Weatherland

I only recently got round to reading Alexandra Harris’s Weatherland: Writers and Artists Under English Skies and can highly recommend it to readers of this blog.  A book like this will cover some familiar ground – Gawain’s winter journey, Lear goading the storm, Turner’s light, Constable’s clouds, Dickens’ fog – but it is written so well that you never feel like you’re just being told things you already know.  On the Wordsworths, to choose just one example, she points out that their appreciation of weather turned on ‘very specific moments of transformation – when the sun suddenly strikes through cloud, for example, or when a figure is glimpsed through fog.’  She quotes Dorothy noting ‘her favourite birch tree coming to life: “it was yielding to the gusty wind with all its tender twigs, the sun upon it and it glanced in the wind like a flying sunshine show […] It was like a spirit of water.” The earth-rooted tree takes flight in air, dissolves into a water spirit and, and glitters in the sun.’

The whole history of English literature seems to be contained in the book but it cannot of course be completely comprehensive.  There is no George Eliot for instance - just as I was finishing Weatherland, Mrs Plinius was rereading Middlemarch and reminded me that the love between Will and Dorothea finally surfaces during a thunderstorm.  This though is an example of ‘significant weather’, a novelist’s device deplored by Julian Barnes who, I learnt from Weatherland, originally intended his novel Metroland to be called No Weather, since he was determined to avoid using it as a symbol of anything.  The book's scope is restricted to England and there are moments when Alexandra Harris comes across as very English herself (as she did in Romantic Moderns - see my post on 'The bracing glory of our clouds').  She refers, for example, to Milton’s Paradise, where the seasons are fixed and bountiful and ‘Eve lays out a spread for the visiting archangel Raphael’, observing that Eve may have been ‘the only picnicker in history to remain completely free from concerns about the weather.’  Hard to imagine, say, a Californian academic writing this!

Abraham Hondius, The Frozen Thames, 1677

 Source: Wikimedia Commons

Weatherland takes inspiration at various points from Virginia Woolf's Orlando, a book I have referred to here before.  My favourite scenes in Orlando concern the icing over of the Thames, when birds suddenly freeze in the air and Orlando falls in love with a Muscovite princess.  Woolf herself had read an evocative account of the winter of 1608 in Thomas Dekker's The Great Frost: Cold Doings in London, which refers to a new 'pavement of glass' and fish trapped below a thick roof of ice.  Here, from Weatherland's chapter 'On Freezeland Street', are three more responses to those surreal transformations of the city, which only came to an end when the demolition of London Bridge made the river swifter, deeper and permanently liquid. 

• Poetry: John Taylor, Thames boatman and self-styled water-poet, composed The Cold Tearme: Or the Frozen Age: Or the Metamorphosis of the River of Thames in 1621.  He compared the ice to a pastry crust and the freezing wind to a barber's razor, 'turning Thames streames, to hard congealed flakes, / And pearled water drops to Christall cakes.'  He describes visitors coming to the Frost Fair, 'Some for two Pots at Tables, Cards or Dice: / Some slipping in betwixt two cakes of Ice.'  Here he added a rueful note in the margin, 'Witnesse my selfe'.  

• Painting: the view reproduced above is by one of the many artists who came over to England from the Low Countries in the seventeenth century.  'While Englishmen produced diagrammatic engravings of the Frost Fairs, labelling the attractions, Hondius produced an essay in atmosphere.  His expansive sky, worthy of the Netherlands, is flushed with the apricot pinks of a winter sunset.'  Alexandra Harris imagines the effect the frozen river would have had on his imagination.  At around the same time he painted a ship stuck in the pack ice of Greenland, Arctic Adventure.  'The Thames was a noisy, busy river, but in its frozen state it transported Hondius to the desolate edges of the world.'

• Music: John Dryden may have been inspired by the Frost Fair of 1683-4 when he wrote the libretto for Purcell's King Arthur.  Together 'they wanted to freeze and melt the human voice, dramatising in the process the freezing and melting of the the heart.'  The evil Saxon magician Osmond strikes his wand on the ground and magically summons up 'a prospect of winter in frozen countries.'  Then the personification of Cold sings slowly in C minor, chosen as the coldest key, and is followed by a chorus of cold people, whose stuttering singing mimics the chattering of teeth.  The whole masque is conjured to demonstrate the warmth of love, but it is a deception played on Emmeline, who is betrothed to Arthur.  His plan is foiled though and at the end of the opera he is cast into a dungeon whilst Arthur and Emmeline are reunited.  

There are numerous versions of the 'Cold Song' online, some pretty strange.  I've chosen here a  concert version by Andreas Scholl; you can also see a video for this where the singer is dressed in a pale suit, looking lost near some tower blocks.  Incidentally, the Prelude to the Frost Scene was the basis for Michael Nyman's 'Chasing Sheep is Best Left to Shepherds' in The Draughtsman's Contract and was recently used again by the Pet Shop Boys in 'Love Is a Bourgeois Construct'.

Stony ground and trees, with a pool

The heroines of nineteenth century novels are often seen drawing - a desirable accomplishment of course, but also one that could be used to symbolise or demonstrate important attitudes and character traits.  Elinor in Sense and Sensibility, whom I mentioned here recently, is one example.  In addition to being sceptical of picturesque landscape, her admirer Edward is criticised for being insuffiiently appreciative of Elinor's sketches: 'I am afraid, Mamma, he has no real taste. Music seems scarcely to attract him, and though he admires Elinor's drawings very much, it is not the admiration of a person who can understand their worth.'  Then there is Margaret Hale in Elizabeth Gaskell's North and South (1855), a book which I think reads like a Jane Austen novel until the moment Margaret travels from London to her home in the New Forest in a train. Here we see her out sketching with an admirer, the lawyer Henry Lennox, who surreptitiously introduces figures into his picturesque landscape:

Margaret brought out her drawing materials for him to choose from; and after the paper and brushes had been duly selected, the two set out in the merriest spirits in the world.

'Now, please, just stop here for a minute or two, said Margaret.  'These are the cottages that haunted me so during the rainy fortnight, reproaching me for not having sketched them.'

'Before they tumbled down and were no more seen. Truly, if they are to be sketched--and they are very picturesque--we had better not put it off till next year. But where shall we sit?'

'Oh! You might have come straight from chambers in the Temple,' instead of having been two months in the Highlands! Look at this beautiful trunk of a tree, which the wood-cutters have left just in the right place for the light. I will put my plaid over it, and it will be a regular forest throne.'

'With your feet in that puddle for a regal footstool! Stay, I will move, and then you can come nearer this way. Who lives in these cottages?'

'They were built by squatters fifty or sixty years ago. One is uninhabited; the foresters are going to take it down, as soon as the old man who lives in the other is dead, poor old fellow!  Look--there he is--I must go and speak to him. He is so deaf you will hear all our secrets.'

The old man stood bareheaded in the sun, leaning on his stick at the front of his cottage. His stiff features relaxed into a slow smile as Margaret went up and spoke to him. Mr. Lennox hastily introduced the two figures into his sketch, and finished up the landscape with a subordinate reference to them--as Margaret perceived, when the time came for getting up, putting away water, and scraps of paper, and exhibiting to each other their sketches. She laughed and blushed. Mr. Lennox watched her countenance.

'Now, I call that treacherous,' said she. 'I little thought you were making old Isaac and me into subjects, when you told me to ask him the history of these cottages.'

'It was irresistible. You can't know how strong a temptation it was. I hardly dare tell you how much I shall like this sketch.'

The 2004 BBC Mini-Series

Elizabeth Gaskell's friend Charlotte Bronte, who died two months after the final installment of North and South was published, also created a heroine accomplished at drawing.  However, Jane Eyre's life is more constrained and she cannot simply walk out and paint picturesque scenes.  Her powerful Romantic imagination is evident in drawings that Mr Rochester asks her to show him.  He finds them 'for a school-girl, peculiar.  As to the thoughts, they are elfish':

These pictures were in water-colours.  The first represented clouds low and livid, rolling over a swollen sea: all the distance was in eclipse; so, too, was the foreground; or rather, the nearest billows, for there was no land.  One gleam of light lifted into relief a half-submerged mast, on which sat a cormorant, dark and large, with wings flecked with foam; its beak held a gold bracelet set with gems, that I had touched with as brilliant tints as my palette could yield, and as glittering distinctness as my pencil could impart.  Sinking below the bird and mast, a drowned corpse glanced through the green water; a fair arm was the only limb clearly visible, whence the bracelet had been washed or torn.

The second picture contained for foreground only the dim peak of a hill, with grass and some leaves slanting as if by a breeze.  Beyond and above spread an expanse of sky, dark blue as at twilight: rising into the sky was a woman’s shape to the bust, portrayed in tints as dusk and soft as I could combine.  The dim forehead was crowned with a star; the lineaments below were seen as through the suffusion of vapour; the eyes shone dark and wild; the hair streamed shadowy, like a beamless cloud torn by storm or by electric travail.  On the neck lay a pale reflection like moonlight; the same faint lustre touched the train of thin clouds from which rose and bowed this vision of the Evening Star.

The third showed the pinnacle of an iceberg piercing a polar winter sky: a muster of northern lights reared their dim lances, close serried, along the horizon.  Throwing these into distance, rose, in the foreground, a head,—a colossal head, inclined towards the iceberg, and resting against it.  Two thin hands, joined under the forehead, and supporting it, drew up before the lower features a sable veil, a brow quite bloodless, white as bone, and an eye hollow and fixed, blank of meaning but for the glassiness of despair, alone were visible.  Above the temples, amidst wreathed turban folds of black drapery, vague in its character and consistency as cloud, gleamed a ring of white flame, gemmed with sparkles of a more lurid tinge.  This pale crescent was “the likeness of a kingly crown;” what it diademed was “the shape which shape had none.”'

This is getting to be quite a long post, but I can't resist ending with one final heroine, Dorothea from Middlemarch, who we see early in George Eliot's novel in a situation that reverses the gender roles of Sense and Sensibility.  It is the occasion of her first meeting with the attractive Will Ladislaw, who will end up as Dorothea's husband, though for now she is still under the sway of dry old Casaubon, and professes not to understand the art of landscape sketching.  Ladislaw is self deprecating about his efforts but Mr Brooke, admires the drawings in Ladislaw's sketch book: 

"Oh, come, this is a nice bit, now. I did a little in this way myself at one time, you know. Look here, now; this is what I call a nice thing, done with what we used to call brio." Mr. Brooke held out towards the two girls a large colored sketch of stony ground and trees, with a pool.

"I am no judge of these things," said Dorothea, not coldly, but with an eager deprecation of the appeal to her. "You know, uncle, I never see the beauty of those pictures which you say are so much praised. They are a language I do not understand. I suppose there is some relation between pictures and nature which I am too ignorant to feel—just as you see what a Greek sentence stands for which means nothing to me." Dorothea looked up at Mr. Casaubon, who bowed his head towards her, while Mr. Brooke said, smiling nonchalantly— 

"Bless me, now, how different people are! But you had a bad style of teaching, you know—else this is just the thing for girls—sketching, fine art and so on. But you took to drawing plans; you don't understand morbidezza, and that kind of thing. You will come to my house, I hope, and I will show you what I did in this way," he continued, turning to young Ladislaw, who had to be recalled from his preoccupation in observing Dorothea. Ladislaw had made up his mind that she must be an unpleasant girl, since she was going to marry Casaubon, and what she said of her stupidity about pictures would have confirmed that opinion even if he had believed her. As it was, he took her words for a covert judgment, and was certain that she thought his sketch detestable. There was too much cleverness in her apology: she was laughing both at her uncle and himself. But what a voice! It was like the voice of a soul that had once lived in an AEolian harp...

No doubt somebody has written a thesis on the role of outdoor sketching in nineteenth century fiction - there must be many other interesting examples...

The ride to Stone Court

Margaret Drabble has published a new edition of her 1979 book, 'A Writer's Britain'.  Like other books I've discussed here - Edward Thomas's The Literary Pilgrim in England and the Phaidon Companion to Art and Artists in the British Isles - it offers a chance to view the whole country through the lens of culture and the lives of writers.  And as The Metro's three star review says, 'A Writer’s Britain will get you walking'!

In The Guardian Margaret Drabble lists her Top Ten Literary Landscapes. There is an unsurprising emphasis on Romantic poets (four mentions for Wordsworth) and sublime locations: Goredale Scar, Stonehenge. The one that was new to me (never having read Arnold Bennett) is Burslem, and it sounds like an interesting place to visit. 'The Potteries still have some of the picturesque pot banks Arnold Bennett made famous in his Five Towns novels. It's a weird post-industrial landscape now, with a haunting poetic dereliction. The draper's shop from The Old Wives Tale is still there on the street corner in Burslem, and was for sale last time I saw it (in June this year).'

There is an interview with Margaret Drabble on Woman's Hour in which she says that British authors write a lot about landscape in preference to sex (compare, for example, Wordsworth to Romantic poets on the continent...)  She also feels that Wordsworth is fundamental to the link between landscape and memories of childhood.  Gillian Clarke is on the programme too and says that before she writes any poetry she looks out at the surrounding landscape from a room with two walls made of glass (as I type this I can see the terraced houses opposite, and the next terrace beyond, and the chimneys of the one beyond that...)  She regrets that Drabble included no poetry by Dafydd ap Gwilym or more scenes of the Welsh valleys.  The clip starts with a reading from George Eliot's Middlemarch, a landscape with which I'll conclude this post:

'The ride to Stone Court, which Fred and Rosamond took the next morning, lay through a pretty bit of midland landscape, almost all meadows and pastures, with hedgerows still allowed to grow in bushy beauty and to spread out coral fruit for the birds. Little details gave each field a particular physiognomy, dear to the eyes that have looked on them from childhood: the pool in the corner where the grasses were dank and trees leaned whisperingly; the great oak shadowing a bare place in mid-pasture; the high bank where the ash-trees grew; the sudden slope of the old marl-pit making a red background for the burdock; the huddled roofs and ricks of the homestead without a traceable way of approach; the gray gate and fences against the depths of the bordering wood; and the stray hovel, its old, old thatch full of mossy hills and valleys with wondrous modulations of light and shadow such as we travel far to see in later life, and see larger, but not more beautiful. These are the things that make the gamut of joy in landscape to midland-bred souls -- the things they toddled among, or perhaps learned by heart standing between their father's knees while he drove leisurely.'

The Mill on the Floss

In The Mill on the Floss (1860), George Eliot describes the landscape of childhood.  'Life did change for Tom and Maggie; and yet they were not wrong in believing that the thoughts and loves of these first years would always make part of their lives. We could never have loved the earth so well if we had had no childhood in it, - if it were not the earth where the same flowers come up again every spring that we used to gather with our tiny fingers as we sat lisping to ourselves on the grass - the same hips and haws on the autumn hedgerows - the same redbreasts that we used to call 'God's birds' because they did no harm to the precious crops. What novelty is worth that sweet monotony where everything is known and loved because it is known?'

'The wood I walk in on this mild May day, with the young yellow-brown foliage of the oaks between me and the blue sky, the white star-flowers and the blue-eyed speedwell and the ground ivy at my feet - what grove of tropic palms, what strange ferns or splendid broad-petalled blossoms, could ever thrill such deep and delicate fibres within me as this home-scene? These familiar flowers, these well-remembered bird-notes, this sky with its fitful brightness, these furrowed and grassy fields, each with a sort of personality given to it by the capricious hedgerows - such things as these are the mother tongue of our imagination, the language that is laden with all the subtle inextricable associations the fleeting hours of our childhood left behind them. Our delight in the sunshine on the deep bladed grass today, might be no more than the faint perception of wearied souls, if it were not for the sunshine and the grass in the far-off years, which still live in us and transform our perception into love' (Chapter 5).

And the theme is picked up again at the end of Chapter 14: 'There is no sense of ease like the ease we felt in those scenes where we were born, where objects became dear to us before we had known the labour of choice, and where the outer world seemed only an extension of our own personality: we accepted and loved it as we accepted our own sense of existence and our own limbs. ...  One's delight in an elderberry bush overhanging the confused leafage of a hedgerow bank as a more gladdening sight than the finest cistus or fuchsia spreading itself on the softest undulating turf, is an entirely unjustifiable preference to a landscape gardener, or to any of those severely regulated minds who are free from the weakness of any attachment that does not rest on a demonstrable superiority of qualities. And there is no better reason for preferring this elderberry bush than that it stirs an early memory - that it is no novelty in my life speaking to me merely through my present sensibilities to form and colour, but the long companion of my existence that wove itself into my joys when joys were vivid.'