Tag Archives: Fairies

Nature in Syd Barrett’s Songs

6 Jan

In lyrics Syd Barrett wrote for Pink Floyd and his two solo albums, he crated a tapestry of images, moods, fragrances and colours that change from vibrancy and childlike whimsicality of early psychedelia to more sombre, tinged with melancholy tunes that smell of withered flowers, last summer sunsets and have that after party mood when the guests are gone, the music stops and solitude remains. In many of his songs, images from nature serve to mirror the state of his soul, his emotions and his loneliness.

“Jiving on down to the beach to see the blue and the gray
Seems to be all and it’s rosy-it’s a beautiful day!”

(Gigolo Aunt)

John William Waterhouse, Ophelia, 1894, detail

Syd Barrett was the imaginative and stylish individual behind the early Pink Floyd. He also went on to have a brief solo career and released two albums in 1970; “The Madcap Laughs” and “Barrett” which mostly feature his melancholy voice and guitar, mirroring the dark and sad waters of his soul. Although the mood of Syd’s lyrics changes from the early ones which are fun and quirky, and later ones which tend to be more mystical and introspective, there is a theme which lingers throughout Syd’s poetry – nature.

The reason behind the frequency of nature as a topic of Syd’s lyrics is tied to his childhood; where he grew up and how he grew up. Syd was part of the baby boom generation and grew up in a safe and clean middle-class neighbourhood in Cambridge where his father worked as a pathologist. Unlike Morrissey, for example, whose early memories are tied to the dark and grim streets of Manchester and a red brick house which he can never go back to, the stage of Syd’s early memories is a lovely Victorian house where mum read fairy-tales and the arts were appreciated. Despite being only an hour away from London, Cambridge was, at the time, still a quaint town where myths and reality lived in harmony.

Constant Puyo, 1903.

In the book “Syd Barrett and Pink Floyd: Dark Globe”, the author Julian Palacious describes the area as a”bleak land rife with myth; a land where one can see the ruins of monasteries and abbeys looming through the heavy autumn fog, the spring of the Nine Wells associated with druids and witchcraft, a place where cold winters bloom into chill and damp springs and violet flowers fill the meadow all the way to the Beechwoods, a place of fairy ring mushrooms and willow trees gently touching the surface of the river Cam with their long yellow branches; all in all a setting ideal for a psychedelic schoolgirl to explore the secrets that nature beholds and float down the river forever and ever like a modern Ophelia: Syd conjured the very thing in his song “See Emily Play”. Palacios further says that “The Fens were rumoured to be the haunt of lost souls, witches, and web-footed peasants”, thus mingling the vivid Celtic past and mystic of nature with everyday suburban reality.

Arthur Rackham illustration for The Old Woman in the Wood from The Grimm’s Fairy Tales

In his book “Syd Barrett: A Very Irregular Head”, Rob Chapman also comments on nature being a common theme in Syd’s lyrics “Like Lear, Syd would populate his lyrics with imagery drawn from botany , zoology and nature. Lear and Caroll influenced the clarity of his lyrics too…”, adding that Syd “grew up surrounded by Fen countryside, absorbed in pastoral pursuits and Arcadian literature, and frequently drew upon nature for the subject matter of his artwork. His father was a keen amateur botanist and the entire family were be taken for Sunday morning jaunts to the Cambridge Botanical Gardens. The experience would be ingrained and absorbed from an early age.” We might say that nature was Syd’s first love, one which came before painting and music, and one which stayed much longer, even in his old age when he tended to the roses in his garden.

Photo found here.

In his early writings for Pink Floyd, nature is the setting of Syd’s psychedelic imaginings. In one song from their first album, “Flaming”, a very cheerful tune, nature comes alive and the meadow is one big playground. The lyrics bring to mind whimsicality of Lewis Caroll’s Alice in Wonderland: “Alone in the clouds all blue/ Lying on an eiderdown/ (…) Lazing in the foggy dew/ Sitting on a unicorn./ No fair, you can’t hear me/ But I can you./ Watching buttercups cup the light/ Sleeping on a dandelion.” Through his perceptions of nature, Syd paints us the landscapes of his soul, through the sounds we see its changing colours from yellow, gentle green and pink, to greys, dusty pinks and faded blues.

The first hint of the darkness to come can be traced in the lyrics of “The Scarecrow” where a solitary scarecrow standing in the middle of a golden barley fields brings to mind the sad landscapes that Vincent van Gogh had painted near the end of his life. Another song, “Octopus” from his first solo album, mingles the cheerfulness of his early days with a premonition of the madness that was to come: “Isn’t it good to be lost in the wood/ Isn’t it bad so quiet there, in the wood/ Meant even less to me than I thought… the seas will reach and always seep/ So high you go, so low you creep/ the wind it blows in tropical heat”. One time Syd was on holiday with his family in Wales, he was but a little boy, and he wandered off into the forest and was lost for hours.

“The land in silence stands” (Swan Lee)

And the landscape turns melancholy; the gates of childhood are closed, dandelions have withered and unicorns are nowhere to be found… the dark sea of adulthood is sad and mute as the grave, and its shore desolate and unpromising. Lost hopes and lamentation at the sudden awakening. There isn’t a song which better paints a picture of Syd’s mind at the time than “Wined and Dined” whose lyrics and melody both recall happier times and lament at the sadness that just doesn’t go away:

“Only last summer, it’s not so long ago
Just last summer, now musk winds blow…”

Melodies and lyrics of Syd’s solo albums bring to mind not the pictures of meadows and flowers, but scenes of isolation; murky waters, birds flying away, broken pier, trees are silent and lonely… Syd shows an acute awareness of what is going on around him. As a lyricist, and a poet too, Syd used images of nature as symbols for his states of mind and ways of expressing feelings imaginatively and indirectly; he is painting landscapes with his words which mirror the states of his soul.

Caspar David Friedrich, Moonrise Over the Sea, 1822

Here are some interesting lines from his song “She took a long cold look” from “The Madcap Laughs”, the image of the broker pier, wavy sea and water streaming over him are striking:

“a broken pier on the wavy sea
she wonders why for all she wants to see…
But I got up and I stomped around
and hid the piece where the trees touch the ground…

And looking high up into the sky
I breathe as the water streams over me…”

Picture found here.

A beautiful song “Opel” has long sad solos and a sense of isolation lingers throughout it, especially haunting are the last lines “I’m trying to find you” sang in his distant voice and accompanied by his guitar:

“On a distant shore, miles from land
Stands the ebony totem in ebony sand
A dream in a mist of grey…
On a far distant shore…

The pebble that stood alone
And driftwood lies half buried
Warm shallow waters sweep shells
So the cockles shine…

I’m trying
I’m trying to find you!
To find you
I’m living, I’m giving,
To find you, To find you…”

British versus American Psychedelia

9 Jan

Last Summer I was intrigued to find out the differences between British and American Psychedelia. Whilst on a quest to study all the details, I listened to The Doors and Jim Morrison singing ‘Gloria’ while the last rays of sun peeked through my curtains in sunset, and I felt the gentle summer breeze, and I made these collages. But before I start, I want to say that these are my visions of psychedelia, so, if I failed to mention a particular band that’s because I didn’t listen to it. These are my observations, take it lightly.

***

British Psychedelia – Rose-Tinted Visions of the Past, Myths and Magic

“The underground exhibited a curious nostalgia, unusual in people so young. Living in tattered Victorian flats, smoking dope and rummaging for antiques on the Portobello Road, the underground pillaged their cultural history. Part romantics and part vandals, as they pulled away from their parents’ world, they embraced the shadow of their grandparents’ Victoriana, torn between an idealised future and rose-tinted visions of the past.” (Syd Barrett and Pink Floyd: Dark Globe by Julian Palacios)

British psychedelia is more whimsical and deeply rooted in ‘cheery domesticity and a fascination with childhood as a lost age of innocence'(*). It takes inspiration from Romantics and long-haired Pre-Raphaelite beauties, William Morris prints, tea parties, fairies and magic woodlands, love of nature with mystical overtones and books such as ‘The Golden Bough’ by James George Frazer, magical worlds created by Lewis Carrol, Tolkien and C.S. Lewis, songs about gnomes, fairies. It’s driven by a desire to go back to childhood and the past.

mood-board-british-psychedelia-1-text

Screaming through the starlit sky
Travelling by telephone.
Hey ho, here we go
Ever so high.‘ (Pink Floyd – Flaming)

mood-board-british-psychedelia-2-text

Put on a gown that touches the ground, ah ooh
Float on a river forever and ever, Emily
There is no other day
Let’s try it another way
You’ll lose your mind and play
Free games for may
See Emily play.‘ (Pink Floyd – See Emily Play)

mood-board-british-psychedelia-3-text

I want to tell you a story
About a little man
If I can.
A gnome named Grimble Grumble.
And little gnomes stay in their homes.
Eating, sleeping, drinking their wine.
He wore a scarlet tunic,
A blue green hood,
It looked quite good.
He had a big adventure
Amidst the grass
Fresh air at last.
Wining, dining, biding his time.
And then one day – hooray!‘ (Pink Floyd – The Gnome)

mood-board-british-psychedelia-4-text

The doll’s house, darkness, old perfume
And fairy stories held me high on
Clouds of sunlight floating by.‘ (Pink Floyd – Matilda Mother)

mood-board-british-psychedelia-5-text

All I need is your whispered hello
Smiles melting the snow, nothing heard
Your eyes, they’re deeper than time
Say a love that won’t rhyme without words.‘ (Small Faces – Tin Soldier)

mood-board-british-psychedelia-6-text***

American Psychedelia:

‘Are you a lucky little lady in the City of Light
Or just another lost angel?’ (The Doors – LA Woman)

Unlike British, American Psychedelia was driven by the anti-war protests, and teenagers wanted to have freedom and be adults, some even joined communes. As I see it, American psychedelia is all about sun, beach and rock ‘n’ roll. Colourful houses in San Francisco, whose beauty I’ve first encountered in Jack Kerouac’s writings. For me, American psychedelia is Jim Morrisson’s mystic poetry, mixing Indian shamanism and William Blake, it’s Roky Erickson screaming ‘You’re gonna miss me child yeah’ in the same named song by the 13th Floor Elevators, it’s Janis Joplin in vibrant clothes, singing about love in raw, husky voice, it’s the brightly coloured vans with peace signs, it’s The Byrds with their folk-sounds and cheerful guitars, the imagined sunsets on Ashbury Haigh.

mood-board-american-psychedelia-1-text

I see your hair is burnin’
Hills are filled with fire
If they say I never loved you
You know they are a liar
Drivin’ down your freeway
Midnight alleys roam
Cops in cars,
The topless bars
Never saw a woman…
So alone, so alone…‘ (The Doors – L.A. Woman)

mood-board-american-psychedelia-2-text

Unhappy girl
Tear your web away
Saw thru all your bars
Melt your cell today
You are caught in a prison
Of your own devise.‘ (The Doors – Unhappy Girl)

mood-board-american-psychedelia-3-text

She lives on Love Street
Lingers long on Love Street
She has a house and garden
I would like to see what happens

She has robes and she has monkeys
Lazy diamond studded flunkies
She has wisdom and knows what to do
She has me and she has you.‘ (The Doors – Love Street)

mood-board-american-psychedelia-4-text

Hey what’s your name?
How old are you?
Where’d you go to school?
Aha, yeah
Aha, yeah
Ah, ah yeah, ah yeah
Oh haa, mmm

Well, now that we know each other a little bit better,
Why don’t you come over here
Make me feel all right!

Gloria, gloria
Gloria, gloria
Gloria, gloria
All night, all day
All right, okey, yey!‘ (The Doors – Gloria, originally by Van Morrison)

mood-board-american-psychedelia-5-text

To everything – turn, turn, turn
There is a season – turn, turn, turn
And a time to every purpose under heaven

A time to be born, a time to die
A time to plant, a time to reap
A time to kill, a time to heal
A time to laugh, a time to weep.‘ (The Byrds – Turn, Turn, Turn)

mood-board-american-psychedelia-6-text

I’ve seen your face before,
I’ve known you all my life.
And though it’s new,
your image cuts me like a knife.
And now I’m home.
And now I’m home.
And now I’m home, to stay.
The neon from your eyes is splashing into mine.
It’s so familiar in a way I can’t define.‘ (The 13th Floor Elevators – Splash)

mood-board-american-psychedelia-7-text***

Which one do you prefer, British or American Psychedelia? I’d goes without saying that I’m all about fairies, childhood innocence and tea parties, so it’s British psychedelia for me. Nothing’s gonna stop me this time, I’ll make the Summer of 2017 my Summer of Love! But for now, let these psychedelic tunes warm these short but never-ending winter days.

Illustrations – Fairies, Myths and Magic

4 Jun

Illustrations by Warwick Goble, Arthur Rackham and Edmund Dulac – a rather cheerful topic on this ‘damp and lonely Thursday‘.

My mother used to read to me every night when I was little, not only those common children’s books such as Grimm’s fairy tales, Peter Pan, Pippi Longstocking or Alice in Wonderland, but all sorts of myths and legends: Native American myths and legends, Persian fairy tales, stories from ‘One Thousand and One Nights’, and tales from Scandinavian and Slavic folklore. I’ll forever be grateful for the time she spent reading to me and the variety of cultures she introduced me to because all of these things made me an open-minded person that I am. Later I read The Lords of the Rings by myself and entered the magical world of Arhurian legends, but it all started from there: me sitting in my mother’s lap and listening with excitement to her imitations of the characters’ voices. ‘You only have to read the lines, They’re scribbly black and everything shines.‘ (Syd Barrett) I think the best thing you can do for children is to read to them.

When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty, I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.”- C. S. Lewis

All three artists were book illustrators, mostly remembered for their magical illustrations of fairy tales and children’s stories. Although I love all of their illustrations, I must say that Warwick Goble’s work appeals to me the most because he specialised in Japanese and Indian themes. Different cultures always excited me. I like his usage of sombre colours and a mystic mood of his night scenes, not to mention the beautiful lotus flowers, fairies and interesting clothes.

Warwick Goble - Elfen & Boeken1909. Warwick Goble 4 1909. Warwick Goble 5 1910. The peony lantern. Warwick Goble, from Green Willow and other Japanese fairy tales, by Grace James, London She took up the jewel in her hand, left the palace, and successfully reached the upper world. A Warwick Goble illustration. Sita finds Rama among the Lotus blooms - Warwick Goble, Indian Myth and Legend Warwick Goble - Cancee and the Falcon, Warwick Goble

"Do as you list, I will be ever known your thrall" - The Complete Poetical Works of Geoffrey Chaucer (1912)

“Do as you list, I will be ever known your thrall” – The Complete Poetical Works of Geoffrey Chaucer (1912)

Warwick Goble ~ Enchanted Princess Warwick Goble 10 Warwick Goble 12 Warwick Goble, The Water Babies Warwick Goble 13

Arthur Rackham was a well-known British illustrator, most active in the first three decades of the twentieth century. I particularly like his illustrations of Alice in Wonderland (1907) and A Midsummer Night’s Dream (1908). The first illustration you can see down below is my favourite ever depiction of Alice; I just love all those cards flying around. I must say that many of Rackham’s illustrations have a sinister mood, Pandora’s Box for example, or his depiction of trees and those maidens with their hair floating on the water.

1907. Alice in Wonderland - by Arthur Rackham

Arthur Rackham Fairy Illustrations Pandora

Pandora’s Box

 

Arthur Rackham Alice in Wonderland Arthur Rackham Watercolor, pen & ink

Arthur Rackham - illustration from 'A Midsummer-Night's Dream' 1907. Elena by Arthur Rackham (from 'A Midsummer's Night Dream) 1908. A midsummer night’s dream by Arthur Rackham 1910s Beautiful Arthur Rackham illustration for A Midsummer Night's Dream 1907. Arthur Rackham - Alice in Wonderland 2  ‘A midsummer night’s dream’ by William Shakespeare Arthur Rackham Illustration by Arthur Rackham 6 Illustration by Arthur Rackham 3 Illustration by Arthur Rackham 1 Undine is a fairy-tale novella by Friedrich de la Motte Fouqué illustrated by Arthur Rackham in 1909.

Edmund Dulac was a French-born but British naturalised magazine and book illustrator. As soon as he arrived in London at the age of twenty-two, he was commissioned to illustrate Jane Eyre and other novels by Bronte sisters. He went on to become a prolific artist with a diverse oeuvre, having illustrated all sorts of themes, from The Arabian Nights (1907) to Edgar Allan Poe’ poems in 1912. I like his illustrations of The Rubaiyat of Omar Khayyam (1909), and, as you can see below, he beautifully painted the sea in his illustrations of Little Mermaid; castle under the sea, the waves – it’s all just the way I imagined it.

Night, The Rubaiyat of Omar Khayyam - illustration by Edmund Dulac

The Rubaiyat of Omar Khayyam (1909)

Edmund Dulac Illustration 4 Edmund Dulac Illustration 7 Edmund Dulac Illustration 9 Edmund Dulac Illustration 3 Edmund Dulac, Beauty and the Beast Edmund Dulac Annabel Lee (from Edgar Allan Poe's poem) 1912 Ye elves to hills, brooks, standing lakes, and groves ~ Elves and Fairies, illustration for The Tempest, by Edmund Dulac. The Princess and the Pea', illustrated by Edmund Dulac Stories from the Arabian Nights, 1911 Illustrations by Edmund Dulac The Little Mermaid – illustrator Edmund DulacEdmund Dulac - The Nightingale

And just one more illustration from the similar time period, ‘The Court of Faerie’ (1906) by Thomas Maybank

1906. The Court of Faerie (1906) by Thomas Maybank

Isn’t it a shame that modern illustrations aren’t as interesting or as imaginative as they once were?