Arjun Shivaji Jain: Solitude, If I Must Thee Accept

“There’s a club if you’d like to go
You could meet somebody who really loves you
So you go and you stand on your own
And you leave on your own
And you go home and you cry
And you want to die…“

(The Smiths, How Soon is Now)

Arjun Shivaji Jain, Solitude, If I Must Thee Accept, February 2016, watercolour on paper, 1’10” x 1’3″

“Solitude, If I Must Thee Accept” is an interesting artwork that I have recently discovered. It was painted by a contemporary Indian artist Arjun Shivaji Jain during his university days in London in February 2016. Those days were marked by a feeling of loneliness, which is stated on his page also, and the painting’s title was inspired by the lines from a poem by a Romantic poet John Keats; “O solitude! if I must with thee dwell,/ Let it not be among the jumbled heap/ Of murky buildings; climb with me the steep,— Nature’s observatory…” To see more of his work visit his page here. The painting’s title captivated me and the painting itself instantly chimed with me because solitude is something that I am well-acquianted with. We are not only acquaintances but good friends; solitude and I. At times I wander off from this friend and spend time with other friends, but Solitude is a friend which is always here for me.

This painting puts us – the viewers – in a position of a Peeping Tom. The painting is a magnified view through a keyhole, but there is nothing voyeuristic about it in a way the same motif would have been depicted in the art of the Rococo artists such as Fragonard. Two sides of the keyhole reveal two different worlds; one pitch black and quiet; the other, full of vibrancy, music and laughter. The bright yellow floors, lime green walls and yellow lights all bring to mind the garish interiors of night cafés in Vincent van Gogh’s art. The figures of the party people are elongated and simplified, the girls’ long white limbs are almost doll-like and this makes me think of the people from the video for Pulp’s song “Common People”. I can imagine the brunette in the black dress talking to the guy in the blue coat and him later singing about their conversation, as the lyrics from the “Common People” song go; “She came from Greece she had a thirst for knowledge/ She studied sculpture at Saint Martin’s College/ That’s where I/ Caught her eye/ She told me that her dad was loaded/ I said, in that case I’ll have rum and Coca-Cola/ She said fine/ And then in thirty seconds time she said/ I wanna live like common people/ I wanna do whatever common people do/ Wanna sleep with common people/ I wanna sleep with common people like you…” Perhaps they are dancing, drinking, talking and laughing but we are still on the other side of the party; observing it, but not participating in it, which brings to mind Morrissey who was well-acquainted with solitude in teenage days and later on. As he sings in the song “How Soon is Now”; “There’s a club if you’d like to go/ You could meet somebody who really loves you/ So you go and you stand on your own/ And you leave on your own/ And you go home and you cry/ And you want to die…”

The painting wonderfully expresses many feelings; the feeling of solitude, not being able to connect with others, a feeling of not belonging etc., but another interesting thing about it is definitely the duality of the two worlds; the black world surrounding the keyhole which is mysterious and we know nothing about it apart from its uninviting, all pervading darkness, and the fun, colourful world where the party is taking place. This duality made me think of a painting style that Milan Kundera’s heroine Sabina from the novel  “The Unbearable Lightness of Being” is using. In the novel Sabina is a free-spirited and freedom-loving painter who was an art student under the strict Communist regime in Czechoslovakia and had to paint strictly in the Realist style but she found her ways of portraying both worlds; the ugly realist one and the other one. This is what Sabina says in the novel: “Here is a painting I happened to drip red paint on. At first I was terribly upset, but then I started enjoying it. The trickle looked like a crack; it turned the building site into a battered old backdrop, a backdrop with a building site painted on it. I began playing with the crack, filling it out, wondering what might be visible behind it. And that’s how I began my first cycle of paintings. I called it Behind the Scenes. (…) On the surface, there was always an impeccably realistic world, but underneath, behind the backdrop’s cracked canvas, lurked something different, something mysterious or abstract. (…) On the surface, an intelligible lie; underneath, the unintelligible truth.” Realistic vs mysterious, truth vs lie, colours vs black, quietness of solitude vs loudness of the party; I see the same contrasts that Sabina talks about right in this painting here. All in all, I think it is a wonderful painting both on compositional and on symbolic levels and I especially love it because I can relate to it so strongly because I feel that I am always that person just observing life and ‘other people’s parties’ but never participating in it, and I am not sure i even want to.

Dreamy Pictures of Ingrid Boulting, Vogue UK, July 1970

“…the rose is full blown,
And the riches of Flora are lavishly strown;
The air is all softness, and chrystal the streams,
And the west is resplendently cloathed in beams.

We will hasten, my fair, to the opening glades,
The quaintly carv’d seats, and the freshening shades;
Where the fairies are chaunting their evening hymns,
And in the last sun-beam the sylph lightly swims.

And when thou art weary, I’ll find thee a bed,
Of mosses, and flowers, to pillow thy head…”

(John Keats, To Emma, 1815)Model Ingrid Boulting photographed at Lacock Abbey, “Summer at Source”, by Norman Parkinson for Vogue UK, July 1970

This photograph taken by Norman Parkinson for the July edition of Vogue UK in 1970 is just one picture from a series of pictures taken at the Lacock Abbey. The lovely girl in the picture that looks like Botticelli’s angel is a model Ingrid Boulting. She might not be as well-remembered today as Twiggy is, but in the 1960s and 1970s Ingrid, with her delicate figure and a pale face doll-like face with big blue eyes, was posing for photographers such as David Bailey and Richard Avedon, and she modelled for the Biba fashion boutique. Ingrid was not a Mod girl with pixie haircut and sharp eyeliner, but rather her looks embodied the soft, rose-tinted aesthetic of the early 1970s. Delicate, ethereal, with silky hair and a quiet, mysterious aura around her, Ingrid is the embodiment of a Pre-Raphaelite muse. That is why I think she was just perfect for this series of pictures taken at the Lacock Abbey, a mansion in Wiltshire, England, built in the Gothic style of the thirteenth century. Pre-Raphaelites, after all, looked back at the Medieval times as times of truth and idealism.

What I like about this photograph, apart from Ingrid’s gorgeous face, is the continual interplay of contrasting elements. The picture appears both static, controlled and carefully arranged, but at the same time there is an undeniable dreamy, carefree quality to it. The girl’s hands are arranged in a pose we might see in a medieval painting, and her hair is dancing freely in the wind. In the background the old, wise, worn-out, poetry-filled stone of the abbey meets the fragile and transient summer flowers. This scene looks to me like a place where “the riches of Flora are lavishly strown” and “the air is all softness”, as Keats wrote in his poem “To Emma”. Ingrid’s attire makes me imagine her as a lady who once may have lived in that abbey, holding flowers in her hands and awaiting the return of her knight from a battle. The scene oozes a mood that is archaic and sweet, soft, delicate, laden with poetry and dreams. It’s almost a painful sweetness that I feel whilst gazing at this picture because I wish that could be the life itself; a long summer afternoon filled with flowers and poetry.

The square shape and the grey tones of the picture may at first seem constricting it because our eyes are used to wandering freely over the picture, in a horizontal or vertical direction, as is the usual shape of the pictures. The black and white picture doesn’t reveal to us the delicate summer shades of the scene, but in this case the black and white is perfect because it allows our imagination to fill the space with colours, and not just colours, but the scents and sounds too. Even though I usually love vibrant colours, in this case I don’t want to see the colours, I want to feel them. Just as it is in a dream; you might not see everything clearly, or hear it, but you know it is there, you feel it in a way which is superior to only seeing it. As I already said, this is one of a few pictures taken for the 1970 July Vogue UK so I will put some others bellow. They are also very beautiful but this one is my favourite.

Dante Gabriel Rossetti – Paolo and Francesca da Rimini

“Love led us straight to sudden death together.”

(Dante, Inferno, Canto V)

Dante Gabriel Rossetti, Paolo and Francesca da Rimini, 1855, watercolour

Dante Gabriel Rossetti, an English poet, painter, illustrator, translator and most importantly the founder of the Pre-Raphaelite Brotherhood, was born on this day in 1828 in London so let us use the opportunity and remember the fascinating and charismatic artist on his birthday. Rossetti had artistic aspirations from an early age and his siblings shared those aspirations as well. His maternal uncle was John William Polidori; the friend of Lord Byron and the author of the short story “The Vampyre” (1819). He died seven years before Rossetti was born, but it shows what kind of family ancestry Rossetti had and why it was perfectly natural for him to aspire to become a poet and an artist. Half-Italian and half-mad, Rossetti idealised and glorified the Italian past, especially the Medieval era and the writings of Dante Alighieri; a hero whom he worshipped. In 1848 he founded the Pre-Raphaelite Brotherhood along with William Holman Hunt whose painting “The Eve of St. Agnes” Rossetti had seen on an exhibition and loved, and the young prodigy John Everett Millais. Their aim was to paint again like the old masters did; with honesty and convinction, using vibrant colours and abundance of details, and most of all; to paint from the heart.

In 1850, two very important things happened in Rossetti’s life; he met Elizabeth Siddal; a moody and melancholy redhaired damsel who was to become the main object of his adoration in decade to come, his pupil, his lover and muse; and, he focused on painting watercolours. In the 1850s Rossetti’s head wasn’t all in the clouds of love, no half of it was in the rose-tinted clouds of the past, his main artistic inspirations being the Arthurian legends and Dante.

His watercolour “Paolo and Francesca da Rimini” from 1855 is a synthesis of these two inspirations; his love Lizzy Siddal and Dante. The watercolour is a tryptich (read from left to right) in intense, rich colours portraying the tale of doomed lovers Paolo Malatesta and Francesca da Rimini who was the wife of his brother. Paolo and Francesca were real-life historical figures, but Rossetti’s inspirations stems from Dante’s Inferno, specifically from the Canto V where Dante and Virgil, portraid in the central panel of the tryptich, enter the part of Hell where the souls of passionate and sinful lovers remain for eternity. The first tryptich shows Paolo and Francesca in a kiss. A secret, guilty, and forbidden kiss and yet Rossetti’s scene only shows a tender and passionate moment between lovers, their hands clasped together, Paolo pulling her closer. Francesca’s long red hair and face resemble the hair and face of Elizabeth Siddal, and the figure of Paolo was based on Rossetti himself. It is as if he knew that his love would be as doomed, though in a different way, just like that of Paolo and Francesca.

The interior is simple and allows the focus to be on the couple and their secret kiss. A plucked rose on the floor, an opened book with glistening illuminations is on Francesca’s lap shows the activity that bonded the pair and made the kiss inevitable, from Dante’s Inferno, Canto V:

Dante asks Francesca:

“But tell me, in that time of your sweet sighing

how, and by what signs, did love allow you

to recognize your dubious desires?”

And she responds:

And she to me: “There is no greater pain

than to remember, in our present grief,

past happiness (as well your teacher knows)!

But if your great desire is to learn

the very root of such a love as ours,

I shall tell you, but in words of flowing tears.

One day we read, to pass the time away,

of Lancelot, how he had fa llen in love;

we were alone, innocent of suspicion.

Time and again our eyes were brought together

by the book we read; our fa ces flushed and paled.

To the moment of one line alone we yielded:

it was when we read about those longed-for lips

now being kissed by such a famous lover,

that this one (who shall never leave my side)

then kissed my mouth, and trembled as he did.“

When I gaze at this left panel of the tryptich, a lyric from Bruce Springsteen’s song “The River” comes more and more to my mind, I wonder does the memory of the kiss come back to haunt Paolo and Francesca in hell:

“Pull her close just to feel each breath she’d take
Now those memories come back to haunt me
They haunt me like a curse
Is a dream a lie if it don’t come true
Or is it something worse
That sends me down to the river
Though I know the river is dry…”

“When finally I spoke, I sighed, “Alas,

what sweet thoughts, and oh, how much desiring

brought these two down into this agony.”

(Dante, Inferno, Canto V)

The central part of the tryptich, as I’ve said, shows Dante and Virgil. The third or the right wing of the tryptich shows the afterlife of the doomed lovers in Hell. Just like the sould of other unfortunate and lustful lovers, Paolo and Francesca are shown being carried by the wind of passion that swept them away in their living life on earth too, in each other’s arms for eternity. Are they being mercilessly carried by the wind, or have they overpowerd it and are riding it blissfully? All around them flames of hell dance like shooting stars. Quite romantic actually, I don’t see where the punishment part comes myself. Still, there is a message and the tale of doomed lovers in hell shows how a single moment and a single step is enough to commit a sin; the kiss was the act of weakness and passion. That single moment of weakness endangered forever their possibility of eternal glory.

Unlike other artists before him who have portrayed the story of Paolo and Francesca, Rossetti convinently avoids portraying the bloody and gruesome moment when the lovers are caught by Paolo’s brother Gianciotto who is also Francesca’s husband and murders them both. I really like that Rossetti painted a tryptich whose theme isn’t religious but profane, though some, like John Keats – another Rossetti’s hero – argue that love is sacred. After all, a tryptich is just an artwork divided into three panels, telling a story, kind of like a modern comic book so there is really no need for it to be restricted to religious topics. We can view this watercolour then as a Tryptich of the Religion of Love. And to end, here is a quote from Keats’ letter to Fanny Brawne, from 13 October 1819:

“I have been astonished that Men could die Martyrs for religion – I have shudder’d at it – I shudder no more – I could be martyr’d for my Religion – Love is my religion – I could die for that – I could die for you.”

Henry Peach Robinson – Fading Away

“The death of a beautiful woman is, unquestionably, the most poetical topic in the world.“

(Edgar Allan Poe)

Henry Peach Robinson, Fading Away, 1858

I found myself thinking about death these days, and naturally the first things that came to my mind were the poems, the paintings and this Victorian era photograph taken by Henry Peach Robinson in 1858. “Fading Away” is a very romantical and elegantly sad photograph which shows a pale and frail young girl dying from consumption, or perhaps from a broken heart. She is surrounded by her a family members, all of which play a different role in the composition of the photograph and also in expressing emotion. The male figure, presumably the father, turned his back towards the girl, unable to face the painful truth; death of his beloved daughter. Perhaps he is trying to suppress his tears, and perhaps he feels powerless because he failed to protect her from the ultimate enemy: death.  This photograph perfectly encapsulated the morbidly romantical fascination with death which came to define the Victorian era. For modern viewers the aesthetic conveyed is very Victorian, but the Victorians felt very differently about Robinson’s photograph. It received mixed reviews from the public; some found it shocking that the photographer would invade such an intimate, private moment. The Victorians knew the distinction between the private life and the outside world. And also, the photograph is actually an early example of photomontage and Robinson. was a pioneer of that. I am as shocked as the Victorians were because the final result is so realistic and I would never have assumed that these individuals weren’t in the same room at the same moment together.

Poets of Romanticism expressed an inexplicable longing for death because every day life, with its struggles and ugliness, was far from their ideal of Beauty. “Transient pleasures as a vision seem, and yet we think the greatest pain’s do die”, wrote John Keats in his poem “On Death”. Percy Bysshe Shelley was equally dramatic, utterly obsessed with death, he saw it as the state of ultimate happiness and perfection. The Victorian era romanticised death, especially the slow, staged, almost theatre-like moment of death. And what actress to play the role of a person soon to be departed than a beautiful, pale, virginal girl who had tasted none of life’s sweetness and joys and already at such a tender age death was to take her away. It’s like a rose forever preserved in its loveliest stage of bud! Never blooming fully, and thus never withering either. Poe was right: death of a young girl is indeed the most beautiful topic for art. And here is John Keats’ poem “On Death” written in 1814 in a letter to his brother Thomas who was, just like the poor girl in the photograph, suffering from consumption which would ultimately be Keats’s end as well:

On Death

Can death be sleep, when life is but a dream,
And scenes of bliss pass as a phantom by?
The transient pleasures as a vision seem,
And yet we think the greatest pain’s to die.

How strange it is that man on earth should roam,
And lead a life of woe, but not forsake
His rugged path; nor dare he view alone
His future doom which is but to awake.

Henry Peach Robinson, She Never Told Her Love, 1857

“She never told her love,

But let concealment,

like a worm i’ the bud,

Feed on her damask cheek”

(Shakespeare, Twelfth Night II,iv,111-13)

Robinson’s photograph “She Never Told Her Love”, taken in 1857, served as a study for the girl in “Fading Away”. Resting on soft big pillow, the girl truly does appear to be fading away. Her hair is spread on the pillow, her hands clasped on her lap, her lips ever so softly parted. This study’s focus is on the girl, she is alone in her pictorial space, alone with her woe, illness and that poor broken heart. In “Fading Away” she is surrounded by family, and even though the study has the intimacy of the girl alone, I feel like the characters add to the drama and the story behind the photograph.

It is interesting to think of the way poets and artists of Romanticism and the Victorians saw death, and how our culture sees it. The Victorian era attitude towards death is seen as “morbid” nowadays and I don’t quite see why. Every living thing on earth is bound to die one day, so why is death such a taboo topic, such a shocking morbid “Gothic” thing? It seems like everything is so sugarcoated nowadays; idealised, filtered, posed, set-up, and artificial and hence such a pure, dark truth such as death is hard to digest. Death comes without invitations, it cannot be ignored, postponed, sugarcoated, it changes everything, it is beyond our control. Perhaps we are too entitled today and we subconsciously feel that, along with our generally good standard of living (at least in the Western countries), immortality is also our god-given right, and it isn’t. Can’t we go back to times when death was romanticised and one could truly die of a broken heart!? I feel like I can relate to Romantic visions of the death much more, and also this beautiful poem “Goodbye, my friend, goodbye” by the Russian poet Sergei Yesenin (1895-1925) who ended his life not by consumption or broken heart, but by suicide:

Goodbye, my friend, goodbye
My love, you are in my heart.
It was preordained we should part
And be reunited by and by.

Goodbye: no handshake to endure.
Let’s have no sadness — furrowed brow.
There’s nothing new in dying now
Though living is no newer.

The poem was written in the poet’s own blood and found in the hotel room where he had committed suicide. Still, despite the tragical ending, the poem carries a seed of hope, like a silver dandelion seed floating aimlessly in the wind, because dying is nothing new and living no newer, and the sad parting brings reunion, and could there be a more hopeful thought? Death is not the end, not the end…

John Keats: On the heather to lie together, with both our hearts a-beating!

A beautiful poem by John Keats (1795-1821), English poet of Romanticism.

Jean-Honoré Fragonard, The Shepherdess, ca. 1750-52

Where be ye going, you Devon maid?

WHERE be ye going, you Devon maid?

And what have ye there i’ the basket?

Ye tight little fairy, just fresh from the dairy,

Will ye give me some cream if I ask it?

 

I love your meads, and I love your flowers,

And I love your junkets mainly,

But ‘hind the door, I love kissing more,

O look not so disdainly!

 

I love your hills, and I love your dales,

And I love your flocks a-bleating;

But O, on the heather to lie together,

With both our hearts a-beating!

 

I’ll put your basket all safe in a nook,

Your shawl I’ll hang up on this willow,

And we will sigh in the daisy’s eye,

And kiss on a grass-green pillow.

La Belle Dame Sans Merci – Pre-Raphaelites and John Keats

In this post we’ll take a look at a very popular topic for the Pre-Raphaelite painters: the heroine of John Keats’s poem “La Belle Dame Sans Merci”. At once beautiful and cruel, this damsel enchants the poor naive knight and brings him to his doom.

John William Waterhouse, La Belle Dame sans Merci, 1893

The most beautiful, the most captivating portrayal of the beautiful and cold-hearted lady from John Keats’s poem “La Belle Dame sans Merci” is, for me, the one painted by John William Waterhouse in 1893. The warm rich colours, her languid pose and the way she gazes at the poor knight linger in the memory. Winterhouse wasn’t particularly faithful to Keats’s vision of the setting; Keats described the scene of their doomed encounter as taking place in a desolate wintry landscape where no birds are singing. Waterhouse and other artists before and after him had envisaged the scene differently, which shows that sometimes motifs from poetry don’t translate well into visual arts. Still, the warm colours and details such as red leaves in the foreground suggesting that it’s late summer or early autumn, add to the sensuality of the theme. The autumn is not much different to the merciless lady; nature in autumn charms us with her richness, giving promises it won’t fulfill; the crimson leaves speak of luxury, yet they shall wither and fall in decay.

This is how the knight in the Keats’ poem describes the lady:

“I met a lady in the meads,
Full beautiful, a fairy’s child;
Her hair was long, her foot was light,
And her eyes were wild.”

Most unusually, but very fitting for the rest of the painting’s colour palette, Waterhouse painted the lady’s dress in a beautiful warm shade of purple, in a seductive and illusive colour of wine. And look at the heart on her sleeve. Her long auburn hair is falling down her back as she gazes transfixed at the knight, in the same way that the nymphs in Waterhouse’s other painting “Hylas and the nymhps” are gazing at the poor Hylas. Her ruby red lips, her long hair and sweet-scented air all lie; for it is not love that lies on her heart but deceit! And it is only the poor naive knight who is blind to it. And the nature is lying with her; white briar-roses bloom and the trees in the background, reminiscent of the early Renaissance painters, are silent and many dark things they wickedly withhold. The dense row of tall trees reminds me of the trees in Botticelli’s paintings from series “The Story of Nastagio Degli Onesti”, part one and two.

Frank Dicksee, La Belle Dame sans Merci, 1902

Frank Dicksee was another painter who painted in the Pre-Raphaelite style, but just like Waterhouse he wasn’t the member of the original Pre-Raphaelite Brotherhood. There is something sentimental about his version which I don’t like, but I do love the lady’s long flowing red hair with a crown of white flowers on it. Here is John Keats’s poem, it is too beautiful not to be included:

O what can ail thee, knight-at-arms,
Alone and palely loitering?
The sedge has withered from the lake,
And no birds sing.

O what can ail thee, knight-at-arms,
So haggard and so woe-begone?
The squirrel’s granary is full,
And the harvest’s done.

I see a lily on thy brow,
With anguish moist and fever-dew,
And on thy cheeks a fading rose
Fast withereth too.

I met a lady in the meads,
Full beautiful, a fairy’s child;
Her hair was long, her foot was light,
And her eyes were wild.

I made a garland for her head,
And bracelets too, and fragrant zone;
She looked at me as she did love,
And made sweet moan

I set her on my pacing steed,
And nothing else saw all day long,
For sidelong would she bend, and sing
A faery’s song.

Arthur Hughes, La Belle Dame Sans Merci, 1863

She found me roots of relish sweet,
And honey wild, and manna-dew,
And sure in language strange she said—
‘I love thee true’.

She took me to her Elfin grot,
And there she wept and sighed full sore,
And there I shut her wild, wild eyes
With kisses four.

And there she lullèd me asleep,
And there I dreamed—Ah! woe betide!—
The latest dream I ever dreamt
On the cold hill side.

I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried—‘La Belle Dame sans Merci
Hath thee in thrall!’

I saw their starved lips in the gloam,
With horrid warning gapèd wide,
And I awoke and found me here,
On the cold hill’s side.

And this is why I sojourn here,
Alone and palely loitering,
Though the sedge is withered from the lake,
And no birds sing.

Frank Cadogan Cowper, La Belle Dame Sans Merci, 1926

At last, the knight is defeated and the lady arises like a phoenix from the ashes with a victorious glow on her cheeks, hair even shinier and more beautiful – she is ready to strike again. Wild red poppies are swaying in the wind, dancing and whispering passionately of the poor knight’s death. Her dress is intricate and ornate, and, similar to Klimt’s designs, almost has a life of its own. Her hands are seductively placed above her head, while the knight is lying dead in the grass, poppies and a few dandelions around him make for a very striking and powerful scene. Whereas Waterhouse opted for a dreamy idyllic version of the theme, focusing on the lady’s intense seductive gaze, Cowper here isn’t shy at portraying her as a merciless vixen.

Faustine and the Beautiful Summer (1972) – A Review

A few days ago I watched a brilliant film called “Faustine and the beautiful summer” (original title: Faustine et le bel été) directed by Nina Companeez whose mood of dreams, romance, indolence and love for nature really struck a chord with me and I found a lot of things highly relatable, particularly the character of Faustine: her reveries, her carefree nature. Also, I wish I could just take her gorgeous outfits from the screen and have them in my wardrobe.

The plot is simple: a pretty sixteen year old girl called Faustine (played by Muriel Catala) is about to spent her summer holidays with her grandparents in the countryside. While there, she spends time wandering the woods and the meadows, discovering the secrets of nature as well as spying on her neighbours who are also there on holiday. She is ocassionally flirting with a fellow teenage boy from that family called Joachim, but mostly takes delight in rejecting him because she develops an interest in his uncle. She eventually befriends the entire family and visits them often, and spends time with Joachim’s female cousins who find her fascinating.

Everything is seen trough her eyes and it is almost like reading her diary, her memories of that summer. And through her eyes everything is magical and whimsical. There isn’t much that goes on in the film and it isn’t long either, only around an hour and a half, but the slow and sensuous mood that reminds me of David Hamilton’s photography from roughly the same years makes it a delight for me. Still, there is more depth to the film than it appears on the surface. For sure it is not a sugary and naive teenage romantic drama. Many conflicts linger throughout the film and surface one by one; conflicts between sensuality and innocence, real life vs dreams, observing life vs participating in it. Those are some things that anyone could relate to, but a girl of Faustine’s age and inexperience would particularly understand it, and that is another reason I loved the film. Not only do I love the aesthetic but the themes as well. And, Chopin’s music is played throughout the film as well.

There is a sweet sensuality lingering throughout the scenes; Faustine walking through the fields of poppies and pressing the golden wheat to her soft cheek, kissing the bark of a tree, the trace of milk left on Faustine’s lips as she puts down her mug, Faustine indolently lying on the bed wrapped in nothing but white lace and eating cherries and strawberries, Faustine talking to a delicate newborn poppy flower… and an ultimate feeling of being immersed in nature when she goes skinny dipping in a nearby lake while the rain is falling romantically and announcing the arrival of autumn. I adored one scene where she is running through fields of wheat and poppies, dressed in a white gown and wearing her straw hat with a long pink ribbon, running playfully as if she were a little girl and shouting “Summer isn’t over”, then throwing herself into the grass and gazing at the play of sunlight coming through the treetops and whispering: “Sunshine fills the air. Flowers of all colours. I drink you in, you make me dizzy.”

I love the coming of age theme and I can relate to Faustine feeling that everything is possible, seeing beauty all around her, and feeling rain of sadness falling on her sun-kissed skin from time to time, which are not the dark rains of autumn but the warm and transient summer showers that stir the soul but leave no scars. Throughout the film Faustine is constantly walking the tightrope between her daydreams and the real life around her. The last scene ends the film beautifully; she is dressed in a long gown, so elegant and grown-up, in an embrace with Joachim’s uncle and says: “And finally Faustine will enter the world through the blue door. Today my first kiss and in seventy years, at best, I’ll be dead.” It sounds as if she is narrating her own life, and it is unclear whether she is talking to him, herself or the trees all around them. From the world of daydreams, through a kiss, Faustine at last enters the real world and tastes its sweetness.

And now a few verses from Derek Walcott’s poem “Bleecker Street, Summer” which I discovered by serendipity last summer:

Summer for prose and lemons, for nakedness and languor,
for the eternal idleness of the imagined return,
for rare flutes and bare feet, and the August bedroom
of tangled sheets and the Sunday salt, ah violin!

When I press summer dusks together, it is
a month of street accordions and sprinklers
laying the dust, small shadows running from me.

These beautiful verses from John Keats’s “Endymion” which I loved last summer came to mind while I was watching the film:

…Now a soft kiss –
Aye, by that kiss, I vow an endless bliss,
An immortality of passion’s thine:
Ere long I will exalt thee to the shine
Of heaven ambrosial; and we will shade
Ourselves whole summers by a river glade;
And I will tell thee stories of the sky,
And breathe thee whispers of its minstrelsy,
My happy love will overwing all bounds!
O let me melt into thee! let the sounds
Of our close voices marry at their birth;
Let us entwine hoveringly!

I hope you enjoyed this review and that you decide to watch the film. I am glad I watched it now, in May, because I can look forward to another summer and hope that it is as sweet as the last one’s was, instead of pining for it once it passes.

Romantic Melancholy

“Sad; so sad, those smoky-rose, smoky-mauve evenings of late autumn, sad enough to pierce the heart…anguish of the turn of the year, the time of impotent yearning, the inconsolable season.“ (Angela Carter, Saints and Strangers)

Caspar David Friedrich, Wanderer Above the Sea of Fog, 1818

In these lonely autumn evenings, I yearn to escape the enveloping dreariness of November through poetry, pressed flowers and scented candles. Suffocated by thick fogs and the smell of rotting corpses of daydreams and high hopes that never come true, I hear Melancholy quietly knocking on my door and silently, without disturbing the yellow roses in my vase, it wrapped my tired shoulders with a fragrant lace cloth of spring naivety and summer innocence, of silver dandelions and spider webs, white roses and kindness of strangers. I try to smile at this stranger dressed in a purple gown and jangling earrings of silver and amethyst, but my lips of a doll have become rusty. I take the imaginary book of memories in my hand and blow away the dust. A few rose petals fall on the floor, and my crystal tears join them in their fall. Memories of summer’s gold and bloom dance in my head like skeletons, memories of things that were painfully beautiful but might never return. Memories of poppy meadows and river’s cheerful murmurs, of May’s pink roses, white butterflies and forest groves, of golden sunlight and juicy pears, of stars and perpetually dreamy days of July, and long warm enchantingly golden afternoons of August. I have a withered rose instead of a heart, and it pulsates melodiously in a rhythm of yearning and anguish. I am a forgotten abbey in the oakwood; all my hopes have fallen like leaves on the trees and my soul is but a skeleton covered in moss. I take a pen and command: Melancholy, oh speak to me!

Caspar David Friedrich, Moonrise Over the Sea, 1822

Melancholy is kind and generous, and since I begged her, she spoke to me in a mellifluous voice of all the places where she resides… First thou shall find me, said Melancholy, in ethereal sounds of Chopin’s Nocturnes, whose trembling ecstasies and passions lie hidden under flimsy veils of sadness. As Oscar Wilde said: “After playing Chopin, I feel as if I had been weeping over sins that I had never committed, and mourning over tragedies that were not my own. Music always seems to me to produce that effect. It creates for one a past of which one has been ignorant, and fills one with a sense of sorrows that have been hidden from one’s tears.” When Chopin’s Nocturne turns to mute silence of dreary chambers, I dance my way to beautiful objects and inhabit them; old ballet slippers, worn out lamé dresses of 1920s, a box of old letters and photographs, empty perfume bottles, dusty cradles of children who are now adults, summer dusks with fireflies and strong scent of roses and a pale moon appearing coyly on the horizon, worn out names on tombstones and graves that no one visits any more, flowers slowly withering in a vase, unfinished charcoal drawings, drafts of letters never finished, smell of old books… Every place of beauty is my abode, ye can find me in poetry and songs too; in vocals and wistful violins of the Tindersticks and their song Travelling Light:

“There are places I don’t remember
There are times and days, they mean nothing to me
I’ve been looking through some of them old pictures
They don’t serve to jog my memory

I’m not waking in the morning, staring at the walls these days
I’m not getting out the boxes, spread all over the floor
I’ve been looking through some of them old pictures
Those faces they mean nothing to me no more”

Caspar David Friedrich, Abtei im Eichwald (Abbey in the Oakwood), 1808-1810

I closed my eyes and listened to Melancholy as it spoke to me, with a voice like flowing honey, and she said: I hide in canvases too; German Romantic painter Caspar David Friedrich adored me as his muse. Do not believe his landscapes, they are not at all what they seem; a tree is not a tree and fog is not simply fog as it is with John Constable. Led by his pantheistic vision of nature, he portrayed emotions and his states of mind. “Abbey in the Oakwood” is a melancholic masterpiece. An abandoned Gothic abbey is a corpse, a ruin, which speaks of happier times when it served its purpose. Tall oaks with crooked bare branches surround it. Sublime, eerie mood pervades the painting; crosses disappearing into the fog, a barely noticeable procession of monks, a freshly dug grave, and the endlessly lead coloured sky. In early 19th century Germany, Romanticism was closely associated with the National awakening, and Goethe considered Gothic architecture to be Germanic in origin. In contrast to the Classical architecture, the plans of Gothic cathedrals were done by “romantic intuition” rather than mathematical calculations. Gothic abbeys and oaks possess the same grandeur, the same melancholy when covered in deep snow or grey fogs.

I am not always obvious at first sight; do not let the screaming ecstatic yellow of Vincent van Gogh and Kirchner deceive you, for I was their friend too. I was the pencil that Egon Schiele used to sketch his nude beauties with worn out smiles and hollow cheeks, I kissed every yellow petal of the sunflowers he was obsessed with.

Egon Schiele, Sunflower, 1909

As I wipe my tears and feel my cheek’s returning rosy hue, I eagerly listen to Melancholy and her story. She says: I was the lover of John Keats, and the illness of young Werther. All artists find a muse in me, and Romanticists loved me deeply, but the idealist and dreamy escapist Keats adored me in particular, and dressed himself in my cloth of flowers, tears and beauty. In his rosy-coloured visions of the Middle Ages, he found beauty that the world of reality had denied him. Keats knew when he sang of me that Beauty is my other face, and he knew my strength well enough so he never tried to defeat me but rather embrace me and heal the sorrow I cause by contemplating things of Beauty:

“But when the melancholy fit shall fall

Sudden from heaven like a weeping cloud,

That fosters the droop-headed flowers all,

And hides the green hill in an April shroud;

Then glut thy sorrow on a morning rose,

Or on the rainbow of the salt sand-wave,

Or on the wealth of globed peonies;

Or if thy mistress some rich anger shows,

Emprison her soft hand, and let her rave,

And feed deep, deep upon her peerless eyes.

*

She dwells with Beauty—Beauty that must die;

And Joy, whose hand is ever at his lips

Bidding adieu; and aching Pleasure nigh,

Turning to poison while the bee-mouth sips:

Ay, in the very temple of Delight

Veil’d Melancholy has her sovran shrine…”

Percy Bysshe Shelley confided in me too, but found me too bitter at times, and yet he wrote these verses: “Our sweetest songs are those that tell of saddest thought.”

Photo by Laura Makabresku

John Singer Sargent, Polly Barnard (also known as study for Carnation, Lily, Lily, Rose), 1885, Medium: pencil

Photo by Laura Makabresku

“There is a life and there is a death, and there are beauty and melancholy between.” (Albert Camus)

Caspar David Friedrich, Two Men Contemplating the Moon, 1825-30

Caspar David Friedrich, A Walk at Dusk (detail), ca.1830-35

In November dreariness, my only consolation lies in long evening walks by the river. The Moon is my lover; I year for his caresses and weep at sunset when we must part. He greets me, smiling through the bare branches of tall trees, and I turn my face to his glow and whisperingly ask to fulfil all my longings, to kiss my cheeks and hug me. I hear the river murmuring of happier times, but the Moon is wise and he offers me a “nepenthe”. ‘What is it?’, I ask the Moon and he replies: ‘It is an ancient Greek word, defined as a medicine for sorrow. It can be a place, person or thing, which can aid in forgetting your pain and suffering.’ I follow the Moon, yearning for a more precise answer, but it disappears behind the clouds and I am left alone … yet again.

Photo by Laura Makabresku

I gaze at the river for a long time, longing to see the Moon’s whimsical silvery reflection in the dark water. I cup the dark water in my hands and the dazzling rays of moon slip through my fingers… just as every happy moment does.

John William Waterhouse and John Keats – Isabella and the Pot of Basil

John William Waterhouse’s portrayal of John Keats’s poem “Isabella; or, The Pot of Basil”, is dreamy, which is typical for his oeuvre, and, following the tradition of the Pre-Raphaelites, it is rich in details, but the seemingly innocent scene hides a darker theme. In this painting, Waterhouse beautifully unites the Medieval macabre imagination of Boccaccio with the sensuous imagery created by Keats in his poem.

John William Waterhouse (1849-1917) Isabella and the Pot of Basil, 1907

In a secluded spot of a beautiful garden somewhere in Florence, a damsel known by the name of Isabella is kneeling beside a pot of basil, embracing it with her gentle white arms and “gazing amorously upon it with all her desire”. The air is warm and fragrant, but laced with sadness. The spot seems secretive and the path that leads to it is rarely used. With no living soul around her, she must have whispered the woes of her heart to the greenery around her: the grass, the ivy, the hedge, have all become friends. The fragile red poppy that grew next to her white gown, along with a skull on the pedestal of the basil pot, could be interpreted as signs of the other world. Poppy is a flower connected to dreams, sleep and death. She is dressed in a long white gown that touches the ground with intricate Medieval-style sleeves. Her auburn hair falls on her back as she tilts her head and sighs at the inequity of her destiny. How can a maiden so young and so pretty be so sad?

Ahh, but poor Isabella is ill from sadness. In a feverish state her gaze turned blurry from tears, and yet, with wild perseverance she wraps her weak arms around the pot, pining and weeping, day upon day, night after night. Her heart aches for something she can never have, and not even a thousand tears would bring the dear face of Lorenzo back to life; the anguish that sits on her chest is heavier than a stone, and yet her face shows longing rather than pain, as if her devotion, her pining and daydreaming upon that pot of fragrant basil bring her serenity. For, what else can she do but weep her days away?

John Keats’s narrative poem “Isabella” is adapted from a story in Boccaccio’s Decameron (IV day, 5th story) which tells the tale of Lisabetta and Lorenzo. (A note: Keats changed the setting of the story from Messina to Florence, and the name from Lisbetta to Isabella.) In Decameron, Lisbetta is a fair and well-manered maiden who lives in the town of Messina with her three brothers who want her to marry a rich and respectable man, but Lisbetta falls in love with Lorenzo, the dashing young employee of her brothers. After enjoying the delights of each other’s company, the young lovers are discovered and the brothers decide to take things into their hands. On day they take Lorenzo into the deepest darkest forest and murder him. Lisbetta, not hearing from Lorenzo for so long, grows impatient and worried until one night he appears in her dream and tells her what had happened and where his body lies. After that “she awoke and giving faith to the vision, wept bitterly.” Lisbetta finds his body in the forest, and despite her woes remains cool-headed and knowing that she can’t take the whole body, she cuts his head off and wraps it in a napkin and:

“…returned home, where, shutting herself in her chamber with her lover’s head, she bewept it long and bitterly, insomuch that she bathed it all with her tears, and kissed it a thousand times in every part. Then, taking a great and goodly pot, of those wherein they plant marjoram or sweet basil, she set the head therein, folded in a fair linen cloth, and covered it with earth, in which she planted sundry heads of right fair basil of Salerno; nor did she ever water these with other water than that of her tears or rose or orange-flower water. Moreover she took wont to sit still near the pot and to gaze amorously upon it with all her desire, as upon that which held her Lorenzo hid; and after she had a great while looked thereon, she would bend over it and fall to weeping so sore and so long that her tears bathed all the basil, which, by dint of long and assiduous tending, as well as by reason of the fatness of the earth, proceeding from the rotting head that was therein, waxed passing fair and very sweet of savour.”

To rest your eyes from Waterhouse, here is another version: Arthur Nowell, Isabella and the Pot of Basil, 1904

She sits and weeps over that pot of basil with mad devotion, adoringly wrapping her arms around it, as is she was enchanted or cursed like the Lady of Shalott. It arises suspicion in her brothers and one day they turn out the pot and find a head, not yet rotten, of Lorenzo. In fear that things might get revealed, they move to Naples and Lisbetta is once again separated from her lover, or this time, from his head. It is indeed a pity that they moved Lorenzo’s rotting head because it fertilised the soil in the pot and the basil grew ever so lush and fragrant. Every good gardener knows this is the secret to a healthy plant!

Lisbetta eventually dies from sadness: “The damsel, ceasing never from lamenting and still demanding her pot, died, weeping; and so her ill-fortuned love had end.”

Poor, poor Isabella! Waterhouse must have thought that too, when he chose to portray the scene of a sad tale of love first written by Boccaccio and later sang by Keats whose eloquence and melancholic disposition added the lyrical and sensuous dimension. Who knew better than Keats the ache of wanting so desperately something you cannot have? Did he not yearn for the sweet nectar of life, and was denied to taste the very drink? Having died so young from consumption, did he not feel on his own skin the transience of everything which hurts like knives piercing your chest, and therefore nurtured beauty in his verses. Her is what his beautiful poetic vision tells us of Isabella and Lorenzo falling in love:

“They could not in the self-same mansion dwell

Without some stir of heart, some malady;

They could not sit at meals but feel how well

It soothed each to be the other by;

They could not, sure, beneath the same roof sleep

But to each other dream, and nightly weep.

With every morn their love grew tenderer,

With every eve deeper and tenderer still…”

John William Waterhouse (1849-1917) was not a member of the Pre-Raphaelite Brotherhood but he, like many other artists, accepted their style and subject matter. He too dipped his paint brush into the paint of dreams, and painted scenes from mythology, Medieval romances, love and longing. Pre-Raphaelites drew inspiration from poetry and even though for Rossetti Dante was God, we could rightfully say that John Keats was placed on a pedestal. Out of all English poets of Romanticism, Keats was the most lyrical, the one who emphasised the greatness of beauty. This ideal brought him together with the Pre-Raphaelites. It is very likely that Waterhouse had Keats’s and not Boccaccio’s version of the story in mind when he painted this painting. A tale of sad love was perfect for a Pre-Raphaelite canvas; before Waterhouse, both Rossetti with his infatuations with Dante’s Beatrice and her death, and Millais’ with his paintings such as ‘A Huguenot’ tackled the subject.

Keats’s poem “Isabella” is absolutely beautiful, but these verses are perhaps my favourite and tell us about the growing love between Isabella and Lorenzo:

“Parting they seem’d to tread upon the air,

 Twin roses by the zephyr blown apart

Only to meet again more close, and share      

 The inward fragrance of each other’s heart.

She, to her chamber gone, a ditty fair

 Sang, of delicious love and honey’d dart…”

Keats’s verses and the Pre-Raphaelite canvases both possess sensuality in abundance: Keats’s rich, delicate yet passionate descriptions match perfectly with the vibrantly coloured, richly textured and emotionally charged paintings of the Pre-Raphaelites.

Out of all the stories I’ve read from “Decameron” this one is my favourite because underneath the sad tale of love scenario, which always appeals my romantic whimsy, it has a strong dark and macabre mood. I mean, the girl weeps and adoringly gazes at the pot of basil, knowing that the head of her lover is buried in it. Can you imagine the head which used to belong to a beautiful man she loved slowly rotting in the pot, his hair mingling with the roots of basil… It’s eerie and kind of revolting, and I say this with a creepy smile on my face because it appeals to me at the same time. John Keats, on the other hand, focused on the sensuality of the story and its melancholy, veiling it in beauty: rose petals, zephyrs, soft lips and sad gazes, everything is ripe, warmth, fragrant, in bloom. And this is how he ends the poem:

“And so she pined, and so she died forlorn,

Imploring for her Basil to the last.

No heart was there in Florence but did mourn

In pity of her love, so overcast.

And a sad ditty of this story born

From mouth to mouth through all the country pass’d:

Still is the burthen sung—“O cruelty,

“To steal my Basil-pot away from me!”

So, happy birthday, John Keats!

Idea of Death in Writings of the Romantics and Morrissey

In every age there’s an artist who captures the spirit of the times and gives a voice to the generation. In the 1980s, posters of The Smith and their lead man Morrissey graced the walls of teenage bedrooms. Had the custom been around a century and a half earlier, teenage girls would probably put pictures of Lord Byron, Keats and Shelley above their beds in their exceedingly elegant Regency-era bedrooms. In the post-revolutionary and newly industrialised world, Romantic poets sang of beauty, love, nature and death, while at the same time living lives of rebellion, much to the dismay of the bourgeois class. Likewise, in the eighties which were a difficult decade for idealists*, in the era of Thatcherism, recession and miners’ strikes, pop music was an escape and individuals such as Morrissey intentionally detached themselves from the political instabilities by moving their focus to introspection and individual struggles and singing of loneliness in the nightclubs, ill-fated relationships, home town claustrophobia, dullness of everyday life, and a strong longing for death. More than a century and a half divides the poets of Romanticism and Morrissey, and yet the same melancholy, introspectiveness, ideals and views on death connect them.

I love this black and white picture of The Smiths with pink letters; it’s the perfect aesthetic for the band’s music and lyrics, or at least the way I see it – pink rose petals and a grey sky, promises and disappointments, wittiness and misery, shyness, idealism and memories…

 

Romantics and Death

A Lament

“O World! O Life! O Time!

On whose last steps I climb,

Trembling at that where I had stood before;

When will return the glory of your prime?

No more -Oh, never more!

Out of the day and night

A joy has taken flight:

Fresh spring, and summer, and winter hoar

Move my faint heart with grief, but with delight

No more -Oh, never more!”

When I say Romantics, I will focus on the second generation of English Romantics or the “groovy trio” which consisted of Lord Byron, Percy Bysshe Shelley and John Keats; all three died very young in tragic circumstances, all cherished beauty in their poetry, used elaborate language, showed interest in the Classical world and Mediterranean countries, all three saw poetry as a challenge because its reward is the immortality itself; through the verses, the poet lives, long after the frail human body becomes tired from life. I will focus on Percy Shelley in particular, and then Keats, because I feel that Shelley and Morrissey have a lot in common but about that later on.

Source: Romantics who have ruined my life.

Percy Shelley; the rebel, the idealist, a ferocious promoter of free love, non-violence, atheism and vegetarianism, a young man with an insatiable hunger for knowledge who spent up to sixteen hours a day reading, at the same time attending only one lecture while at Oxford, an act which by itself carries a rebellious massage; conventions and formal education mean nothing to me. Elopements and self-pity are his forte. Suicides and unrequited loves followed him like a shadow. He was no stranger to romantic encounters at graveyards at night which irresistibly reminds me of The Smiths song “Cemetery Gates”; when Shelley and Mary proclaimed their love for each other at her mother’s grave in St Pancras Churchyard on 26th June 1814, did Shelley say: “Dear Mary, meet me at the cemetery gates… I’ll bestow a kiss upon thy sweet lips above your mother’s grave in a quiet nocturnal hour when the distant church bells announce midnight.”

In times when he met Mary, Shelley was bored with his wife Harriet (women seem to bore him easily) and he was eagerly longing for an intellectual female companionship. And Mary was a lonely teenage girl with a wild imagination; the two were a perfect match, although soon Mary bored him too. Shelley quickly abandoned Harriet, their baby daughter and their unborn child, and accused Harriet of marrying him for money.

Is he a hippie lad from the sunny South Kensington clad from head to toe in the latest groovy gear from Granny Takes a Trip? No, he is a poet, and his verses speaks of romantic rebellion, exalted and idealistic belief in the triumph of love and liberty, at the same time inviting the reader to act upon social justice as well as believing in the indestructible nature of beauty. His poems appear to be either manifestos of his political views, which were socialist and verged on anarchy; sweet and innocent verses on love, moonbeam, kisses, roses and larks; or deep, profound, honest longing for death and sighing on the idea of transience and passing of everything.

Elle Fanning as Mary Shelley

Shelley was morbidly obsessed with death; he saw it as a state of perfection, and for his self-pitying personality, it seemed to offer an alternative to the mundaneness and despairs of life – death promises all the sweet delights and mysterious, dark, ethereal pleasures that life denies us. Death equals dreams, peace, perfection and happiness. Death is mystical, otherworldly; it is an escape from all miseries.

“I fall upon the thorns of life! I bleed!”

Shelley’s verse above, from his poem “Ode to the Westwind”, best illustrates his view on his own life, or human life in general. He often sets his poems in an autumnal setting, in days when one feels transience the most; nature is dying slowly, vibrantly, richly, lushly, in colours of ruby and amber; in the most beautiful way. The poem shows Shelley’s view of nature as carrying both the strength of destruction and creation for after the death in autumn, a new life awakens in spring. Likewise, after death, one awakens in another world, a better world. Here are verses from Shelley’s “Hymn to Intellectual Beauty” which speak of the unique beauty of autumn:

“The day becomes more solemn and serene

When noon is past–there is a harmony

In autumn, and a lustre in its sky,                                 

Which through the summer is not heard or seen,

As if it could not be, as if it had not been!”

I feel that Shelley was ruled by or tormented by two different moods, a victim of which I am myself, and they are evident in his poetry. There’s one mood when he is in darkest thoughts, drowning, not in alcohol, but in self-pity, despair and melancholy, overindulging in his miserable existence, seeing himself as a martyr, deeply and honestly longing for death, so much so that you can imagine him sighing at the moon and just thinking “I want to die…” This is the mood that produced his poems such as “A Lament”, “Death” and “Mutability”. Then there is another mood, one which is responsible for his best poems, lyrically and stylistically, such as “Ode to the Westwind” or “The Indian Serenade”: a passionate, lyrical, imaginative mood when he is especially sensitive toward beauty that surrounds him, and often very gentle too, writing verses sweeter than cotton-candy such as these:

“I fear thy kisses, gentle maiden;
 Thou needest not fear mine;
My spirit is too deeply laden
 Ever to burden thine.

I fear thy mien, thy tones, thy motion;
 Thou needest not fear mine;
Innocent is the heart’s devotion
 With which I worship thine.”

Even in “The Indian Serenade”, he has that passionate and theatrical flair proclaiming “I die! I faint! I fail!”:

“Oh lift me from the grass!
I die! I faint! I fail!
Let thy love in kisses rain
On my lips and eyelids pale.
My cheek is cold and white, alas!
My heart beats loud and fast;
Oh press it close to thine again,
Where it will break at last!”

For Shelley, life is either a thorn which brings pain, or the lush rose blossom in whose velvety sweetness he wishes to be drowned; life is either a “dim vast vale of tears” (Hymn to Intellectual Beauty) or a “silver vision” (Alastor; or the Spirit of Solitude)*. At times, his idealistic spirit seems indomitable, his fight for justice, his passion for defending his ideas, thoughts and world views seem so ardent and strong, and yet, other times, his verses witness nothing but defeatism and despair, and in such times he feels this death-urge strongly and wishes, like Rimbaud, to “fall into nothingness”.

In some moments, I feel, verses of Shelley and Morrissey carry the same bittersweet, spiritless, yet charming mood. For example, when Morrissey sings “I really don’t know and I really don’t care” in the song Hand in Glove, it is that same careless, low-spirited, verging on pathetic, no-one-understands-me and have-pity-for-me mood that possessed Shelley rather often. And then, when he grabbed a quill and a piece of paper to gather his thoughts and wrote his poem “Invocation to Misery”, did he really mean “Heaven Knows I’m Miserable Now”? I’m sure he did. Also, the voice of calm resignation in which Morrissey sings “I’ll probably never see you again!” in the song Hand in Glove reminds me so much of Shelley’s cute lyrical moaning “No more, oh never more!”

Although a century and a half divides their artistic periods, I feel that Shelley and Morrissey are philosophical equals. They were both vegetarians who promoted non-violence; both were very self-indulgent in terms of allowing themselves to spent days drowned in self-pity, melancholy and negativism, let’s say that “being miserable” could be considered their hobby; both exercised a certain idealistic version of “purity” of some sort; Shelley by abstaining from alcohol and Morrissey being celibate, both have that unswayable obsession with death and see it in the most romantic, glamorous terms. But again, this is just my opinion.

In his poem “On Death”, Shelley deals with the subject directly, again death as bringing us mortals into an otherworldly place, a place that no one can visit and return to tell, a place which will forever be covered with thousand veils of mystery:

“(…) When all that we know, or feel, or see,
Shall pass like an unreal mystery.

The secret things of the grave are there,
Where all but this frame must surely be,
Though the fine-wrought eye and the wondrous ear
No longer will live, to hear or to see
All that is great and all that is strange
In the boundless realm of unending change.

Who telleth a tale of unspeaking death?
Who lifteth the veil of what is to come?
Who painteth the shadows that are beneath
The wide-winding caves of the peopled tomb?
Or uniteth the hopes of what shall be
With the fears and the love for that which we see?”

Poppies by: Nataliya Kalinina.

Shelley continues this romantic vision of death as a state equalling sleep and dreams in his poem “Mont Blanc” whose main theme, though, is again the sublime power of nature, it’s the highest mountain in Europe, and for the second generation of Romantics nature has what man can only long for, but will never possess: eternity or immortality.

“Some say that gleams of a remoter world
Visit the soul in sleep,-that death is slumber,
And that its shapes the busy thoughts outnumber
Of those who wake and live. -I look on high;
Has some unknown omnipotence unfurled
The veil of life and death? or do I lie
In dream, and does the mightier world of sleep
Spread far and round and inaccessibly
Its circles?….”

Equalling death with dreams brings me to the wonderful flower often connected to dreams and sleep: poppy – its bright red colour speaks of passion, while the delicate petals whisper of fragility. Shelley used opium for relief, and so did another Romanticist, Edgar Allan Poe who said: “Sleep, those little slices of death — how I loathe them.”

Both Shelley and his wife Mary were interested in the supernatural, and Mary, as we all know, later wrote Frankenstein. But Shelley too shows his fascination with the otherworldly creatures in “Hymn to Intellectual Beauty”:

“While yet a boy I sought for ghosts, and sped

Through many a listening chamber, cave and ruin,                    

And starlight wood, with fearful steps pursuing

Hopes of high talk with the departed dead.”

Here are Shelley’s wonderful verses written by the hand of Richey Edwards, the great lyricist of the Manic Street Preachers, a set list for their show at the Glasgow Barrowlands, on October 15, 1994, found here. It’s not Morrissey per se, but it certainly links Romanticism with rock music.

Still, there were moments when Shelley was faced by death and mortality in real life, not just in imagination. First, there was the sad death of Fanny Imlay in October 1816, the half-sister of Mary Shelley and the out-of-wedlock daughter of Mary Wollstonecraft, who travelled to Swansea in Wales and overdosed on laudanum in an inn; the always quiet, sombre and modest twenty-two year old Fanny was secretly in love with Shelley and she was heartbroken when he eloped with Mary. When Shelley heard of her death and the reason, he composed these poignant verses:

“Her voice did quiver as we parted,
Yet knew I not that heart was broken
From which it came, and I departed
Heeding not the words then spoken.
Misery—O Misery,
This world is all too wide for thee.“

Then, in December 1816, his first wife Harriet was found drowned in a lake in Hyde Park in London, the reason was not Shelley but her death finally enabled him to make Mary Mrs Shelley. And then, the youngest and the first of the three beautiful blossoms of Romanticism to wither, John Keats, died on the 23th February 1821. This occasion inspired Shelley to write his poem “Adonais”, in which he states: “No more let life divide what death can join together.”

Even though I’ve focused on Shelley because he is my favourite Romantic poet and his lyrical vision is the most similar to Morrissey’s, my musing on death in Romantic poetry wouldn’t really be complete without mentioning this beautiful poem by John Keats:

“Can death be sleep, when life is but a dream,

And scenes of bliss pass as a phantom by?

The transient pleasures as a vision seem,

And yet we think the greatest pain’s to die.

 

How strange it is that man on earth should roam,

And lead a life of woe, but not forsake

His rugged path; nor dare he view alone

His future doom which is but to awake.”

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Morrissey and Death

“I’m bereft of spiritual solutions. I do believe that there has to be a better world, but that’s rather simple. I’m quite obsessed with death. I’ve gone through periods of intense envy for people who’ve died. Yes, I have a dramatic unswayable unavoidable obsession with death. I can remember being obsessed with it from the age of eight and I often wondered whether it was quite a natural inbuilt emotion for people who’re destined to take their own lives, that they recognise it and begin to study it. If there was a magical beautiful pill that one could take that would retire you from this world, I think I would take it and I suppose that’s the extremity of the obsessiveness.” (From “Stop me if you’ve heard this one before”, interview by Len Brown in NME (20th February 1988)

 

Ah, Morrissey, a man so adored by the misfits in the eighties as well as now, and a man for whom the general public has such an ardent hatred; that is something I am unable to comprehend for I think he is simply a charming man or a handsome devil, as you wish. Maybe the general dislike lies in the fact that he himself doesn’t like people, that he seems to look through the society’s hypocrisies, and he says what he means and that’s not a quality people like. Whether you like the charming persona of the “son and heir of a shyness that is criminally vulgar” or you’d prefer to think that he is the “son and heir to nothing in particular”; you’d have to agree that their music is just damn good, their melodies are cheerful and whimsical, they are simply magical.

It was his lyrical vision, along with Marr’s wonderful musical contribution, that made The Smiths immortal. No one knows what it’s like to be an outsider better than Morrissey, and certainly no one sang about it better than he did. Here’s a quote from a book about Pulp called “Uncommon” by Owen Hatherley describing a situation which you can just translate to Morrissey’s teenage years: “What Pulp had in common most of all with the lineage outlined at the start of this introduction was a certain ‘vengeful self-creation’; the sense that they, like Bowie, Bryan Ferry, Siouxsie Sioux, David Sylvia, Morrissey, Richey Edwards or countless legions of bored suburban stars who never made it into the spotlight, had spent their lives transforming themselves into characters, with countless hours in their terrace, semi of tower-block bedrooms devoted to achieving the exact conjunction that would make them unique, and that they could then use as a weapon against a world that had already wronged them beyond forgiveness.”

 

On those rare occasions when my thoughts go on like this “Hmm, wouldn’t it be nice to be normal and have a friend and go out, and do whatever it is normal, sociable people do?”, I just go and listen to a few songs by The Smiths and Morrissey’s brilliant, at turns haunting, melancholic, poignant or witty, but always gorgeous lyrics such as: “Under the iron bridge we kissed“, “No, I’ve never had a job because I’m too shy“, “Hills are alive with celibate cries“, “I’ve lost my faith in womanhood“, “and though I walk home alone my faith in love is still devout“, and I laugh at my own silly thoughts. To have a social life, why – I have books. To have a real friend, why – I have a mirror.

Morrissey’s lyrics have made me feel like I belonged, like I don’t need anyone or anything as long as I hear their music. And when he proclaimed: “Throw you homework onto the fire, come out and find the one that you love and who loves you“: that’s exactly what I did on many occasions; who has time for homework when there’s evenings to be spent listening to The Smiths and dancing a lonely dance with flowers because they’re all I have. I know exactly how he felt as a teenager, oh how I do. Welcome to Morrissey’s world, shaped by the years of loneliness in his small bedroom with posters of James Dean, days spent reading Oscar Wilde, walking the grey suburban streets with dull red-brick houses that linger on and on, watching kitchen sink dramas and listening to sixties pop stars and New York Dolls. Being happy and sociable is passé and being miserable is tres chic.

Just like Shelley’s, the lyrics of The Smiths, all written by Morrissey, are a glamorous beautiful mix of lyricism and self-pity, bittersweet verses of irony filled with longings and rejections at the same time, wanting to belong and arrogantly showing the world the middle finger, his music was “so intoxicatingly melancholic, so dangerously thoughtful, so seductively funny that it lured its listeners, most of whom were not really damned, just slightly cursed, into a relationship with him and his music instead of the world. The Pop Pied Piper knows that life doesn’t imitate great art, it is destroyed by it.“*

Smiths 1984 De Montfort Hall

Look at those gorgeous red carnations that he’s swaying about, from whose garden did he snatch them, I wonder?

If you don’t want to die, go and read Oscar Wilde, or be charming and wear flowers in your pocket after listening to The Smiths, that you haven’t really listened to them. Well, maybe their music awakens other desires in you, but you are soulless and heartless if it leaves you feeling nothing. Their first album, called The Smiths (1984) is the best example of those gorgeous, witty, bedroom-years inspired lyrics which speak of “the passions and preoccupations that consumed Morrissey for years, alone in his darkened bedroom“*, and these lines, despite being from the third album, pondering on life and death, can serve to illustrate the mood – the mood I am engulfed in majority of my time:

“And when I’m lying in my bed
I think about life
and I think about death
and neither one particularly appeals to me.” (Nowhere Fast)

“I’m not happy and I’m not sad” and “neither life nor death appeal to me”; how outrageously gorgeous is this ambivalent attitude towards such important matters?! Life or death, happiness or sadness, whatever, I dunno…

Death, yearning for death because you’re depressed, miserable in a humdrum town where rain falls hard all the time, rejected, unloved, tired, disappointed, and the graveyard seems a more exciting place than your bedroom, or simply because, in a manner of Oscar Wilde, it’s an aesthetically alluring idea, and to die for love, beauty or mere boredom is just original, romantic and glamorous. Wilde said himself that “The artistic life is one long lovely suicide.”

When Morrissey says: “If there was a magical beautiful pill that one could take that would retire you from this world, I think I would take it…” My thoughts exactly! The manner in which Shelley and Morrissey see death is vastly different from the way people who really take their own lives see it. Shelley and Morrissey’s view on death is not seriously depressed or suicidal, but rather “artistic”, deeply romantic and idealistic view of death as something mystical, glamorous, as a dream, and dreams are better than reality. I think it’ i that constant discord between beautiful and sad, magical and mundane aspects of life that drives the imagination to devise an escape from the prison cell of life, to fantasise about something different, something better, and sometimes all these longings turn into melancholy and an obsession for death. Death is the last step, the fulfilled longing; and only death can make beauty immortal. No other theme is greater than love, beauty and death combined.

And speaking of beauty: “To this day, there are precious few Smith songs that can’t mist my vision … Not because they are “sad” or “miserable”, but because they are so unutterably, unfeasibly, unlawfully handsome. Which is the deadliest drug of all. If ever there was a proof that Keats’ assertion “Beauty is truth, truth beauty” is anything more than just a trite line or simply wishful thinking, it is in The Smiths.”*

 

Morrissey and yellow daffodils, I love a man with flowers! Morrissey waving a bouquet of gladioli on the Top of the Pops performing This Charming Man must be the coolest thing ever! I also love something that Morrissey said in 1984 when interviewed by kids, when one boy asked “Why do you hold flowers when you sing?”, Morrissey gave a wonderful reply: “Why do I hold flowers?… I think flowers are beautiful things. Very nice and innocent things. They don’t harm anybody. They don’t burp and they don’t do anything ugly. So, why not, it’s better, I think, than waving socks about.”

In his book “Dark Stuff”, Nick Kent called Marianne Fatihfull “Morrissey’s first love”, and in this interview when she was just 21 years old her view on death is as romantic as it can get, she says; “I love death!… I feel it’s important to stay in the world and do things, but on the other hand death and dreams are another thing. I’d really like to go there… into death. But it’s wrong to make your own death, death is when you get it. I think it’s a beautiful thing, death, such a relief, just imagine if there wasn’t any death….”

And now some of Morrissey verses that deal with death:

What She Said

“What she said:
“How come someone hasn’t noticed
that I’m dead
and decided to bury me
God knows, I’m ready”
What she said was sad
but then, all the rejections she’s had
to pretend to be happy
could only be idiocy
What she said was not for the job or
lover that she never had.”

 

That Joke Isn’t Funny Anymore

“….time’s tide will smother you
and I will too
when you laugh about people who feel so
very lonely
their only desire is to die (…)

well, it suddenly struck me
I just might die with a smile on my
face after all.”

Well I Wonder

“Well I wonder

do you see me when we pass?

I half-die

Please keep me in mind

please keep me in mind

 

Gasping – but somehow still alive

this is the fierce last stand of all I am

Gasping – dying – but somehow still alive

this is the final stand of all I am

Please keep me in mind”

Madame Bovary (1991)

How Soon Is Now

“There’s a club if you’d like to go
you could meet somebody who really loves you
so you go, and you stand on your own
and you leave on your own
and you go home, and you cry
and you want to die…”

Song Cemetery Gates always reminds me the Gothic romance of Percy and Mary Shelley and their graveyard meeting, always. And there’s also the mention of Keats and Wilde, that’s cool too:

“A dreaded sunny day
So I meet you at the cemetery gates
Keats and Yeats are on your side
While Wilde is on mine

So we go inside and we gravely read the stones
All those people all those lives
Where are they now?
With the loves and hates
And passions just like mine
They were born
And then they lived and then they died
Seems so unfair
And I want to cry.”

John William Waterhouse, Miranda – The Tempest, 1916

The haunting beginning of the song I Know It’s Over reminds me of Edgar Allan Poe’s stories of people buried alive. What a spooky picture for the imagination; to feel the soil falling over your head….

“Oh mother, I can feel the soil falling over my head

See, the sea wants to take me

The knife wants to slit me

Do you think you can help me?….

 

Oh Mother, I can feel the soil falling over my head

Oh Mother, I can feel the soil falling over my head

Oh Mother, I can feel the soil falling over my head

Oh Mother, I can feel the soil falling over my head

Oh Mother, I can feel the soil falling over my head”

John William Waterhouse, Sleep and his Half-brother Death, 1874

Don’t listen to this one, Asleep, if you’re feeling depressed and vulnerable to begin with:

“Sing me to sleep
Sing me to sleep
I’m tired and I
I want to go to bed

Sing me to sleep
Sing me to sleep
And then leave me alone
Don’t try to wake me in the morning
‘Cause I will be gone
Don’t feel bad for me
I want you to know
Deep in the cell of my heart
I will feel so glad to go

(…)

There is another world
There is a better world
Well, there must be
Well, there must be
Well, there must be
Well, there must be
Well…Bye bye
Bye bye
Bye…“

Queen cover image with model wearing a nightdress by Angela Gore. Photographed by John Hedgecoe. Scanned by Miss Peelpants from Queen, 17th July 1968.

Shakespeare’s Sister

“Young bones groan
And the rocks below say :
“Throw your skinny body down, son!”

But I’m going to meet the one I love
So please don’t stand in my way
Because I’m going to meet the one I love“

Pre-Raphaelite painting by John Everett Millais is perhaps the most beautiful, most romantically idealised depiction of someone dying in the art history, and Morrissey’s lyrics of the song There Is A Light That Never Goes Out are possibly the most romantic and glamorous vision of death and love combined:

 “And if a double-decker bus
Crashes in to us
To die by your side
Is such a heavenly way to die
And if a ten ton truck
Kills the both of us
To die by your side
Well the pleasure, the privilege is mine”

And here’s another quote from the same book which just perfectly describes the feeling you get from listening to The Smiths:

“He cooed in my ear that, yes, adolescence, like the Smiths and pop music, might be a moment that passes, that one day you might be laughing and dancing and finally living, but that feeling of aloneness and the bittersweet prospect of a life of disappointment stretching out before you (…) is the purest, truest, noblest feeling you will ever have.“*

Apart from dealing with the subject of death in his lyrics, you can take this post as a certain “Ode to Morrissey” too because there is no other person from popular culture that I can relate to more strongly. A few days ago, I spent an amazing afternoon listening to all albums by The Smiths in a chronological order, absolutely fantastic way to waste an afternoon, fully recommend it. Also, I am neither a girl of Romanticism nor a teenager of the 1980s, and yet I have pictures of both Shelley and Morrissey on my wall; what can I say, I love charming men! So, let us all walk around with flowers and kindness, read books, be charming and die… from beauty!

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* Mark Simpson, Saint Morrissey: A Portrait of This Charming Man by an Alarming Fan