Monthly Archives: February 2009

Jean Richepin @160

Jean Richepin @160

[Youtube=http://www.youtube.com/watch?v=5bAZPmgvQn4&]

contemporary version of La Glu by a certain Dorsannes

A la dérive by Jean Richepin

Jean Richepin (February 4, 1849December 12, 1926), French poet, novelist and dramatist, noted for perpetuating tropes such as La Glu (1881). He belonged to the Le Cercle des poètes Zutiques and was an important player in French cabaret, the French avant-garde, the history of the cruel tale and the history of derision.

Richepin was virtually unknown until the publication, in 1876, of a volume of verse entitled Chanson des gueux (see Les Gueux), when his outspokenness resulted in his being imprisoned and fined for outrage aux mœurs.

La Glu

La Glu by Richepin

La Glu first came to my attention[1] a year ago. It is a poem/song by French writer Jean Richepin. It is a story of motherly love, of a mistress who demands of her lover his mother‘s heart to feed to her dog.

The song was a staple in the French cabarets of the late 19th century and has been interpreted by various performers including Eugènie Valladon, Mistinguett and Polaire.

“La Glu” was brought to stage by Richepin for the Théâtre de l’Ambigu-Comique in 1883 and later adapted to musical drama set to music by Gabriel Dupont performed at the opera of Nice in 1910.

Hungarian writer József Kiss used the plot for his novel The Mother’s Heart (“Az anyasziv”, written between 1883 and 1889).

The origin of the story is probably an old Arabian tale. It was updated in the 1920s by Iranian poet Iraj Mirza.

The original lyrics of “La Glu” are:

Y avait une fois un pauvre gars
Et lonlon laire
Et lonlon la
Y avait une fois un pauvre gars
Qui aimait celle qui ne l’aimait pas.
T’es-tu fait mal, mon enfant ?
Et le cœur disait, en pleurant :
Elle lui dit : Apporte-moi d’main,
Et lonlon laire
Et lonlon la
Elle lui dit : Apporte-moi d’main,
L’ cœur de ta mère pour mon chien.
Va chez sa mère et la tue,
Et lonlon laire
Et lonlon la
Va chez sa mère et la tue,
Lui prit l’ cœur et s’en courut
Comme il courait, il tomba
Et lonlon laire
Et lonlon la
Comme il courait, il tomba
Et par terre, le cœur roula.
Et pendant que le cœur roulait
Et lon, lon laire,
Et lon, lon la,
Et pendant que le cœur roulait,
Entendit le cœur qui parlait.
Et le cœur disait, en pleurant
Et lonlon laire
Et lonlon la

Felix Mendelssohn @200

[Youtube=http://www.youtube.com/watch?v=iHj_eV6WSdg]

Song without words in D major, Op.109 Jacqueline du Pré

[Youtube=http://www.youtube.com/watch?v=pqsFvz1bWFk]

Wedding March

Felix Mendelssohn (February 3, 1809November 4, 1847) was a German composer, pianist and conductor of the early Romantic period best-known for his Wedding March from A Midsummer Night’s Dream. After a long period of relative denigration due to changing musical tastes and antisemitism in the late 19th and early 20th centuries, his creative originality is now being recognized and re-evaluated. He is now among the most popular composers of the Romantic era.

The conservative strain in Mendelssohn, which set him apart from some of his more flamboyant contemporaries, bred a similar condescension on their part toward his music. His success, his popularity and his Jewish origins irked Richard Wagner sufficiently to damn Mendelssohn with faint praise, three years after his death, in an anti-Jewish pamphlet Das Judenthum in der Musik. This was the start of a movement to denigrate Mendelssohn’s achievements which lasted almost a century, the remnants of which can still be discerned today amongst some writers. The Nazi regime was to cite Mendelssohn’s Jewish origin in banning performance and publication of his works as degenerate music. Charles Rosen, in his book The Romantic Generation, disparages Mendelssohn’s style as “religious kitsch”, such opinion reflecting a continuation of the aesthetic contempt of Wagner and his musical followers.

An encore?

Mendelssohn in The Abominable Dr. Phibes:

[Youtube=http://www.youtube.com/watch?v=6nJ40F8MLjc]

War March of the Priests (is it?)

Carl Theodor Dreyer @110

Carl Theodor Dreyer, Danish film director (18891968)

Vampyr (Carl Theodor Dreyer) by hipecac

Most iconic image of Dreyer’s career, from Vampyr

 by nequest

Second most iconic image of Dreyer’s career, from Vampyr

Still from The Passion of Joan of Arc

Still from The Passion of Joan of Arc

Carl Theodor Dreyer (February 3, 1889March 20, 1968) was a Danish film director. He is regarded as one of the greatest directors in cinema. Although his career spanned the 1910s through the 1960s, his meticulousness, dictatorial methods, idiosyncratic shooting style, and stubborn devotion to his art ensured that his output remained low. In spite of this, he is an icon in the world of art film.

At the same time he produced work which is of interest to film lovers with sensational inclinations, which merits his placement in the nobrow canon.

Thus, we tend to remember best of his oeuvre films such as Vampyr (a vampire film) and The Passion of Joan of Arc (for its execution by burning scene).

The Passion of Joan of Arc

The Passion of Joan of Arc is a silent film produced in France in 1928. It is based on the trial records of Joan of Arc. The film stars Renée Jeanne Falconetti and Antonin Artaud.

Though made in the late 1920s (and therefore without the assistance of computer graphics), includes a relatively graphic and realistic treatment of Jeanne‘s execution by burning. The film stars Antonin Artaud. The film was banned in Britain for its portrayal of crude English soldiers who mock and torment Joan in scenes that mirror biblical accounts of Christ’s mocking at the hands of Roman soldiers.

Scenes from Passion appear in Jean-Luc Godard‘s Vivre sa Vie (1962), in which the protagonist Nana sees the film at a cinema and identifies with Joan. In Henry & June Henry Miller is shown watching the last scenes of the film and in voice-over narrates a letter to Anaïs Nin comparing her to Joan and himself to the “mad monk” character played by Antonin Artaud.

Vampyr

Vampyr is a French-German film released in 1932. An art film, it is short on dialogue and plot, and is admired today for its innovative use of light and shadow. Dreyer achieved some of these effects through using a fine gauze filter in front of the camera lens to make characters and objects appear hazy and indistinct, as though glimpsed in a dream.

The film, produced in 1930 but not released until 1932, was originally regarded as an artistic failure. It got shortened by distributors, who also added narration. This left Dreyer deeply depressed, and a decade passed before he able to direct another feature film, Day of Wrath.

Film critics have noted that the appearance of the vampire hunting professor in Roman Polanski‘s film The Fearless Vampire Killers (1967) is inspired by the Village doctor played in Vampyr. The plot is credited to J. Sheridan Le Fanu’s collection In a Glass Darkly, which includes the vampire novella Carmilla, although, as Timothy Sullivan has argued, its departures from the source are more striking than its similarities.

Vampyr shows the obvious influence of Symbolist imagery; parts of the film resemble tableau vivant re-creations of the early paintings of Edvard Munch.

Vampyr and The Passion of Joan of Arc are World Cinema Classics #83 and 84.

Havelock Ellis @150

Havelock Ellis @150

Psychology of Sex by Havelock Ellis

Pan Piper was an imprint of Pan Books

Havelock Ellis (February 2, 1859July 8, 1939) was a British sexologist, noted for his seven volume Studies in the Psychology of Sex and for his translation of Against the Grain by Joris-Karl Huysmans.

He was an astute observer, a quote I use regularly is:

What we call ‘Progress’ is the exchange of one nuisance for another nuisance. —Havelock Ellis

Havelock Ellis

The sexologist and writer Havelock Ellis “looked like a tripartite cross between Tolstoy, Rasputin, and Bernard Shaw; was one of the many semi-pagan ideological nudists that England produced at the end of the nineteenth century; and never achieved full sexual arousal until his second wife urinated on him in his late middle age.” (Our Culture, What’s Left of it by Theodore Dalrymple)

His impotence and urolagnia

According to Ellis in My Life, his friends were much amused at his being considered an expert on sex, what with the fact that he suffered from impotence until the age of 60, when he discovered that he was able to become aroused by the sight of a woman urinating. Ellis named the interest in urination “Undinism” but it is now more commonly called Urolagnia.

His marriage

In November 1891, at the age of 32, and still a virgin, Ellis married the English writer and proponent of women’s rights, Edith Lees (none of his four sisters ever married). From the beginning, their marriage was unconventional; Edith Ellis was openly lesbian, and at the end of the honeymoon, Ellis went back to his bachelor rooms in Paddington, while she lived at Fellowship House. Their ‘open marriage‘ was the central subject in Ellis’s autobiography, My Life.

On sexual inversion

His book Sexual Inversion, the first English medical text book on homosexuality, co-authored with John Addington Symonds, described the sexual relations of homosexual men and boys, something that Ellis did not consider to be a disease, immoral, or a crime. The work assumes that same-sex love transcended age-taboos as well as gender-taboos, as seven of the twenty-one examples are of intergenerational relationships. A bookseller was prosecuted in 1897 for stocking Ellis’ book. Although the term homosexual itself is attributed to Ellis, he wrote in 1897, “‘homosexual’ is a barbarously hybrid word, and I claim no responsibility for it,” the hybridity in question being the word’s mix of Greek and Latin roots. Other psychologically important concepts developed by Ellis include autoerotism and narcissism, both of which were later taken up by Sigmund Freud.

On sadomasochism

A lot has been written on masochism, from Freud to Reik, but one of the best descriptions is by Havelock Ellis:

“The essence of sadomasochism is not so much “pain” as the overwhelming of one’s senses – emotionally more than physically. Active sexual masochism has little to do with pain and everything to do with the search for emotional pleasure. When we understand that it is pain only, and not cruelty, that is the essential in this group of manifestations, we begin to come nearer to their explanation. The masochist desires to experience pain, but he generally desires that it should be inflicted in love; the sadist desires to inflict pain, but he desires that it should be felt as love….” — From an unidentified volume of Studies in the Psychology of Sex

Many of Ellis’s texts are featured at the public domain library Gutenberg.org. I do wish I could lay my hands on an indexed copy of Studies in the Psychology of Sex for a reasonable price. He is, I feel, an underappreciated writer.