Friday, May 19, 2017

Fog Line

A fortnight ago I was at the Wellcome Trust for an event curated by Amy Cutler in which artists, musicians and academics re-soundtracked nature documentaries by performing texts, improvising music and creating alternative soundscapes.  The ways in which animals are filmed and presented to viewers are continually changing (demonstrated vividly last year in the BBC's Zoo Quest in Colour) and this event included footage made with very different purposes in mind, from the scientific (Julian Huxley) to the surreal (Jean Painlevé).  As someone who grew up with Animal Magic and Johnny Morris doing amusing voiceovers to the 'antics' of zoo creatures, I've always viewed nature programmes with some suspicion and they clearly offer a rich field for academic enquiry, raising many more questions than the obvious ones around anthropomorphism.  The reason for mentioning the Wellcome Trust event here is that two of the performers, Justin Hopper and Sterling MacKinnon, chose not to soundtrack a nature documentary, performing instead to Larry Gottheim's seminal landscape film, Fog Line (1970). 

In introducing this performance Amy said that her students hate it when she makes them sit through Fog Line.  If this seems hard to believe, check out the hostility of the film's lone reviewer on IMDB.  In The Garden in the Machine: A Field Guide to Independent Films about Place, Scott MacDonald describes a kind of blindness in people who are asked to watch it.  'When I ask viewers immediately after a screening of Fog Line what they've just seen, a frequent response is a sardonic "Nothing!"'  Many are unaware that there are horses in the film, shadowy forms that become visible about two thirds of the way through.  It is as if the static camera, slow silence and gradual evaporation of the fog condition the viewer into thinking nothing at all will happen.  MacDonald suggests that an inability to notice the horses also reflects a refusal to see the filmmaker 'as the designer of the image'; in fact Gottheim chose his location partly because he had observed horses moving in and out of the space.

In his discussion of the film, MacDonald suggests that it presents the viewer with three conundrums: why did Gottheim include the wires, how is it that the horses appear so small compared to the trees, and what is that blurry grey disc, like a dark sun, that appears above the trees?  The answers illustrate Gottheim's interest in the way landscape vision is mediated through technology.  Those power lines offer a frame to measure the change in our field of vision, from blankness to a flat grey pattern and finally a three-dimensional space.  The depth of field that seems to distort what would naturally be seen by someone on the spot is the result of using a telephoto lens.  And that mysterious disc in the sky is simply a smudge on the camera that Gottheim did not remove - even if the film lasted longer than the last of the fog, we would never see the landscape perfectly.

I had only ever seen Fog Line in silence, though never of course in absolute silence, and as I watch it now the lifting fog is accompanied by the hum of my computer, a distant intermittent drill and the slow rumble of an aeroplane.  Nevertheless, the film itself projects a sense of quiet, and it is easy to imagine the fog muting any ambient sound.  At the Wellcome Trust, Fog Line was accompanied by a gradual amplification, with the emergence of recognisable landscape features echoed in the way a spoken fragment - 'Fogs also vary' - was repeated with more and more words until it became William Gilpin's complete sentence: 'Fogs also vary a distant country as much as light, soften the harsh features of landscape and spreading over them a beautiful, grey, harmonising tint.'

In preparing his piece, Justin discovered that Fog Line was filmed near the small town (Binghamton, New York) where he grew up.  So, after the Gilpin quote, he included words to evoke the 'physical and psychic landscape of small-town America: William S Burroughs, Walt Whitman and others. This telephone-wired and neon-lit landscape that dramatically appears from behind the fog's gauze, coming into focus just in time to snap back out again.'  It's strange, because to me those mist-covered trees and fields don't seem particularly American at all.  Instead they bring to mind the Sussex of my own childhood, although as I try now to recall that 'distant country' it slips slowly back into the fog.

Friday, May 05, 2017

This city which is no longer anything but an orchestra

When in the past I have added extra features to Some Landscapes, I have tried to include some new material at the same time.  What follows was going to be appended to my last post, introducing a new Chronology, but I decided it would be better kept separate (its relevance was that it concerns how a view, in this case a cityscape, has changed through history).  The quotation below, from Victor Hugo, is a great piece of Romantic prose but particularly interests me as an evocation of landscape through sound.  I checked back to see if it was referred to in R. Murray Schafer's classic book The Tuning of the World; it isn't - probably because Hugo was writing a work of historical recreation rather than direct observation.  Whether Paris ever sounded anything like Hugo's idea of the city in 1482 would be difficult to say.

The novel this description is taken from, Notre-Dame de Paris (in a nineteenth century translation on Project Gutenberg) is, like many nineteenth century historical novels, about history.  It was written partly to draw attention to the way contemporary Parisians were neglecting their architectural heritage.  Hugo suggests in it that before the invention of the printing press, poetry was manifested in architecture: cities were like great texts.  He stops the action of the story in order to devote the whole of Book Three to a description of medieval Paris from its cathedral.  Centring on the small island of the City and 'trapezium' of the university, the view would have encompassed a vast semicircle of the Town and, beyond this, the immense plain, 'patched with a thousand sorts of cultivated plots, sown with fine villages', ending at the hills on the horizon.  'Such was the Paris which the ravens, who lived in 1482, beheld from the summits of the towers of Notre-Dame.' 
'And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations.
'Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germaine des Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs.
'Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.'

Monday, May 01, 2017

Landscape and time

I am getting close now to having written one thousand Some Landscapes posts.  I hope to mark this milestone soon, but for now I'd like to draw your attention to a new feature accessible through the header bar above: a Some Landscapes Chronology.

While I am always highly conscious that this blog can only cover some landscapes, it has over time come to form a rather idiosyncratic history of landscape in the arts.  But the way it has gradually been written makes it sometimes difficult for me (let alone a reader) to see the wood for the trees.  I have therefore been compiling this Chronology which, like my Index, is simply a long and ever-expanding colour-coded list.  I'm not doing this to impose a structure on what remains essentially a rhizomatic process of growth.  A blog should be spontaneous rather than planned and I have no idea where this one will go or how long it will last.

So, if you happen to be interested in historical developments in culture, this list will allow you to scroll down and click into my entries that relate to a particular time and place.  Looking at it now I see, for example, that within twenty years of the first edition of James Thomson's The Seasons, Handel had composed his musical version of Milton's L'Allegro, Buson had written his haiku on a willow tree, Michele Marieschi had painted his view of the Rialto Bridge, Fang Bao had described his trip to Geese Pond Mountain and Henry Hoare was constructing the landscape garden at Stourhead.   

James Thomson's The Seasons - detail from a 1774 frontispiece
The Chronology, unlike the Index, is not comprehensive.  It stops in the year 2000 and doesn't attempt to cover everything I have written about contemporary culture.  Nor does it encompass every single mention of people like Wordsworth, Turner and Monet - I have been selective.  To give you a flavour of it here, I have pasted in fifty of the entries below - about two per century, from Sargon II to Xu Bing (the colours relate broadly to where the book or artwork was produced).  Of course the actual chronology has many more entries for the later centuries.  Landscape art continues to proliferate and diversify, though you cannot help wondering about what may have been lost now from those earlier times... 

c. 715 BCE    Sargon II (722 – 705 BCE) lays out parks north of Nineveh, around Khorasabad.  A bas relief (c. 715) shows this park to have had a man-made hill planted with a grove of trees, along with a small temple. It is one of the earliest depictions anywhere of a managed landscape.   >> The royal park in Nineveh

c. 650 BCE     Alcman, a lyric poet from Sparta, is the author of a fragment that would later inspire Goethe's 'Wanderer's Night Song'.   >> The Wanderer's Night Song
405 BCE     The first production of Iphigenia in Aulis by Euripides which begins in the grey light of dawn - Greek open air theatres had no sets beyond what was provided by the stage and the sky..   >> Dawn growing grey

c. 370 BCE     In Plato's Phaedrus Socrates is taken to a beautiful riverside, but makes a point of reminding Phaedrus as they walk there: 'I am a lover of knowledge, and the men who dwell in the city are my teachers, and not the trees or the country.'   >> The Valley of the Ladies

c. 330 BCE    Dinocrates, architect to Alexander the Great, proposes the conversion of Mount Athos into a statue of a giant man.   >> Mount Athos Carved as a Monument to Alexander the Great

c. 270 BCE     The Idylls of Theocritus.  His bucolic poems influenced directly or indirectly all subsequent European pastoral poetry. 'Here there are bays, and here slender cypresses, / Here is sombre ivy, and here the vine's sweet fruit...'   >> Like a crystal flood

210 BCE    Death of Qin Shi Huang, the First Emperor.  His burial chamber formed a kind of landscape, with rivers and seas of mercury.   >> Buried rivers of mercury

52 BCE    Cicero begins De Legibus (On the Laws) which begins with a scene at his villa where Cicero (Marcus), his brother Quintus and friend Atticus are looking at an old oak tree, a scene later painted by artists like Richard Wilson.   >> Tusculan's romantic groves

c. 40 BCE     Virgil composing The Eclogues, set partly in the North Italian countryside near Mantua, where the poet grew up, and partly, overlaid on this, in an ideal, pastoral Greece of the mind.  >> Under the trees, where the light air stirs the shadows

23 BCE     The Odes of Horace. Ode 3.13 praises the Bandusian Spring and, as Gilbert Highet wrote, 'this little place, because of Horace’s eloquence, became one of the ideal spots in the imagination of thousands of readers'.   >> The Bandusian spring

c. 0     Pliny the Elder's Natural History mentions Studius, 'a painter of the days of Augustus, who introduced a delightful style of decorating walls with representations of villas, harbours, landscape gardens, sacred groves, woods, hills, fishponds, straits, streams and shores.'   >> A delightful style of decorating walls 

c. 60    The Sixth Satire of Persius (Aulus Persius Flaccus), which would be translated by Dryden in the 1690s, has a land-owner who rejoices in his life free from the concerns of business and state: 'here I enjoy my private Thoughts'.  >> Rain-saturated, churning, chanting thunder

c. 108     Pliny the Younger's letter on the Springs of Clitumnus: 'it spreads into a broad pool, pure and clear as glass, so that you can count the coins that have been thrown into it and the pebbles glittering at the bottom'.   >> The Springs of Clitumnus

206     The Chinese warlord and poet Cao Cao writes his 'Song on enduring the Cold' while leading his troops across the Tai-hang mountains to attack a rival.   >> The voice of the north wind sad

c. 335     The Latin poet Tiberianus flourished at this time and may have composed the nature poem, ‘Amnis ibat inter arua ualle fusus frigida…', a depiction of locus amoenus.   >> Locus amoenus

371    The Moselle, an influential Latin landscape poem by Decimus Magnus Ausonius was probably written in 370-1.   >> The Moselle

405     Tao Yuanming (also known as T'ao Ch'ien or Tao Qian) leaves the army and goes into retirement, living in a farming village in Jiangsu province near Lu Mountain.  He wrote that whenever he started trying to explain Lu Mountain, 'I forget words altogether'.  >> Hunger Mountain

422     Hsieh Ling-yün (Xie Lingyun), who initiated the shan-shui ("rivers-and-mountains") tradition in Chinese poetry, is exiled to Yung-chia on the southeast coast where he grows to love the wild scenery.  >> On a Tower Beside the Lake

502    The beginning of the Liang Dynasty in China.  Liu Xie (Liu Hsieh, c. 465-522) was active at this time - in The Literary Mind Carves Dragons he wrote that the best poets attended to the world by 'sculpting' the landscape, delineating details with no need of additional embellishment.  >> Mountains and forests and the marshy banks of rivers

c. 550    The Spring of Khosrow, a vast silk Persian carpet (84 x 35ft) depicting a royal garden is made for the Sāsānian king Khosrow I.   >> The spring of Khosrow

629     Beginning of the reign of Emperor Jomei, whose poem in the Manyōshū ('Collection of Ten Thousand Leaves'), 'Climbing Mount Kagu', describes the view from the mountain down towards the land of Yamato.   >> Climbing Mount Kagu

687    Sun Guoting writes his Treatise on Calligraphy and recommends drawing inspiration from rolling thunder, toppling rocks, flying geese, animals in flight, dancing phoenixes, startled snakes, sheer cliffs, crumbling peaks, threatening clouds and cicadas wings.  >> When the brush moves, water flows from a spring

715     Completion of the Umayyad mosque in Damascus with mosaics, depicting landscapes and buildings in a late Roman style. They were admired by Robert Byron in his classic travel book The Road to Oxiana.  >> Landscape mosaics of the Omayad Mosque

759     Eight short poems record an autumn evening at Tung-t'ing (Dong-ting) Lake where three exiles, Li Po, Chia Chih and Li Yeha, enjoy a moment of reflection before events, like waves on the lake, come to sweep them up again.   >> Some wine beside the white clouds

822     Bai Juyi is made prefect of Hangzhou where he helps create the famous landscape of West Lake by building a causeway that now bears his name.   >> The West Lake of Hangzhou
840     Abu Tammam (c805-45) writes an Arabic qasida (ode) on Spring describing the desert flowers.   >> Desert in bloom

905     The Kokinshū is compiled by four Japanese court poets, led by Ki no TsurayukiIts poems are arranged by season - spring topics include lingering snow and plum blossoms, mist, bush warblers, returning wild geese, green willow, yellow kerria, new herbs, wisteria and, of course, cherry blossoms.   >> Plum blossom on snow

997     In China, Emperor Zhenzong’s reign begins.  His Painter-in-Waiting was Yan Wenghui about whose landscapes the Song Dynasty critic Liu Daochun wrote: 'A thousand miles in a single foot - such was his subtlety!'   >> Clouds and Mist in the Mountains

1054    Wang-An-shih, poet and later Prime Minister of China, wrote an account of an expedition he made this year to a cave at the Mountain Where Hui-pao Meditated    >> The Mountain Where Hui-pao Meditated

1084     In July the poet Su Shih, at a famous sonorous landscape called Stone Bell Mountain (Shizhong Shan), decides to investigate, finding there a huge rock 'hollow inside, and it also had many holes in it. It swallowed and spit out the wind and water, giving off ringing sounds'.   >> Stone Bell Mountain

1122     At Kaifeng the Chinese Emperor Huizong completes the great rock garden he had commissioned, containing the rarest and biggest stones and every sort of plant from all over his empire.   >> The Mountain of Stability

1188     Baldwin, Archbishop of Canterbury, sets out to travel through Wales recruiting men for the Third Crusade.  He is accompanied by Gerald of Wales, whose book The Journey Through Wales contains many interesting references to nature and topography.  >> The Journey Through Wales

1204     Liang Kai leaves the the Song painting academy in Hangzhou to paint at a Buddhist temple.  His Poet Strolling by a Marshy Bank emphasises the inaccessibility of the distant landscape by a massive overhanging cliff, partially obstructing the poet's view.  >> Whiling Away the Summer

c. 1270    'Clouds over the Xiao and Xiang Rivers' (Xiaoxiang Shuiyun), one of the most famous qin melodies, composed at the end of the Song dynasty by Guo Mian (or Guo Chuwang).   >> Clouds over the Xiao and Xiang Rivers

1337     Petrarch discovers 'a delightful valley, narrow and secluded, called Vaucluse ... Captured by the charms of the place, I transferred myself and my books there.'   >> The source of the Sorgue

1378     Wang Meng's painting Lin-wu Grotto at Chu-ch'u - 'topography reveals itself convulsively before our eyes like some mountainous mass in the process of solidifying'.   >> The landscape of the bland

1436     Zeami writes 'The Book of the Golden Island' (Kintosho), which describes his journey to Sado.  It 'bears the same relation to his plays that Basho's prose-sketches bear to his hokku.'   >> The Golden Island

1473     On August 5th Leonardo da Vinci draws his view of the Arno valley.  We do not know if this sketch was drawn in situ, but as A. Richard Turner writes in The Vision of Landscape in Renaissance Italy, 'these quick lines have all the quality of a spontaneous reaction to a living model.'   >> Landscape with the Penitent St Jerome

1515     Matthias Grünewald's Basel Crucifixion:  W. G. Sebald would write of it that 'behind a group of mourners / a landscape reaches so far into the depths / that our eyes cannot see its limits.'  Its strange dark sky may seem unreal but may be inspired by memories of the eclipse of 1502, a 'catastrophic incursion / of darkness, the last trace of light / flickering from beyond.'   >> After Nature

1596    In Book IV, Canto XI of The Faerie Queene, published this year, Edmund Spenser describes the marriage of two rivers: Thames and Medway.   >> The spousalls betwixt the Medway and the Thames

1648    Nicolas Poussin's remarkable Landscape with a Man Killed by a Snake: sky, trees and the mountains in the distance are like decor, a (welcome) distraction from the events unfolding at the front of the stage.   >> Landscape with a Man Killed by a Snake, Landscape with a Man Killed by a Snake

1689    Matsuo Basho and Kawai Sora set off on the Narrow Road to the Deep North, traveling into the past, to re-visit landscapes with long held poetic associations.   >> The Road North

1730    Publication of James Thomson's The Seasons, a poem that has been both influential and the subject of much criticism.  Although there are good lines there is 'want of method', in Dr Johnson's judgement.   >> Brightening fields of ether fair-disclos'd

1765    Jean-Jacques Rousseau spends two months on the Island of Saint-Pierre. 'In listening to the flux and reflux of the waves, he tells us, he became completely at one with nature' - Kenneth Clark.    >> On the Island of Saint-Pierre

1820    William Wordsworth published The River Duddon, A Series of Sonnets.  Reviewers were bemused that a famous poet should choose to write about this ‘insignificant river’ with a ‘barbarous name’.   >> The River Duddon

1840     J. M. W. Turner in Venice painting watercolours, including Venice, looking across the lagoon at sunset with its Hodgkin like combination of see green lagoon, misty orange sky and a solitary band of purple cloud.   >> Venice, looking across the lagoon at sunset

1888    Theodor Storm's last completed work The Rider on the White Horse is published.  Its story, based on the legend of a horse and rider that appears when storms threaten the dikes, is about the reimagining and reshaping of the environment.   >> Face to face with sheer mountains of water

1916    Tom Thomson's famous painting The Jack Pine.  A year later he disappeared while on a canoeing trip in Algonquin Park, prompting many subsequent theories about the cause of his death.   >> The Jack Pine

1979     Andrei Tarkovsky's film Stalker, an inspiration for many recent artists and writers on landscape (Geoff Dyer's Zona is a close reading of it).  >> Zona

1999    Whilst sketching in the Himalayas, Xu Bing has the idea for his Landscripts series that combine Chinese characters into landscape compositions.  'I sat on a mountain and, facing a real mountain, I wrote 'mountain' (you might also say I painted a mountain...)'   >> Mountain Rhythm and Mountain Plateau

Friday, April 28, 2017

Holy Island

The view from Holy Island 
on the morning of Maundy Thursday

Before leaving for our Easter break in Northumberland I had joked about shivering on beaches in a freezing North Sea wind.  However, I hadn't appreciated how beautiful the effect of this would be, with a layer of sand swirling constantly across the surface - see my brief clip below.  Watching back the video footage I took over the course of a week it sounds as if there was a constant howling gale.  In one sequence on Lindisfarne I can be heard saying excitedly to the camera that the birdsong is just as you can hear it on Chris Watson's album, In St Cuthbert's Time, but none of it can be made out above the wind.  It was different when we were there though, sitting among the stones on the shore, near the ruins of Lindisfarne Abbey, listening to the cry of the eider duck that is so prominent in the Lencten section of In St Cuthbert's Time.  I wrote in an earlier post about hearing these recordings at Durham Cathedral in the quiet of a chapel; on Holy Island we were able to hear these sounds unmediated, carried over the water on the wind.


Earlier this month there was a short programme on the BBC called 'Into the Wind'.  It followed Tim Dee as he talked of the ways the wind shapes his experiences of walking and birdwatching.  An accompanying piece in the Guardian, 'The Man Who Interviewed the Wind', provoked the inevitable below the line jokes (from which I learnt the meaning of 'Dutch oven' - not a piece of landscape vocabulary that will find its way into Robert Macfarlane's word hoard), but also explains how Tim uses the natural soundscape in his work as a radio producer.  'Turning to record a little minute of the wind lets me experience the place beyond human talk. On good days, in good places, I can sense myself joined to a landscape. It is the wind that carries me there.'  The programme ends with a dramatic wide-angle view of Tim pointing his microphone towards the vast mudflats of the Wash to record the wind as it surges in from the North Sea.

As Chris Watson pointed out in one of the BBC's Tweets of the Day, the sound of the eider duck is often thought to resemble that of Frankie Howerd.  I found myself wondering if Cuthbert ever felt goaded by it - in Bede's Life of St Cuthbert the monks are constantly vigilant against temptation, 'our loins ever girt against the snares of the devil and all temptations'.  The sounds on In St Cuthbert's Time give a peaceful impression of monastic life, but perhaps the cries of the seabirds could be a torment to monks in search of spiritual purity.  'How often have the demons tried to cast me headlong from yonder rock,' Cuthbert told visitors to his hermitage on Inner Farne.  Although he was an active missionary, his life looks like a series of steps to free himself from the world.  After entering the monastery of Melrose as a boy, he eventually joined the priory of Lindisfarne, easily accessible only at low tide, then isolated himself on what is now St Cuthbert's island - an islet next to Lindisfarne also regularly cut off by the sea - before leaving the priory altogether to live as a hermit on the Farne Islands.  There the walls of his cell were such that all he could see was the sky, so that 'eyes and thoughts might be kept from wandering.'
A raven brings pig's lard to Cuthbert on Farne
from the Yates Thomson MS of Bede's Life of Cuthbert, c. 1200

We took a boat trip to Inner Farne, the small island where Cuthbert lived as a hermit from 676.  It is now managed as a nature reserve by the National Trust and their rangers make do with no running water ("we might smell a bit as we only shower once a week").  Cuthbert, according to Bede, found a well there with the help of God.  He also persuaded the birds not to eat his crops and shamed a pair of ravens into bringing him a gift of pig's lard - incidents depicted in medieval illuminated manuscripts.  Cuthbert is celebrated now for conserving the eider ducks, instituting one of the first bird protection laws.  However, the language of Bede in his Life of St Cuthbert is very much about mastery over nature.  In Chapter 21, Cuthbert is aided by the sea itself, which deposits with the tide a length of wood just right for his dwelling.  'It is hardly strange that the rest of creation should obey the wishes and commands of a man who has dedicated himself with complete sincerity to the Lord's service.  We, on the other hand, often lose that dominion over creation which is ours by right through neglecting to serve its Creator.' 

Guillemots on Inner Farne

The tide times meant that we arrived early on Lindisfarne, before anywhere was open, and so while the others ambled over the beach I tried to do some sketching.  Thomas Girtin and J. M. W. Turner both came here within a year of each other at the end of the eighteenth century and drew the interior of the ruined priory.  Girtin's crumbling columns were influenced by seeing the way Piranesi had depicted the ruins of Rome.  Cuthbert himself must have known more Roman remnants than we see in northern Britain today; in the Life he visits Carlisle and is shown an old Roman fountain set into the city walls.  Now the medieval priory, built on the site of the original one that the monks, fleeing the vikings, abandoned in 875, lies exposed to the wind.  There is less of it standing than there was when Turner came here in 1797.  Girtin's paintings of the priory 'emphasised the fact that it had been untouched by the hand of improvers' (Greg Smith, Thomas Girtin: The Art of Watercolour).  In them, and in Turner's drawings, the ground is uneven and overgrown, very different from the green lawns maintained today by English Heritage.

J. M. W. Turner, Holy Island Cathedral, c. 1807-8

Thomas Girtin, Lindisfarne Castle, Holy Island, Northumberland, 1796-7

Lindisfarne has a castle, built in 1550, the subject of dramatic paintings by both Girtin and Turner, renovated in Arts and Crafts style by Lutyens.  It is now being restored again and is inaccessible, covered in scaffold.  We were able though to see nearby the little garden designed by Lutyens' friend Gertrud Jekyll, sheltered inside a dry stone wall.  Before leaving the island, we walked some way round the coast, listening again to the eider ducks.  We past that point where some figures can be seen in Girtin's painting, grouped around a fire.  The way he shows the smoke blowing suggests the strength of the wind on the island.  I will conclude here with a story in the Life of St Cuthbert that concerns wind and fire.  One day, Cuthbert was staying in the home of a holy woman, who rushed in to warn him that a house in the village was alight.  Cuthbert told her to keep calm and 'he went out and lay full length in front of the door.  Before he had finished praying the wind had changed to the west and put the house the man of God had entered completely out of danger.'  Bede concludes that God will 'give us grace, unworthy though we are, to extinguish the flames of vice in this world, and escape flames of punishment in the next.'

Saturday, April 22, 2017

The voice of the north wind sad

Zhang Fengyi as Cao Cao in John Woo's Red Cliff (2008-9)

In a post earlier this month I referred to the musical duel in Red Cliff, John Woo's epic film about  events at the end of the Han dynasty, based on 'the Iliad of China', The Romance of the Three Kingdoms.  The composer/writer I discussed there, Cai Yong, only briefly features in The Romance of the Three Kingdoms and doesn't appear in Red Cliff, but here I want to focus on Cao Cao, the great warlord at the heart of the story, whose army is defeated spectacularly in the movie.  Cao Cao was himself a renowned poet and wrote a famous poem just before the Battle of Red Cliff.  You can see him recite it in the clip from YouTube below - a scene from the 95-episode Chinese TV dramatisation Three Kingdoms.  This moment has often been depicted in art - there is a painting in the Long Corridor of the Beijing Summer Palace, for example, and I have reproduced below a Japanese ukiyo-e print showing Cao Cao composing the poem in a boat, with the moon rising and crows wheeling in the sky.

Tsukioka Yoshitoshi, Moon rising over Mount Nanping, contemplated by Cao Cao, 1885

The real reason for mentioning Cao Cao on this blog is not his eve-of-battle composition, but a beautiful short poem 'Viewing the Ocean', which is an early example in world literature of pure landscape poetry.  Here are the first six lines in Burton Watson's translation; the Jieshi (Chieh-shi) mountains overlook the Bohai Gulf.
East looking down from Chieh-shih,
I scan the endless ocean:
waters restlessly seething,
mountained islands jutting up,
trees growing in clusters,
a hundred grasses, rich and lush.
Other translations of the full poem can easily be found online (there are two on a Chinese Poems site for example).

Another poem of Cao Cao's that has stayed with me over the years (since reading it in Burton Watson's The Columbia Book of Chinese Poetry) is the 'Song on Enduring the Cold'.  This was probably written in 206 when Cao Cao was leading his troops across the Tai-hang mountains to attack a rival.  Taken out of context though, it could simply be a description of an arduous mountain journey - 'stark and stiff the forest trees, the voice of the north wind sad.'  The poem ends with a literary allusion, to 'that song of the Eastern Hills', a 'troubled tale that fills me with grief.'  It is a reference to a song in the Classic of Poetry (No. 156), attributed to the Duke of Zhou.  He had also been on a military campaign in the East, over a thousand years earlier, c. 1040 BCE (as distant from the time of Cao Cao as we are from Charlemagne).  I'll end here with the refrain from this ancient poem, repeated at the start of each verse (trans. Stephen Owen):
We marched to those eastern mountains,
streaming on and never turning.
And now we come back from the east,
in the pall of driving rain.   

Friday, April 21, 2017

In the mist of the secret and solitary hill

"I have given you the trouble of walking to this spot, Captain Waverley, both because I thought the scenery would interest you, and because a Highland song would suffer still more from my imperfect translation were I to introduce it without its own wild and appropriate accompaniments. To speak in the poetical language of my country, the seat of the Celtic Muse is in the mist of the secret and solitary hill, and her voice in the murmur of the mountain stream. He who woos her must love the barren rock more than the fertile valley, and the solitude of the desert better than the festivity of the hall."
An illustration to Sir Walter Scott's Waverley, from an edition of 1893

In my last post I wrote about the Chinese poetic ideal of hearing a guqin played in the landscape.  Here in Waverley (1814), the enchanting Flora McIvor is speaking to the eponymous hero, newly arrived in the Highlands, having led him to this perfect location to hear her 'imperfect translations' of Gaelic poetry, to the accompaniment of a harp.  This place of barren rocks and murmuring water might just as easily be the setting for a Chinese 'mountains and rivers' poem.  Making his way there, Waverley had found
'the rocks assumed a thousand peculiar and varied forms. In one place a crag of huge size presented its gigantic bulk, as if to forbid the passenger’s farther progress; and it was not until he approached its very base that Waverley discerned the sudden and acute turn by which the pathway wheeled its course around this formidable obstacle. In another spot the projecting rocks from the opposite sides of the chasm had approached so near to each other that two pine-trees laid across, and covered with turf, formed a rustic bridge at the height of at least one hundred and fifty feet. It had no ledges, and was barely three feet in breadth.'
From this vantage point Waverley had watched Flora cross the bridge, feeling all the emotions we associate with the Sublime.  The editor of the OUP edition of Waverley (Clare Lamont) notes that a similar bridge appeared in Scott's The Lady of the Lake (1810), that an actual bridge of this kind existed, spanning Keltie Water, and that there had been other examples of heroines of sensibility crossing Alpine bridges in slightly earlier novels written by Ann Radcliffe and Jane Porter.  Passing under the bridge, Waverley found himself in 'a sylvan amphitheatre, waving with birch, young oaks, and hazels, with here and there a scattered yew-tree. The rocks now receded, but still showed their grey and shaggy crests rising among the copse-wood. Still higher rose eminences and peaks, some bare, some clothed with wood, some round and purple with heath, and others splintered into rocks and crags.'  Then, turning the path, he came to the secluded spot where Flora would sing him her Highland song.

He found Flora gazing at 'a romantic waterfall.  It was not so remarkable either for great height or quantity of water as for the beautiful accompaniments which made the spot interesting.'  The description that follows is based on the falls of Ledard, as Scott explained in his own footnote.  Interestingly, the novel makes clear that this setting was not entirely wild.  'Mossy banks of turf were broken and interrupted by huge fragments of rock, and decorated with trees and shrubs, some of which had been planted under the direction of Flora, but so cautiously that they added to the grace without diminishing the romantic wildness of the scene.'  Here, with the sun stooping in the west, Waverley gazes at Flora, thinking 'he had never, even in his wildest dreams, imagined a figure of such exquisite and interesting loveliness. The wild beauty of the retreat, bursting upon him as if by magic, augmented the mingled feeling of delight and awe with which he approached her, like a fair enchantress of Boiardo or Ariosto, by whose nod the scenery around seemed to have been created an Eden in the wilderness.'

Reading this, you have the impression that the native Sublimity of the Highlands has somehow been infused with the light of Italy.  In the 1814 edition Scott described Flora by the waterfall as 'like one of those lovely forms which decorate the landscapes of Claude'.  I have mentioned here before the awkwardness of Claude's figures; soon after publication a correspondent pointed out to Scott that 'Claude's figures are reckoned notoriously bad, & indeed he only used them as vehicles for a little blue, red or yellow drapery to set of his gradation of tints & throw his landscape into distance.'  Scott took his advice and substituted Poussin for Claude in subsequent editions.

Flora begins to sing, sitting on a mossy fragment of rock, 'at such a distance from the cascade that its sound should rather accompany than interrupt that of her voice and instrument [...] A few irregular strains introduced a prelude of a wild and peculiar tone, which harmonised well with the distant waterfall, and the soft sigh of the evening breeze in the rustling leaves of an aspen, which overhung the seat of the fair harpress.'  But her song is not dedicated to Nature, though it begins with the mist on the mountains.  The year is 1745, Flora is an ardent supporter of Bonnie Prince Charlie and the Highlanders are about to rise and fight for the Jacobite rebellion.  Waverley, without firm political convictions, a lover of literature, is as yet unaware that the Young Pretender has landed at Glenaladale and raised his standard at Glenfinnan.  About to be caught up in the conflict (like one of those Chinese poets interrupted from their retreat in the mountains by political strife and war), for now he listens innocently, with a 'wild feeling of romantic delight', as Flora sings: 
"  ... the dark hours of night and of slumber are past,
The morn on our mountains is dawning at last;
Glenaladale’s peaks are illumined with the rays,
And the streams of Glenfinnan leap bright in the blaze..."

Thursday, April 06, 2017

When the two essences of nature are bright and clear

A scholar playing the guqin, Ming Dynasty
Reproduced in R. H. van Gulik's The Lore of the Chinese Lute

I have written here about guqin music twice before: once in relation to two compositions of the Song Dynasty by Kuo Mien (Guo Mian) and more recently in a post about the Japanese guqin player, Uragami Gyokudō.  Here I am adding some more information on landscape and the art of the guqin via some quotations from the seminal Western book on the subject, R. H. van Gulik's The Lore of the Chinese Lute, first published in 1940.  This essay explains the evolution of the instrument into one of the scholar's most important possessions.  Artists and writers often depicted the poet wandering through mountains, accompanied by his lute, usually carried by a servant boy, so that he could play when moved by the beauty of the scenery.  Even when indoors, the lute player's 'mind should dwell with forests and streams'.  But ideally he would be outside, 'near an old pine tree, admiring its gnarled, antique appearance. In the shade of the pines some cranes should be stalking, and the lute player should admire their graceful movements, modelling on them his finger technique.' 

Here is a lovely sixteenth century description of the place of the lute in scholarly life.  Its subject is Ni Tsan (Ni Zan, 1301-74), the great Chinese landscape painter who I have referred to several times on this blog. 
'Where Ni Tsan dwelt there was the Ching-pi pavilion, breathing an atmosphere of profundity and remoteness from earthly things.  There he had assembled several thousand books, all of which he had corrected with his own hand.  On all sides there were arranged antique sacrificial vessels and famous lutes, and the abode was surrounded by pine trees, cinnamon trees, orchids, bamboos, etc.  It was fenced off by a high paling of poles and bamboo, suggesting aloofness and refined delicacy.  Every time the rain had stopped and the wind had abated, Ni Tsan used to take his staff and wander about, just going where his steps led him. When his eye met with something which particularly struck him, he played his lute, thus finding aesthetic satisfaction. Those who saw him then knew that he was a man who dwelt outside this world.'
An enviable life - I particularly like the way he 'corrected' the books in his library!  Playing the lute was seen as an almost priestly ritual: it could only be undertaken under the right circumstances.  The Lore of the Chinese Lute quotes a list from the Ming period in which over half of the fourteen rules relate to making music outdoors.  The lute may be played:
  1. When meeting someone who understands music.
  2. On meeting a suitable person.
  3. For a Taoist recluse
  4. In a high hall.
  5. Having ascended a storied pavilion.
  6. In a Taoist cloister.
  7. Sitting on a stone.
  8. Having climbed a mountain.
  9. Resting in a valley.
  10. Roaming along the waterside.
  11. In a boat.
  12. Resting in the shadow of a forest.
  13. When the two essences of nature are bright and clear.
  14. In a cool breeze and when there is a bright moon.

Finally here, I will highlight van Gulik's subdivision of the lute repertoire into five thematic groups: (1) The Mystic Journey; (2) Tunes of a Semi-Historical Character; (3) Musical Versions of Literary Products (e.g. poems from the ancient Book of Odes); (4) Tunes Descriptive of Nature; (5) Tunes Descriptive of Literary Life.  Elements of landscape may be evoked in any of these categories, but it is the fourth group that is of most interest here.  One such composition is the Song Dynasty tune I described here previously, 'Clouds over the Hsiao and Hsiang Rivers'.  Another is 'High Mountains and Flowing Waters' (for the story of Po Ya, to whom it was ascribed, see my earlier post).  This exists as two separate pieces, one of which, 'Flowing Waters', is now the best known qin composition  - a version was sent into space on the Voyager golden record (see clip above and, for more information, John Thompson's incredibly informative qin site). 

The third example of nature description van Gulik gives is by Ts'ai Yung (Cai Yong 133-92), a polymath of the Eastern Han period whose daughter also became a renowned poet and musician.  It is a tune which evokes in nine sections the end of winter and the coming of spring. A Ming Dynasty lute handbook says of this that 'it takes its inspiration from the snow, describes snow's purity and freedom from all earthly stains, and expresses contempt for the world and elevation to empty clearness'.
  1. Heaven and earth breathe purity.
  2. A clear, snowy morning.
  3. Snow and sleet fall together.
  4. Mountains and water merge in each other.
  5. The brilliant sun in the sky.
  6. The wind blows through the luxuriant forest.
  7. River and mountain are like a picture.
  8. The snow melts on cliffs and in vales.
  9. Spring returns to the world.