Navigating through Sources

Consciousness and the Novel: Connected Essays by the famous British novelist David Lodge is a classic work published by Harvard in 2004.

In this Lodge book, the author mentions a famous British society-watcher, Charles Masterman. In 1909, Masterman published his best-known study, The Condition of England, which tells us that England at that time experienced a greater inflow of migrants into London than in previous centuries taken together.

[Charles Frederick Gurney Masterman PC MP (24 October 1873 – 17 November 1927) was a British radical Liberal Party politician, intellectual and man of letters. He worked closely with such Liberal leaders as David Lloyd George and Winston Churchill in designing social welfare projects, including the National Insurance Act 1911. During the First World War, he played a central role in the main government propaganda agency.]

We then notice that one recurrent topic in various movie versions of the E. M. Forster novel Howards End (1910, set in those years) is the “horrifying” trend where great mansions and stately estates (Howards End and Wickham Place, say, in the novel) are all being demolished and replaced by ugly “flats.”

There must be, one thinks, a direct link between all the massive migrations into London at the time and all the proliferating flats at the “expense” of beautiful and historical villas. (This “demolish” trend is also part of the story of the classic novel A Handful of Dust by Evelyn Waugh, 1934)

In the predecessor to Downton Abbey called Upstairs, Downstairs, the story ends in 1930 with a sign outside the great “house” at Eaton Place offering flats coming soon, as the demand for housing (think of San Francisco today) is so massive that sellers can make a fortune selling out to developers, move into one of the flats being created, and live off the sale for the rest of their lives and “duck” the higher “Lloyd George taxes.” (In Downton Abbey, the dowager played by Maggie Smith repeatedly lashes out at Prime Minister Lloyd George as a kind of financial traitor.)

We see from this simple example how students should learn to “jump” between books and movies and TV miniseries to get a stronger focus on what’s being depicted on screens and pages and not just “swim along” at the surface level without any “drilling down.”

Education is largely the struggle or habit where students learn to bring pattern and structure out of “chaos,” thus giving narratives some overall shape.

This reminds one of the opening lines of Beryl Markham’s 1942 Africa memoir:

“How is it possible to bring order out of memory? I should like to begin at the beginning, patiently, like a weaver at his loom. I should like to say, ‘This is the place to start; there can be no other.’ ”

from West with the Night by Beryl Markham

This is a similar impetus: to bring order out of memory or others’ memories in books and movies from various times and places.

Movies as a Parallel University: The Case of Romantic Imperialism

When we think of romantic imperialism, we think of Rudyard Kipling’s poems, Winston Churchill’s The River War and perhaps Teddy Roosevelt’s macho “strenuous life” romanticized militarism (which the neocons somewhat knowingly aped to get the U.S. to invade Iraq in 2003). We should also recall British movie classics like The Four Feathers and “deflationary” versions of these jingoistic notions in The Man Who Would be King. During the 1930s, the Hungarian brothers Alexander & Zoltan Korda created many classic empire-celebration films in London, such as 1935’s Sanders of the River.

The Nigerian writer Chinua Achebe’s attack on Joseph Conrad’s Heart of Darkness as a kind of toxic “othering” of all Africans is a culmination of these imperial and anti-imperial tendencies.

Lastly, Maupassant’s classic Bel-Ami represents Algeria as a “colonial badlands” for French domination, killing, despoiling, profiteering, and later culminates in Meursault’s random murder of an Arab again in Algeria in Camus’ classic The Stranger. This literary concatenation also fits into this set of colonial imperial phenomena.

Niall Ferguson (the famous Harvard/Stanfordempire enthusiast”) finds his forerunner in the 1940 classic movie Beyond Tomorrow. The following “row” takes place on Christmas Eve between Chadwick (the Niall Ferguson imperialist) and Melton who sees empire as land-grabbing which you can dress up and prettify any way you like (“a grab is a grab,” he says):

Allan Chadwick: I tell you England’s territorial expansion had quite a different significance.

George Melton: No matter how thin you slice it, a grab is a grab.

Allan Chadwick: Grab?

That’s a specious term. England carried civilization into the wilderness. What was Australia before she redeemed it from the Aborigines?

Allan Chadwick: The truth is there isn’t an acre of the Empire that isn’t proud to fly the British flag.

The quick irritated exchange from Beyond Tomorrow is a good example of this eternal argument, allowing you to then “jump off” from this movie-as-university to do more exploring.

Education and the Historical Swirl: Part II

We concluded Part I on this topic with the following comments which we wish students to incorporate into their educations, irrespective of the major, field or concentration:

The gold standard itself, dominated from London led to intricate problems: Golden Fetters: The Gold Standard and the Great Depression, 1919-1939 (published in 1992) by Barry Eichengreen, the leading historian of monetary systems, shows the downstream pitfalls of the gold standard.

In other words, the de facto emergence of Britain/London as the world commercial and policy center and the relation of this emergence to empire and international tensions and rivalries, means it is very problematical for any country to steer a course other than staying in tandem with British moods and ideologies, such as free trade. Any country by itself would find it difficult to have a more independent policy. (Friedrich List of Germany, who died in 1846, wrestles with these difficulties somewhat.) The attempts to find “autonomy and autarky” in the interwar years (Germany, Japan, Italy) led to worse nightmares. The world seems like a “no exit” arena of ideologies and rivalries.

The “crazy dynamics” and the semi-anarchy of the system, which continues to this day and is even worse, means that policy-making is always seen through a “dark windshield.”

History in the globalizing capitalist centuries, the nineteenth and the twentieth, is a kind of turbulent swirl and not a rational “walk.”

Here’s a bizarre but necessary comment on this sense of turbulent and surprising swirl propelling history forwards and backwards and sidewards at the same time:

The historian, Barry Eichengreen (mentioned above), is a distinguished analyst of world monetary systems at U.C. Berkeley and perhaps the leading expert today on the evolution of such systems.

From movies such as Shoah and Last of the Unjust by the great filmmaker Claude Lanzmann, we know that Barry Eichengreen’s mother was Lucille Eichengreen, a Jew born in Hamburg, Germany (1925) and deported to the Łódź Ghetto in Poland during World War II. She survived through many miraculous accidents and contingencies, then wrote about her experiences.

We get a deeper insight into “the way of the world” by seeing that the Holocaust itself has as a backdrop the anarcho-craziness of the world. The Fascists and Nazis were jumping from the “frying pan into the fire” by imagining that world conquest and world-murdering could “stop the world.” They and their favored populations could “get off” and step into a racial dreamworld. They were taking today’s concept of “gated community” and applying it to the “racial community” (Volksgemeinschaft, in German).

This led to the phenomenon depicted in Goya’s famous aquatint: The Sleep of Reason Produces Monsters.

The perceived madness of the world and the madness of leaders that this perception leads to have never been analyzed together.

The fact that the behavior of world leaders could be “crazy like a fox” (half-insane, half-opportunistic, or Machiavellian “clever”) is a complicating factor or twist from Mussolini until today.

Education: Disease, History and Lit

The Italian writer Giovanni Boccaccio lived through the plague as it ravaged the city of Florence in 1348. The experience inspired him to write The Decameron.

The Plague of 1665 in England was a major upheaval affecting Isaac Newton’s life.

The 1984 movie, A Passage to India (David Lean) set in 1920s India, has a scene where the ever-present lethal threat of cholera is discussed as Doctor Aziz lies sick of a fever.

The W. Somerset Maugham novel, The Painted Veil (2006 movie) is also about cholera in the Chinese countryside in the 1920s.

Manzoni’s 1827 The Betrothed, the most famous classic novel of Italian literature, centers on the plague to drive the story.

Overview:

Etymologically, the term “pest” derives from the Latin word “pestis” (pest, plague, curse). Hardly any disease had such cultural and historical relevance as the bubonic plague. Throughout the centuries, the plague was the most terrifying infectious contagious disease which generated a series of demographic crises. The plague epidemics influenced the evolution of society biologically and culturally speaking. The Black Death was one of the most devastating pandemics in human history, is estimated to have killed 30%–60% of Europe’s population, reducing the world’s population from an estimated 450 million to between 350 and 375 million in 1400. This has been seen as having created a series of religious, social and economic upheavals, which had profound effects on the course of European history. It took 150 years for Europe’s population to recover.

The plague returned at various times, killing more people, until it left Europe in the 19th century. Modern epidemiology (Dr. John Snow, London) has its roots in cholera management and water sanitation as well as waste management.

Education involves seeing disease as a major protagonist in all history and not as a footnote.

The classic Plagues and Peoples should accordingly be studied by every student: Plagues and Peoples is a book on epidemiological history by William Hardy McNeill, published in 1976.

It was a critical and popular success, offering a radically new interpretation of the extraordinary impact of infectious disease on cultures and world history itself.

Education and the World As “Rorschach Test”

The Rorschach test is a projective psychological test in which subjects’ perceptions of inkblots are recorded and then analyzed using psychological interpretation, complex algorithms, or both. Some psychologists use this test to examine a person’s personality characteristics and emotional functioning.

It is also called “an Inkblot test.”

We use this test as a metaphor that suggests that people see what they want to see and choose to see.

Here’s an example based on the Verdi opera La Forza del Destino. The black intellectual leader, William E.B. Du Bois, sees it as a veiled racial story where Professor Niall Ferguson of Stanford/Harvard tells the story of how he emerged from a performance of the opera on the very day that Britain devalued the pound sterling in 1992.

Black Wednesday refers to September 16, 1992, when a collapse in the pound sterling forced Britain to withdraw from the European Exchange Rate Mechanism (European Monetary System).

Thus the opera, La Forza del Destino is both a Verdi opera and a kind of “raw material” for personal and private interpretation with Du Bois seeing racism and Ferguson seeing national or financial fate.

La Forza del Destino or The Power of Fate, (often translated The Force of Destiny) is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, Don Álvaro o la fuerza del sino (1835), by Ángel de Saavedra, 3rd Duke of Rivas, with a scene adapted from Friedrich Schiller’s Wallensteins Lager. It was first performed in the Bolshoi Kamenny Theatre of Saint Petersburg, Russia, on 10 November, 1862 O.S. (N.S. 22 November).

(Wikipedia)

Synopsis—Act 1

The mansion of Leonora’s family, in Seville.

Don Alvaro is a young nobleman from South America (presumably Peru) who is part Indian and who has settled in Seville where he is not very well regarded.

He falls in love with Donna Leonora, the daughter of the Marquis of Calatrava, but Calatrava is determined that she shall marry only a man of the highest birth. Despite knowing her father’s aversion to Alvaro, Leonora is deeply in love with him, and she determines to give up her home and country in order to elope with him. In this endeavor, she is aided by her confidante, Curra. (Me pellegrina ed orfana—“Exiled and orphaned far from my childhood home”).

When Alvaro arrives to fetch Leonora, she hesitates: she wants to elope with him, but part of her wants to stay with her father; she eventually pulls herself together, ready for their elopement. However, the Marquis unexpectedly enters and discovers Leonora and Alvaro together. He threatens Alvaro with death, and in order to remove any suspicion as to Leonora’s purity, Alvaro surrenders himself. As he flings down his pistol, it goes off, mortally wounding the Marquis, who dies cursing his daughter.

This is the racial aspect on which W.E.B. Du Bois focuses.

Niall Ferguson, by contrast, sees a different “Rorschach inkblot” and hones in on the financial policy story which went like this:

Soros’ Quantum Fund began a massive sell-off of pounds on Tuesday, 15 September 1992. The Exchange Rate Mechanism stated that the Bank of England was required to accept any offers to sell pounds. However, the Bank of England only accepted orders during the trading day. When the markets opened in London the next morning, the Bank of England began their attempt to prop up their currency as per the decision made by Norman Lamont and Robin Leigh-Pemberton, the then Chancellor of the Exchequer and Governor of the Bank of England respectively. They began buying orders to the amount of 300 million pounds twice before 8:30 AM to little effect.

The Bank of England’s intervention was ineffective because Soros’ Quantum Fund was dumping pounds far faster. The Bank of England continued to buy and Quantum continued to sell until Lamont told Prime Minister John Major that their pound purchasing was failing to produce results.

At 10:30 AM on 16 September, the British government announced a rise in the base interest rate from an already high 10 to 12 percent to tempt speculators to buy pounds. Despite this and a promise later the same day to raise base rates again to 15 percent, dealers kept selling pounds, convinced that the government would not stick with its promise. By 7:00 that evening, Norman Lamont, then Chancellor, announced Britain would leave the ERM and rates would remain at the new level of 12 percent; however, on the next day the interest rate was back on 10%.

It was later revealed that the decision to withdraw had been agreed at an emergency meeting during the day between Norman Lamont, Prime Minister John Major, Foreign Secretary Douglas Hurd, President of the Board of Trade Michael Heseltine, and Home Secretary Kenneth Clarke (the latter three all being staunch pro-Europeans as well as senior Cabinet Ministers), and that the interest rate hike to 15% had only been a temporary measure to prevent a rout in the pound that afternoon.”

For W.E.B. Du Bois, the story within the story of the Verdi opera is the color-line that governs the world, while Ferguson sees the story as a “dramatic” instance of financial and economic force or working out of trends that becomes a destiny.

Hence people see what they choose to see and interpreting and seeing are wrapped up in each other.

Students should assimilate this aspect of the world.

Note: one source of the Du Bois interpretation of the opera comes from the University of Chicago book, Travels in the Reich: 1933-1945 (edited by Oliver Lubrich, 2012) which has a chapter on Du Bois in Germany in the thirties where he plunges into music and opera and highlights this Verdi one.

Education and Seeing the “Swirl” of History

The tempo and rhythm of world events and world history are not captured in the linear and bland books one reads in schools and colleges where the sense of the stormy forward turbulence of the world is not communicated. Here’s an example that does communicate this “crazy dynamics”:

The leading historian, James Joll, in his excellent Europe Since 1870: An International History talks about gold and the gold standard in this way:

“The world supply of gold was diminishing, as the effects of the gold rushes in California and Australia in the 1850s and 1860s passed. This coincided with the decision in the 1870s of many of the leading countries to follow Britain’s example to use gold rather than silver as the basis of their currencyGermany in 1871, France in 1876 for example — so that the demand for gold rose just as the supply was temporarily declining. This in turn led to some doubt about the use of a gold standard and to much discussion about ‘bi-metallism’ and about the possibility of restoring silver to its place as the metal on which the world’s currency should be based, though this movement had more success in the United States than in Europe, where gold has now established itself firmly. By the 1890s however the discovery of new gold deposits in South Africa, Western Australia and Canada put an end to these discussions and uncertainties, as far as currency was concerned, for some fifty years.”

(James Joll, Europe Since 1870: An International History, Penguin Books, 1976, page 35)

These twists and turns and accidents or contingencies don’t communicate the real semi-turmoil surrounding all the decisions, which we can infer from the comment by a German politician in 1871, “We chose gold, not because gold was gold, but because Britain was Britain.” (Ian Patrick Austin, Common Foundations of American and East Asian Modernisation: From Alexander Hamilton to Junichero Koizumi, Select Publishing, 2009, page 99.)

Professor Joll delineates the emergent primacy of England:

“The establishment of London as the most important center in the world for shipping, banking, insurance-broking and buying and selling generally, as well as the growth of British industry, had been based on a policy of free trade.”

(James Joll, Europe Since 1870: An International History, Penguin Books, 1976, page 34)

The gold standard itself, dominated from London led to intricate problems: Golden Fetters: The Gold Standard and the Great Depression, 1919-1939 (published in 1992) by Barry Eichengreen, the leading historian of monetary systems, shows the downstream pitfalls of the gold standard.

In other words, the de facto emergence of Britain/London as the world commercial and policy center and the relation of this emergence to empire and international tensions and rivalries, means it is very problematical for any country to steer a course other than staying in tandem with British moods and ideologies, such as free trade. Any country by itself would find it difficult to have a more independent policy. (Friedrich List of Germany, who died in 1846, wrestles with these difficulties somewhat.) The attempts to find “autonomy and autarky” in the interwar years (Germany, Japan, Italy) led to worse nightmares. The world seems like a “no exit” arena of ideologies and rivalries.

The “crazy dynamics” and the semi-anarchy of the system, which continues to this day and is even worse, means that policy-making is always seen through a “dark windshield.”

History in the globalizing capitalist centuries, the nineteenth and the twentieth, is a kind of turbulent swirl and not a rational “walk.”

Movies as a Parallel University: Cola Wars Movie

The 1961 fast-paced comedy, One, Two, Three starring James Cagney is extremely informative in a certain way if you get beyond the farcical and “manic-jocular” tone and atmosphere.

The story takes place in West Berlin. Communism and Nazism are still “in the air,” although Germany has of course been defeated in 1945.

C.R. “Mac” MacNamara (James Cagney) is a high-ranking executive in the Coca-Cola Company, assigned to West Berlin after a business fiasco a few years earlier in the Middle East (about which he is still bitter). While based in West Germany for now, Mac is angling to become head of Western European Coca-Cola Operations, based in London. After working on an arrangement to introduce Coke into the Soviet Union, Mac receives a call from his boss, W.P. Hazeltine, at the Coca-Cola headquarters in Atlanta. Scarlett Hazeltine, the boss’s hot-blooded but slightly dim 17-year-old socialite daughter, is coming to West Berlin. Mac is assigned the unenviable task of taking care of this young whirlwind.

The undiscussed and “latent content” of this zany comedy is very serious.

There are three fundamental choices for a country:

  1. Class war (Communism, Eastern Bloc, Russia).
  2. Race war (Nazis, Germany, fascism).
  3. Cola war (Coke versus Pepsi, USA, business civilization).

The implicit message of the movie, which constitutes a kind of ultimate political science lesson, is that cola wars (i.e., corporate competition for sales and profits and markets worldwide) is the best choice, no matter that it seems manic and empty, since the alternatives on the list of three options are impractical nightmares which lead to calamities and historical catastrophes.

The basic book describing the cola wars factually is: The Cola Wars: The Story of the Global Battle between the Coca-Cola Company and PepsiCo, Inc., J.C. Louis & Harvey Z. Yazijian, Everest House, October 1, 1980.

Education and Ambiguity Awareness: A Polyvalent World

Sleepwalkers and sleepwalking are both destructive and constructive and show us the ambiguity in all phenomena.

The World War I chronicle of Professor Christopher Clark, The Sleepwalkers, from 2012, is described this way:

On the morning of June 28, 1914, when Archduke Franz Ferdinand and his wife, Sophie Chotek, arrived at Sarajevo railway station, Europe was at peace. Thirty-seven days later, it was at war. The conflict that resulted would kill more than fifteen million people, destroy three empires, and permanently alter world history.

The Sleepwalkers reveals in gripping detail how the crisis leading to World War I unfolded. Drawing on fresh sources, it traces the paths to war in a minute-by-minute, action-packed narrative that cuts among the key decision centers in Vienna, Berlin, St. Petersburg, Paris, London, and Belgrade.

Distinguished historian Christopher Clark examines the decades of history that informed the events of 1914 and details the mutual misunderstandings and unintended signals that drove the crisis forward in a few short weeks.

How did the Balkans—a peripheral region far from Europe’s centers of power and wealth—come to be the center of a drama of such magnitude? How had European nations organized themselves into opposing alliances, and how did these nations manage to carry out foreign policy as a result? Clark reveals a Europe racked by chronic problems—a fractured world of instability and militancy that was, fatefully, saddled with a conspicuously ineffectual set of political leaders. These rulers, who prided themselves on their modernity and rationalism, stumbled through crisis after crisis and finally convinced themselves that war was the only answer.

On the other hand, the great science writer and intellectual Arthur Koestler (died in 1983) in his own book, The Sleepwalkers, (originally, 1959) argues that the revolution in cosmology associated with the names of Copernicus, Kepler, Galileo, et al depended on visionary thinking, a kind of “sleepwalking.”

Lastly, the classic novel, The Sleepwalkers by Hermann Broch (died in 1851) condemns sleepwalking as the basis of Europe and Germany’s descent into nightmare.

Important works by Broch are The Sleepwalkers (German: “Die Schlafwandler,” 1932) and The Guiltless (German: “Die Schuldlosen,” 1950). The Sleepwalkers is a trilogy, where Broch takes “the degeneration of values” as his theme. Various generations are depicted as sleepwalking through their times and eras without any ability to “see past” their time, place, era. They were “sleepwalking.” This made them liable to demagogic deceptions and recruitment.

On the other hand, the experience and story of Kekulé (died 1896) and his scientific discoveries prodded by dreams and reveries and sleepwalking give us a story that argues against seeing sleepwalking as always negative:
Kekulé’s dream and “good kinds of sleepwalking.”

Friedrich August Kekulé, later Friedrich August Kekule von Stradonitz (7 September 1829 – 13 July 1896), was a German organic chemist. From the 1850s until his death, Kekulé was one of the most prominent chemists in Europe, especially in theoretical chemistry. He was the principal founder of the theory of chemical structure.

The new understanding of benzene (C6H6), and hence of all aromatic compounds, proved to be so important for both pure and applied chemistry after 1865 that in 1890 the German Chemical Society organized an elaborate appreciation in Kekulé’s honor, celebrating the twenty-fifth anniversary of his first benzene paper.

Here Kekulé spoke of the creation of the theory.

He said that he had discovered the ring shape of the benzene molecule after having a reverie or day-dream of a snake seizing its own tail (this is an ancient symbol known as the ouroboros).

Kekulé’s story of “dreaming up” the structure of benzene (C6H6) gives us another historical example of Arthur Koestler-type “good sleepwalking” ie visionary dreams and reveries that really enhance “objective” concrete scientific analysis and not only art works.

It is educational to see the inner ambiguity of words and phenomena (such as sleepwalking) because this duality and “polyvalence” applies to many cases.

“The Parliament of Man, the Federation of the World”

A Visionary Line from Tennyson’s Poem

“Locksley Hall” by Alfred, Lord Tennyson

Among the most optimistic visions ever put in poems or speeches are these words from the poet Tennyson. The line from his poem, “Locksley Hall,” envisions “The Parliament of man, the Federation of the world” which remains a vision of human solidarity that haunts the imagination.

The larger couplet in the poem captures the idea of a post-violent and post-anarchic world:

“Till the war-drum throbb’d no longer, and the battle-flags were furl’d
In the Parliament of man, the Federation of the world.”

“Locksley Hall” (1835/1842)

Comrades, leave me here a little, while as yet’t is early morn:
Leave me here, and when you want me, sound upon the bugle-horn.

’T is the place, and all around it, as of old, the curlews call,
Dreary gleams about the moorland flying over Locksley Hall;

Locksley Hall, that in the distance overlooks the sandy tracts,
And the hollow ocean-ridges roaring into cataracts.

Many a night from yonder ivied casement, ere I went to rest,
Did I look on great Orion sloping slowly to the West.

Many a night I saw the Pleiads, rising thro’ the mellow shade,
Glitter like a swarm of fire-flies tangled in a silver braid.

Here about the beach I wander’d, nourishing a youth sublime
With the fairy tales of science, and the long result of Time;

When the centuries behind me like a fruitful land reposed;
When I clung to all the present for the promise that it closed:

When I dipt into the future far as human eye could see;
Saw the Vision of the world and all the wonder that would be.—

In the Spring a fuller crimson comes upon the robin’s breast;
In the Spring the wanton lapwing gets himself another crest;

In the Spring a livelier iris changes on the burnish’d dove;
In the Spring a young man’s fancy lightly turns to thoughts of love.

Then her cheek was pale and thinner than should be for one so young,
And her eyes on all my motions with a mute observance hung.

And I said, ”My cousin Amy, speak, and speak the truth to me,
Trust me, cousin, all the current of my being sets to thee.”

On her pallid cheek and forehead came a colour and a light,
As I have seen the rosy red flushing in the northern night.

And she turn’d—her bosom shaken with a sudden storm of sighs—
All the spirit deeply dawning in the dark of hazel eyes—

Saying, ”I have hid my feelings, fearing they should do me wrong”;
Saying, ”Dost thou love me, cousin?” weeping, ”I have loved thee long.”

Love took up the glass of Time, and turn’d it in his glowing hands;
Every moment, lightly shaken, ran itself in golden sands.

Love took up the harp of Life, and smote on all the chords with might;
Smote the chord of Self, that, trembling, pass’d in music out of sight.

Many a morning on the moorland did we hear the copses ring,
And her whisper throng’d my pulses with the fulness of the Spring.

Many an evening by the waters did we watch the stately ships,
And our spirits rush’d together at the touching of the lips.

O my cousin, shallow-hearted! O my Amy, mine no more!
O the dreary, dreary moorland! O the barren, barren shore!

Falser than all fancy fathoms, falser than all songs have sung,
Puppet to a father’s threat, and servile to a shrewish tongue!

Is it well to wish thee happy?—having known me—to decline
On a range of lower feelings and a narrower heart than mine!

Yet it shall be; thou shalt lower to his level day by day,
What is fine within thee growing coarse to sympathize with clay.

As the husband is, the wife is: thou art mated with a clown,
And the grossness of his nature will have weight to drag thee down.

He will hold thee, when his passion shall have spent its novel force,
Something better than his dog, a little dearer than his horse.

What is this? his eyes are heavy; think not they are glazed with wine.
Go to him, it is thy duty, kiss him, take his hand in thine.

It may be my lord is weary, that his brain is overwrought:
Soothe him with thy finer fancies, touch him with thy lighter thought.

He will answer to the purpose, easy things to understand—
Better thou wert dead before me, tho’ I slew thee with my hand!

Better thou and I were lying, hidden from the heart’s disgrace,
Roll’d in one another’s arms, and silent in a last embrace.

Cursed be the social wants that sin against the strength of youth!
Cursed be the social lies that warp us from the living truth!

Cursed be the sickly forms that err from honest Nature’s rule!
Cursed be the gold that gilds the straiten’d forehead of the fool!

Well—’t is well that I should bluster!—Hadst thou less unworthy proved—
Would to God—for I had loved thee more than ever wife was loved.

Am I mad, that I should cherish that which bears but bitter fruit?
I will pluck it from my bosom, tho’ my heart be at the root.

Never, tho’ my mortal summers to such length of years should come
As the many-winter’d crow that leads the clanging rookery home.

Where is comfort? in division of the records of the mind?
Can I part her from herself, and love her, as I knew her, kind?

I remember one that perish’d; sweetly did she speak and move;
Such a one do I remember, whom to look at was to love.

Can I think of her as dead, and love her for the love she bore?
No—she never loved me truly; love is love for evermore.

Comfort? comfort scorn’d of devils! this is truth the poet sings,
That a sorrow’s crown of sorrow is remembering happier things.

Drug thy memories, lest thou learn it, lest thy heart be put to proof,
In the dead unhappy night, and when the rain is on the roof.

Like a dog, he hunts in dreams, and thou art staring at the wall,
Where the dying night-lamp flickers, and the shadows rise and fall.

Then a hand shall pass before thee, pointing to his drunken sleep,
To thy widow’d marriage-pillows, to the tears that thou wilt weep.

Thou shalt hear the ”Never, never,” whisper’d by the phantom years,
And a song from out the distance in the ringing of thine ears;

And an eye shall vex thee, looking ancient kindness on thy pain.
Turn thee, turn thee on thy pillow; get thee to thy rest again.

Nay, but Nature brings thee solace; for a tender voice will cry.
’T is a purer life than thine, a lip to drain thy trouble dry.

Baby lips will laugh me down; my latest rival brings thee rest.
Baby fingers, waxen touches, press me from the mother’s breast.

O, the child too clothes the father with a dearness not his due.
Half is thine and half is his: it will be worthy of the two.

O, I see thee old and formal, fitted to thy petty part,
With a little hoard of maxims preaching down a daughter’s heart.

“They were dangerous guides the feelings—she herself was not exempt—
Truly, she herself had suffer’d”—Perish in thy self-contempt!

Overlive it—lower yet—be happy! wherefore should I care?
I myself must mix with action, lest I wither by despair.

What is that which I should turn to, lighting upon days like these?
Every door is barr’d with gold, and opens but to golden keys.

Every gate is throng’d with suitors, all the markets overflow.
I have but an angry fancy; what is that which I should do?

I had been content to perish, falling on the foeman’s ground,
When the ranks are roll’d in vapour, and the winds are laid with sound.

But the jingling of the guinea helps the hurt that Honour feels,
And the nations do but murmur, snarling at each other’s heels.

Can I but relive in sadness? I will turn that earlier page.
Hide me from my deep emotion, O thou wondrous Mother-Age!

Make me feel the wild pulsation that I felt before the strife,
When I heard my days before me, and the tumult of my life;

Yearning for the large excitement that the coming years would yield,
Eager-hearted as a boy when first he leaves his father’s field,

And at night along the dusky highway near and nearer drawn,
Sees in heaven the light of London flaring like a dreary dawn;

And his spirit leaps within him to be gone before him then,
Underneath the light he looks at, in among the throngs of men:

Men, my brothers, men the workers, ever reaping something new:
That which they have done but earnest of the things that they shall do:

For I dipt into the future, far as human eye could see,
Saw the Vision of the world, and all the wonder that would be;

Saw the heavens fill with commerce, argosies of magic sails,
Pilots of the purple twilight dropping down with costly bales;

Heard the heavens fill with shouting, and there rain’d a ghastly dew
From the nations’ airy navies grappling in the central blue;

Far along the world-wide whisper of the south-wind rushing warm,
With the standards of the peoples plunging thro’ the thunder-storm;

Till the war-drum throbb’d no longer, and the battle-flags were furl’d
In the Parliament of man, the Federation of the world.

There the common sense of most shall hold a fretful realm in awe,
And the kindly earth shall slumber, lapt in universal law.

So I triumph’d ere my passion sweeping thro’ me left me dry,
Left me with the palsied heart, and left me with the jaundiced eye;

Eye, to which all order festers, all things here are out of joint:
Science moves, but slowly, slowly, creeping on from point to point:

Slowly comes a hungry people, as a lion, creeping nigher,
Glares at one that nods and winks behind a slowly-dying fire.

Yet I doubt not thro’ the ages one increasing purpose runs,
And the thoughts of men are widen’d with the process of the suns.

What is that to him that reaps not harvest of his youthful joys,
Tho’ the deep heart of existence beat for ever like a boy’s?

Knowledge comes, but wisdom lingers, and I linger on the shore,
And the individual withers, and the world is more and more.

Knowledge comes, but wisdom lingers, and he bears a laden breast,
Full of sad experience, moving toward the stillness of his rest.

Hark, my merry comrades call me, sounding on the bugle-horn,
They to whom my foolish passion were a target for their scorn:

Shall it not be scorn to me to harp on such a moulder’d string?
I am shamed thro’ all my nature to have loved so slight a thing.

Weakness to be wroth with weakness! woman’s pleasure, woman’s pain—
Nature made them blinder motions bounded in a shallower brain:

Woman is the lesser man, and all thy passions, match’d with mine,
Are as moonlight unto sunlight, and as water unto wine—

Here at least, where nature sickens, nothing. Ah, for some retreat
Deep in yonder shining Orient, where my life began to beat;

Where in wild Mahratta-battle fell my father evil-starr’d,—
I was left a trampled orphan, and a selfish uncle’s ward.

Or to burst all links of habit—there to wander far away,
On from island unto island at the gateways of the day.

Larger constellations burning, mellow moons and happy skies,
Breadths of tropic shade and palms in cluster, knots of Paradise.

Never comes the trader, never floats an European flag,
Slides the bird o’er lustrous woodland, swings the trailer from the crag;

Droops the heavy-blossom’d bower, hangs the heavy-fruited tree—
Summer isles of Eden lying in dark-purple spheres of sea.

There methinks would be enjoyment more than in this march of mind,
In the steamship, in the railway, in the thoughts that shake mankind.

There the passions cramp’d no longer shall have scope and breathing space;
I will take some savage woman, she shall rear my dusky race.

Iron-jointed, supple-sinew’d, they shall dive, and they shall run,
Catch the wild goat by the hair, and hurl their lances in the sun;

Whistle back the parrot’s call, and leap the rainbows of the brooks,
Not with blinded eyesight poring over miserable books—

Fool, again the dream, the fancy! but I know my words are wild,
But I count the gray barbarian lower than the Christian child.

I, to herd with narrow foreheads, vacant of our glorious gains,
Like a beast with lower pleasures, like a beast with lower pains!

Mated with a squalid savage—what to me were sun or clime?
I the heir of all the ages, in the foremost files of time—

I that rather held it better men should perish one by one,
Than that earth should stand at gaze like Joshua’s moon in Ajalon!

Not in vain the distance beacons. Forward, forward let us range,
Let the great world spin for ever down the ringing grooves of change.

Thro’ the shadow of the globe we sweep into the younger day;
Better fifty years of Europe than a cycle of Cathay.

Mother-Age (for mine I knew not) help me as when life begun:
Rift the hills, and roll the waters, flash the lightnings, weigh the Sun.

O, I see the crescent promise of my spirit hath not set.
Ancient founts of inspiration well thro’ all my fancy yet.

Howsoever these things be, a long farewell to Locksley Hall!
Now for me the woods may wither, now for me the roof-tree fall.

Comes a vapour from the margin, blackening over heath and holt,
Cramming all the blast before it, in its breast a thunderbolt.

Let it fall on Locksley Hall, with rain or hail, or fire or snow;
For the mighty wind arises, roaring seaward, and I go.

Cultural Influence

The historian Arthur Schlesinger Jr., writing in The Wall Street Journal, quoted the poem to illustrate “a noble dream” that modern US policy decisions may have been neglecting, and he also stated that Winston Churchill considered it “the most wonderful of modern prophecies” and Harry S. Truman carried the words in his wallet.

Lord Tennyson wrote a sequel to “Locksley Hall” in 1886, “Locksley Hall Sixty Years After” [PDF]. In the sequel Tennyson describes how the industrialized nature of Britain has failed to fulfill the expectations of the poem of 1842.

A line in “Locksley Hall” would inspire the title of the historian Paul Kennedy’s 2006 book on the United NationsThe Parliament of Man: The Past, Present, and Future of the United Nations.

In a scene from the American film Marathon Man, graduate student Thomas “Babe” Levy (portrayed by actor Dustin Hoffman) attends an exclusive seminar at Columbia University. During the seminar, his irritable professor, played by Fritz Weaver, quotes the line “Let us hush this cry of ‘Forward’ till ten thousand years have gone” from “Locksley Hall Sixty Years After” [PDF] and then asks if anyone recognizes it. Hoffman’s character is the only one who does (he writes down the title in his notes) but does not reveal this to the class. The professor calls him out on this after dismissing the other students.

In the television program Star Trek: Voyager, the dedication plaque of the USS Voyager quotes from the poem: “For I dipt in to the future, far as human eye could see; Saw the vision of the world, and all the wonder that would be.”

“Locksley Hall” is also the source of the title of Colum McCann’s 2009 novel, Let the Great World Spin.

Also, it includes one of the most famous lines in all of English poetry, the last of the following four, albeit very few are aware of the poem whence it came, and it is often, perhaps usually, misquoted:

In the spring a fuller crimson comes upon the robin’s breast
In the spring the wanton lapwing gets himself another crest

In the spring a livelier iris changes on the burnished dove
In the spring a young man’s fancy lightly turns to thoughts of love.

James Thurber illustrated this poem for Fables for Our Time and Famous Poems Illustrated.

Elizabeth Gaskell mentions the poem in her 1853 novel Cranford. Lines from it are quoted in the 2007 adaptation of the novel.

(Wikipedia)

Alfred, Lord Tennyson, 1st Baron Tennyson FRS was an English poet. He was the Poet Laureate during much of Queen Victoria’s reign and remains one of the most popular British poets. In 1829, Tennyson was awarded the Chancellor’s Gold Medal at Cambridge for one of his first pieces, “Timbuctoo” [PDF, now more commonly written “Timbuktu”].

Born: August 6, 1809, Somersby, United Kingdom
Died: October 6, 1892, Lurgashall, United Kingdom

Memes, Tropes and “Signs” in the “University” That Surrounds Us

A famous face or tune or quip or saying or photo constitutes the raw material for a shared cultural understanding around the world. Everybody somehow knows “James Bond” or “Mercedes” or “Big Ben” in London or the “Eiffel Tower” in Paris.

Think of the Polish movie masterpiece from the mid-fifties, Kanał by Wajda. It shows the doomed resistance story of the Warsaw Uprising of 1944 against the Germans, which followed the Warsaw Ghetto rebellion of a year earlier.

“Kanał” means sewer, and the story takes place in the sewers of Warsaw as this band of resistance fighters tries to avoid being killed by the Germans who still have overwhelming military superiority in weapons, ammunition, etc.

At one point these fighters enter a Polishbourgeois” home (i.e., great wealth is on display) and one of them, Michal, the classical musician, played by Sheybal (whom you will have seen as a villain in James Bond movies) goes over to the piano they find, a Bechstein, and “plays around” including the famous tango from Uruguay and Argentina, “La cumparsita” (the little parade) which went “viral” (for its time) around 1916-1917 “radiating out” from Uruguay and Argentina.

Famous versions of this tango include Carlos Gardel’s and performances by orchestras led by Juan d’Arienzo, Osvaldo Pugliese and Astor Piazzolla. “La cumparsita” is very popular at milongas; it is a common tradition for it to be played as the last dance of the evening.

The song was named cultural and popular anthem of Uruguay by law in 1997.

Appearances in Movies

Gene Kelly dances to “La cumparsita” in the film Anchors Aweigh (1945). The song was included in a ballroom scene of the film Sunset Boulevard (1950), in which Gloria Swanson and William Holden danced the tango. In the 2006 dance movie Take the Lead, Jenna Dewan, Dante Basco and Elijah Kelley danced to a remixed version.

In the 1959 film Some Like It Hot, “La cumparsita” is played by a blindfolded Cuban band during a scene in which Jack Lemmon dressed in drag dances with overstated flair in the arms of Joe E. Brown who thinks Lemmon is a woman (“Daphne—you’re leading again”). During the filming in 1958, actor George Raft taught the other two men to dance the tango for this scene.

Miscellaneous

In the Olympic Games of Sydney 2000, the Argentine team marched with the Uruguayan music “La cumparsita.” This originated protests and official claims from the Uruguayan government. The work was also an opening part of an infamous radio drama: The War of the Worlds was broadcast as an episode of the American radio drama anthology series The Mercury Theatre on the Air. It was performed as a Halloween episode of the series on October 30, 1938, and aired over the Columbia Broadcasting System radio network. This was directed and narrated by actor and future filmmaker Orson Welles.

Many artistic gymnasts have used variations of the song as their floor routine soundtracks including Vanessa Atler (1998–99), Jamie Dantzscher (2000), Oana Petrovschi (2001–02), Elvire Teza (1998), Elise Ray (1997–98), Natalia Ziganshina (2000), Maria Kharenkova (2013) and MyKayla Skinner (2011–12). Joannie Rochette skated to the song for her short program during the 2009–2010 season, most famously skating a clean performance at the 2010 Winter Olympics after the sudden death of her mother.

Students should realize as part of an education, thought of in the sense we are introducing here, that the world is an “ambient” ecosystem of these cultural icons, memes and tropes and one should be attune to them and how they connect the world into something like a semi-shared experience.

Notice, say, that the Bechstein piano, played by Michal (Vladek Sheybal) in the movie Kanał (he later goes mad and playing an ocarina, starts reciting lines from Dante and loses his mind) is the name of the Bechstein family which were instrumental in the rise of Hitler. The irony should be part of the student’s viewing experience and should show how “screwy” the world is.

Notice too that there’s an ocarina-playing character in the movie Stalag 17 who’s described as mentally unwell.

All of these aspects are part of the material world and the iconic world and the world of “signs” that are part of our education, understood as ambience of which the campus is one part only.