Something analogous happens to the myopic artist and the happy lover. In the nuptial embrace personality is melted down; the individual (it is the recurrent theme of Lawrence’s poems and novels) ceases to be himself and becomes a part of the vast impersonal universe.
And so it is with the artist who chooses to use his eyes at the near point. In his work humanity loses its importance, even disappears completely. Instead of men and women playing their fantastic tricks before high heaven, we are asked to consider the lilies, to meditate on the unearthly beauty of “mere things,” when isolated from their utilitarian context and rendered as they are, in and for themselves. Alternatively, (or, at an earlier stage of artistic development, exclusively) the non-human world of the near point is rendered in patterns. These patterns are abstracted for the most part from leaves and flowers—the rose, the lotus, the acanthus, palm, papyrus—and are elaborated, with recurrences and variations, into something transportingly reminiscent of the living geometries of the Other World.
Freer and more realistic treatments of Nature at the near point make their appearance at a relatively recent date—but far earlier than those treatments of the distant scene, to which alone (and mistakenly) we give the name of landscape painting. Rome, for example, had its close-up landscapes. The fresco of a garden, which once adorned a room in Livia’s villa, is a magnificent example of this form of art.
For theological reasons, Islam had to be content, for the most part, with “arabesques”—luxuriant and (as in visions) continually varying patterns, based upon natural objects seen at the near point. But even in Islam the genuine close-up landscape was not unknown. Nothing can exceed in beauty and in vision-inducing power the mosaics of gardens and buildings in the great Omayyad mosque at Damascus.
In medieval Europe, despite the prevailing mania for turning every datum into a concept, every immediate experience into a mere symbol of something in a book, realistic close-ups of foliage and flowers were fairly common. We find them carved on the capitals of Gothic pillars, as in the Chapter House of Southwell Cathedral. We find them in paintings of the chase—paintings whose subject was that ever-present fact of medieval life, the forest, seen as the hunter or the strayed traveler sees it, in all its bewildering intricacy of leafy detail.
The frescoes in the papal palace at Avignon are almost the sole survivors of what, even in the time of Chaucer, was a widely practiced form of secular art. A century later this art of the forest close-up came to its self-conscious perfection in such magnificent and magical works as Pisanello’s “St. Hubert” and Paolo Uccello’s “Hunt in a Wood,” now in the Ashmolean Museum at Oxford. Closely related to the wall paintings of forest close-ups were the tapestries, with which the rich men of northern Europe adorned their houses. The best of these are vision-inducing works of the highest order. In their own way they are as heavenly, as powerfully reminiscent of what goes on at the mind’s antipodes, as are the great masterpieces of landscape painting at the farthest point—Sung mountains in their enormous solitude, Ming rivers interminably lovely, the blue sub-Alpine world of Titian’s distances, the England of Constable; the Italics of Turner and Corot; the Provences of Cezanne and Van Gogh; the Ile de France of Sisley and the Ile de France of Vuillard.
Vuillard, incidentally, was a supreme master both of the transporting close-up and of the transporting distant view. His bourgeois interiors are masterpieces of vision-inducing art, compared with which the works of such conscious and so to say professional visionaries as Blake and Odilon Redon seem feeble in the extreme…
At the near point Vuillard painted interiors for the most part, but sometimes also gardens. In a few compositions he managed to combine the magic of propinquity with the magic of remoteness by representing a corner of a room in which there stands or hangs one of his own, or someone else’s, representations of a distant view of trees, hills and sky. It is an invitation to make the best of both worlds, the telescopic and the microscopic, at a single glance.
For the rest, I can think of only a very few close-up landscapes by modern European artists. There is a strange “Thicket” by Van Gogh at the Metropolitan. There is Constable’s wonderful “Dell in Helmington Park” at the Tate. There is a bad picture, Millais’s “Ophelia,” made magical, in spite of everything, by its intricacies of summer greenery seen from the point of view, very nearly, of a water rat. And I remember a Delacroix, glimpsed long ago at some loan exhibition, of bark and leaves and blossom at the closest range. There must, of course, be others; but either I have forgotten, or have never seen them. In any case there is nothing in the West comparable to the Chinese and Japanese renderings of nature at the near point. A spray of blossoming plum, eighteen inches of a bamboo stem with its leaves, tits or finches seen at hardly more than arm’s length among the bushes, all kinds of flowers and foliage, of birds and fish and small mammals. Each tiny life is represented as the center of its own universe, the purpose, in its own estimation, for which this world and all that is in it were created; each issues its own specific and individual declaration of independence from human imperialism; each, by ironic implication, derides our absurd pretensions to lay down merely human rules for the conduct of the cosmic game; each mutely repeats the divine tautology: I am that I am.
Nature at the middle distance is familiar—so familiar that we are deluded into believing that we really know what it is all about. Seen very close at hand, or at a great distance, or from an odd angle, it seems disquietingly strange, wonderful beyond all comprehension. The closeup landscapes of China and Japan are so many illustrations of the theme that samsara and nirvana are one, that the Absolute is manifest in every appearance. These great metaphysical, and yet pragmatic, truths were rendered by the Zen-inspired artists of the Far East in yet another way. All the objects of their near-point scrutiny were represented in a state of unrelatedness against a blank of virgin silk or paper. Thus isolated, these transient appearances take on a kind of absolute Thing-in-Itselfhood. Western artists have used this device when painting sacred figures, portraits and, sometimes, natural objects at a distance. Rembrandt’s “Mill” and Van Gogh’s “Cypresses” are examples of long-range landscapes in which a single feature has been absolutized by isolation. The magical power of many of Goya’s etchings, drawings and paintings can be accounted for by the fact that his compositions almost always take the form of a few silhouettes, or even a single silhouette, seen against a blank. These silhouetted shapes possess the visionary quality of intrinsic significance, heightened by isolation and unrelatedness to preternatural intensity. In nature, as in a work of art, the isolation of an object tends to invest it with absoluteness, to endow it with that more-than-symbolic meaning which is identical with being.
—But there’s a Tree—of many, one,
A single Field which I have looked upon,
Both of them speak of something that is gone.
The something which Wordsworth could no longer see was the “visionary gleam.” That gleam, I remember, and that intrinsic significance were the properties of a solitary oak that could be seen from the train, between Reading and Oxford, growing from the summit of a little knoll in a wide expanse of plowland, and silhouetted against the pale northern sky.
The effects of isolation combined with proximity may be studied, in all their magical strangeness, in an extraordinary painting by a seventeenth-century Japanese artist, who was also a famous swordsman and a student of Zen. It represents a butcherbird, perched on the very tip of a naked branch, “waiting without purpose, but in the state of highest tension.” Beneath, above and all around is nothing. The bird emerges from the Void, from that eternal namelessness and formlessness, which is yet the very substance of the manifold, concrete and transient universe. That shrike on its bare branch is first cousin to Hardy’s wintry thrush. But whereas the thrush insists on teaching us some kind of a lesson, the Far Eastern butcherbird is content simply to exist, to be intensely and absolutely there.
(From Heaven and Hell)
; Music
Popular Music
There is a certain jovial, bouncing, hoppety little tune with which any one who has spent even a few weeks in Germany, or has been tended in childhood by a German nurse, must be very familiar. Its name is “Ach, du lieber Augustin.” It is a merry little affair in three-four time; in rhythm and melody so simple, that the village idiot could sing it after a first hearing; in sentiment so innocent that the heart of the most susceptible maiden would not quicken by a beat a minute at the sound of it. Rum ti-tiddle, Um tum tum, Um tum tum, Um tum tum: Rum ti-tiddle, Um tum tum, Um tum tum, TUM. By the very frankness of its cheerful imbecility the thing disarms all criticism.
Now for a piece of history. “Ach, du lieber Augustin” was composed in 1770, and it was the first waltz. The first waltz! I must ask the reader to hum the tune to himself, then to think of any modern waltz with which he may be familiar. He will find in the difference between the tunes a subject richly suggestive of interesting meditations.
The difference between “Ach, du lieber Augustin” and any waltz tune composed at any date from the middle of the nineteenth century onwards, is the difference between one piece of music almost completely empty of emotional content and another, densely saturated with amorous sentiment, languor and voluptuousness. The susceptible maiden who, when she hears “Ach, du lieber Augustin,” feels no emotions beyond a general sense of high spirits and cheerfulness, is fairly made to palpitate by the luscious strains of the modern waltz. Her soul is carried swooning along, over waves of syrup; she seems to breathe an atmosphere heavy with ambergris and musk. From the jolly little thing it was at its birth, the waltz has grown into the voluptuous, heart-stirring affair with which we are now familiar.
And what has happened to the waltz has happened to all popular music. It was once innocent but is now provocative; once pellucid, now richly clotted; once elegant, now deliberately barbarous. Compare the music of The Beggar’s Opera with the music of a contemporary revue. They differ as life in the garden of Eden differed from life in the artistic quarter of Gomorrah. The one is prelapsarian in its airy sweetness, the other is rich, luscious and loud with conscious savagery.
The evolution of popular music has run parallel on a lower plane, with the evolution of serious music. The writers of popular tunes are not musicians enough to be able to invent new forms of expression. All they do is to adapt the discoveries of original geniuses to the vulgar taste. Ultimately and indirectly, Beethoven is responsible for all the languishing waltz tunes, all the savage jazzings, for all that is maudlin and violent in our popular music. He is responsible because it was he who first devised really effective musical methods for the direct expression of emotion. Beethoven’s emotions happened to be noble; moreover, he was too intellectual a musician to neglect the formal, architectural side of music. But unhappily he made it possible for composers of inferior mind and character to express in music their less exalted passions and vulgarer emotions. He made possible the weakest sentimentalities of Schumann, the baroque grandiosities of Wagner, the hysterics of Scriabine; he made possible the waltzes of all the Strausses, from the Blue Danube to the waltz from Salome. And he made possible, at a still further remove, such masterpieces of popular art as “You made me love you” and “That coal black mammy of mine.”
For the introduction of a certain vibrant sexual quality into music, Beethoven is perhaps less directly responsible than the nineteenth-century Italians. I used often to wonder why it was that Mozart’s operas were less popular than those of Verdi, Leoncavallo and Puccini. You couldn’t ask for more, or more infectiously “catchy” tunes than are to be found in Figaro or Don Giovanni. The music though “classical,” is not obscure, nor forbiddingly complex. On the contrary it is clear, simple with that seemingly easy simplicity which only consummate genius can achieve and thoroughly engaging. And yet for every time Don Giovanni is played, La Boheme is played a hundred. Tosca is at least fifty times as popular as Figaro. And if you look through a catalogue of gramophone records you will find that, while you can buy Rigoletto complete in thirty discs, there are not more than three records of The Magic Flute. This seems as first sight extremely puzzling. But the reason is not really far to seek. Since Mozart’s day composers have learned the art of making music throatily and palpitatingly sexual. The arias of Mozart have a beautiful clear purity which renders them utterly insipid compared with the sobbing, catch-in-the-throaty melodies of the nineteenth-century Italians. The public, having accustomed itself to this stronger and more turbid brewage, finds no flavor in the crystal songs of Mozart.
No essay on modern popular music would be complete without some grateful reference to Rossini, who was, as far as I know, the first composer to show what charms there are in vulgar melody. Melodies before Rossini’s day were often exceedingly commonplace and cheap; but almost never do they possess that almost indefinable quality of low vulgarity which adorns some of the most successful of Rossini’s airs, and which we recognize as being somehow a modern, contemporary quality. The methods which Rossini employed for the achievement of his melodic vulgarity are not easy to analyze. His great secret, I fancy, was the very short and easily memorable phrase frequently repeated in different parts of the scale. But it is easiest to define by example. Think of Moses’ first aria in Moses in Egypt. That is an essentially vulgar melody; and it is quite unlike the popular melodies of an earlier date. Its affinities are with the modern popular tune. It is to his invention of vulgar tunes that Rossini owed his enormous contemporary success. Vulgar people before his day had to be content with Mozart’s delicate airs. Rossini came and revealed to them a more congenial music. That the world fell down and gratefully worshiped him is not surprising. If he has long ceased to be popular, that is because his successors, profiting by his lessons, have achieved in his own vulgar line triumphs of which he could not have dreamed.
Barbarism has entered popular music from two sources—from the music of barbarous people, like the Negroes, and from serious music which has drawn upon barbarism for its inspiration. The technique of being barbarous effectively has come, of course, from serious music. In the elaboration of this technique no musicians have done more than the Russians. If Rimsky-Korsakoff had never lived, modern dance music would not be the thing it is.
Whether, having grown inured to such violent and purely physiological stimuli as the clashing and drumming, the rhythmic throbbing and wailing glissandos of modern jazz music can supply, the world will ever revert to something less crudely direct, is a matter about which one cannot prophesy. Even serious musicians seem to find it hard to dispense with barbarism. In spite of the monotony and the appalling lack of subtlety which characterize the process, they persist in banging away in the old Russian manner, as though there were nothing more interesting or exciting to be thought of. When, as a boy, I first heard Russian music, I was carried off my feet by its wild melodies, its persistent, its relentlessly throbbing rhythms. But my excitement grew less and less with every hearing. Today no music seems to me more tedious. The only music a civilized man can take unfailing pleasure in is civilized music. If you were compelled to listen every day of your life to a single piece of music, would you choose Stravinsky’s “Oiseau de Feu” or Beethoven’s “Grosse Fugue”? Obviously, you would choose the fugue, if only for its intricacy and because there is more in it to occupy the mind than in the Russian’s too simple rhythms. Composers seem to forget that we are, in spite of everything and though appearances may be against us, tolerably civilized. They overwhelm us not merely with Russian and negroid noises, but with Celtic caterwaulings on the black notes, with dismal Spanish wailings, punctuated by the rattle of the castanets and the clashing harmonies of the guitar. When serious composers have gone back to civilized music—and already some of them are turning from barbarism—we shall probably hear a corresponding change for the more refined in popular music. But until serious musicians lead the way, it will be absurd to expect the vulgarizers to change their style.
(From Alo
ng the Road)
Music at Night
Moonless, this June night is all the more alive with stars. Its darkness is perfumed with faint gusts from the blossoming lime trees, with the smell of wetted earth and the invisible greenness of the vines. There is silence; but a silence that breathes with the soft breathing of the sea and, in the thin shrill noise of a cricket, insistently, incessantly harps on the fact of its own deep perfection. Far away, the passage of a train is like a long caress, moving gently, with an inexorable gentleness, across the warm living body of the night.
Music, you say; it would be a good night for music. But I have music here in a box, shut up, like one of those bottled djinns in the Arabian Nights, and ready at a touch to break out of its prison. I make the necessary mechanical magic, and suddenly, by some miraculously appropriate coincidence (for I had selected the record in the dark, without knowing what music the machine would play), suddenly the introduction to the Benedictus in Beethoven’s Missa Solemnis begins to trace its patterns on the moonless sky.
The Benedictus. Blessed and blessing, this music is in some sort the equivalent of the night, of the deep and living darkness, into which, now in a single jet, now in a fine interweaving of melodies, now in pulsing and almost solid clots of harmonious sound, it pours itself, stanchlessly pours itself, like time, like the rising and falling, falling trajectories of a life. It is the equivalent of the night in another mode of being, as an essence is the equivalent of the flowers, from which it is distilled.
Collected Essays Page 24
