ‘V43a) Same, detail of SHepHerds fmm^U'ffity Music: Brasart, c. AS 27-a 1420-30(?), from 0 Flos Fragrans, 2 ' near close, (Cape) How many centuries the arts of the West have been wooing and now breaking with Vala, Blake's luring goddess of Nature. After that action, what can reattachment signify? Consider Night. In Gentile da Fabriano and Brasart of the 1420's, how poignantly the Burgundian loves of earth harmonize Gothic mystery. (end Brasart) 44) Gossaert (9daBme), c. 1S12, S{yony in the garden, StaatCiehe 9dmeen, BerCin; detaiCs Music: Senfl, c. 1520(7), Asperges me, Domine, opening, MHS 1390 By the 16th century the wonders of the moonlit world, the enfleshed passions of man, have filled almost to plenum the old mysti­ cal realm. In what Mabuse drew from Leonardo, Senfl from Josquin (Asperges me — Cleanse me!), we approach a divide of spatial and humanist transformation. (fa^® Senfl) 43) ‘Fan di c. 163C Londonf^^detaiCs t Music: 7/1994 Buxtehude, c.1680(7), Viola da Gamba interlude from Solo Cantata, Jubilate, Lumen 32030, Side B Atomic Age: Frontiers New and Lost 19 �'.G. Bell Symbolic History With the 17th century (this Dutch Van der Near), with the cor­ poreal harmony of Buxtehude (a viola da gamba phrase from the antata Jubilate"), one cannot say the mystery has been annulled, hough miracle seems almost resolved; wonder has taken its seat in he moonlit expanse of nature itself, formulated, as by an experimen­ tal science — Milton: "And o're the dark her silver mantle threw." ^ c. lS20,^mats in the. Sjishes, freks ‘Deutsches Xochstift ^Franl^urt-am-Main; + ‘VcCetaiCs -nocnstijt, Music: Beethoven, 1826, Quartet 14, C-Sharp Minor op. 131 movement, midway, 2v etc., Columbia M5L 277 ' ’ is. Friedrich s night scene of swans in the rushes (about 1820) of which he said. "The divine is everywhere, even in a grain of sand’ Here depicted it for once in the rnshes" _ representation both maintains and etherealizes the phenomenal. Nothing in the music of tha time so disembodies harmony as the passage in the opening anasy of the C Sharp Minor Quartet, where Beethoven thins the fabric to a Renaissance-inspired polyphony of two and three. (fade Beethoven) 4 7) lBauCj(Cee, 193S, ‘WaCpurgis t%ht, ‘Tau QcUlery, London!^ cCetaik Music: Alban Berg 192^ from Lyric Suite, close of 4th movement agio, Deutsche Grammophon 5 LP Stereo 2713066, Rec. 5a ’ has fi^,!“* U content as flattened to the visionary, as in this "Walpurgis Night" - Baroque d Classical given over for inspired child-doodling. Marvellms w at related magic Alban Berg has brought from the 12-tone rows of the Lyric Suite, though with the twist of Between Wars. (fade Berg) of tH.-Hpthh.ot Music: 7/1994 Messiaen 1940, from Quartet for the End of Time 5 Louannc A lEternite de Jesus, Deutsche Grammophon St. 2531 093 ^ Atomic Age: Frontiers New and Lost 20 �Symbolic LG. Bell History Messiaen, in a 1940 prison camp, had already entered (under the designation "Quartet for the End of Time," here from the Move­ ment "Louange d VEterniti de Jesus") into the orbit of weightlessness — what, in Rothko a few years later, subsumes night and fire in colorfield voids — this Brown, Black, on Maroon — like Roethke's dark come-through: "Ye littles, lie more close"; and, "The right thing happens to the happy man." 49) 1793, "I toant, I zoant,’ gates ofTaracCise 9, ‘BritisH UvCusetim, London; ^details Take a theme — as central as any to the world action from the Age of Revolution through our Wars — let it be Blake's from The Gates of Paradise, 1793, a little engraving labeled "I want, I want" — a ladder through the night sky reaching to the moon. For all Blake's revolt from logic, this symbol of fallen desire is literal — the temporal folly of. an eternal delight. SO) Miro, 1926, ‘Do£ ^ar^ng at the OvCoon, Sduseum of Art, ThiCadeCphia; In Mir(^s 1926 Dog Barking at the Moon (though one thinks of course of the nursery rhyme about the cow and "The little dog laughed"), the surreal has cut loose from daytin^e moorings. Yet the rift between dream and waking still flexes consciousness to weird defiance, as symbolist-loaded as when atonality warred on tonality in the music of those years. Si) Qeorgia 0'J(g,^e,19S8, Ladder to the Moon, Artist's CoCCection;^^!^^e4!ai£^ Sla) Same, Ladde^^^mtaiC ^ has Of her "Ladder to the Moon," 1958, Georgia O'Keefe writes: At the Ranch house there is a strong handmade ladder to the roof and when I first lived there I climbed it several times a day to look at the world all 'round... One evening I was waiting for a friend and stood leaning against the ladder looking at the long dark line 7/1994 Atomic Age: Frontiers New and Lost 21 �Symbolic .G. Bell History of the Pedernal. The sky was a pale greenish blue, the high moon looking white in the evening sky. Painting the ladder had been in my mind for a long time and there it was — with the dark Pedernal and tlm high white moon all ready to be put down ■XU'v^Tc^ , Though she must have known the Blake and the Miro, her picture is as free of symbol or surreal tension, of any directive gravi­ tation, as if it existed in interstellar space. Of an abstraction so auto­ matic, what account can be given but hers of the visible; "I was leaning against the ladder... and saw it so"? More detached than William Carlos Williams "so much depends/ upon// a red wheel/ barrow// glazed with rain/ water// beside the white/ chickens.// Was that letting go enough? SZ) Soviet SLrt, Serov, 1937, Lenin's SLrrivaCin Tetrqgrad 1917, USS%^ Enough? even in Russia, that a society which had lived, for better or worse, through the embattled polemic of the thirties — in art, this Serov, of Lenin's 1917 arrival in Petrogrnd S3) Tiotr Ifomine, 196S, S{orses on the Coast, 'Le Mnsee 9(iisse, L7(hi6itwn should settle for Fomine’s 1965 contented horse realism of a coastal scene — happy days are here again? 54) Chinese Communist, c. 1947, Li Shva Woodcut, ^fCood of zvrath. Or' in China, that the Marxist "Flood of Wrath" Li Hwa climaxed in this 1947 woodcut, and which Malraux had seen in Man's Fate as drowning backward dreams 55) Worl^r Qouaches from SCuhsien County (Li Xf-ht-min), 19S8 ff,, TFe/ifTfigging, Snowy i%h.t,' (fine Sirts iPuS, fPehim; + should yield to the peasant gouaches from Huhsien County Well Digging on a Snowy Night — every personal concern put off for the cartoon smile of achieved togetherness? 7/1994 Atomic Age: Frontiers New and Lost 22 �Symbolic .G. Bell 56) History 'DouBU: [Rj ^andinskn, 1910, Mstract iMatercotor, Mrs. %fl.ndinski}, ^arisj aiuCtB] RrsfiiCe Qork^, 1945, OTte UnattainaBCe, Museum of 5lrt, (BaCtimore, MCD; + VcCetaiCs V ^ A' ^ One did not have to be a died-in-the-wool reactionary to wonder — when Archile ^orky, New York Armenian, in his 1945 "Unattainable," (right) restaged Kandinsky's first total abstraction of 1910 (left) — how the global search, shooting the rapids of two great wars, had come full circle to the glad frenzy of plucking the feathers off outwardness. Let fly! 57) (DouBCe: [51] Scfizvitters, 1920, iHair-naveC'Bicture, Lords QaCCery, London; and [CB] 5ig.usclienBer£, 1964, ^ftaCe, JosepH 5C. HCirs^m 57 a) giotto, 1297-99, (Detail offresco: Devils driven out of 5irezzo By St. francis. Upper CBurcfi, Ussisi 57B) J4£ainScfizvitter^5{air-naveC^(video: details only) 57c) Ayain, (BytiscBenBery 94lliale (video: detail only) Or when Rauschenberg's 1964 Whale Composition (right), with its ocean-bobbing space capsule, met Schwittei<^Hair-navel Picture v' from forty years before — to question such Dada stacking of the cards for the mass let-go of American Pop — "warmed over Schwitters.' Compare poetic nonsense. Dante had used it for the fury of Minos, hell guardian: "Papa Satan Aleppe," and again for Nimrod over lowest Hell: "Raphel may amech zabi £mi." But we have made more of Babel, from Morgenstern's early century "Laleu, lalou, laloo," through the same between-wars Schwitters — bee bill/ bii bell/ baa ball/ bimm bimm// bii bill/ bei bell/ baa ball/ bumm bumm// bemm bemm/ bumm bumm/ bimm bimm/ bemm bemm/// — to international claques of such, who, adding belches, smacks, and whistles, cluck the Art of Body-sounds. 7/1994 Atomic Age: Frontiers New and Lost 23 �•G. Bell 58) Symbolic History 5)ouBCe: [51] M. l^oBey, 1958, 5{awest, Marian W. jofinson, ^ ^ r , .. .. ------------- ---- ancC . + And when, in (1958, with no indication of directional influence, these granite mottlings would appear — left, an amber Harvest by Mark Tobey, child of Wisconsin and the Pacific; and right, French Dubuffet's gray Marmalade-Matter-Light — both as far as quantum mechanics from the emergent shapes of nature — what could one surmise, but that art-prophecy, in the globe-rounding of modern vision, had somehow closed on itself? Nietzsche: "Who stares into the void long enough, the void will stare back at him.'* 59) l^laCdmuCCer, c. 18^0, Spring in tfie Vienna Woods f!Kunst, voCume 75) 59 a) Same, Spring, detaiC; + V closer detaifs Music: Copland, 1944, Appalachian Spring (Ormandy) RCA LSC-3184, near close Yet who could believe that the romantic delights of bourgeois and Biedermeyer (this 1830 Waldmuller Spring in the Vienna Woods) could be revived -again in Between-and Post-War Americ^ ^ however the New Deal leaned that way; while Copland, who had begun with tough experiments, by the 1940's was harmonizing Appalachian Spring for those "soft ears" Ives had cried down. Could romantic cultivation be called valid, as long as endangered wood-lots remained for picnics and love-meetings? (fade Copland) a60) Qeorg 9(pCBe, c. 1936-38, 9{gjei ScuCptor, (Dancer, formerCy (Kronprinzen(PaCais, (BerCin; + V detaiC B60) l^xCoCf Wamper, c. 1938, VdCozvsfiip, from (Kunst, VoCume 81 60) Qeorg Scfirimpf, c. 1933F, Osterseen, from (Kunst, VoCume 69 V60a) (jrant Wood, 1930, Stone City, -lozua, JosCyn 5irt (Museum, OmaBa, Vfg-BrasBci (video returns to a detaiC of 60, Scfirimpf and then of B60, Wamper 60B) MitCer, Qoervng, etc. admiring 'fwnest Qerman art,' LITT., Oct 2, 1939 60 c) MitCer and MussoCini, 1938, In (fCorence Music: 7/1994 Richard Strauss, 1940-41, Capriccio, Overture, Angel 3580 C/L Atomic Age: Frontiers New and Lost 24 �Symbolic rG. Bell History Could one build on those cinder-cones of reaction — every­ where romantic nostalgias to be whipped by King Fish rant, "Share the wealth" (and share the women), into will and power: to prop up the big-top of the West? From Germany in the early 1930's, George Schrirhpfs hundred-year-landscape-flashback, curiously tied to Grant Wood — and why not to Strauss's wartime Capriccio (music) — harmless, as the name Schrimpf — /fSound: From "I can hear it now," Columbia MM 800 ) \__ (Narrator;)____ _______________ ________—------1933 was dark all over the world... Japan was already in Manchuria, and the League of Nations was dying in Geneva... (cannon) until one sees Hitler, pinning the swastikas on all such echt-deutsch confirmations. inuecL^^Jy 61) In Germany the Reichstag fire was history; so was the Weimar Republic... In Italy Benito Mussolini had txanslaterLa. people's search for security into savage conquest.4 (cries: "Duce")^ (DouSCe: [Pi] Pimo ‘Brel^rj 1930/ nucCe., from Zt,ICP{J^G^^ and [(B] fosepfi dhoralQ c. 1938, dhe Muse, piaster, from OCunst, VoCume ^1 ^ ^6la) PLmo ‘Brek?-r, 1940-43, dhe PCerald, piaster for Bronze, (Die 9Cunst im (Deutsehen iReicB, PfpvemBer '43 ejy , 6IB) Pigain, d'fioral^ Muse, (B of 61 (z^uijnde^retumfif^^61, ^ douBie) Arno Breker (left), three years before Hitler came to power, crayonned the life-urge that would shoulder his climactic sculptures, "Preparedness" and "Hero," to the cliff of Nazi acclaim. While sensu­ ous nudes hardened (right) to this astonishing Muse by Thorak. If only the benighted Chancellor, bestowing the accolade, could have divined, that it was for the Allied occupation they were stripping those girls down. a6Z) 7/1994 ^£inai(C Marsft, 1936, Monday Migfit at tHe Met., Pirizona Museum, ducson Atomic Age: Frontiers New and Lost 25 �':G. Bell Symbolic History !R^£inaC(C Marsfij 1940, T,t[in£e !foCCies, Mr. ancC Mrs. Menry Luce III, (video puts tf-is Setzveen 62 and a detail of 62) ^BsyinciCd MarsH, 1945, Strip ^ease in 9{g.zu Jersey, Senator ^iUiam 99enton, 62) Mpiv Xorl^ f Sound: From "I can hear it now," continuiJ^j (Narrator:) ________-—^ in ilcFTfertile America, fear and uncertainty lay heavy upon the land... (Roosevelt): "For first of all, let me assert my firm belief, that the only thing we have to fear is — fear itself." From Hart Crane's "Winter Garden": Her eyes exist in swivellings of her teats... We wait that writhing pool, her pearls collapsed, — All but her belly buried in the floor... through Reginald Marsh's paintings of Burlesque — down to Parrel's masturbating Studs: ^ leaned forward in his seat... he watched... four beefy women... legs spread, orgiastically shaking their wob­ bly bellies. Washed out, painted whores. But they sure could shake that thing... what cataleptic will conjures exhuberance out of waste of life: "nothing to fear but fear itself a63) 663) c63) I2d63) e63) Myzi O^Ht ^(dy, 1938^^rty (Day, MyremSery CfiamBerCain in Munic^^938 nXVlI, (BCitzIqi^, Sept 1,1939, Qerman tan^s invade ToCand TiWiI, ^rd 1940, Qerman troops on a Mprweyian Mountain (RyiCroad WWII,\^m^uergu^^ay~194^(Painter: Charles CundaCC, detail, ImperiaC li^ar Museum, London Germans in Paris, throuyh Sire de rPriomphe I2f63) (Photo, June 1940, 63) Photo, WorCd War IlpY940, JdtCer's ‘Dance’ in the forest of Compieyne (after the surrender of)france) Sound: "I ran heanitnow," continued VlHitler's rabia over the Sudeten Germans, then cheers) 7/1994 Atomic Age: Frontiers New and Lost 26 \ �r r Symbolic G. Bell History But who would have chosen a dream recovery, hunting "Peace in our time," through Rhineland, Austria, Chekoslovakia, Poland, through the Phony War behind the Maginot Line (imaginaire), then Denmark, Sweden, Norway, Holland Belgium, France — Sound: From "I can hear it now," (German radio announcement of the French-surrender) (fade) to Hitler's dance in the Forest of Compiegne for the French Surrender — if photo-faked, no wonder it has the look of Tolstoi's child in the carriage, pulling the strap and thinking he is guiding the team. Since the Chaplinesque drollery of The Great Dictator a64) ‘Botn6m^o^^^auCs^940-41^^ L G4) (PHoto, WWlIj 1940, ‘BaitCe. of (Britain: TCanes aBove,, antiaircraft BeCorv 64 a) (Pfioto, WWII, c. 194Z, US. sfieCCin^ O^rtfi S4frica , rode a physical and psychic release, which neither the arch-bungler nor anyone else, once it was revved up, could steer, much less stay. Like the rise and fall of dinosaurs, that roar of planes warping in over the meager air-defenses of England was what we would live through — in fact and in the rhetoric of Churchill: their darkest and "their finest hour." Music: Wartime song, Liiy Mariene, (Mariene Dietrich) MCA-60137 ■ 7" 45 RPM Then the counter-rallying — 65) (Bfioto, 1943, (Divc-BomBer asscmBCy Cine (Mistair Cool^'s S4M‘E‘RICil) 65 a) (Beauvais, 5)estroyecC SLrea SlrouncC tfie CathedraC irresistable thunderhead of war production, backing the myth of the free and peace-loving peoples — this California assembly line of dive 7/1994 Atomic Age: Frontiers New and Lost 27 �Symbolic ro. Bell History bombers, 1943; with the Europe I would travel to under occupation ("Fire-scarred gaunt cathedrals out of ruins"): I had seen you before, now after, when the last storm Romantic recklessness involved you in Broke over you, and your Atlantic children Backlashed on the wind clouds of detonation... a66) (Bfioto, 1945(?),S[ave LaBorers, 9{grdliatism 66) Tfioto, 1345j ‘Bmen, 55 men made, to Bury Jezuisft victim-^ Hitler's talk of realpolitik, his masterminding, fomented a Europe more visionary than actual: "Vengeance is mine," saith the Lord; "I will repay." These SS guards at Belsen Concentration Camp, set to sort and bury the rotting corpses of Jews (fade Lily Marlene) — surreal as the art the Fuhrer had condemned — what a slide, to this, a6T) Moritz von5cfi%oind, 1850-60, HQmBen Wunderfiom, 5cJiacligaC., Munich B67) 5pitzzue£, c. 1850, ‘Boof^orm, 5cmmCwi£5cltatzer, 5cfizveinfiirt 67) 'DouBte: ,[5l] von 5cfimnd, WuTuBerfiorTtJa67^and [B]5pitzzve£, Booksaorm ^B6^ j / 6*7^ Music: Mendelssohn, 1826, Fairies from Midsummer Night's Dream Overture, Philips (Festive) 6570 021 from the Germany of a century before: Mendelssohn's Dream Over­ ture of Bottom and the fairies, Moritz von Schwind's woodland rap­ ture of a Bo)?s Wonderhorn (left), (right) Spitzweg's playful irony of the Bookworm tottering on his ladder with more books than he can manage. Does all history attest a change so swift — and terrible? (fade Mendelssohn) ^8) (BoscB, 1500-04, hlscent to Meaven, (Doges' (PaCace, Venice (4 4 '^68) (Photo, 545WII, London5uBtvay as BomB sfteCter ^8) (DouBCe: [51] 14gain, Bosch, S4scent (tf8); and [B] Slgain, London 5uBzvay (if8); +. V various singCes and detaiis 68 B) Menry Moore, 1940-41, 9\5WII, London LuBes, Bh-axviug of5Ceepers 7/1994 Atomic Age: Frontiers New and Lost 28 �..-r----(or Henry Moore's drawing) the tubes Bosch’s tunnel to Paradise. Spenders J fire-bombea Lonuuu ...cv. . I think continually of those who were truly great... Sorn of the sun they travelled a short while toward And left the vivid ait signed with their honour iov " "And death shall have was reaching out for Dylan rrv, Thomas'r,s "rrv Cryjoy, A rdominion" the paean of "A Refusal to Mourn... . Deep with the first dead lies London's daughter. Robed in the long friends, The grains beyond age, the dark veins or n Secret by the unmourning water After Ve'*fit*st^death, there fm is mother. no other. M ^ Svanis^ e96) music: ^ George Crumb 1970, from Black Angels, Electric String Quadet, SVBX 5306 (3) . a.d...i H..., ~ socialisl. haves ""f,''*r^'’'ne!loii.flux of follow.lraveling oppoaiKB, that of Kurtz m Africa with all iconoclasms of new art, music, poetry, down The Ant’s a centaur in Learn of the green world what can Pull down thy vanity, I say pu Y Fascist Pound: place... Ho these marvellous utterances subscribe? Atomic Age; 7/1994 Frontiers New and Lost 29 �Symbolic History fuartet? Or Motherwell's giant sixty or so variations on an Elegy for the Spanish Republic — belated insistence that avant garde (even as it rode a growth market of art-investment) remained loyal to the left? Though one could have asked the Weathermen about that. Or Diane Broughton hoisted by her own bombs, who had seen through the light in Peace Corps Guatemala? Would her ghost have answered, "Energy is the only life"? (fade Crumb) 70) (DouBCe: [J^j JosepB ComeCC 1940-5S, HBree Trivate Collections] and [B] 9(j l^rean Communist, Before 1977, CBoCCima, Do-cfie symBoC, Cdangyongdac 70a) Sigain, ComeCCs BoTces (5L-of 70); + V various details 70B) lAgain, Xprean CfwCdma (B,of 70) 70c) Slide sBozv and video repeat the douBle 70 Over all convergences a rift was widening between West and East. Had the two exchahged art roles? — the arcane, refined opium dream of the Chinese sage in Malraux's La Condition Humain^ is somehow paralleled by Joseph Cornell's 1940 to '55 haunted souvenir boxes (above): Portrait, then Egypt (with bugs and red sand glazed in under the bottles); and below, a Swan Lake for Tamara Toumanova; while our old assertive outwardness now pylons up the sky in this ^ollima, symbol of Communist Korea, over the city where Kim II Sung was born. Was it, for the West, "not with a bang but a whimper"? a71) SUfredBinstein, 1947, photo Bhilippe Slalsman, Slastin^s (gallery Collection B71) i^Bemont-(Dessoigne (Bada), 1920, Qrand Odusicien, I4.ndri Breton Collection, Baris (same as 5L of 71); video: detail only 71) (DouBle: Sixain, [51] BiBemont-Dessoi^ne's Qrand Odusicien (B71); and [B] H^ols (Wolfyan0 Schulze), 1945, Bateau Ivre, 9Qinsthaus, Zurich V 71a) Wols', Bateau Ivre Here, off the shoreless harbor of Now, perhaps it is time for a confessional Gesture. After the \Apocalypse of the war, I was in Princeton, drawn to those exiled \ great Europeans who hoped, in thought and act, to redeem the atomic age. 7/1994 Atomic Age: Frontiers New and Lost 30 �Symbolic G. Bell Music: History Satie, 1913 (produced 1921), from Le Piege de Meduse (#6), Mhs 1475/6 (3) I scrupled that the Dada Cynicism of the First War (this RibemontDessoigne, Grand Musicien, left) — which Satie had anticipated in Le Piege de Meduse — dances for a stuffed monkey — should stage a wilder comeback, (fade Satie) Music: Hiiler (and Parman), from Avalanche, section St 2549 006 as in Wol's Bateau Ivre (right), or Hiller's Avalanche. bedevilling his Cantos with political nonsense. 1, Heliodor Like Pound's a7Z) ITindrew WyetH, 1947, ‘Wind from tfk Sea, (Professor and (Mrs. CfiarCes tf{. Morgan 72) 72 a) 726). 72 c) 72d) S4ndre'W ‘Wyeth, 1949, ‘The (^x^enant. Museum cf American Art, (N^zo (Britain Andrexu ‘i^eth, 1965, MonoCoyue, ‘WUCiam Weiss 5.1. QiCBert, 1949 (or Before?), detaiCfrom Chicayo (River, C.Q. (BeCC CoCCection Again 72, ‘WyethfR^venant, detail Andretu Wyeth, 1956, ChamBered (S(fiutiCus, Mr and Mrs (RpBert Montgomery; + V detail Music: Douglas Allanbrook, c.1954, from slow Movement of 1st String Quartet, tape I had stared at the Decline of the West too long to require opti­ mism, nor in art the ghostly revival of realism by which Andrew Wyeth pqrceived himself through the dusty mirror of a Maine farm­ house; or in music even the rich overlappings of Allanbrook's First String Quartet. What I was fixed on could have grown out of Arnold, or of what Faulkner (from my native state) would espouse in his Nobel acceptance: "No room in his workshop for anything but the old verities..." — verities for me no less of head than heart — a philo­ sophic reconstitution of tragedy, transcending the art-poles of New York modern and romantic person. 7/1994 Atomic Age: Frontiers New and Lost 31 �Symbolic :G. Bell History Yet when a student, Galway Kinnell, appeared, not unlike this Revenant, in my Princeton study with his first poems — "all willing worlds at once," "Darkness swept the earth in my dreams," and "We were not misers in our misery" — it was as if a Vesuvius fountain had gone off in the room; or to use his own Yeatsian words; It seemed a star went burning down the sky. (fade Allanbrook) SiTC scuCptecC heads: ^rerud: Qothic 1200; TarCer c. 1383; ‘l^ischer, c. 1313; (Bu0et, c. 1670(F); (Danneche-Tj 1803-10 (SchiCCer); Ti^Udt 1909 73 a) lAgain, 31 of 73, (french gothic 736) fl^ain, C of 73, Vischer head 73 c) Sixain, T, of 73, (Dannechffs SchiCkr 73 d) 3{gain, (f of 73, diHldt head 73e) 9^FdheCm LehtnBnicfu 1918, Seated fouth, (KatnBurg (Cg'B '87); + V detail 73f) Lehm6rucl^@18, 3{eads of Lovers, (DuisBur^ Museum / That was soon after Kinnell had chanced on a poem of mine, dark with the cyclical burden for which I was photographing slides: here (above): 1200, Gothic mystery; 14th century, Chaucerian pilgrimage; 1515, a Christian saint in humanist pride; (then below), 1670 France, Baroque cradle of irony; 1810 bust of Schiller, ego as defiant hope; early 20th century, Wildt, pain, on the road to abstraction. 73 ) That consciousness speaks in the poem: I, Flame of God, took flesh in the flame Of earth's delight — pride, glory, fame. With earth unsatisfied, the bleeding heart Spent itself in romantic passion's part. Worse-fevered now, passion be^ts at the gate Ghiberti sealed, lost paradise of faith — Last delirium, where self-pitying soul Licks its own secretions, ooze of wounds. Into the wished immortal gho^y balm. And soiled with lust, leaps th^nviolable One. 7/1994 Atomic Age: Frontiers New and Lost 32 (3 �Symbolic ^G. Bell History So all paths lead me to myself and home; And but for some faint whispering from the caves, Some half-spelled message of the Sibyl's leaves, I would quit hope. One promise holds hope green: "In the rank of its own bubbling filth grows clean." a74) 74) “ 74a) 746) J.I. QiCBert, 19S0, iMarcfi (Dunes, Indiana, cropped, C Q. (Bed CoCIectum 3.1. giCSert, 1930, (Portrait of C.g. (Bed at tfie (Dunes, (Bed Codection; detail dstronomy, (Planetary (Hs^BuCa 'CraS' in (Taurus, 9{aCe Observatories dlBetan danka, 16t6 cent., (Mabal^Ca, (Terror-god of (Kprthern (Buddhist (Pantheon, detail, (British Library (Sddd. 8893), London (Cg(B 84) 74 c) (Polar Star dracll^s. Southern (Hemisphere But the Spenglerian war was over. With Wyeth and Rothko, I had staked out a new life — mine in Hutchins' Chicago. That winter at the Dunes, in the cottage over Lake Michigan, Jim Gilbert, who tied art affirmation and denial to the deepest realities of man and world, painted this picture of me — Galway Kinnell in the same room, sketching his "First Song" ("Then it was dusk in Illinois"), while I wrote, undismayed — though New Deal, Stalinists, even Nazis had hawked such programmatic goods: Armageddon has always waited around the corner. Whether for the individual or culture, the bombed earth or sun-exploded solar system, or the assumed world of matter crouched before Judgment — what dif­ ference... The film over the meaningless and void is no thinner than ever, the spectacle of life on that film grander than before. The spiritual malady of our time is mostly of faint heart — a kind of green-sickness in girlsI yiAi 73) Slndrezv H^eth, 1946, Winter, w^ate^dection 73a) (Again, Wyeth winter, detad^S^^Cf^^^i^^ 73b) Samuel (Mason, 1939, Susquehanna diiver SHCls, from giCtnan (Paul's 'Land of (Promise,' *Bed Codection, Santa (fe 73c) Samuel (Mason,M^ods, Little (Pines (farm, (Bed Codection, Santa fe 7/1994 Atomic Age: Frontiers New and Lost 33 �.G. Bell Symbolic History If Wyeth had been in Chicago, teaching and painting, as Jim Gilbert was, I would have shared in the release of his "Winter" — this depicted recovery from his father's death: "A neighbor boy all topsy-turvy like a rolling stone," running downhill. "The boy," Wyeth tells us. "is really, me, at a loss... That hand drifting in the air... my free soul, groping. Just over the hill was where my father was killed. For the first time I was painting with real reason to do it." For me, too, some such recovery had led from Spenglerian war to the Susquehanna River Hills, Little Pines Farm, Sam Mason ("He dips the water from his own spring"), his daughter (Sub Regno Dianae Bonae) — This fall is my spring; down lost forest ways Your frank eyes guide, the daughters Of laughter run ... that promise of a Married Land. But Wyeth was by the Brandywinei3 a76) 576) c76) 76) 76 a) 765) 76c) QiCSert, C. 19/i4. Splf ^’nrtrait. f^aura f^iCdert rnCCit‘t giCBert, 1350-5 QiCBert, 1943, Tlie 5B[ueStream, HvCartHa's ^^ineyarcC, 1 QitSert, c. 1962(F), OUe iR^cCStream, Laura QiCBert Co QiCBert, c. 1938, ^l^^dCist^ vioCa MamUrfeCt CoCCeeti QiCB'ert, 1950(^^^^mia^nes ‘Bluff, BelCCodeetion Strain. 76, IRg'dStream^^'^^kk^ J.I. And there was Gilbert, fighting the post-war like a battle of his own, from such dark Spanish realism as Manet had begun with a century before, through Impressionist lightening, to Cezanne's more and more radical search for color form: Gilbert's rock streams, grayin-green, blue-m-brown, this (a few years after) red as Dante's Bulicame, her^y/was representation, abstraction, symbol, all in one, so^ incredibly right, yet so cloaked in verisimilitude, that when, in the 7/1994 Atomic Age: Frontiers New and Lost 34 3 �Symbolic History painter's absence. I lugged canvasses to Ld said "too academic for us." And what did diey have on their walls? imitationSof Dufy, little Klee's, little Albers'. The oo s i n know where theVademy was. Could b ue or was it perennial? The market answered unreliably. cheese is good, tomorrow yellow". As for the Go s t ey i answer at aU. 'What could oue do but trust inner convicuon. For me. A this Red Stream became Nature itself. ‘UmirLnti 1950, TT) frr] 7ri, Vermottt Landscape,‘BeU. CoiUctkin ~utiu„ i/tlie 19% t. im ^osai. m Wif ' /^B7 Lhc Law,^emp(e Beth Bt, Qary, Indiana;/^ detaiH^ Also in Hutchins' College was Hal Haydon, exploratory spirit aware of what has slowly come to light, that our age is _ liked a landscape, he gave it the pallette-knife. His lighted cit reeled with white-writing, his close-ups with his own bifo“^ ** bling Perhaps a block print will catch him as well as anything, gki® so doubled, dreams of flight - Icarus over the sea. How many 'j ' FT*''"' ' ~~l I u'v-J ’ '■7 ’ ! _________________ - _ -------------- *— Like Picasso taking to the beach after the war, li e t e breakthrough of the New York School, like Adlai's speeches - we were all lured from dark to light. But my response was in the context of teaching Thucydides and Greek tragedy, those Chicago years. 78) ■BucHminster fuCkr, 1967, ^coitsk Dcm, iHontred-Eitpo!^ Vi&.uM ■rsi) ‘Victorian, 7alhn amtmy: + VM 786) Supemwa 1987A, Cover of Wtifk AmncM, August 1989 “ ? ■; •- 1933 Chicago Century of Progress Fair, I then at the height of my LTntific rapture, he exhibiting the streamlined Dy-a-on c. under his energy-saving Dymaxion house, building seems alrea y 7/1994 Atomic Age: Frontiers New and Lost 35 �Symbolic ;G. Bell History \ into the colonizing orbit of other worlds. Though this wonderful geodesic dome, erected for the Montreal Expo of 1967, surely left its prophet-designer with doubts about the use of his vision, even on planet earth, much less on the moon or wandering stars. f^xr fed) ' '—II Of course, Arnold's program of disciplined responsibility for the balanced whole made sense, both for art and world. Though his Empedocles proved rebellious to that aim, and his "Dover Beach" found another close: "Where ignorant armies clash by night." Coleridge too, for Christabel, had aimed at a reconciling marriage; but what opium-inspired possibility gave him was a fragment of demonic possession: In the touch of this bosom there worketh a spell Whis is lord of they utterance, Christabel ... By the hard lesson of Machiavelli, history has a gradient of its own — for us of the post-war, earth as exploding star, our supernova of spangled dysecology; and what is the art-gradient of that, but a supermarket of widening the sphincter to the flux: "Look, Ma, no hands!" ............. .. 79) Ll^^, (DecemBer 28jJ9S9j (DouBCe Cover 79 a) Same, Li^t: cov&r^^miEiC y e issue; + V (Cetai^ A Music: The Beatles, 1967-70, from "All You need is love," Capital SEBx 11843 At the turning point between the Fifties and Sixties, the society of opulence and joyful leisure stuffed the Xmas issue of Life Magazine with nothing but THE GOOD LIFE; and already the Beatles were warming up for the Magical Mystery Tour, where "It's easy... All you need is love" (though love seemed often the thing most wistfully and wishfully lacking). (fade "All You need Is love") Music: 7/1994 The Beatles, from same record, "Strawberry Fields" Atomic Age: Frontiers New and Lost 36 �Symbolic History Would not those same Beatles' invitation to "Strawberry Fields" be made on condition that "nothing is real"? Surely the dream ship of past and future — New Deal, New (fade "with eyes closed") Frontier, Great Society — 80) (DouBU: [SI] SleriaC Spraying of Tepper, Smithsonian, January, 1979; and [(B] Utan InUrcontinentaCBaCistic OdissiCe, QCenn Jdartin Co., c. 19S9 80 a) Sixain, SLeriaC Spraying of (Bepper, Si of 80 806) Sixain JXtan, B of 80 was heading full speed for the simultaneous rocks of Silent_Spring and Dr. Strangelove — eternal boom as ecology crisis, free-enterprise as missile race and Vietnam War. What speculative vacuum! A world crying to be steered from exploding star into steady-state; yet no mind in politics or the media could rethink any priorities. Against the life-and-death need of an organic theory of economics, one party pushed an overstretched Keynsian debit welfare; the other flopped like a headless chicken all the way back to what they called Adam Smith; while communists insisted on the blind-bridle of Marx's axiomatic materialism. Where were the visions the crusade of war had kindled — or damped? Music: 81) Ll'fi ouC; Conlon Nancarrow, c.1950 ff., Study No. 3a for Player Piano 1750, Arch Records S-1786 (1) 17, 1963, 'Birmingham, Mahama: "TJieyfijht afire that won't go UaiC Yet the photographed news, that global nerve-net still not at­ tached to any brain, went on, in wild fibrilatiori, atomically, thrillingly active (Birmingham, 1963, the Black protest-marches, against Bull Connor's hoses 82) Same, LldT., ‘BCaehs versus (Potice and dogs and dogs). 7/19 94 Atomic Age: Frontiers New and Lost 37 �Symbolic History While the composer Nancarrow, laboriously cutting into playerpiano rolls criss-crossed jazz-based rhythms, with time ratios beyond the commensurate — of root-2, tu , or e — a year maybe of cutting. 83) ^eU^rapd Sivcnue, (Berl^fCey, CciCifornia, 1969, ‘Brozun pHoto, (Rsg to produce a three minute bomb-burst of body-compelling yet bodydefying dance — as wierdly on target for the hippie wave of impos­ sibility (Telegraph Avenue, 1969), as if Chaplin and the Marx Brothers had been lashed together haywire, cyclotron accelerated. 84) (PeopCe's Tarfu 1969 (S4pri£ ZOtfi and after), ‘Berl^eCey CaCifomia; ‘BaCCantine Bool^ People's Park, that Berkeley 1969 junk lot confiscated from the University of California for the free-work, free-speech, free-love flowering. My daughter Charlotte, called Frankie on the Street, was there, in euphoria. 83) 9{ationaC guard tal^ BeopCe's BarlQ 1969 (May 13-20), BaCCantine Bool^ Until the cowboy governor sent the troops with guns and teargas — as the man said in the Woodstock film: "It never should have happened." But it did. 86) Barrier fence around BeopCe's BarCg 1969 (May 20 ff.), Berks-Cey, 'B.aCCCantineBool^j^^ V86a) Trooper Uproom^Cants, 1969, BemCe's BarCu Ber((eCey, BaCCantine 3ooKs 1969^(^^l<§tei^,^BaCCantine 865) Tear Qcissiny^ And all around the forbidden paradise the high chain-link fence was set up, like hymen-— Cherubim versatilem... gladium. Woodstock. (fade Nancarrow) Sound: From Woodstock, August 1969, Cotillion SD 3-500: voice: "draft resisters... Raygun." then song: with Joan Baez, etc. (fade) 7/1994 Atomic Age: Frontiers New and Lost 38 /y �Symbolic Bell History 7) Vietnam War, c. 1968, ‘ETcecution of a Viet Cong Prisoner < 587) \/ Vietnam War, VvCardi 1968, ViCCage Burning after the 9\^assacre, 0\{y Lai, Vietnam U% photo 1972, ^HgpaCm Strihe, Vietnam, Lung Eang VUCage Vietnam, March 1968, Slaughtered peasant and Boy, My Lai, Vietnam 87) 87a) Music: Woodstock, August 1969, Country Joe and the Fish, Vietnam Song, (Fixin' to Die Rag), Cotiiiion SD 3-500 Here the famous picture of a Napalm Strike on Tung Bang Village (friendlies, it turned out); and Galway Kinnell, in The Book of Nightmares: Lieutenant! This corpse will not stop burning! (fade Woodstock) d)ouB[e:.Char.Com^ ‘BdC. ffranhie) MJ^uring and [E] after Miter Te(wBe!s / iL oj m With a wave, one formulates at least the physics which makes a crest yield to a trough. In society the Hippie climax of People's Park (Charlotte, left, in Blakean delight playing and singing: "I was as clean," she said, "as a new-born child.") — the yielding of that crest to a long^rough of reaction (Charlotte, right, fallen back to the closure and heroin of the Street, where I sat with her for three days and wrote "The Prodigal Father": Christ later, by her testimony, to Jead her ^way) — such social breaking takes wav^^iders by surprise. 'arler c. 1385, 'bust. ............................. King Wenzel, Dom, ible: Pari niga, 1966, "Solitude", detail, Mexico ^ty (?; ^^Tho^h SYMBOLIC HISTORY might have foretold the odds of that now mass eruption of romantic wish, against the gas and guns of the beast with heads and horns. As if the d^bvn dream and lifedisillusion of th& Wes^had gathered itself into two images: (left) the 7/1994 Atomic Age: Frontiers New and Lost 39 ^ i/ �Symbolic ^C.G. Bell History <51/4 young King Wenzel of Prague, from the time when Chaucer wrote of May: I leave my books and walk to the mead To see those flowers, white and red, Which men call daisies Come from that spring of liberatio^to Zuniga's Solitude (right) — or to Borges, who returns blind to the books (from In Praise of DarknessV. (El hombre que esta ciego/ sabe,..) The man who is blind knows he will not decipher... the books he ranks on the shelves, parchment, leather. cloth.../\ g) From south and east, west and north the roads have led me to a secret center... My wish is to die wholly; to die with this companion, my body — Quiero morir con este companero, mi cuerpo — where was the courage to go 90) ^rencfi, from Liege, 1200-IS, SrCiraeCe of tfie fCozoering Catices, from Cfuisse of CdarCemagne, CcitfiecCraC, SiacLen; + V cCetaiCs (Spin the roulette of courage in ten slides.) Like the Roland, this 1200 Miracle of the flowering lances raises battle death to sainthood. Certain knights of Charlemagne wake to find their lances rooted and flowered, a sign they will be holy martyrs that day. Roland's father, Milon, smiling, plucks his lance frohi the earth, is embraced b^ Charles (in the tent), and rides joyfully to battle. 91) (Biero deCCa francesca, 14S2-60, victory of Constantine over 9rCa7(mtms, (CetaU, SBoCy Cross frescoes, San francesco, SLrezzo; + V detail Cv^t 7/19 94 Atomic Age: Frontiers New and Lost 40 �'C.G. Bell Symbolic History The victories Piero della Francesca frescoed in his Legend of the True Cross, after 1450, have expanded sacred myth to Renais­ sance drama. One would be tempted to stage Shakespearean war with this Homeric clarity, a dignity beyond the here and now. Shakespeare, although a century and a half after Piero 9Z) ^eCasquez, 1634-35, SurrmcCer of‘Breda, Brado, Madrid; + ‘]/ detail < and only a generation before Velasquez' Surrender of Breda — ties Piero's mirage of early Renaissance to the weight and swelling con­ sciousness of this Baroque. Though such willed heroics of earth admits now a satiric converse — 93) B)ou6Ce: Jacques CaCCot 1633, Les Misires et Ces MaCheurs de Ixi (Juerre, large format, [JL] etcfiing 5 and [B] etcfiing 11; + ‘U details Callot's bitter etchings of the 30 Years War: below, an attack on a farmhouse where a man is being roasted in the great fireplace, horrors Moscherosch and Grimmelshausen would describe and Vol­ taire parody in the Candide. Yet Callot's captions still vindicate heroic morality. Could our disillusion voice what is inscribed under his famous oak of corpses? — these ignoble thieves, hanging from this tree like evil fruit, show that... vicious men sooner or later experi­ ence the justice of Heaven. 94) Qoya, 1810-20 {pu6. 1863), Los (Desastros de la Querra, #7 ((Dover) % As Goya approaches the existential stripping, a revolutionary heroism, this "Que Valor!" "What Courage!" remains possible. Yet how lonely such war-matyrs of heart. Chenier, of Chaflotte Corday: "You thought by your death to revive France... Brave girl... One reptile the less crawls in this slime." 95) (KstetHe (Kpllwitz, 1903, OutBrealu LiBrary of Co^r^h'^asBington D.C.; + ‘U detail 7/1994 Atomic Age: Frontiers New and Lost 41 �r.G. Bell 90) Symbolic History 9^rencfi, from Liege, 1200-15, Mirade of tfie fCowering tances, from Chasse of CdarCemagne, CatfiedraC, Siadien} + ^details (Spin the roulette of courage in ten slides.) Like the Roland, this 1200 Miracle of the flowering lances raises battle death to sainthood. Certain knights of Charlemagne wake to find their lances rooted and flowered, a sign they will be holy martyrs that day. Roland's father, Milon, smiling, plucks his lance from the earth, is embraced by Charles (in the tent), and rides joyfully to battle. 91) (Piero deCCa CFrancesca, 1452-60, zHctory of Constantine over (Maj(entvus, detail, (Holy Cross frescoes, San francesco, SLrezzo; + ^detail (V91a) The victories Piero della Francesca frescoed in his Legend of the True Cross, after 1450, have expanded sacred myth to Renais­ sance drama. One would be tempted to stage Shakespearean war with this Homeric clarity, a dignity beyond the here and now. Shakespeare, although a century and a half after Piero 92) Velasquez, 1634-35, Surrender of (Breda, (Prado, (Madrid; + V detail (V92a) and only a generation before Velasquez’ Surrender of Breda — ties Piero's mirage of early Renaissance to the weight and swelling con­ sciousness of this Baroque. Though such willed heroics of earth admits now a satiric converse — 93) (DouBCe: Sacques Callot 1633, Les Mislres et les MaCBeurs de la Querre, large format, [51] etching 5 and ^B] etching 11; + V details Callot's bitter etchings of the 30 Years War: below, an attack on a farmhouse where a man is being roasted in the great fireplace, horrors Moscherosch and Grimmelshausen would describe and Vol­ taire parody in the Candide. Yet Callot's captions still vindicate heroic morality. Could our disillusion voice what is inscribed under his famous oak of corpses? — 6/1995 Atomic Age: Frontiers New and Lost 41 �Symbolic €.G. Bell History these ignoble thieves, hanging from this tree like evil fruit, show that... vicious men sooner or later experi­ ence the justice of Heaven. 94) goya, 1810-20 (pu6.1863), Los (Desastros de (a guerra, #7 (Dover) As Goya approaches the existential stripping, a revolutionary heroism, this "Que Valor!" "What Courage!" remains possible. Yet how lonely such war-matyrs of heart. Chenier, of Charlotte Corday: You thought by your death to revive France... Brave girl... One reptile the less crawls in this slime." 9$) UQietfie ^(Czvitz, 1903, OutBreafu LiBrary of Congress, WasBington D.C.; + V detaiC We think of the Great War as a breaking point; but when Kaethe Kollwitz in 1903 cut her print of blind "Outbreak," no more battle-strength remained than in Yeats' 1922 "Phantoms of Hatred : The rage-driven, rage-tormented, and rage-hungry troop. Trooper belabouring trooper, biting at arm or at face Plunges towards nothing, arms and fingers spreading wide For the embrace of nothing... But those terrors were metaphorical. 96) iK^rcfiner, 1915, MuUCatedSdf as SoCdkr, S^Oen 9duseum, OBerCin, OBio; first, video detail Trench warfare enforced a break-down reality. Kirschner, on garrison duty at Halle prefigured his later suicide in the imagined mutilation of this self-portrait with a nude model and lopped-off right hand. Not even the English war poets, piercing "the old lie: Dulce et decorum est...," seem as faith-blasted as this German. 97) Soviet War Toster, 1941, ’^e Lnemy sBalC never escape our tvratB'; witB video details 6/1995 Atomic Age: Frontiers New and Lost 42 �Symbolic Music; History Prokofiev, 1944-45, close of Eisenstein's Ivan the Terrible In a people's reversal of that, the Russian defence of the Second War, revived, with all the blatancy of conviction, the old heroism of righteous will: "The Enemy shall never escape our wrath." While Prokoviev and Eisenstein (under invasion) could make a warhorse film of Ivan the Terrible voice that resistance — its closing chorus: "At the scene of the great fire unified -Russia/ Gathers upon the bones of the enemy!" (end Prokofiev) Though it is hard to distinguish patriotism from 98) Jfoe fSs>sentfiaC (J^sociatecC iBress), 1945, fHouse, fRpdiester, 9^; + VdetaiC 98 a) ‘WWII, c. 1943, CBougainvUh (Beacfifiead propaganda. CKgisiti£ on Ixvo Jima, ‘Eastman The most rallying American image of that war, first in photo­ graph and then in bronze, was the raising of the flag on Iwo Jima, said to have been staged after the event. While the American radio was advertising candy bars: "What are those boys on the atolls fight­ ing for? For peace and the American Way — with Butterfinger!" All that time I was writing "Studies in the Future," to feel out the "rising and falling motions of a culture" — the rising, like the Greek, where individuality empowers a colonizing free expansion; until (in the disillusion and strife of that enterprise, the need changing from release to an ordering) ZncC 97) 5i£ain, Soviet War (Poster, detail 2nd 97a) Cfilnese Communist, 1958, Student parade in ‘Iten-an-men square, (Bering comes (as with Rome) the falling or constrictive motion, where revo­ lution itself takes on the character of regimen. Power shifts from the liberators and developers to a new nation, born in discipline, which can slowly loose itself as it binds the world. S^or 2nd 98) 6/1995 Space SfiuttCe Laundung, 1981 Atomic Age: Frontiers New and Lost 43 �Bell r Symbolic History So I wrote. But how did the assumed crisis of free confidence in the West, the predictable malaise and self-question, go with that euphoria of art and life which remains the subject of this study? a99) James I. QiCBert, c. 1951, Staamp, Indiana (Dunes, near Cfticxigo, (BeCC Coition 99} Izapa (Cfuapas), c. 300 (B.C., SteCa SO, Sf^CetaC (Bartfi (Motfier, (h(g.tionaC (Museum of Sbithropotogy, (Me?cico City; + V details 99 a) Same, Stela, detail; + V return to the whole i As when Galway Kinnell, after the glowing pioneer projections of his Chicago years — "the cries of the prairie and moan/ Of wind through the roots of its clinging flowers" — went abroad, plumbed the avant-garde and came up with the prophetic nightmare of "The Supper after the Last," for which comparisons might range from this Pre^Maya Stela — a skeletal Earth Mother of death and birth, placenta and foetus floating above her on an umbilical cord — through the Beatus Commentaries of 11th-century Spain, to who knows what in Picasso or Mird. In token of which range, let 1912 Schonberg launch the musical invasion. Music; Schonberg, 1909-12, from 1st of Five Pieces for Orchestra, Col. MS 6103 In our world such demonic seizure has recurrent reality — Kinnell: that company eating chicken on a Dali shore, where the of I ...bearded Wild man guzzling overhead... who has not yet smiled... Devours all but the cat and the dog, to whom he slips scraps. The red-backed accomplice busy grinding gristle, ’You are the flesh; I am the resurrection, because I am the light. I cut. to your measure the creeping piece of darkness That haunts you in the dirt. Step into light — I make you over. I breed the shape of your grave in the dirt. 6/1995 Atomic Age: Frontiers New and Lost 44 �Symbolic aioo) Stuart'Boyi,13r9,C0a^psi«s Systems, c . j;u(eo trims to a (UtaU . ^ ^BlOO) iPedersen, Warttc lOOu) HlSXOi y <3 nftfie cCouBCe 100; uffUcfi tfU of schOnberg) ^ ^ loO, Bdow) ^ •CoCCapsins Systems, Lost Odessage, a X^u,^«Cersm,-MuuicS<tulu<y,^ufiOO ---------- . .Ug century over-extended, as if to With the New 0“®*=“°“ , nature and man always inore call us back to nature “ ^ ^constructive return? Wa er ominous, what was the substan characters whose Percy's novels, for all *®“ .'a ’catastrophe. That tore_ world seems already to have perceptive and boding has been shared Here Ufe powerful, though hardly known^ ^oijing the civilized fabric; but as psychologist and teacher to i^hol g ^ when he puts brush to ^when a flash a white what Klunell has lately burned into a P msh sparkled": - this glare of r^ehng^^^ ^ entitled "Collapsing Systems, 1^^ Light." While Doug Ped«s aftermath of that when ^c^’hLfthe sick, they shall aU end sicker. alOl) /• Suscyh ^ 1CIC9 a? SiasemraB, ‘Beuys sBoto f Jeftmny 1SS3,tovsr %!m) ■Infiltrutiun,-Cmtrt georys VdlOl) Beuys, 1966, 9^eit covi^risf. . . „„ ^ ”” “ * ^ has received more attention attention No European of the tothest teach of avantihan the ^^aLt society and finally art. Shot down garde becomes a protest agai 6/1995 A Atomic Age: Frontiers New and Lost 4i �Symbolic History • ♦or of 1943 he was saved by the the Eastern front m the win regenerate warmth, ^rtars who covere^/^^X the — iZ” So fat and felt have and wrapped it m felt... t dominated hia P Pack, of 1969, Gugrenhdm show. A Volhs- sS:d "sil, each cattving a ilashUght, Mt and elephants called to world rescue. r. • „ the European post-war modern In style, and even in ‘"rting to that backing when Beuys has owed much to America. down a pile of dirt for the climaxed his political de^^ ^ announcing disgust Berlin Zeitgeist Show of 1982, at t with all pretences of the art scene. Kunstler". aioz) CMsto, 1369, wL) 9a) nea Sy 9 (Msto,Savu,y^t«^^ Cfinsto, • \ 1QR'^ from KoynsriisQUtsi Ss?^'zSiSTAtSh?grn'gofP..'3,"Cioudsoape» , ___ and f .h, art-frontiers of« opulence and In a final overflow o of landscape-and-earth euphoria, come the ataggenns P almost ateration. Christo's ‘‘'at auch w canvas to lOnuug r— In music such packaging P^“;"omTot^^^^^ in the program scores of Phihp ,omp i- Williams' Williams "Ii l®f A'''- 8°o— 6/1995 a Atomic Age; Prnntiers New and Lost Frontiers 46 �Symbolic History A year after Christo's Coast, Robert Smithson, reverting (as "^others were doing) to the mystery of prehistoric earthworks, piled this rock jetty, spiraling into Great Salt Lake. Here permanence was no doubt intended, though it is rumored that the sidereal anchorage is already covered by the rising water. 104) SpiraC QalaTQ) M 81 in Ursa Major, Tfioto, 9^vaC OBseroatory 104 a) SpiraC Qaicnqf M 83, ^Rjce University! or. Better, M§C 2997, SiustraCian H^eCescope 93oari£ MaCin, And above, our own milky way, with countless such galactic systems (here M-81 in the Great Bear), put off their nebular sun-condensing whorls — as in my Delta Return I saw the Mississippi from the air, in curves and reverses, fling off ox-bow lakes on either side — the whole flood-plain (fade Glass) ...patterned still — On the spiral shapes of melting, infinite seal Of home-returning time on the transient floor. Under star-cloud night, first matrix of that swirl. alOS) PlstronomicaC distances yiven as train-times, c. 1911, detaiC, (BooB of ^CnowCedpe, VoCume /; + Vdoser detaiC 10S) Same, zuBoCe 105a) (Pierre-iPauC (Prudfum, c. 1804, 9{ead of 'l7en£eanu, S4rt Institute cfCBicago 105B) Orozco, 1936, ‘EC^Ion^re, detail. University of QtuidaCajara Music: Glass, same, late in Part IV, "Pruit Igoe" No wonder as a boy I pored over this illustration in The Book of Knowledge — astronomical distances conveyed by the travel times of trains arcing from the earth-globe to moon, sun, planets, the nearest star — imagining such star-wars as the great space-powers would gravitate toward. In Chicago, 1950, I waked from a dream not unlike the present show, and wrote: 6/19 95 Atomic Age: Frontiers New and Lost ^*‘*''*» rrew—anu—cnST 47 T �Symbolic History To perceive in the scope of its profligacy the history — that is the self-destruction — of the West, is to glimpse no mere human folly, but one of those terrifying open­ ings out of the organically wild and wasteful, the more dire for its satanic sense of 4irection. To see a group of living Christian nations, fostering within their' contradictory self-seeking and Machiavel­ lian policy a cradled bourgeoisie of idealistic hope and criticism, bringing to bear on the faith that sustained them the acids of the liberated mind — to see those nations, as birds crack the shell, break through the medium of protective tradition, the inheritance of paradox unrecognized, into the vast of a valueless freedom; to see that well-born folly change its nature in the face of all it confronted and meeting became, to the temporizing waste of violence — 106a) 9izUc, iStd-lGtfi cent., goddess nXazoCteotC in cdiCdBirtli, detaiC of dead, (DumSarton Oads, Wasdin^ton, (DC 106) Same, HazoCteotC, wdoCe statue the technically giant and spiritually withering nation­ alities, as pettily suspicious as each business and freeenterprise man (though all were culturally one), un­ dermining the other and debilitating the other, as if by mutual murder to clear a space for the alien regimen that would feed upon their ruin: this is the phenomen­ on we have observed and lived through and been part of, the whirl in which all values have changed; it is the turning of liberation upon itself. The compelling ques­ tion remains, was this our avoidable, even now cor­ rectable folly, or is it the jealous law of every timebirth? In The. Rook of Nightmares Galway Kinnell grows reconciled to birth: ...Sancho Fergus, my boy child, had such great shoulders, when he was born his head came out, the rest of him stuck... 5/19 95 Atomic Age: 48 Frontiers New and Lost 'MTTcry and Lost 1 �S'^^'i^'k-cL (^LLL. S' - /v-j—^ y4v^c/ S ■/ ^ (^ska^<^£., Led (^lid <^JL>^K-^f^ dd, SkJl/\S (^jyir\Jj^^ ^ (^'XA-ijJAcL S^n\/?d djldltJSds'K^ d\^\iX ^Ajt- df^ yt^'^ dL-uf^ [cA^Welr^yd^ Jj^^oji r^CiL jJ7> 7^ o � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charles G. Bell's Symbolic History: Through Sight and Sound Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Description An account of the resource Scripts of Mr. Charles G. Bell's Symbolic History series. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 50 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Atomic Age: Frontiers New and Lost, Symbolic History, Part 36 Description An account of the resource Script of Part 36 of the Symbolic History series by Charles G. Bell. Creator An entity primarily responsible for making the resource Bell, Charles G. (Charles Greenleaf), 1916-2010 Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource [1988-1990] Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_BellC_Symbolic_History_Script_36_Atomic_Age--Frontiers_New_and_Lost https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/9bd5a1a14b8a1600785ade922698c637.mp3 668a2ed81c29b4bf424b3c0eb4e556f7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data wav Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1:53:04 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Atrocity Exhibition: Satan and Redemption in The Brothers Karamazov Description An account of the resource Audio recording of an online lecture given on January 29, 2021 by Nicolas de Warren as part of the Dean's Lecture & Concert Series and the Carol J. Worrel Annual Series on Literature. The Dean's Office provided this description of the event : "Although Dostoevsky struggled with the problem of evil and forgiveness in many of his writings, my aim in this lecture is a discussion of evil and forgiveness in The Brothers Karamazov. Given the expansiveness of this novel, I shall focus on Ivan Karamazov, whose narrative of suffering and despair culminates in the denouement of his departure from the tribunal of reason and justice 'crying something incoherent.' As with other characters in Dostoevsky’s novel, Ivan cannot be fathomed in isolation, and I shall be especially concerned with the conjunction of two 'doublings'—Smerdyakov and the Satan—as clues for grasping the philosophical significance of Ivan’s crystallization of evil. I shall propose that Ivan Karamazov exemplifies what I call the spectral figure of an eclipsed subjectivity of evil. Within this Jankélévitchean-Schellingean configuration of evil (to indicate this conception’s philosophical genealogy), 'the mystery of irreducible and inconceivable wickedness is, at the same time, stronger and weaker, weaker and stronger than love'—an implication I shall only be able to touch upon at the end of my discussion. In these reflections, I am presenting elements for a more comprehensive engagement with forgiveness and the unforgivable, animated by what André Malraux identifies in his 'anti-memoires' Lazarus as the search for that crucial region in the soul where fraternity hangs in the balance/stands in conflict with absolute evil ('je cherche la région cruciale de l’âme où le Mal absolu s’oppose à la fraternité'). This lecture is part of the Carol J Worrell Annual Series on Literature." Creator An entity primarily responsible for making the resource de Warren, Nicolas Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2021-01-29 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Literature Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_deWarrenN_Atrocity_Exhibition_Satan_and_Redemption_in_The_Brothers_Karamazov_2021-01-29 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/7a200866afd2b5f547ba00b197a0939f.jpg 3958630d422627f92a94b9a6fbee36b3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1258 Title A name given to the resource Audience Seated at the Groundbreaking of the Harrison Health Center, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1965-12-04 Creator An entity primarily responsible for making the resource Unknown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Harrison Health Center https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/29cb761b7d960b5fe686df8de3fcc003.mp3 a01add32e4594eb0dba62e9392c38546 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data wav Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:50:59 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Augustine on the Foundations of Christian Political Thought Description An account of the resource Audio recording of a lecture delivered by Daniel Burns on January 25, 2019 as part of the Formal Lecture Series. Creator An entity primarily responsible for making the resource Burns, Daniel E. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2019-01-25 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission make an audio recording of my lecture, and retain copies for circulation and archival preservation at the St. John's College Greenfield Library. Make an audio recording of my lecture available online. Make typescript copies of my lecture available for circulation and archival preservation at the St. John's College Greenfield Library." Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Burns_Daniel_2019-01-25 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/56042018da0104b6611b0f88194e2f23.pdf 1751771a1f967586a0ec371966d358b5 PDF Text Text ������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hector Humphreys Papers Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Description An account of the resource The Hector Humphreys papers include letters, sermons, a commencement speech, and a manual for farmers. <br /><br />Series I contains letters written to Humphreys between 1821-1856. Correspondents include students and colleagues from Yale and Washington College, religious colleagues, and a letter from his niece, Adeline C. Griswold. Humphreys also corresponded with Denison Olmsted, a professor at Yale, about a scientific apparatus, demonstrating Humphreys's interest in science and his search for materials to improve St. John's science program. <br /><br />Series II contains Humphreys's sermons, an 1852 St. John's College commencement speech, and a manual for farmers on the chemistry of soil and manure. All items are hand-written and bound, and illustrations of soldiers or other men are pasted on the front cover of the sermons and commencement speech. The sermons were given in churches around Annapolis and Eastport such as St. Anne's Episcopal Church, All Hallows Church, St. Margaret's Church, and the Naval Academy. <br /><br />For more information about this collection, see the <a href="https://sjc.libraryhost.com/repositories/2/resources/16">finding aid</a>. Identifier An unambiguous reference to the resource within a given context HUM Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 19 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Baccalaureate sermon for St. John's College commencement of 1852 Description An account of the resource Baccalaureate sermon for commencement of 1852. 21 February 1852. Sermon written by Hector Humphreys based off of Ecclesiastes V. 10. Creator An entity primarily responsible for making the resource Humphreys, Hector, 1797-1857 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 1852-02-21 Rights Information about rights held in and over the resource No copyright - United States http://rightsstatements.org/vocab/NoC-US/1.0/ Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource PDF Source A related resource from which the described resource is derived Hector Humphreys papers Subject The topic of the resource Christianity Commencement St. John's College (Annapolis, Md.) Language A language of the resource English Identifier An unambiguous reference to the resource within a given context HUM_001_020 Christianity Commencement Hector Humphreys https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/38a398914e88973a92900a24142ea90f.pdf d740118c9d212c6cbaf931e2899fbb5c PDF Text Text SYMBOLIC HISTORY Through Sight and Sound 24. Bach: Fort of Post-Baroque CHARLES G. BELL ST. JOHN'S COLLEGE SANTA FE, NEW MEXICO or 1260 CANYON ROAD SANTA FE, NEW MEXICO 87501 May 1994 Last Revised January ‘96 �C.G. Bell Symbolic History SYMBOLIC HISTORY Through Sight and Sound 24. Bach: Fort of Post-Baroque Music: Bach, 1723-50, Cantata 34, O ewiges Feuer, opening, MHS 1574 1) J.B. Neumann, 1743 ff., Vierzehnheiligen over fields, near Bamberg (slide copy, nearer, from slide 80+1, CGB ‘52); then a video preview of 8a, below 2) Same, still nearer, from the entrance path (CGB '52); video: detail only 3) Same, interior (CGB '52) 4) Same, central space with High Altar (CGB '52) V4a) Same, High Altar in center (CGB '52) 4b) Same, ceiling fresco (CGB '52) 5) G.A. Viscardi, Asam Brothers, and others, 1718-41, Fürstenfeld, Nave through ironwork (CGB '59) a6) Fr. X. Schmädl, c. 1740, Chancel detail, Rottenbuch, Bavaria (CGB '59) Vb6) Same, from Choirscreen, detail of David and angels, from the side (CGB '59) 6) Same, David detail, against the vault (CGB '59) a7) J. Dietrich, 1738, Top of High Altar, Diessen am Ammersee (CGB '59) b7) Marx Kriner, 1739, View of Nave ceiling through gate of ironwork, Diessen am Ammersee (CGB '59) 7) J. Dietrich, 1738, Augustine, etc., High Altar, Diessen am Ammersee (CGB '59) 8) Asam Brothers, 1732-36, Archangel Michael, fresco detail, Maria-Viktoria Hall, Ingolstadt (CGB '59) (cut "O Ewiges Feuer") 8a) Another view of Vierzehnheiligen, entrance path (CGB '52) 8b) Again 8, Michael, a wider view (CGB '59) With the opening of Bach's Cantata 34, "O ewiges Feuer" — "Eternal fire, fountain of love" — we have gone from the pilgrimage church of Vierzehnheiligen, through Fürstenfeld, Rottenbuch, and Diessen, to an Asam fresco detail of Michael's old victory over the dark, but endowed, like the Bach brook of love with all the timpani of concerted power. a9) b9) French Gothic, 1190-1220, Apse exterior, Chartres Cathedral (CGB '59) Same, Choir interior, Chartres Cathedral (CGB '59)Vc9) �C.G. Bell Symbolic History Vc9) Same, Clerestory of Apse, Chartres Cathedral (CGB '59) The West has many summits, from the flame-leap of Gothic, the thrilling century around 1200 (in music the bare-fifth mystery of Perotin, yet a mystery so severely organized that this triplum on two syllables, "Virgo," builds entirely over tenor F, but for one rise to G, a heaven-smile at climax, with the return, under B-flat tension, again to F, the chord of the fifth, then unison — a "modulation" in which the whole claim of time beckons through timelessness) — Music: 9) a1O) b10) 10) 11) 12) 13) 14) V14a) Perotin le Grand, c. 1200, Organum Virgo, (Cape) EMS 201 Same, Pier of the Crossing, Chartres Cathedral (CGB '59) Same, Ambulatory, Chartres Cathedral (copy of CGB '59, Gothic I, 68) Same, 1200-25, Glass, Madonna and St. James, Chartres Again, Chartres, windows of Ambulatory Chapel (CGB '59), which video replaces with V10, French Gothic, 1160-1212, Nave and Choir, Soissons (CGB '59) French Gothic, 12th-13th cent., St. Pierre, Chartres, interior (CGB '59) Same, St. Pierre, Chartres, buttressed Apse (CGB '59) Swiss French Gothic 1160-1250, Death of the Virgin, detail, South Portal, Lausanne Cathedral Mosan, c. 1200, oak and polychrome Madonna (Sedes Sapientiae), Diocesan Museum, Liège French Gothic, c. 1200, Head of Mary from Virgin and Child, polychrome and gilt oak, Museum of Fine Arts, Boston (close Perotin) from that skyward yielding, the Lady of the soul's romance, 15) a16) 16) 16a) 17) Kandinsky, 1914, Composition, Guggenheim Museum, New York City; + V detail Kandinsky, 1913, sketch for "Orient," detail, Stedelijk Museum, Amsterdam Kandinsky, 1913, Composition: Storm, Phillips Collection, Washington, D.C. Kandinsky, 1914, Picture with 3 Spots, Guggenheim Museum, New York City. Kandinsky, 1912, Autumn, Phillips Collection, Washington, D.C.; first, V detail �C.G. Bell Symbolic History to the parabolic outbreak of force in our century (a venture of spirit too costly ever to be paralleled: Rilke's "Überzäliges Dasein entspringt mir im Herzen" — "Existence past number wells up in my heart" — Kandinsky and Bartok) — Music: Bartok, 1927, close of the 3rd String Quartet, Concert CS 501 (close Bartok) against that beginning or that end, the spire of Gothic descent or storm of Symbolist return, 18) 18a) 19) Asam Brothers, 1732-36, Maria-Viktoria, Altar Wall, Ingolstadt (CGB '59) Same, High Altar (CGB '59); + V details Same, Maria-Viktoria, Altar with ceiling fresco (CGB '59); first, video lower detail 19a) Same, expanse of ceiling fresco (repeated for V24, below) 20) Same, the group of Mary and Angels; + V details 20a) Same, God the Father group; first, V detail 21) Same, Christ, Dove and Angels (video: details only, left and right) a22) Same, Abraham and Isaac 22) Same, David, Pegasus, Europe, etc. (video: details only, above and below) 22a) Same, Africa, elephant, snakes, etc. 23) Same, Fountain of Grace, hunting pearls; + V detail V24) Same, again 19a, Mary group with Fountain below 25) Same, widest view, altar with Fountain, Mary, etc. how rooted in the harmony of God's best of all possible worlds are the grandeurs between — from the 1730's, Asam's Maria-Viktoria, with a patchwork from the Gloria of the B Minor Mass. Music: Bach, c. 1733, B Minor Mass: Gloria opening; Domine Deus, opening; Cum Sancto Spiritu, close; (Scherchen) Mus. Guild S630 (close Gloria) From such Leibnizian pomp of heaven and earth, the four Continents, arts and collegiate learning imbued with humanizing grace, 26) Roman Mosaic, 9th cent., Madonna, St. Zeno's Chapel, St. Praxed's, Rome; + V detail �C.G. Bell 26a) Symbolic History French Gothic, 13th cent., Interior, Nave looking west, Rheims Cathedral (CGB '74) Music: Gregorian (Solesmes), Spiritus Domini replevit, Pentecost, French Decca 7543 how strange, how secret, the descent into the crypt that underlies the West, the Dark Age Mary of St. Praxed's in Rome, where symbol has almost shed the assertions of earth, even while the Gregorian text acclaims: "The Spirit of the Lord fills the orb of the world". (fade Gregorian) — A retreat as far prior to the anagogical upsurge of Gothic as its vaulting of soul-force had been a27) 27) 27a) Roman early Baroque, 1591-1628 ff., Maderna with frescoes by Domenichino, Sant' Andrea della Valle, Rome (CGB '86) Baciccia, 1674-9, Ceiling of Il Gesu, Rome (video: three details only) Same, detail (CGB '86); video: lower section only from the proclaimed opulence of Baroque. It is the stretching of that incarnate antithesis, as in Baciccia's Victory of the Holy Name and Satanic overspill, which would knock the props from great church art; and it had seemed, as 1700 approached, that the crisis neared — the mummery of sacrificial aggrandizement, as when Monteverdi whoops it up in the anchoritic words: "Fugge, fugge," "Flee, my soul, from the world" — Music: Monteverdi, 1620, Fugge anima mea 10022 (close), Vanguard VCS- a strange parade of withdrawal. a28) b28) 28) Raitenhaslach, Bavarian Romanesque, then 17th cent., painted and stuccoed under Zick, Zimmermann, et al., 1735-43, view from entrance (CGB '59) Same, organ loft (CGB '59) Zick, et al., c. 1739, St. Bernard ceiling, Raitenhaslach, Bavaria (CGB '59); with video details Bach is full of such swellings, where the depraved singer today squeals like a pig under a gate: "the chains of Hell and Jesus' Blood" �C.G. Bell Music: Symbolic History Bach, 1723-50, Cantata #74, Alto aria, a phrase, MHS 1574 and "throw yourself in his arms". Music: Bach 1723-50, Cantata #155, Soprano aria, opening, MHS 1388 (fade) Does not the flesh-loading of the old mystical content produce such curiosities as this Raitenhaslach Visions of St. Bernard — the saint on his knees (right) to lap Christ's fountain of blood, and again (left) for the milk stream from Mary's breast — South German, six style-centuries from Bernard's ascetic dreams? a29) 29) Bernini, 1657-66, Cathedra Petri, or High Altar, St. Peter's, Rome; + V detail Double: [A] Bernini 1657-66, St. Augustine, High Altar, St. Peter's Rome; and [B] E.Q. Asam c. 1735, Augustine, Weltenburg Yet who can deny, over the paradox of assertive abnegation, the seriousness of high Baroque, even in the grandiloquence Bernini lends Peter's Chair, or the young poet Pope, Virgil's "Messiah" (1712): The seas shall waste, the skies in smoke decay, Rocks fall to dust. and mountains melt away; But fix'd his word, his saving power remains: Thy realm for ever lasts, thy own MESSIAH reigns! And it is just the gift of the Germans to extend the art of sacred heroics beyond the mocking debacle of French Regency and English Pope, which is our theme and inquiry — the gift of E.Q. Asam to carry Bernini into the 18th century on his own ground, and with more worship; 30) Again, Asam, Augustine, B of 29 (video: detail only) Bach's related genius, but beyond the Asams, beyond all his contemporaries, writers, artists, other composers, Vivaldi, Telemann, Handel, to make that stronghold of belated Baroque an eternal Passion center of Christian and human truth. a31) Zurbaran, 1635-40, detail of Christ, from Crucifixion, with the painter, Prado, Madrid �C.G. Bell Vb31) 31) Symbolic History Rembrandt, 1632, Descent from the Cross, Alte Pinakothek, Munich The whole of a31, Zurbaran, Crucifixion with the painter Music: J.S. Bach, 1729, St. Matthew Passion, "Und um die neunte Stunde" etc., ARC-2712001 The deeply pietistic sharing in the Passion, which would culminate in Bach's settings, as in these last words according to St. Matthew, with the following Chorale, was not merely Protestant, but Counter-Reformation as well: so with Zurbaran's 17th-century Crucifixion and the Painter; a32) 32) Rembrandt, 1633, Raising Christ on the Cross, centerspread with self-portrait of the artist, Alte Pinakothek, Munich Same, detail of artist (with video detail of Christ from whole and a closer detail of the artist; then, video returns to Vb31, Rembrandt, Descent, upper detail; while slide show introduces 32a, Rembrandt, c. 1637-41, Deposition, National Gallery, London) Music: Same, opening of Chorale, Wenn ich einmal soll scheiden (fade) though the example which most anticipates Bach is perhaps that Munich raising of the Cross, into which Rembrandt has introduced his own sorrowing face. As so often, it is as if Bach had endowed the soul of Rembrandt with the musical emotions of the last and richest Baroque. Thus the closing modulations to which he subjects the Passion Chorale, "Wenn ich einmal soll scheiden" (close of Chorale) — building on the intensity and tenderness of the German past: Albert, nephew of Schütz: Music: 33) 33a) H. Albert, c. 1640, from Kirchenkantate: Bekehrung zum Herren "Kommst du"; (Tinayre) Col. M-431 (fade) M.B. Braun, 1712, St. Jude the Apostle, upper detail, National Gallery, Prague Same, detail of face By the time of Bach, the more-than-Racine rhetoric of passion, like all the energies of earth, has been magnified; this Apostle Jude by Braun in Bohemia, might be Bach's St. Peter, or the tenor soul of man, at the cockcrow of denial. �C.G. Bell Music: 34) Symbolic History Bach, 1723-7, St. John Passion, from #18: "und ging hinaus und weinete bitterlich," Odeon ST E 80668-70 M.B. Braun, 1726, St. Jerome before his Cave, near Kuks, Bohemia; first, V detail Music: Bach, same, cont., close of #19, "Meine Missetat" (end) Braun's 1726 Jerome before his cave so crying the penitence of his "Missetat" has almost the terror of Blake's Nebuchadnezzar, imbruted specter of man. To entrain in sacred participation all divisive powers of post-Renaissance self and world, without being daunted by the gulf between, 35) Rembrandt, 1668, Return of the Prodigal, Hermitage, Leningrad; + V details is the victory of the religious Baroque — as certain in Bach's Passions as in this ultimate Prodigal by Rembrandt. How the Matthew-Passion pours on Peter's denial not the rancor of the St. John "Misdeed" but the balm of a comfort aria: "Erbarme dich." Music: Bach, 1729, St. Matthew Passion, from 46-7, "weinete" and "erbarme" ARC-2712001 (fade) 2nd 34) Again, St. Jerome, another detail 2nd 34a) Maulbertsch, c. 1760(?), Raising of the Cross, place unspecified Though both Passions are formed in the Baroque antinomy of actual wrong and reasoned vindication, that of John heightens the negative, as in the fierce Bass aria and chorus: "Eilt!" — Hasten! — Where? — To Golgotha": Music: 2nd 35) Bach, St. John, from 48, "Nach Golgotha" Od. ST E 80668-70 (fade) Again, Rembrandt, Prodigal's Return, detail Which the Matthew Passion as determinedly parallels with assuagement: "Come ! Stay! — Where? — In Jesus' arms." Music: St. Matthew Passion, continued, from 70: "Sehet, kommt," (Scherchen) West. Gold WGM 8318-4, side 7 (fade) �C.G. Bell Symbolic History But must we always go back before Bach's birth for an art suggestion of his deep and shadowed containment? 36) 36a) E.Q. Asam, 1733-35, Resurrection of Sinners, St.-Johann-Nepomuk Kirche, Munich; + V details Same, Resurrection of the Just The earthquake resurrection of the dead from the Matthew Passion — Music: Bach, St. Matthew Passion, cont. (73) Earthquake, ARC-2712001 (fade) that cry which stretches creed — has startling parallels in this E.Q Asam. 37) 37a) Rembrandt, 1638, The Risen Christ appearing to the Magdalen, Buckingham Palace, London; + V detail Rembrandt, c. 1650-55, Landscape with Ruins, Gemäldegalerie, Cassel But for the evening peace and nature-love which follows (though the German soul has always leaned that way) we are pressed again to Rembrandt — Christ as gardener to the Magdalen. Music: 38) Bach, Matthew Passion, cont. (74), Bass, "Am Abend" 2712001 ARC- C.D. Friedrich, 1817, In Memory of John E. Brewer, Charlottenburg; + V detail (fade "Am Abend") Or forward to Friedrich's landscape symbols, this memorial to a lost friend, the Gothic city through the gate of death, beyond estranging water. a39) Zimmermann, 1746-54, Die Wieskirche, against snowy mountains, Southern Bavaria (CGB '86; copy of 18th Century a39) Vb39) Same, detail of West front, sun and shadows (CGB '86; copy of 18th Century 39) 39) German Baroque, 1746-58, Birnau am Bodensee, in landscape (CGB '66) 39a) Abbey of Our Lady, 18th cent., Zwiefalten, Germany �C.G. Bell Symbolic History Yet the German Baroque, above all styles, breathes harmony with the flowering earth, as in the poems of Bach's contemporary, Brockes (his lyrics included in the St. John Passion), a poet at his best in nature: on The Nightingale: Die aus so enger Brust und mit so kleiner Kehlen Die grössten Wälder füllt durch ihren Wunderschall — that song-wonder Blake would compare with the scent of flowers: "how from so small a center comes such sweets,/ Forgetting that within... Eternity expands/ Its ever-during doors." The title of Brockes book is the very key to Baroque: Earthly Delight in God — Irdisches Vergnügen im Gott: In the cool of night, in pensive mood, I walked, and saw of late where a cherry stood, Blossoming in the light of the moon, That nothing whiter could be seen or known. It was as if a great snowfall Had heaped the branches and each bough Down to the smallest twigs with snow Clustered in rounds of pure white balls. Surely — I said — it would be sought in vain, Over all the earth, to find a whiter thing. But as I shifted here and there, My sight still lifted to the tree, I caught by chance, in a space of sky, A single clear and shining star, Far brighter than the blossoms were. I thought: how the beauty of earth, all God has given, Dwindles in the brightness of his heaven. (CGB) a40) 40) 40a) E.Q. Asam, 1731-32, St. Anne, Joseph and the infant Mary, Osterhofen, near the Danube (CGB '59); video: detail only: angels with a huge crown E.Q. Asam, 1733-35, Trinity, detail, from St.-Johann-Nepomuk Kirche, München E.Q. Asam, Same, wider view, from which video takes only a close detail, then previews 46: pan-detail of Apse and Trinity �C.G. Bell Symbolic History It is not canvases that hold the German art of Bach's time, but churches and palaces, entire. The greatest artist, E.Q. Asam, like his brothers, is architect, sculptor, painter. It is significant that our search for a Passion parallel of the right depth and humanity led us back to Protestant Holland and Rembrandt. Music: Bach, Johannes-Passion continued (58), "Es ist vollbracht" But against even Bach's greatest moments — that lonely "consummatum est" ("Es ist vollbracht") from the Passion according to John — E.Q. Asam, Catholic Bavarian, marvellously holds nis own — most of all in the brooding Nepomuk Church he and his brothers designed and built at their own cost beside their house in Munich, with an apselighted Trinity which gives the florid Baroque its darkest glory. To have preserved that solemnity into the generation after Watteau and Couperin, Swift and Pope, is not Bach's triumph only, since Asam shared in it too. 41) Dürer, 1511, The Trinity, Woodcut; + V detail As the resemblance (less in form than spirit) to Dürer's 1511 Throne of Grace might suggest, it is the heritage which made Machiavelli praise Republican Germany above all Europe for probity and religion; though of course what we are in search of is deeper than morality, a God-immediacy by which that rapt people so miscarried in our century. 42) South German, c. 1340, Christ and St. John, Staatliche Museen, Berlin; + V detail (cf. V42) Back and back in time the intimacy sustains itself — South German, early 14th century, and the loving union of Christ and John, both wrapped in the blood-lined robe of flesh, has a spirit parallelled nowhere else, tied to the soul-soaring of Meister Eckhardt: God is all things; all things are God. The Father begets me, his son, without cessation. I say more: he begets in me himself and in himself me. The eye with which I see God is the same eye with which God sees me. My eye and God's eye are one eye. 43) Master of Naumburg, c. 1270, Head of Christ on the Cross, Dom, Naumburg �C.G. Bell Symbolic History And it is in Naumburg, from a century earlier — the 13th — that the dying saviour first receives the human reality of each and all. How is Bach thinkable without that consummation? 44) German, 10th or 11th cent., Head of St. Metronus, Abbey, Gernrode We pursue it further, into the Dark Ages. This battered Metronus head from Gernrode, illuminates the 10th or 11th century with a testimonial inwardness unique in that Europe — the sacred accomplishing itself in subjectivity: "Es ist vollbracht." (close) 45) Roman Christian, 3rd cent., Orant, detail, Catacombs of Priscilla, Rome; video having picked up more of the figure from Va45 No doubt the deepest origin is in the Christ-man himself, incarnate mediator for the West; but if we trace that Logos to its third century art-beginnings, we feel, as in Gregorian, the passions of flesh dissolve in mystery; we can hardly distinguish the hollow hush of "Crucifixus" from a "Resurrexit" attested as by the empty tomb.. Music: 46) 46a) Gregorian, Crucifixus and Resurrexit, Credo I 4th mode, Solesmes, London 5632 (fade) E.Q. Asam, 1733-35, St.-Johann-Nepomuk Kirche, interior from entrance, München (CGB '59) Same, Apse with Trinity; first, video detail of Christ By the time of Asam and Bach, Incarnation has mounted creed in other body and robes on quite another stage. The outraged cry of "Let him be crucified" Music: Bach, St. Mathew Passion, continued (from 54) "Lass ihn kreuzigen" (cut) demands a Leibnitzian calculus of containment: "O Haupt voll Blut und Wunden": Music: Bach, St. Mathew Passion, continued (63) from "O Haupt voll Blut..." (cut) 1st 47) Same, Apse and Trinity (detail taken from Mozart 53, CGB '59); while video pans to an angel, upper left �C.G. Bell Symbolic History The great organ fugues — as for the Passacaglia — go as far as assertion can in empowering the dissonant antithesis: Music: Bach, 1708-17, Passacaglia and Fugue in C Minor, close, (Biggs) Col-MS 6261 1st 48) E.Q. Asam, 1723, Assumption of Mary, High Altar (from church aisle), Rohr, Bavaria (CGB '59) Thus in the B Minor Mass, where the Gregorian Creed is to be set, the tympanic Resurrexit seems to pile the Asam altar at Rohr, of Mary's Assumption from the grave, For 2nd 47 and 2nd 46) Again, Asam Nepomuk Trinity: slide show has a wider view of 46a; while video returns to the frontal view of slide 40 (plus a Christ detail) For 3rd 47) Here the slide show repeats the frontal view of 40; while the video details Mary's tomb from the Assumption (see V3rd 47 in the video file) on the chromatic grief of the Nepomuk "Cruxifixus." Music: Bach, close of Crucifixus, B Minor Mass, from Angel 3500 C (end Crucifixus) 2nd 48) Again, Asam, Assumption of Mary, from nearer (CGB '59); first, video previews 49, Mary and Angels ascending 49) Same, Assumption of Mary, nearer and above (CGB '59); video: details only: Mary, then angels; also from 2nd 48, tomb with apostles 50) Same, below, closer: tomb with Apostles (CGB '59) 51) Same, nearer, Apostles to the left (CGB '59) 52) Same, above, Heaven, with Mary rising (CGB '59) 52a) Same, Mary, a side view (slide copy of 1700 #20, CGB '59); then video returns to detail from 52, Heaven Music: Bach, opening of Resurrexit, B Minor Mass, Angel 3500 C (fade Resurrexit) In the Baroque engrossment of Gothic heaven, mystical rapture lifts a weight of Cartesian bulk, which, as in Leibnitz, it has entrained in its cosmic surge: �C.G. Bell Symbolic History Souls act in accordance with the laws of final causes through their desires, ends and means. Bodies act in accordance with the laws of efficient causes or of motion. The two realms, that of efficient causes and that of final causes, are in harmony, each with the other... According to this system, bodies act as if (to suppose the impossible) there were no souls at all, 53) V53a) Asam Brothers, c. 1735, Assumption above High Altar, Kloster Weltenburg, Bavaria (CGB '59) Same, a nearer view of figures against the vault (CGB '59) and souls act as if there were no bodies; yet both body and soul act as if the one were influencing the other... The totality of spirits must compose the city of God... a moral world within the natural world... Another harmony between the physical realm of nature and the moral realm of grace... brings it about that things progress of themselves toward grace along natural lines... Under this perfect government... everything must turn out for the well-being of the good... not only for all in general, but also for each one of us in particular... As Leibnitz kindles formal Descartes, a54) 54) French-German, 1st half of the 14th cent., Stained Glass windows, Strasbourg Cathedral (CGB '59) German, 14th cent., Gothic, Stained Glass window, Cathedral, Augsburg (CGB '59); + V detail (cf. V54a) Medieval German mystics had enflamed the Scholasticism of Paris. From Suso on his cross studded with nails, 1350, the "Sursum Corda" — "Lift up your hearts" — rises like the burning windows of Augsburg: I set before my inner eyes myself in all my being, with body, soul, and all my faculties, and placed around me all the creatures God has created, in heaven, on earth, and in all the elements, birds of the air, beasts of the forests, fishes of the sea, and thereto all the little dustmotes which shine in the rays of the sun, and all the little waterdrops which ever fell or fall from dew, snow, or rain — and wished that each and all of these things had a sweetly swelling sound of harps, well prepared from the innermost essence of my heart, �C.G. Bell 55) 55a) Symbolic History Grünewald, c. 1511-15, Vision of God, upper detail from Madonna and Angels panel, Isenheim Altarpiece, Colmar Same, larger context, Heavenly Glory so that there would rise up from them a new and jubilant hymn of praise to the beloved, gentle God from evermore to evermore. And then the longing arms of my soul spread out toward the countless beings of all creation, exhorting and inciting them even as a zealous precentor incites his fellow-singers to sing joyfully and to offer up their hearts to God: Sursum corda. So Grünewald incites the Renaissance to a fire-vision of glory spilling from and returning to the Father. Now that German continuity 1st 56) E.Q. Asam, 1731-32, Glorification of the Lamb, Osterhofen (detail of CGB '59); first, video closer detail haloes the vaults of Asam with lighted angels, at Osterhofen, on wings around the Lamb. Again Leibnitz gives a clue to the German genius which could hold the mighty style of Christian Baroque into the Salon century, raising the rational and phenomenal to mythic ecstasy. 1st 57) Bernini, 1657-66, Angel window (over Peter's Chair), St. Peter's, Rome (video: wider variant, V1st 57) Against the Asam, set Bernini's 1660 paradigm. This tangle of rays and angels is as calculatedly cool as the forces of a Newtonian wheel. And the World System, which in Newton, despite his ardent wish, becomes a clockwork of vectorial force, 2nd 56) Again, Asam, Glorification of the Lamb (whole of 1st 56, CGB '59) is glowingly sustained in Leibniz by the vital antinomies of Energy. Indeed, the shift from a physics of force and momentum to one of energy (from MV to MV2) fills the universe with the ubiquitous ground of nature as fluctuant substance. 2nd 57) Again, wider: Angel Window and Peter's Chair; while video narrows to a Window detail, V2nd 57 �C.G. Bell Symbolic History The poles always mingle. Leibniz is rational too, but not with so Galilean a command of heaven as matter in motion. And how remote from outward Bernini, 58) 58a) V58b) Münstermann, 1631, Head of Moses, Altar detail, Parish Church, Tossens, N. Germany Münstermann, 1637, Evangelist Matthew, upper detail, pulpit of the church in Holle Münstermann, 1631, from Head of John the Baptist, Altar, Parish Church, Tossens (CGB '57); video narrows to a close detail is this 1638 Moses by his North German contemporary Münstermann, steeped in the Hermetic mysticism then voicing itself in Jacob Böhme: When the will resigns and surrenders to God's Ground, it sinks beyond itself, beyond all grounds and points of view, into the only place where God is revealed, where He works and wills. It has become a no-thing to its own ego-self... God lives within it... as fire reddens iron: so that it loses its darkness... and glows with the Love-will that rules and works in all. (CGB) — Böhme, of whom Silesius would write later in the century: As fish in water, as in earth the plant, Bird in the air, sun to the firmament, Or salamander to his fiery haunt, God's heart is Jacob Böhme's element. (CGB) — Silesius, to write the same of his own eternal I: I also am God's son: I share his company. His Spirit, Flesh and Blood are known to him in me. (CGB) Ich auch bin Gottes Sohn, ich sitz' an seiner Hand: Sein Geist, sein Fleisch und Blut ist ihm an mir bekannt. a59) 59) Martin and Michael Zürn, 1634, The Rose Garland Altar, Münster, Überlingen; + V detail Justus Glesker, c. 1650(?), John the Baptist, detail, National Gallery, Munich; + V detail Music: Buxtehude, 1680-87, from Ich bin eine Blume zu Saron, ARC-3096 �C.G. Bell Symbolic History Before Bach's birth, the art of German Baroque (this Glesker John) shares in Silesius' rapture: The rose is without purpose, asks neither how nor why; It blooms because it blooms, selfless as earth and sky. (CGB) Such the leaven Buxtehude caught up from Schütz, Albert, Hammerschmidt. And it was Buxtehude's evening concerts ("I am the rose of Sharon") which Bach, in 1705, walked 200 miles to hear. (fade Buxtehude) 60) 60a) Glesker, 1648-53, Grieving Mary from a Crucifixion, Dom, Bamberg Same, another lighting (video: upper detail only) Where immediate person pours into the sacred, the romantic is foreshadowed. So with Glesker's grieving Mary, or the haunting oboe unison as watchman's horn in Buxtehude's "I sought by night... him whom my soul loves": Music: 61) 61a) 61b) 62) Buxtehude, 1680-87, from "Ich suchte des Nachts," ARC 3096 (fade) M. Willmann, 1666, Miracle of St. Bernard, Museum der Bildenden Künste, Breslau Same, detail of carriage, with a video return to the whole Same, detail of landscape Same, another detail of landscape And in this rare German landscape of the time, by Willmann — the devil charmed into piecing out, with his own body, St. Bernard's broken coach wheel — we are startled by an earth and sky webbed with the lightning of Grünewald, as energized as the viola da gamba line from Buxtehude's "Jubilate": Music: 63) Buxtehude, 1680-7, Gamba introduction from Cantata II, Lumen 32050 (end viola da gamba) E.Q. Asam, c. 1735, High Altar with St. George, Weltenburg Cloister Church, Bavaria (CGB '59); video uses wider variant, V63 �C.G. Bell 63a) V63b) 63c) 63d) 63e) Symbolic History Same, from the oval Nave (CGB '59); video starts with a wider variant, V63a, then goes to a detail from 63a C.D. and E.Q. Asam, 1717-35, View across the Danube of the same Cloister Late Roman Baroque, 1685, Andrea Pozzo, detail of ceiling fresco, San Ignazio, Rome (CGB '86) Again, Asam Brothers, Weltenburg Cloister Church, detail of ceiling stucco (copy of CGB '59, see 18th Century, 42) Again, the St. George Altar (horizontal detail of 63, CGB '59); video: closer details only Music: Bach, c. 1735(?), Cantata #50, Nun ist das Heil, BG 555 Both Bach and Asam cling to that chain of life-marvel, which reaches from Gothic and Altdorfer all the way to Wagner and beyond. The charged adventure of George, the Lady, and Dragon, flanked by Bernini columns and saints, with every feature of the cloister church of Weltenburg, wrought by the Asam brothers as if from one precious stone, is full of such pictorial exuberance as Schweitzer has stressed in Bach. (skip in Cantata to near close) Incredible, that 1735 continuance and heightening of expressive powers, the Great-Chain-of-Being faith of the century before, from Galileo and Descartes to Newton, Leibnitz, the vast contructions of Bernini and Boromini, Pozzo and Baciccia, or of the France of Louis XIV, brought to a grandeur unmatched before. and at a time when Baroque assertion might seem to have spent itself, (end Nun ist das Heil) 64) V64a) 64b) Fr. Mansart, 1643-50, Hall of Mirrors, Chateau Maisons-Lafitte Mansart, Le Brun, Coysevox, 1678 ff., Salon de la Guerre, Versailles Le Vau and Le Brun, 1671 ff, Escalier des Ambassadeurs, Versailles In France we have seen the rational heroics of the Sun-King, this first Mansart hall of mirrors in the Maisons-Lafitte, swell to the methodic sublimity of Versailles, the overreach of Lully's Overtures: Music: Lully, 1686, Overture to Armide, opening, HSL-2072 (fade) �C.G. Bell a65) Vb65) 65) Symbolic History Fr. de Cuvillies, 1734-39, from Hall of Mirrors, Allegory of Water and Fishing, Amalienburg, Nymphenburg, Munich (copy of CGB '59, see 18th Century 41) Same, whole wall (then video details from a65) Same, another stucco detail (cf. 18th Century, Va41) Music: J.S.Bach, c. 1627, Partita #2, Courant, close, Landowska, VIC 1594 (fade in) We have seen, we have heard it break, with the 18th century, to the playful arabesques of rococo asymmetry, which spread over Europe and in all the arts: we pick it up here from Munich, 1735, the hall of mirrors in the Amalienburg. Bach absorbed it as he did every style, grafting the fragilities of Couperin and Rameau onto the earlier base. (close Courant) Most of all it frills the chamber-play of Telemann Music: 66) V66a) 66b) 66c) Telemann, Mus. de Table, from E Minor Ouverture, ARC 73234-35 (fade) J.B. Zimmermann, 1727-36, Steinhausen, piers and ceiling (CGB '59) (with video detail of Eve, etc.) Same, another portion of the ceiling (CGB '59) Same, Die Wieskirche, upper detail of Choir (CGB '86); while V66b copies 18th Century Vb40: same, wider spread (CGB '59) Same, Die Wieskirche, columned height of the Choir Music: Telemann, c. 1640(?), Magnificat in C, close, PHM 500-104 And against the Roman weight of the Asams, the Zimmermanns lace and embroider Steinhausen (as here) and finally Die Wies’ with a Tiepolo and Louis Quinze brilliance as of porcelain, though with an Eden simplicity of the pastoral. The result is an ecclesiastical delight unparallelled, unless in those always more operatic masses and Magnificats — as from Telemann (close Magnificat) to Mozart almost at the century's end: Music: Mozart, 1779, "Coronation" Mass in C, Gloria, Amen, Nonesuch H1041 (close) �C.G. Bell Symbolic History Religious display in Bavaria has not struck so desperately 67) H. Rigaud, c. 1700, Cardinal de Bouillon, Musée des Beaux Arts, Perpignan on the clarity which had etched the final pomps of 1700 France, high Church and high state, Versailles, tax-farming, the Wars of the Spanish Succession, with mockery. The skeptic wit of Voltaire, Holbach, the Encyclopediasts, already peeps through the playacting of Rigaud's Cardinal de Bouillon, angel kiddies and all — as if to voice a68) Vb68) 68) 68a) Watteau, 1708-09, Decorative panel, with monkeys, Private Collection Zimmermann, 1746-54, Die Wieskirche, video pan on detail of slide 66b, above (CGB '86); video then returns to a68, decorative panel Watteau, 1717, Gathering Under an Arcade, Dulwich College, London (cf. 1700 67); + V detail Same, detail of dancers and fountain what Watteau might share with Congreve: "No more of that nauseous cant." Watteau's training under Audran as a painter of arabesques — those wave, shell, and flower forms with which Zimmermann would pendulate whole churches — must have shielded him from the heavy hangover of Le Brun. But he goes beyond decorative buoyancy. Music: Fr. Couperin, 1713, from La Favorite, Landowska, Soc. Album The break with the heroic uncovers a frail poignance of ennui and lonely heart, which Verlaine had only to romanticize: (Symonds) Your soul is a sealed garden, and there go With masque and bergamasque fair companies Playing on lutes and dancing and as though Sad under their fantastic fripperies... As in Couperin, so in the tearful light of the Dulwich College "Gathering" (detail), the very fountains seem to sob: Au calme clair de lune triste et beau, Qui fait rever les oiseaux dans les arbres Et sangloter d'extase les jets d'eau, Les grands jets d'eau sveltes parmi les marbres. (fade Couperin) �C.G. Bell Va69) 69) Symbolic History Magnasco, c. 1740(?), Gathering in a Garden, Palazzo Bianco, Genoa Magnasco, detail from the far right of the same picture Music: Domenico Scarlatti, c. 1740(?), Sonata in F Minor, K 184 (L. 189) close, Nonesuch H-1094 By 1735 — Bach and Asam then at their height — French languor and precious ridicule show in Italy through the dark and chromatic passions of Magnasco and Domenico Scarlatti. (end Scarlatti) 70) Norbert Grund, c. 1760, Minuet in a Park, National Gallery, Prague (video: details only) In that Germany, where Norbert Grund was already prettying his teacup gardens with minuets in the plaintive mode, the old Bach held the great fugal fortress almost alone. What had happened in France forty years before. now stretched the generation-gap of his own musical family. Those brilliant sons, from Wilhelm Friedemann through Philipp Emanuel to Christian, all courted the modish amours of the style galant: Music: Johann Christian Bach, c. 1770(?), Sinfonia in B flat Major, 0p.18, #2, plucked string section from the Andante, Chamber Music Society, CM-6 (fade) 1st 71) G.L. Bernini, 1658-70, Glory-dome over altar, Sant' Andrea al Quirinale, Rome (CGB '86); + V detail While the outmoded father, Johann Sebastian, brought his last enormous powers to bear on the fugue. Nothing but the Newtonian and Leibnizian synthesis of the world had expressed Baroque command as completely as formulated fugal polyphony. As the daring cupola of the last Bernini Va1st 72) C.D. and E.Q. Asam, 1717-35, whole ceiling, stucco and fresco, Weltenburg Kloster/Danube (video: central spread only) 1st 72) Same, the lower half of the fresco (CGB '59); + V detail: Asam leaning in (from V1st 72a) �C.G. Bell Symbolic History reads itself over into the light-hung ceiling of that George-and-the-Dragon church of Weltenburg, where clouds and carved angels, with an ecstatic Asam (top right) overflow the rim — so Bach, for the final work of a God-affirming lifetime. 1st 73) Bernini, 1655-67, Piazza of St. Peter's (from the Colonnade roof), Rome set himself to systematize, in constructions of every complexity, simple, augmented, diminished, mirrored, and with added subjects, the whole Art of the Fugue, culminating what had swept from 17th century Italy — the spatial conquest of Bernini's Piazza of St. Peter's 1st 74) J. Prandtauer, 1702-18 ff., Kloster Melk, Austria (detail of 3rd 74, CGB 59) — north over the Danube: in music Fux' Gradus ad Parnassum, in architecture the supreme Monastery of Melk, after 1702 — as if synthesizing power would proclaim itself to the world. 1st 75) English landscape gardening, 1741 ff., Stourhead Park, Wiltshire (CGB '59) Almost no work of Genius is harder to parallel than the Art of Fugue. It seems the apotheosis of the great organizing will of Europe's most formal centuries — what in England by 1740 had shaped whole countrysides of forest, lake and park: Stourhead, where nature receives the idyllic touch of art. 1st 76) N. Poussin, c. 1644-45, Landscape with St. John on Patmus, Art Institute, Chicago A perfection devised a hundred years before, when Poussin accorded heroic landscape to the geometry of planes, a fugal abstraction to inspire Cezanne. 1st 77) Rembrandt, 1653, Aristotle Contemplating the Bust of Homer, Metropolitan Museum of Art, New York City All the greatest art of the 17th century has that canonic eternity, working through the richest matter of sense and world — Rembrandt's Aristotle Contemplating the Bust of Homer. �C.G. Bell Symbolic History 1st 78) Zuccali, 1701-04, and Effner, 1720-26, Lower Hall, Neues Schloss Schleissheim (CGB '59) In Bach's Germany such panel painting seems to disappear; the Parnassian nobility shifts to architecture, bearer of the ritual dream. For 1st 79) Double: J.S. Chardin, [A] left, 1734, Philosopher Reading, Louvre, Paris; and, [B] right, 1733, The Water Urn, Museum, Stockholm Of course the whole rococo is imbued with formal design; but in France only Chardin holds the seriousness of the old Baroque, its sense of space as metaphysical — what composes this Philosopher to a still-life. or a still-life to philosophy. For 1st 80) Double: [A] Rembrandt, 1669, Last Self-Portrait, Mauritzhuis, the Hague; and [B] Goya 1815, Self-Portrait, Prado, Madrid Finally it is in Goya that the grand manner of the Western centuries of confidence breaks through Revolution to an ultimatum of Baroque self in fugal plasticity. For 2nd 79 and 2nd 78) Jan Vermeer, c. 1660, The Girl with a Red Hat, Mellon Collection, National Gallery of Art, Washington, D.C. (CGB '62) We have no choice, for Art of the Fugue cognates, but to invoke so extended a span. Since it is to the outpost of the century before that Bach mounts, For 2nd 77) H. Matisse, 1905, Portrait with the Green Stripe, Royal Museum of Fine Arts, Copenhacen most of all at the end of his life, and to such solitary eminence, that he belongs simultaneously to the past, and to the abstract search of the future, even down to today. For 2nd 76) Asam Brothers, 1717-35, Stucco from Forehall, Kloster Weltenburg, N. Bavaria (CGB '59) The Art of Fugue is another of those life-studies we have to hint at in the closing minutes of a show. Best to focus on For 2nd 75 and 2nd 74) �C.G. Bell Symbolic History Borromini, 1650-59, St. Ivo, upper part, Rome (copy of Blake, 43, CGB '86) the last great quadruple fugue, intended for three new invertible subjects combined with the leading theme; though unfinished, it is still the longest fugue Bach wrote; 2nd 73) F. von Erlach, 1717 ff., Church of San Carlo, Vienna so even with this fragment of a vast work, we must start part way through with the second and faster theme, hear it combine with the first. Then yield to the four-note grandeur of the chromatic For 2nd 72) E.G. Haussmann, 1746, Portrait of J.S. Bach, place unspecified; + V detail signature, Bach: B - A - C - H (H the designation of B natural), with the beginning of its unbelievable measuring against the other themes. So the fugue breaks off, in a trailing voice, as if Bach had dropped it on his death-bed. Music: a2nd 71) 2nd 71) 3rd 72) For 3rd 73) 3rd 73a) 3rd 74) V3rd 74a) 3rd 75) 3rd 76) 3rd 77) For 3rd 78) 3rd 79) a2nd 80) 2nd 80) Bach, 1750, Art of Fugue, close of the last, (Münchinger), London CSA 2215 Another CGB '86 variant of Bernini, Sant' Andrea al Quirinale [at present, slide show only, but to be revised into the video] Again, Bernini, Sant' Andrea al Quirinale, spread opening of Heavenly Glory (video: details only, right, then left) Again, Weltenburg, ceiling fresco (CGB '59); video returns, for details only, to 1st 72 [add to video Va3rd 72, whole fresco] Again, St. Peter's Piazza, the sweep of the curved colonnade Same, the triple colonnade, from within Again, Melk, at evening (here, original slide CGB '59) Same, another view, from the Danube Stourhead, another view, twilight (CGB '84); video: two details only Poussin, 1643, St. Matthew and the Angel, Staatliche Museen, Berlin Again, Aristotle Contemplating the Bust of Homer, detail Schleissheim Hall, another angle (CGB '59) Again, Chardin, Philosopher Reading Again, Rembrandt, last Self Portrait, detail Again, Goya, 1815 Self Portrait, detail �C.G. Bell Symbolic History (here Art of Fugue trails off) 2nd 80a) Francisco Goya, 1820, Goya and his Doctor, Minneapolis Institute of Art (video: detail only) Yet Bach, like the 70-year-old Goya, did not die then and there. Though it was not long after, as he lay in a darkened room, too blind to write, that he dictated a fugal prelude for the Chorale "Wenn wir in Höchsten Nöten sein" — a pilgrim, in his death need, calling on God. 80+1) Again, Vierzehnheiligen over fields; with video detail and return to whole (CGB '52, original of slide 1) Like Vierzehnheiligen over fields and woods, that last polyphony of faith, printed with The Art of Fugue, has the serenity of an Eden-earth recovered by love. Music: Bach, 1750, Wenn wir in Höchsten Nöten sein, close, (Münchinger) London CSA 2215 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charles G. Bell's Symbolic History: Through Sight and Sound Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Description An account of the resource Scripts of Mr. Charles G. Bell's Symbolic History series. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 25 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bach : Fort of Post-Baroque, Symbolic History, Part 24 Description An account of the resource Script of Part 24 of the Symbolic History series by Charles G. Bell. Creator An entity primarily responsible for making the resource Bell, Charles G. (Charles Greenleaf), 1916-2010 Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource [1988-1990] Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_BellC_Symbolic_History_Script_24_Bach--Fort_of_Post-Baroque Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/5d6446b67380dda9fb019a0c9e518e3a.pdf 763e2fd919b1334c7ad8c07379d0ead8 PDF Text Text BACH'S. RHETORIC Beate Ruhm von Oppen 27 October 1972 I r DI>- ar I GI r fGl~rrl fl f rl rG §D 4 I �B A c H I s RHE T 0 R I C Beate Ruhm von Oppen Those of you who have read Albert Schweitzer's great book on Bach may remember the genesis of it from the preface by Charles Widor. He describes how he, Wider, told Schweitzer one day when they were playing the chorale preludes that though he could easily see the logic of Bach in his preludes and fugues, he found much obscurity in his treatment of chorale melodies 0 excessive contrasts of moods? Why these Why the use of contrapuntal motifs that bore no relation to the mood of a hymn tune? Young Schweitzer told the master that all this became clear from the texts. most. Widor told him which pieces had puzzled him Schweitzer told him the texts by heart, and translated them into French on the spot. The riddles were solved. The two then spent afternoons going through all the 'choral'e pieludes and Schweitzer showed Wider, as Wider says in his preface, a Bach whom he had only very dimly divined before. He then asked young Schweitzer to write an essay on the chorale preludes for French organists. Schweitzer soon found that he had to include the cantatas and passions, to explain things. And that was the beginning of his book on Johann Sebastian Bach, the musicien-po~te, or musician-poet, as he called him. The man who was to have spoken here to-ni~ht, Nicholas Nabokov, ., once said to Mr. Klein, many years ago, that Bach's texts do not matter, that they did not matter to Bach. In proof he mentioned the fact that Bach often re-used music with a new text that had previously been composed for another texto I am here to refute that view and I propose to address myself not only to that objection to taking Bach's texts seriously, but to other objections too: that the declamation is often not the declamation such texts would have were they read or spoken, even in a heightened form; that often they are submerged in the music, inaudible or unintelligible; and that some of the texts, some non-biblical texts his librettists served up to him, were uninspired, weird, or in doubtful taste. �- 2 Let me dispose of this last point straightaway and say that I am not unduly impressed or depressed by it. Tastes have changed since Bach's day and some of the conceits, some banking or cooking or medical metaphors in a few of the texts may strike us as odd as may some of the loving, almost amorous exchanges between the soul and the savior in others. But one can live with such oddities and they are neither numerous nor important. important is Bach's musical treatment of themo What is And I for one am against editing them out, as some pe.ople, even Albert.Schweitzer, have suggested. Though Bach could do wonders with almost any text, he was, it seems to me, at his best when setting and interpreting the Bible. Indeed I would not call him a fifth evangelist, as has been the fashion for some decades now, but a church father, an interpreter, an exegete of Holy Scripture. I could now proceed in Thomistic fashion, giving the other mostly but not only secularist -- objections one by one, and then my answers. fact that I What makes that procedure impossible is the can only detain you for about one hour and that I want to leave half of that to Bach himself. You ought to hear at least as much of what he does as of what I have to say about it. What he does takes time. and with time. Music takes time; it works in To allow Bach to have his say means that one must listen to what comes before a certain crucial point, even if one .1.' vnen brutally cuts off or fades out after that point. ~ I might as well start with the Nabokov objection, the existence of what are called "parodieso" The most massive case of re-use of pre-existing music is the Christmas Oratorio. Some wri te rs have argued that this cluster of six church cantatas was composed before the secular cantatas with which it shares a dozen numbers. I am not convinced. I think that here, too, as in all other known cases of parodies, the ~ecular work came first, the sacred later -- though some parallel numbers of the one and the other may go back to a common earlier source. · �- 3 - The Ch:·istmas Oratorio is not only the most massive case of parody, but it is also the one that comes closest to convincing people that parodies do prove Bach did not really care what words he combined his music with. however, th·~ As far as I am concerned it is, only case where one could say an original number .was "better" than the later adaptation. For the Christmas Oratorio Bach drew fairly extensively on a secular cantata (BWV 213) about young Hercu:.es at the crossroads, of Virtue and Voluptuousness (or Pleasur1!). a tenor aria. You'will hear the beginning of both versions of In the secular version it is sung by Virtue who tells young Hercules that on her wings (yes, it is "her" despite the tenor voice) the budding hero shall soar and rise as on the wings of an eagle, towards starso schweben, r·~ally, The soaring, on the word sensibly, "soars," hovers, floats in the air, having been lifted up, off the ground, most powerfully and elegantly b~- the octave swoop to a syncopated tonic and run up to the domiJLant, all in the first bar, on the words "Auf meinen Flti.geln" -- "QEon my wings. 11 Let us hear it. EXAMPLE 1) Cantata Ho. 213, Hercules at the Crossroads, and Christmas Oratorio ··i'. •rt J1._ . · . . . - -· ,t' c~ iuZ~ t ~t tl -F})l 'ffi\"'~-!DI: :: R0 <.~J"' <solc.;;t to <)~'<- -----~-----~..:> ( b~-; J.if .tu., &-f<'..v\ Ir(be.V\_:. . {\Li r / In the Christmas Oratorio this E-minor aria is lowered to D-minor and the tenor sings it as a song of dedication to the infant savior and asks for strength and courage for a Christian lifeo The first words are "Ich will nur dir zu Ehren leben. 11 The "leben" comes where the "schweben" did before. As we shall see later, i1eightlessness was a feature of Bach's music on the effects of ,~race. But in this one instance I myself feel the music has a more immediate connection with the explicit verbal �- 4 metaphor "schweben" (for "to hover, or glide") than the implied metaphor of "leben" (for "to liveo") But let us listen to both, the D-minor version iri the Christmas Oratorio, and for contrast, once more, the E-minor version in the Hercules cantata. (EX.AMPLE 2 and EXAMPLE 3) So now you have heard the one example which I myself consider somewhat superior in the original, secular versiono In all the other cases of adaptation I find the sacred "parody" superior to its secular original and, where it is an adaptation of an earlier sacred composition, not inferiorq The traffic was all one way, from secular original to sacred adaptation or "parody," or from secred original to sacred adaptation -- never the other way round, from sacred to secular. The four short Masses are cases in point here. Greek 11 They are Kyries 11 and Latin "Glori as'" short Lutheran Massee, which use music previously composed for German ohurch cantata.a. In the original the music often seems tailor-made for the verbal cadence of the German text, with such a close fit that even vordless instruments seem to say the words of the text or at least clearly refer to it. And yet that music re-combines with the different and shorter Greek and Latin texts of the Mass with triumphant success. Does that prove the texts did not matter to Bach? bit of ito Not a The meanings of both texts are connected and in the setting of the words Bach has been both inspired and metioulous about fit and fitness. One last word about the Christmas Oratorio. You have heard the first bars of the arias sung by Virtue and the Christmasversion of it.. There is not time -- but neither is there need -- to play the lullaby sung by Voluptuousness in the cantata about young Hercules and the cradle song in jhe Christmas Oratorio -- same song, the one in B, the other in Go One can choose to be shocked or amused by the transformation of the singer of that lovely tune from Voluptuousness to the Virgin Mary. I am amusedo But I see no reason why the nativity scene should not have the tenderness previously given to the allegorical figure of Pteasure. Neither �- 5 - can I get too excited about the fact that the Christmas Oratorio begins with a ket t ledrum taken over from the original of the opening number, a secular cantata beginning or "Sound ye drums." (B\l.1V 214) "T~net, ihr Pauk:en," It was a nice literal touch to delight the groundlings in the secular work. It is in no way out of place in the jubilant first number of the Christmas Oratori o , which starts with words that do not have an explicit mention of drums. So much for the problems posed by the parodieso With my next example I want to illustrate two points connected with the question of declamation. I could, of course, just take one piece by Bach and use the hour to show and discuss what happens in that. But I have decided to accept the challenge of our absent lecturer and to attempt a systematic refutation. Different pieces must be used to make different points, though one piece never illustrates one point I would therefore ask you to listen in a . bi-focal sort only. of way: for the main point to be made in a pi~ce that is played, but not to the exclusion of all else that may be relevant to the subject of Bach's rhetoric. cantatas and the Magnificato My examples will be drawn from the To include anything from any Motet would, I decided reluctantly, take too long. to St. Matthew I take as read (and heard) Sophomore~ The Passion according or, for Freshmen and still in the offing -- and f or the Passion according t o St. John there is, alas, no time. Nei t her is there for the B-minor Mass. Of the roughly two hundred extant church cantatas only a portion are available on record; cantatas a much higher proportion. of t h e rough dozen secular A couple of examples I wanted to use were once available on records, but no longer are. The ones I have now chosen seemed best for the purpose, but may not be; in any case it was quite difficult to make a choice, a necessarily invidi~us are available. and painful choice, among the riches t~~t Some of you can certainly think of equally good or even better examples, and I hope you will mention them in the question period. Yo 1 may ask: i on records? why restrict the examples to what is now available My answer is that the voices, both human and instru- �- 6 - mental, are very important for an assessment of Bach's rhetoric and I want to give you as much of them as I can. If you want to read about the subject and try things out on the voice or piano, there are the books by Westrup and Whittaker, Spitta, Gchweitzer, Pirro, Parry, Terry, Tovey, and others. And there are all the scores in the libraryo And do consider Bach's texts and his treatment of them, listen to what he tried to !22:X when he sango of translation. Consider, also,the problem We might discuss it in the question period. For words did matter to Bach; they assuredly and audibly mattered to him when he set them to music in the service of his church and of his Lord and God, the word made flesh. Most of the cantatas were written when he was cantor of the church and choir school of St. Thomas in Leipzig. Bach was deeply concerned about the meaning of the scriptural and other texts which he used in his church music. Re searched ' for the meaning and thought about it and conveyed it in a variety of ways, some of them taken straight from the art of verbal rhetoric, some of them not available to that art; but these latter, too, were governed by the word. Verbal and musical rhetoric were seen as connected arts at his time and rhetoric was still taken very seriously and taught in the schools and universitieso The connection with music was made in a whole body of teaching called the doctrine of affects or of figures. The feelings or affects were represented bl musical figures, somewhat analogous to figures of speech. Johann Sebastian Bach -- unlike his sons,, who in their day became more famous -- was a keen and educated rhetorician. This must be clear to any careful listener to his vocal music. It was also attested by Johann Abraham Birnbaum, a teacher of rhetoric at the university of Leipzig, who wrote of Bach that He so perfectly knows the parts and advantages which the elahoration of a piece of music has in common with the art .of rhetoric, that it is not only a most satisfying pleasure to hear his thorough discourses on the similarity and greement between the two; but that also one can only marvel at the skilful use he makes of them in his work. �- 7 - Birnbaum was defending Bach against an attack by a contemporary musician and critic, Johann Adolph Scheibe, who had asked: Bow can a man be faultless as a writer of music who has not sufficiently studied natural philosophy, so as to have investigated and become familiar with the forces of nature and of reason? How can he have all the advantages which are indispensable to the cultivati on of good taste who has hardly troubled himself at all with the critical study, the cultivation and the rules which are as necessary to music as they ~re to oratory and poetry, so that without their aid it is hardly possible to write with feeling and expression? What Scheibe called "the forces of nature and .of reason" v.ras now being asserted against the theology and biblical exegesis of Bach; and the new rhetoric of emotion and expressiveness began to prevaii over Bach's homiletics, his preaching oratory. Scheibe was not alone in his criticism. the rise and antagonistic to revelationo Rationalism was on But quite apart from the con tent of his vocal compositions, Bach was attacked-for their form, too. There is no time to go into the technicalities of the doctrine of figures, though every example that follows could be discussed in technical termso Suffice it to say that a man like Johann Mattheson, though on the one hand aware of -- indeed a writer on -- the system of "figures," on the other ridiculed Bach for what he took to be faulty or unnatural declamation. He found a ready target in the opening chorus of the cantata Ich hatte viel Bektimmernis (BWV 21) which, as he put it, "for a long time does nothing but repeat" I, I, I, I had much grief, I had much grief, in my heart, in my hearto I had much grief ••o and so on, and so fortho But the The repetition is undeniable. chances are that Bach knew what he was doing. Re may have wanted to present the troubled "I" imprisoned in its self-centered grief and in its self-echoing heart -- then to contrast it with the consolations of the Lord delighting the soulo lation of the German translation of verse 19 The English transof Psalm 94 (and I give you that, because tense and structure differ somewhat) would be: "I had many cares in my heart; but thy consolations cheered my soul." Ich hatte viel Bekfimmernis(se) in meinem Herzen; aber deine Tr6stungen erg6tzten meine Seelec �- 8 - It was that ~' the "but", that Bach wanted to highlight, the contrast he wanted to bring out, both directly and indirectly, in the musical treatment of the word itself -- a 0 mere" conjunction and in that of the two halves of the whole statemento It is conjunctions -- and I could give you a whole list of them -- that show more clearly, perhaps, than anything else how concerned Bach was with sentence structure, grammar, and syntax -- and not just with imagery. Indeed the word ABER is put in a musical equivalent of capital letters triply underlinedo It could not be more arresting and (Very unlike an "aber" in Brahms, I would say o) emphatico It is preceded by an instrumental sinfonia or introduction, slow, sad, with sinuous oboe and violin parts int~rplaying over a shifting base of sustained and strangely modulating string and organ ch(; :ds o Then comes the chorus, with the triple exclamation "Ich, ich, ich," followed by quasi-fugal or canonic entries, maintaining the sadness with many suspensions, seconds, and sevenths, and introducing some agitation with hu.mmering syllables. Cantata 21, Ich hatte viel Belctf:mrnernis Ich hatte vial Bektl.mmernis in meinem Rerzen; abe£_ deine Tr6stungen ergBtzt~n mAine SP.,le• v b b C2 @ ~ =1 • t{ lc.t., ( I had many cares in my heart; but Thy consolations cheered my soul. f" "f fc}\./ This goes on for thirty-six bars, and then comes that lapidary ABER: �- 9 - It is the pivotal point of this number and the pivot of the message of the entire work. In this chorus it prefaces a lively section on the consolations of the Lordo The rest of the work has the same contrast, which is in this number, of anxiety and prefigure ~1 solace, even joy, culminating in a triumphal chorus of great splendor at the enJ.o The whole work -- it is .Bach's longest cantata -- is about that ABER. So let us listen to the beginning o (EXAMPLE 4) You may have found the first choral portion somewhat repetitious too; but you probably saw the point in retrospect. .Bach's contempoTaries objected to it because it was "unnatural." But can "naturalness" be the sole or even the chief criterion in the musical delivery of a message? Under that heading there is also the question of the natural stress and length of syllables in speech and what happens to them when speech is sung, or becomes song. In one of his Motets -- that is, as its name might indicate, a vocal composition with words all the time, no independent in8trumental parts or interludes -- Bach set the text of verses 26 and 27 of Paul's Epistle to the Romans, chapter 9: Der Geist hilft The Spirit helpeth unsrer Schwachheit auf, our infirmities, denn wir wissen nicht, for we know not wie wir beten sollen, what we should pray for wie sich's gebfihret; as we - v ..__, - .__) sondern der Geist selbst v - u -v ~ ought~ but the Spirit itself vertritt uns auf's beste maketh intercession for us mit unaussprechlichem Seuizen. with groanings which cannot be uttered. After a cheerful and vigorous first line, clearly indicative of the hel:J givAn us in our weakness -- especially, and most graphically, in a. long, low first syllable of Schwachheit, which after more than four bars is swung up an octave, in the sopranos, for the sylla"t:iles 11 -heit auf" (in the German the Spirit helps our weakness u_;,.) , there is due stress on the need f01.· such help, �- 10 - in the repeated conjunction "denn" (for "for we know not~ •• '' J separated from the rest of the clause by rests and echoini :from one choir to the other. After "we know not what we should pray for as we ought" comes: "but the spirit makes intercession for us with inexpressible groanings." And what does Bach do? At that ''but, 11 just before the word "sondern, 11 he switches from 3/8 to common time (or ~common 4/4) which, however, he treats in a way so as to lift the listener out of his seat and shift the singer from foot to foot, uncertain where the beat comes, as you can see in the bit of notation I have given you of the clause of liberation introduced by the "sondern:" The declamation on that "sondern der Geist selbst vertritt ur.s auf's beste" is, of course, what the experts of the day would pronounce "faulty." and our day -The musical accents, put in very deliberately and consistently by Bach himself, do not fall on the stressed words or syllableso It is like a sudden off-beat bit of danceo But unfortunately it i10uld take too long to play it now. I put the squiggly line under the word "vertritt" because I suspect a pun there: the verb treten means "to step," vertreten. to step in the plac6 of someone or something eI.peo What better ·, way to illustrate the mediation or intercession of the Spirit than by a shift of beat or tread? Strangely enough the ABER in the earlier example was off-beat too. The spoken aber is a trochee. And it is interesting that Bach, in the example from cantata No. 21 which I played before, did not bring it in on the downbeat, but on the naturally weak beat after it, and gave both syllables an unnatural, artificial stress. �- 11 - Albert Schweitzer, though most keen on the imagery and pictorial aspects of Bach's music and quite capable of casting occasional aspersions on Bach's way with words, quite rightly referred to the next example we shall hear as one that shows the immediacy with which Bach's music arises from the natural declamation of the text: - v \) Selig ist der Mann, v-v der die Anfechtung erduldet; u -- v u - v \.) denn nachde:m er bewlihret 1st, u-uv v v -1......> v -'-.,J wird er die Krone des Lebens \../ v empfangen. Blessed is the man that endureth temptation: for when he is tried, he shall receive the crown of lifeo But now, if we do what Schweitzer tells us to do; simply read that sentence with the values and accents given to the syllables by the lengths and stresses of the notes, we discover something rather more interesting than "natural 11 • or - correct declamation. (For notation see next page.) After the threefold "Selig" (Blessed, blessed, blessed), the sentence gets going: blessed is the man ••o and straightaway we have misplacements of stress or lengtho clause that follows it gets "worse." In the relative And the most playful, \J v dancing distortion of the spoken rhythm comes on "Wird er die -\._jv-vv-- Krone des Lebens empfangen. 11 The hemiola and its variant on the final "empfa.,'Ylgen" are not just what one might expect in any dance of those dayso It performs a rhetor1cal function by its very linguistic "unnaturalness." by grace. Li st en. It overcomes gravity (EXAMPLE 5) The music is mellifluous and the overall emphasis is on grace, beatitude, and the crown of life. �~£, -vi~ -d~r~ I~-· dyl 1 Sa,y 4\t 1' .f.. ·---.....1"'- --u.. -·---..--·-un -- .. .IJ u rl-F . QJ/] O'!'ff u - -- ---- - --· __ . ... - . . \f i( w.I 1()) I (1' (if l\JI [j i /"'~b~~'D"Dq-'J)~d11-G~'rJ) ~;JJ )JitrnnTr \l ..,,Q )'1A~"')l't1! WJ~"fll-~Q _p IM(>Yr\.,,,,oif 1 r( if f.I r1<1} rrlu u r/Jf) u.cr; (- ~~~ g-~-S1B'f--ryrf?'~QJ)J ~. ~J~ 1'> P[ ·f' 1 · r 1-J · 1 If I( r r r rr I ri- rtf"('34 / ~b -\~}~.. ~-a) ~r a'4-- v) r r "ft· f ~mf' -oq /~ 1 rdrullt /i " - - ;1· ----, - j?>! 1+1.J r r f / ii' -I'T~r I/I I-I.-rf I ~~ --~~-:Tq 1 ... , I _A V!!o;:f~ "ffUyV /n u nn-rr-uJ~~n~~~ ·__ f.>~ ~------ . f I1 I ~~ro r~~ J'~ "". ~~ ~'11'9 u tf7 l-f' 1 r ), 1 r !' } +af-~ Jc>f :J;; '"'"f-';nf-~ ':J' Pf I (\ r~ I~ ,,. t<J~-- . . ·r uft nl( r rI< ,. (f( 1c\p-~_,td-f}¥0~ ~?J}-"-V \ 1fiG r(h} 0 ) /~~ ( J1 .lb'!t--- Du11fr71 ifJJ . "dtp - Yf (f 1~F r t~~ 1\1 11~uYr +s1 1)-. r rI ' u d 1 -vs ~ I j 'f I g) 2 J J~ fJ~C'' rrfn I(( u u Iu Lli\ / _f -;ilif 11 r;.)1 -ps r r /G1 L - - - - - - -7.>s r.>lS tTuh n·u· ~rA 0 ) ·- GT - �- 13 Compare this with a cantata that also deals with the overcoming of temptation but which does it very differently, both in text and music. It doe s not st art and end with the blessedness ihat is the reward of virtue, but on the contrary starts with the imperative: "Resist sinl": "Widerstehe doch der Stinde", and supports it not with a promise but a. warning: "le3t its poison take hold of you" : "son st ergreifet di ch ihr Gift. 11 It is all struggle and conflict and even the music is "unnatural" or strained with the singer, like th8 fiddles before her, coming in on the leading tone, then going down to -~he dominant and up to the A subdominant, I\. ... 7 --- 5, 4, outlining a dominant ~eventh chord, " over an equally astonishing, inoistant 1, and an opening chord of 7 D 4 Ab 2 F 1 Eb. I In the opening phrase the root STER of Widerstehe, or "stand," as in "withstand," comes on the repeated subdominanto Later that root syllable is sustained first on the 5, th~n on tJ1e 1, standing its ground against the pressures of changing and conflicting harmonieso Let us hear the beginning: ~ \iji - cJer-<k ~e., J~tt.... lti ~diA.~ ch... (EXAMPLE 6) �- 14 - After this sombre battle song against sin, with its musical insistence on the need for steadfastness, let me just mention so~~ other words that Bach is apt to stress by long notes, some verbs, - v - v notably, like beten, to pray, or halten, to hold. And he gives them ·1ong notes not only when they are in the grammatical imperative, 67, Halt im Gedl!chtnis Jesum Christ (Hold in remembrance Jesus Christ), or No. 70, Wachet, betet (Watch, pray), as in cantata No. but in §:!£l. mood or tense, ever mindful of the need for sustained effort and concentration, vigilance, prayer, and steadfastness. Even the evangelist's reference to Jesus prayine in the Matthew -vv Passion is lengthened somewhat on betete, though in recitative -- which is closer to the spoken language -- the length must be less than in an aria or chorus. · From this hortatory kind of preaching let us go to something q_11ite different, a rhetoric that works by a choreography of layout, an art of positioning or deployment, almost what one might get in a piece of typography. It comes in the Christmas Ich freue mich in dir (I rejoice in Thee, P,WV 133)0 cant~t~ The words of the first part of the soprano aria say: "How sweetly it rings in the ear, this word: heart." How it penetrates my my Jesuf is born. Even the repetition pattern of phrases and words may give you an inkling of how Ba..Jh went about setting this text: Wie lieblich klingt es in den Ohren~ How sweetly it rings in the ear Wie lieblich klingt es, wie lieblich klingt es in den OhrE:n, · wie lieblich kling:t es in. den Ohren, wie lieblich kling! es in den Ohren, wie lieblich klingt en in den Ohr~m, dies Wort -- dies Wort Mein Jesus ist geboren dies Wort: geboren. Wie dringt es in das Herz hineini this word: my Jesus is born. How it penetrates the heart! You will hear the loveliness of the ringing before the focussing starts in <:!arnest, on "the woi·d, thP word, the wordo" &nd when, afte~ all this very pointed preparQtion, the word comes, �- 15 - "Mein Jesus ist geboren," the first three words of it are delivered on a monotone dominant -- the l!lost concentratPd '.Nay of communicating anything, I suppose, in the- midst of music -- after which the word "geboren 11 (or "born") comes dov.11 to the tonic and up A again, to remain susp•3ndeil on a A vulnerable 6, then a 4, or SQbdominant, which may indeed pierce the heart as much as any verbal or pictorial account of incarnation and nativity. Let us hear ito (EXAMPLE 7) In the example we There is another use for the monotone. have just heard it gave an almost hypnotic concentration on the word8 "Mein Jesus ist . II Another Christmas cantata, No. 64, Sehet 1 welch eine Liebe (See how great a love), has, in its soprano aria, a monotone emphasis on the firmness, durability, eternity of the things that Jesus gives, compared with the vanities of this world, which on8 can hear going up in wisps -- of smoke o 'l'he words for what endures are bleib2t fest und ewig steh'n and they are deliver£-d on monotone quarter notes; with the "stehen" lasting for over two bars. The alto aria in the sam ( cantata supplies the opposite e)._treme: upward leaps of major sevenths, :intervals wbich are hard to sing but have their clear rhetorical function. the singer sings about gladly giving ~ When everything for the sake of heaven, she leaps from the lower tonic to the upper leading tone, on the word 11 hin, 11 or "up. 11 The aria is about the insignifican<)e of tbe world w11en the inheritance of heaven is assured. Freedom from care and for an unencumbered pi l grimage through life, a dancing pilgrimage, are put to us in the ,iaun.ty and at the same time steadfe:.lt musi<' scored onl;r for alto, oboe d'amore, and conti..'1UOo Over the steady eighths of the 6/8 time th8 reed instrument and human voice interplay in wonderfully free and varied rhythm and the singer's words are placed, both in time and l)i.tch, in ways that are much more telling than they vu-u-u 1Nould be if spoken. "Of the world I'm asking naught" -V v v v 11 Von der Welt verlang 1 i<'h nichts": spoken German ¥Jould have very little stress on the "~", none on "der" and much on "Welt." �- 16 - But Bach comes down with a bounce, an unprP.pared downbeat, on ".YQ!!" and keeps doing it with tireless resilience. Von der Welt verlang 1 ich nichts, From the world I 1 m asking naught wenn ich nur den Himmel erbe. if only I inherit heaveno Alles, All, all I give up, All~s geb 1 ich hin, weil ich genug versichert bin, bev.ause I am suffioiently assure d dass ich cwig nicht verderbe. that I shall not perish in all eternity. The way he dismisses natural gravity and ocatters the "nichts 11 sets the world at naught with an inspired and physical immediacy. Bach does not only say it, he does it. As we shall now h~ar. (EXAMPLE 8) So much, then, for the delivery of texts with linguistically usual or unusual and interva:'.s: acc .~n+,uation and lengths and a variety of pitches tbe rhetoric of declamation and gesture and dance. It is an oratory of breat hing, tooo In the motet Singet dem Herrn ein neuas Lied (Sing unto the Lord a new sonf;) Bach not only sings, rejoices, dances, and plays, as the text of the psalm enjoins, but at the end, on the words "let everything that has breath praise the Lord" -- in German "Alles was Odem hat lob:: den Her-rn, 11 he enacts, brings home, thP. breathing, th e breath of life, in loud, long, large-lunged "!"s and "Q"s, a clear allusion to Alpha and Omega and at the sg,me time a i·eligiouD breat h:~ng must lister L to it for yourselves one day. exercise o You Or better still, sing it. ·~ Thus there is preachment, and there is enactment of what is preachedo And, of cou.;.-se, the content of the preaching the whole range of faith, hope, charity, R.l1d the rest.. to exemplify them all; cov·~rs Impossible but they are all there, as one would expect, in cantatas for every Sunday and Holiday of the church yearo But there is one more objection to sung s9rmons as such that I should deal with: not so much that they are ineffectual -- and I don't believe they are; more effectual tha~ on the contraryj I believe they are spoken sermons 9 on the whole -- but that they uan be u1intelligible o I was going to say "inaudjble," �- 17 - but actually what I mean is the kind of piece, mostly a choral pieoe, where the proliferation of polyphonic parts makes it hard to hear the wordso My answer to that is that indeed the words ' may at t:imes b13 indistinct, but that at other times, sufficient times, they are clea·cly audibleo Take~ for instanc3, a very the opening nu~ber of cantata Noo th~..:e, verse 8: "He hath shewed 45 compl~x pi•1oe like that has as its text Micah oh man, what ~s good; 6, and what does the Lord require of thee but to do justly, and to love mercy, and to walk humbJy with thy God?" The German differs a little and has some . . . hing like: "You have been told, man, what is good and what the Lord demands of you: God. and to Godo 11 pra~tice namely: to keep the word of loving-kindness o.nd to be humble before your The German is: "Es ist dir ge~mgt, Mensch, was gut ist und was der B.err von dir fordert, nfunlich Gottes Wort halten 1md Liebe tib ·m und demtltig sein vor deinem Gotto" And this is what happens: (We won 1 t have time to play it and you w.i ll just have to take my word for it): An a:ngulo.r and fairly agitated instrumental prelude prepares us for a grand choral fugue.. i:"1::1trwnent s keep on with their intror~_notory The music, while the vocal entries over this ritornello do not invariably have on-= set of music for one ~et of words and some of their declamation is rathnr "instritmer.taJ.," i.e., not exactly tailored for voio3 or wcrdso But we hear successive fugal entrios ''~~ a long "-sagt '' for "you have been toldo" ist dir gesg.gt," with Then the four voices sing that first phrase all together, homophoni~ally. This happens three times, with polyphonic announcement followed by homophonic repetition. All these come through clearlyo After the third homophonio repetition, the sopranos immediately and audibly carry the sentence a bit further: gesagt 1 _~a~§ch, wa3 ~_:Lis_:!'._un£_~as 11 Es i st dir der Herr van dir forde-rto" The way the other voices come in and combine on those words makes them only moderately audible. But Baeh has taken care to get each part of the phrase across clearly somewhere or other. The altos have a clear, slow descent with a half-note to each syllable on "was der Herr ~ dir for-dert" when the agitation �- 18 - of the mu5ic seems otherwise too complex for comprehension of the wordso But the domination of the "instrumental" rather than declamatory way of writing means that it is expedient for Ba.ch · to conclude the instalment on the first part of the sentence more homophonically, with the words more clearly audible in the last bar or two because the voices sing them all together. The orchestra then has a few bars of this angular music by itself before the choir, all voices together, homophonically and with great chordal resonance, crash in with an ultra-audible "N..!MLICH" on two half-note chords, followed by a bar's rest and another homophonous "n.!!mlich" to launch the rest of the sentence after the "namely:" "n.!!mlich Gottes Wort halten und Liebe ttben und de m iitig sein vor deinem Gotto" There are long, emphatic notes on "halten," for keeping, holding on to, the word of God, and there is a slow and very distinct whole-note descent of the sopranos in the phrase about walking humbly before Gode The whole sentence is then delivered again, in a similar though somewhat abridged form and with only one "ntl.mlich, 11 the one that runs into the phrase about what God wantso The earlier more dramatic "n1:!.mlich" -- with the first one quite alone, followed by a pause before the repetition -- shows Bach's rhetorical method clearly. That is how an orator might stress ito "!hat preceded it in the cantata might have made the music run away with the words; what follows it is what matters and he has to draw attention to ito So we get the audible conjunction, the "namely," or "to wit. 11 The biblical context, what precedes the text of Bible, calls for the arresting 11 n1:!.mlich" ·~he cantata in the it is a even~: stream of verbose questions about how the Lord may be propitiated: ' "Wherewith shall I come before the Lord, and bow myself before the high God? Shall I come before him with burnt-offerings, with calves of a year old? Will the Lord be pleased of rams, or with ten thousands of rivers of oil? ~~th thousands Shall I give my firstborn for my transgression, the fruit of my body for the sin of my soul?" Uone of these things, comes the answer, and refers the voluble enquirer to an earlier communication -- "you were told" -- and then, patiently, sternly, spells it out once �- 19 - more: NAMELY: obedience to the word of God, love, and humility. And in case the musical excitement of it all is too great for the congregation - to take it in -- ioe., the prose of it -- as clearly as it should, the tenor, before himse+f singing his electrifying aria on the consequences of the knowledge of what is due to God, recapitulates what the opening chorus has sung, in the clearly audible (and very expressive) paraphrase of his recitative, stressing the need · for fear of and obedience to the Lord, for humility, and loveo From this discussion of the audibility or intelligibility of a text let me finally go on to a much more ·difficult matter: wordless messages. There are what is known as cantua firmi in many of the cantataso A cantus firmus is a hymn tune or ohant sung in slow motion in the midst or on top of a polyp1tonic pieo e. There is the advantage, here, of simultaneity: several thin gs at once in musico you can say But that is not all. The ripieno choir's entry with the slow soprano line 0 Lamm Gottes unschuldig in the opening number of the Matthew Passion, on the cue, the word "lamb," provided by the com pl ex double chorus below, is very powerful when it happenso What would be the effect of that passion hymn -- a German adaptation of the Latin Agnus Dei -- if it were not su_ng, but played on a wind instrument? That, in fact, is Bach's more usual procedure, and the wordlessness of such ca~tus firmi may increase their power -- provided, of course, the listener re g isters them, as any attentive listener willo Bach wrote for a congregation , that not only registered but recognized them. Bach's familiarity with the hymnal was such that he drew on whatever verse of whatever hymn was most apposite at any given moment -- witness the reshuffling of the original order of stanzas in the passion chorales, for instance, in the Passions according to St. John and St. Matthew, and, of course, with different, ap propriate harmonizations. An instrumental cantus firmus is just a melodic line and leaves it to the listener to think of the intended words, perhaps even to choose between two or more possible sets of words. �- 20 - It is in part this ~mbiguj_ty and appeal to the listener to think, to articulate for himself, that gives a wordless cantus firmus such force. Its increasingly arcane nature, the growing secrecy of the message with the waning of the tradition that :Bach could still take for granted in . his day, may actually add to its force -- provided the listener attends and engages himself. is less a matter of "research," though that may help~ It than of attention. Once one knows that Bach is up to such tricks as cantus firmi, registering them is the first step t6 identifying them, either by instant recognition or by a little effort. ·rhe immediacy of a lost tradition may be gone, but familiarity with a surviving bit ef it may help, and so may familiarity with other works by Bach or by other composers. Let me give you an example. The traditional tune of the Magnificat is not sung in Bach's Latin Magnificat. It is played by the oboes over the singers' Suscepit Israel puerum suum, He helped his servant Israel recordatus misericordiae suae. in remembrance' of his mercy. TONUS PEREGRINUS in the Magnificat (Suscepit Israel) f:lf ~-~ f . lf , l f' Tr Ir. 1f>' I fTP . f ~ ~~~ )~r· -1r· \ F' \ r-c - r ·-\ -r· r · \ t-· 1- r :r -;: r l '1\t f _f~F · \ fT(Rtf ·Tf~r1171'r '. !I \ �- 21 - It is, on the other hand, sung as well as played in various movements of Bach's so-called German Magnificat '· the cantata Meine Seele erhebt den Herrn (My soul doth magnify the Lord, BWV 10); and in the alto and tenor duet "Er denket der Barmherzigkeit und hilft seinem Diener Israel auf" which corresponds to the Latin "Suscepit Israel," the cantus firrnus is also given to the a'boes while the s ingers and continua sigh away in a phrase dominated by descending minor secondso Let us first hear the Latin version (EXAMPLE 9) ••• and now the German version (EXAMPLE 10) Er denket der Barmherzigkeit He remembers his mercy und hilft seinem Diener Israel auf. and helps his servant Israel up , TONUS PEREGRINUS in alto/ten>:Jr duet of cantat<::. No. 10 One strange thing about that tune is its age and long history. (And tradition is another kind of simultaneity.) : The tune is known as the Tonus Peregrinu..s and was originally, from the 9th century onward, associated with psalm 114, In exitu Israel, the one the pilgrims sing in Dante's Purgatory: "When Israel ,went out of Egypt ••• " It now survives in the doxology of some English-speaking churches. I am glad to say ~hat two of Bach's settings of it are included in the il'iusic for Freshman Chorus. And I would like to end with yet another, the setting that begins Th e German words mean: "My soul doth magnify For he hath the Lord and my spirit rejoices in God my savior. cantata No. 10. regarded th~ lowliness of his handmaiden: for behold from henceforth all generations shall call me blessed." The words are spoken by the Virgin Mary after the annunciation, when she visits her cousin Elisabeth (Luke 1, 'verse 46-48)0 But you may prefer to think of the pilgrims in the Divine Comedy or, for that matter, anywhere. (EXA~IPLE 11) �- 12 - Maine Stell e~hebt den He~ren und main Ge!~t freuet sich Got tee, meinea HeilaHdes; · ~eine soul magnifies the Lord and my spirit rejoices in God, my · ea.Vi I denn er hat My elende Magd our; for he has his lowly handmaiden angesehen, regarded. Siehea von nup. 8,ll verden mich eeli~ preisen ~lle Ktndes Kind. Behold, from now on I shall call ·(German word order) m~ blessed all children's children. 1 TONUS PEREGRH1US in soprano a.nd alto parts of cantata. No. 10, op1ming chorus .... ..... -~ · · · · ·:Of~-~(!.· 1 ··- ·-··- -·-·-· ·1· P- - .~ .l . ._· 1···- ?;;h;-:=.;· ~-- --·1··.. ~~-·-·:··· · ·· · - -- -~- - . )··G : P~.r·. r-:·r-~-r:~·: -1 --~~~r·· - ·o . - -~~ -- - - - fP• (.:(_- ~ · -~--•-· . --··_- · · ~ ~ -- . _ ·l·-~:· M" .. . . ... · ·-:.... . -·· -- -K- ~I' -t.r'"'- f..ebt &'e~ . ··- , - I . . - . . l+ef"- t'<h - -- . · �' \... ,- ~ . '<. J . r·"\...J . 1J,... t I , \ r. .<. ' . ___ _________________ .. " I had many cares in roy heart; a1Jer deine Trost1u11s..~_rn hut Thy consol at i ons err:-ot~te-1 F 0 i- ·e (,e_el" e . ::!_ L'. _ _r.~~~---_:~ _::_ _ c'i1ee :red my sou l • f i~k ~t:~= ~~~~- ;-G~ -;;{ i~~ -v Jt \,1 ~~Jt~~~*l~~§t~ �Der Ci-e i s t 11 i 1 ft our i nf'i rn-]t ies , f 01· '.Je kn o ~.-1 not vlnt we shou l a 1c'l '"" ,I •.• .._,, ~1 "'-ich ,::) -'-- .J f c ..J v r e_':__l;;_ __ c__ , -·J~ilir 0 t -- <._] sondern der Geis t selbot u - :: rtr itt v .._ ) \_J un s auf f or as we ou::J1t : ·, - ~ray ___ ---·-, \..J' ' ~=: ____ ,, l)ezt c: but t he Spir i t itself mal:et h inb;rGe ssion for us '.VJth groan1~1gs -;;r~1ich c annot b e uttered. �-· +£'.{_ ..., . t , .. ·,,.:: ' ( C ...,,I '·, . v ' .. . i·c :•..i.-; ... 'l . r· o· ·'.--....r " ~~.I~ r "':( -------er----·-·-·-·-···---..... . v · \.J Selig ist der Hann, ...___ v \,.) . .___..,-. \ ,i '. ) ,..., . .,,_J~WO de r die Anfec htm1 .~. >e-rdnldet: ; -----··.o--.L----·--, \ ~'-~-..-~.,. ,_..,..} -._..,.,,......... 1., .~ clenn nachd.en er ._ ..,., ,. ~ .._, \ __, }' • .. ,:~ \ _...,.! • .) , _ -. ··- ··· \ ,_ } h~v;ii t!:..r..~L I Ble sse d is t h e man ist, >:"" " ·"' ' _\ \ ,_ w :i r _S:t.__er __ c!.ie _Eron~:__<:!:_~.§_ Le1~.~ns .,. .... , ' . ~E:".l?J_~i. ' .." ' ~ ~- -- f or '.:r h en h e i s t r 1 ed., .) ~ , w:e 1~ • he s h all r c cenre t he crown of life. ��1 /iderstehe aoch (\er - sonst er ~ r ei fet :~\i..i nd e ., ---· d i c h ihr Gift. lPst its ~oison t a te hold of you. ~-- -----· --· - -· --~·~ · ·--- =r-~L::f~ :-==~~~-~~f 1~: ~~cl~~= ~\\I - J'd - C:fr (.1 r:1e c{,._ tf k(j ·~ . U{\-- 1~.•-e_, l �k ' j h ."'<l·.0 · ~. ·f· •,. Ll V .....- V ~··---··~. 1..,.) - -·-· \_j u _\T_o_n_a_P_:::r_'_'Y_e_l_t_·v'-'~ l?::..~£_1.£.b......:'.!J c ht s , er ·Prom the wenn icb nur CJ.en Eir:JY1el erbe . if only I inherit "heaven. ~lles, All, all give I up, Alles v eb 1 k'1 h]:T~.~ lleca.n se I am suff ic ientl3r assured da. ss icl: ev1i r;. nic1it Yerderbe. that I sh a ll not perJsb in all eternity. �' -- - ·--- ·-- - - - - · · - -- - - - .,... ·- -- -----~ -" ~- ~'- --· - --, : ·\~ . co' - t ~ ~ l ( , • (. 1 ~ l,. ~ l I ~ ( I (~ ..,__ __ ___ ---- ·· ···- - l ) . )t (! ~ l ~ -\ r ,1 1 l "'" Ir --- --. - . ..... -- - ' ~ j I ~1 f Ito tt ~ t.L ; ,• j' 4 I l I ~~ l D t ~ ,J I:> ,... I r\ '-~ ~ !'- ) ' ~ h ..--- ·· ·-- ·-- ' ' 'I l - -. • 7 • r. ... g [:; ···· ··- l . t (. ~ I t ~ . ( k . g; j 1 j "' li. i ; - ·~-· . ~- �(cl" f rf~u c . ,,~ .., <---0-~~oAo... ;,"\.,,,-c [<\ -- · ·· ·---· -';;-- ·---------. - -~ . ____n .-den Ohren ! _ i .----·-------- '.T i - -- e lieblich k lirw·t. _.,_.,._ ~;~3 ··-. (i, ------··-· . ..... ··-- .,, ·-· --· -·· ------ ..·- · 7Iow 8'.7ee tl y it d .nf's in the ear Tie lieblich k l i n <, ,G P s --.., -- -.!i- ~.:...-.--.C:w ,.,. • 9 ,,.,,-ie lie1::i lic r• k l in t e s 5.·:1 c.:len Ohren, · ------------ ----- wie lieblic h klin ~ t ______ es in den Ohren. , --------.~-· ---·-- · die s './ o T ~ . , .. Cl t es ·.~;r ort : my Je sus is b orn. Wie drinpt es in das rerz h inci nl · --· -~------~-·-- -- -·------ F o0Y it :pe netra tes the heart. �<6bG) 71 70 Oboe I II &ll'1u:.isono ::- A oJ. 10. Suscepit Israel II " ....... - -- iJ Alto I Su - •ct:- pit ~ e - - ru m IU -- - 'ED.1 Su- ace - pit a a I " I II JI or&-el - JJ IJJJ~. sra. -el pu - e I ' 1 J J J J IJ. 1 .,. ____..,. pu -e - rum r- SU um, - ~ ~ au-see-pit I sra. - tj, A. J [01 an-el, r s u - sce-pit I - - see - pit, - - - ~- - sra - el ~n. .. el pu - e - - pu J J j I J-r.J J J j J I J su- see - pit rum I sra. - el - J j I J 9f t a 7 -..._;__.... e-rum_ nJ~ pu - - e .fl.+ a a ' ~ -· ../II " Ob . pu - 811- Sce - piL _, *#2 Co a tin uo e Vio loocelli Fa.~ o Ui •ra-el I"' I- ae.a.1&. Violo ne e - I~ . .:11~ -.:r Soprano I Soprano II Ob. ., ~.:~: :: : ! : e - g:!' rum = ~ ; :" w : !',,, J; J : n-1ce - fiL sra.-el, su - 1c e - pit pu - 20 r ... um, A. T ....... pit IL #JL IL "" - ace - ptL " IL IL . - Is - um, 0£ re - cor ~ au -~ 11 1ra.-e l , IL sra.-el, '" - ace - pit .. II " 5U - • Ce - - 611 t t j rum r um um, ., re • au - A - cor A 11 re Jn Jo IJ J 0 0 ! - um, IJ - d& - mi <la - tus - cor J 4 4 4 tus -- ... mi - se - ri ·- ... 10 n -sce - pff 1r1..- el, . Jiu - ace . pit JJ pa - e - ram r ·1 J J 111 - um, I el se - r I' J sra:-d, IJ ill - I .... 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Bannlii"- ~- r.r dea.kr.I • I ¥ a ~ • • . .; 8.111rmbt'r-1i~ ~ kril, d'"1' Banu-•cr- 1iKJ k.. il 1. _ . I _ rad, Li._ra.d I aur. ., • • • dru_ kel I drr I • .i .~. 1' • ~ I • ....... '·. . . . .. . . .. .- . Di,.._orr ls..n._d I •al'. ., :.I t " .A..1:.,,1 ~ ~: ~ I":'\ ~ ;a ,,,. RI:CITATIVO. . \"iulioo I. ~ '1olioo II I~ 6•'• I I! I • k. ... H. .•.. . 1n Uarm-bt>r- ti;,: _I L:ril uud biln I;: 'l cu pQ . , . ll ~ Tenore. ' l'!f' j biln ,,.; ._ _ - r r \\"IPL Gull dna \'i_t"1t al.Jrr IZrilr11 .;it, ,: ·I:·d I•W, I Viola. ~ .... llll..'11-rl ~- fl"9' k• • ,. .. • • ...• . ... . . .,. . • _ Oarm_b1·r _ ai~ . . d1~r " I D:' _•.-r .. •t. ~I' .., Pt.W I":'\ .. .. . drr Bxrmbrr . .zi~ ~. - d1·r H•nn.h1•r sei _ uma I Dit:ner, ililR ....a_ . -:-t;. Der .~ rr deu.ht d,.,.J-JMrwhr.r.1i"-fkeit, ..r dr.11-kd 1•uf,uuJ hiln ... Die _ /., /. ~ . ~ /.:. I":'\ - i:i~- d('u...kr.l dt".r BanoL h1•r Oirurr,ltiln ir.ci._u,... :M· u · /., / . . kL DCID - 'ls....ra..rl I ~ ~i:.. • Jru.kr.l ·~ I ...... I UH· _ u.-r .. -, , .... . .. -- t ) I .. '* . • ~ -H biln •• •• ,...j _ Ota ' ' .. Oirltt"r, hitn """--- _,. .~. t •• •• • • Cuuliouo . . ~ -. ~-~t:I uud nr_bt·i~tit'U • . I li.t, t:-rf'V ll l w aw.a. U. �He in recordatus miser j cor diae suae . -------·-·------ h el ~J e d re m0n~ r ance his servant Israel of h is mercy. E e re rne rnbers his mercy .if\ , . ·I\.,.· c J. unci hilft s e iner<,!___~;:)j._e n~12.__I.s rae3::_ _5u f. !3.nd hel J) S his servant Israel up. Heine Seel' erh ebt den Herren My soul m2, g nifies the Lord und mein Geist freuet sich Gottes, m~ines Heilandes; a nd my - s mr-j. t r e joices in God, my sainour; f denn er hat se_i~'1~- el_encl.e _J:. figd__a.1~_§_e1~. his lowly hancima id.en re t:;arded. ( t'u.~l£sk c,,,',:'(c;~ Citf.i;·{- for h e has G.S'b h '-'- ; {l'.<.h~ {10 :t'--\: 6_ £)'1~.-<.0. !fl ) / �Co.tA~a-4-cv ~~ 'No. ;2_ (3 ( 4e1W leS Ckr\~f-1'hGL\; Om-tcn'o a_~ flL-C cr-~fn'CLcQ_S � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Page numeration Number of pages in the original item. 36 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bach's rhetoric Description An account of the resource Typescript of a lecture delivered on October 27, 1972 by Beate Ruhm von Oppen as part of the Formal Lecture Series. Creator An entity primarily responsible for making the resource Ruhm von Oppen, Beate Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 1972-10-27 Rights Information about rights held in and over the resource St. John's College has been given permission to make this item available online. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource English Identifier An unambiguous reference to the resource within a given context lec Ruhm von Oppen 1972-10-27 Relation A related resource <a title="Sound recording" href="http://digitalarchives.sjc.edu/items/show/3605">Sound recording</a> Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/906666f4be01ee8828436adb8d8df69d.mp3 7fb0256b3063ed18cb448a05d1194a18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data audiotape (Tape 109) Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:21:03 (Cuts off at 01:20:23 and resumes at 01:20:52.) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bach's rhetoric Description An account of the resource Audio recording of a lecture delivered on October 27, 1972 by Beate Ruhm von Oppen as part of the Formal Lecture Series. Creator An entity primarily responsible for making the resource Ruhm von Oppen, Beate Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 1972-10-27 Rights Information about rights held in and over the resource St. John's College has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Relation A related resource <a title="Typescript" href="http://digitalarchives.sjc.edu/items/show/3585">Typescript</a> Language A language of the resource English Identifier An unambiguous reference to the resource within a given context lec Ruhm von Oppen 1972-10-27 Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/2b66946e1eeb355fb495897daa404d7c.mp3 1dca57a9d8d03ce832e3c78a099070fa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data audiotape (Tape 266) Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:08:45 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bach's rhetoric and the translation of his texts: with examples taken mainly from the <em>Passion According to St. John</em> Description An account of the resource Audio recording of a lecture delivered on May 02, 1975 by Beate Ruhm von Oppen as part of the Formal Lecture Series. Creator An entity primarily responsible for making the resource Ruhm von Oppen, Beate Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 1975-05-02 Rights Information about rights held in and over the resource St. John's College has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context lec Ruhm von Oppen 1975-05-02 Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/c5acdc68075ddbfb021bf32c465f2685.jpg 4493e7631bd6f648e5c0658ce160d440 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 20.5 x 25.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1461 Title A name given to the resource Barbara Banks Studying at Desk in the West Reading Room in the Woodward Hall Library, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1969 Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Banks, Barbara Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Alumni Woodward Hall Library https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/2bc376286535d885937fa108d87e5d00.jpg 804fd739438af888cf8da04b85aabf33 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1775 Title A name given to the resource Barbara H. Leonard and James Stone Talking in the Francis Scott Key Lobby, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1980 [circa] Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Stone, James Leonard, Barbara Hopkins Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Alumni Deans Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/9cb3556507835415a219149a465a8907.jpg 580e0edd81a767eaa67b9402657cc1c2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 18 x 12.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-0781 Title A name given to the resource Barbara H. Leonard Standing in front of a Banner on Woodward Hall which Reads "Facio Liberos ex Croquet", St. John's College, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1983 [circa] Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource St. John's College (Annapolis, Md.). -- Assistant Deans. St. John's College (Annapolis, Md.). -- Faculty. St. John's College (Annapolis, Md.). -- Croquet Leonard, Barbara Hopkins Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Croquet Honorary Alumni Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/8c4ce2623dee15d688c59d4ce8fbf40b.jpg db2a31c039433b6a259f9cd2fedbb721 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1774 Title A name given to the resource Barbara H. Leonard, Duane Peterson and J. Burchenal Ault talking in the Francis Scott Key Lobby, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Date A point or period of time associated with an event in the lifecycle of the resource 1980 [circa] Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Leonard, Barbara Hopkins Peterson, Duane Ault, J. Burchenal Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Deans Francis Scott Key Lobby Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/fdbb21ffb0189f3175eec3a62c1a4d73.jpg cd52fb5fa23768320236f4b9497c053c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Image Collection—Annapolis Description An account of the resource <p>The Greenfield Library Image Collection houses over 5,000 photographs, postcards, drawings, and other graphic materials.  The images in the collection document the history, academic, and community life of St. John’s College. </p> To learn more about the Greenfield Library's archives use policy or to obtain high-resolution images, please see the <strong><a title="Image Collection Use Policy" href="http://www.sjc.edu/academic-programs/libraries/greenfield-library/policies/#photographicarchivepolicy" target="_blank" rel="noreferrer noopener">Library’s Image Collection Use Policy</a></strong>.<br /><br />Click on <strong><a title="Photographic Archives" href="http://digitalarchives.sjc.edu/items/browse?collection=7">Items in the Image Collection—Annapolis Collection</a></strong> to view and sort all items in the collection. Publisher An entity responsible for making the resource available St. John's College Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Identifier An unambiguous reference to the resource within a given context imagecollectionannapolis Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 25.5 x 20.5 cm. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SJC-P-1844 Title A name given to the resource Barbara H. Leonard, Richard D. Weigle and Workers Inspecting the Old Wooden Flagpole near McDowell Hall, Annapolis, Maryland Description An account of the resource 1 photographic print : b&w Creator An entity primarily responsible for making the resource Unknown Subject The topic of the resource Leonard, Barbara Hopkins Weigle, Richard Daniel 1912- Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Rights Information about rights held in and over the resource St. John's College owns the rights to this photograph. Honorary Alumni Presidents