Wednesday, January 30, 2013

The Gods Of Greece




Ye in the age gone by,
Who ruled the world—a world how lovely then!—
And guided still the steps of happy men
 In the light leading-strings of careless joy!
Ah, flourished then your service of delight!
 How different, oh, how different, in the day
When thy sweet fanes with many a wreath were bright,
 O Venus Amathusia!

Then, through a veil of dreams
 Woven by song, truth's youthful beauty glowed,
And life's redundant and rejoicing streams
 Gave to the soulless, soul—where'r they flowed
Man gifted nature with divinity
 To lift and link her to the breast of love;
All things betrayed to the initiate eye
 The track of gods above!

Where lifeless—fixed afar,
 A flaming ball to our dull sense is given,
Phoebus Apollo, in his golden car,
 In silent glory swept the fields of heaven!
On yonder hill the Oread was adored,
 In yonder tree the Dryad held her home;
And from her urn the gentle Naiad poured
 The wavelet's silver foam.

Yon bay, chaste Daphne wreathed,
 Yon stone was mournful Niobe's mute cell,
Low through yon sedges pastoral Syrinx breathed,
 And through those groves wailed the sweet Philomel,
The tears of Ceres swelled in yonder rill—
 Tears shed for Proserpine to Hades borne;
And, for her lost Adonis, yonder hill
 Heard Cytherea mourn!—

Heaven's shapes were charmed unto
 The mortal race of old Deucalion;
Pyrrha's fair daughter, humanly to woo,
 Came down, in shepherd-guise, Latona's son
Between men, heroes, gods, harmonious then
 Love wove sweet links and sympathies divine;
Blest Amathusia, heroes, gods, and men,
 Equals before thy shrine!

Not to that culture gay,
 Stern self-denial, or sharp penance wan!
Well might each heart be happy in that day—
 For gods, the happy ones, were kin to man!
The beautiful alone the holy there!
 No pleasure shamed the gods of that young race;
So that the chaste Camoenae favoring were,
 And the subduing grace!

A palace every shrine;
 Your sports heroic;—yours the crown
Of contests hallowed to a power divine,
 As rushed the chariots thundering to renown.
Fair round the altar where the incense breathed,
 Moved your melodious dance inspired; and fair
Above victorious brows, the garland wreathed
 Sweet leaves round odorous hair!

The lively Thyrsus-swinger,
 And the wild car the exulting panthers bore,
Announced the presence of the rapture-bringer—
 Bounded the Satyr and blithe Faun before;
And Maenads, as the frenzy stung the soul,
 Hymned in their maddening dance, the glorious wine—
As ever beckoned to the lusty bowl
 The ruddy host divine!

Before the bed of death
 No ghastly spectre stood—but from the porch
Of life, the lip—one kiss inhaled the breath,
 And the mute graceful genius lowered a torch.
The judgment-balance of the realms below,
 A judge, himself of mortal lineage, held;
The very furies at the Thracian's woe,
 Were moved and music-spelled.

In the Elysian grove
 The shades renewed the pleasures life held dear:
The faithful spouse rejoined remembered love,
 And rushed along the meads the charioteer;
There Linus poured the old accustomed strain;
 Admetus there Alcestis still could greet; his
Friend there once more Orestes could regain,
 His arrows—Philoctetes!

More glorious than the meeds
 That in their strife with labor nerved the brave,
To the great doer of renowned deeds
 The Hebe and the heaven the Thunderer gave.
Before the rescued rescuer [10] of the dead,
 Bowed down the silent and immortal host;
And the twain stars [11] their guiding lustre shed,
 On the bark tempest-tossed!

Art thou, fair world, no more?
 Return, thou virgin-bloom on Nature's face;
Ah, only on the minstrel's magic shore,
 Can we the footstep of sweet fable trace!
The meadows mourn for the old hallowing life;
 Vainly we search the earth of gods bereft;
Where once the warm and living shapes were rife,
 Shadows alone are left!

Cold, from the north, has gone
 Over the flowers the blast that killed their May;
And, to enrich the worship of the one,
 A universe of gods must pass away!
Mourning, I search on yonder starry steeps,
 But thee no more, Selene, there I see!
And through the woods I call, and o'er the deeps,
 And—Echo answers me!

Deaf to the joys she gives—
 Blind to the pomp of which she is possessed—
Unconscious of the spiritual power that lives
 Around, and rules her—by our bliss unblessed—
Dull to the art that colors or creates,
 Like the dead timepiece, godless nature creeps
Her plodding round, and, by the leaden weights,
 The slavish motion keeps.

To-morrow to receive
 New life, she digs her proper grave to-day;
And icy moons with weary sameness weave
 From their own light their fulness and decay.
Home to the poet's land the gods are flown,
 Light use in them that later world discerns,
Which, the diviner leading-strings outgrown,
 On its own axle turns.

Home! and with them are gone
 The hues they gazed on and the tones they heard;
Life's beauty and life's melody:—alone
 Broods o'er the desolate void, the lifeless word;
Yet rescued from time's deluge, still they throng
 Unseen the Pindus they were wont to cherish:
All, that which gains immortal life in song,
 To mortal life must perish!


Friedrich Schiller

Tuesday, January 29, 2013

Schiller's Regret

It took me a whole life to understand Friedrich Schiller's regret at the overcoming of polytheism. Grown up in a Catholic village I regarded the belief in the one and only God as the triumphant emancipation from the stupidity of barbaric paganism. It seemed strange that someone would praise that outdated superstition. I was 13, and it never occurred to me that the revered Schiller was an atheist, because my teachers never mentioned it. Revisiting Schiller in my old days I start to understand his thinking. As an atheist he could compare the various religions from a distance. Being an aesthete, he naturally preferred the fantastic and colorful world of the Greek gods to the one-dimensional, comparatively dull monotheism. At 15 I hated his ode to the Greek Gods, mainly because we had to learn it by heart. Lately I re-read it and discovered the beauty of it. I finally understand Schiller's regret.


Monday, January 28, 2013

Eden Is Burning

"Gentlemen, he said, I don't need your organization. I've shined your shoes, I've moved your mountains and marked your cards. But Eden is burning. Either brace yourself for elimination or else your hearts must have the courage for the changing of the guards.  Peace will come with tranquility and splendor on the wheels of fire, but will bring us no reward when her false idols fall."
Bob Dylan "Changing of the Guards"

Sunday, January 27, 2013

Loewe

Don't get me wrong: German composers had also a hard time to be accepted on Broadway. One of my heroes, Frederick Loewe, born in Berlin to a musical family, was so talented that he could play piano with the Berlin Symphony at the age of thirteen. At 15 he already had a European top hit with a song called "Katrina". At twenty his ambition drew him to the New World where he was met with bitter disappointment. He learned the hard way that his European success and his musical abilities meant nothing in the US. To survive he worked as a nightclub pianist, a boxer, a busboy and even a cow puncher. But he never stopped believing in himself. Nor did he seriously consider giving up and going back to Germany. In 1942, after many frustrating years, he met another unsuccessful man, a young lyricist and playwright, who recognized Loewe's potential. One year later the first Lerner/Loewe musical reached Broadway. You know the rest of the story.

Saturday, January 26, 2013

Bloody Flop

When a German journalist learned of the problems to mount a production of Rebecca last year he commented - not without schadenfreude -  that this was the second time Michael Kunze's Broadway dreams had come to naught. It is useless to correct such a statement, but it is wrong. First of all, I do not regard the short run of Dance of the Vampires  as a failure.  As everyone in the business knows,  the Broadway version had only little to do with my original. But even if it would have been my version I could be kind of proud of having a Broadway flop. Sure enough, it would have felt better to have a hit, but for a German playwright and lyricist even a Broadway flop is not so bad at all. While  German composers such as Frederick Loewe and Kurt Weill  made it big in New York, none of their book writers ever reached the Great White Way. Who tried hardest was Bert Brecht.  His Threepenny Opera  only made it to an Off-Broadway theater. Who am I to compare myself to Brecht? A Broadway flop suits me very well.

Friday, January 25, 2013

Make Or Earn?

When you get older, they already told me in my twenties, you'll be just as narrow-minded and conservative as all the other old farts. I'm brutally aware of it. I find it odd, for example, that nowadays you make money. There was a time when everybody was convinced that you had to earn money. Marxism, very much in fashion when I was a student, never really intrigued me.  Still I never stopped to believe  that everyone should be entitled to receive an appropriate reward for his respective achievements.  It was, of course, always accepted that a clever trick may make gamblers, crooks and God's favorites rich. But now it's not just accepted, it is what everybody wants and hopes for: make money, so you don't have to earn it. Even a school dropout can become a millionaire when good luck gives him a chance to participate in a tv quiz show. I'm not blaming anyone. I am just a bit narrow-minded. Maybe it is inevitable that it will soon be normal also to simply make love instead of earning it.

Thursday, January 24, 2013

Lincoln's Goal



Thoughts inspired by the new movie of Kushner and Spielberg: Very well, Lincoln wanted to free the slaves. He did indeed hope that the American civil war would result in "a new birth of freedom". However, the emancipation was clearly not his highest priority. Lincoln did not fight slavery, he fought secession. His first and foremost motive was to show the world that "government of the people, by the people, for the people" - democracy - has the power to survive. We have a problem understanding the importance of that goal; today we see democracies thrive almost everywhere in the world. At Lincoln's time, however, the general opinion was that democracies can not long survive. The shelling of Fort Sumter was for Lincoln not only a threat to American unity, but to the idea of self-government. Why then did he, as shown in Spielberg's movie, fight so hard to finalize the Emancipation Act by an constitutional amendment? My guess is he was convinced that a democracy tolerating slavery could not endure. He was not a saint, he was a politician.

Wednesday, January 23, 2013

Don't Miss The New Lincoln Movie!


The great Steven Spielberg talks about his latest movie, book by Tony Kushner, which is so different from everything he did so far. The film shows Lincoln not as a saint, but as a shrewd but nevertheless sympathetic politician. A must-see. Daniel Day-Lewis is fantastic. How wonderful that Hollywood still produces gems like this every now and then.

Tuesday, January 22, 2013

Ages Or Angels

When Abraham Lincoln  drew his last breath on the night of April 14, 1865,  Edwin Stanton, his Secretary of War,  whispered a famous sentence. What exactly he said is disputed. Most remember  him saying "Now he belongs to the ages". The Rev. Gurley however, Lincoln's family minister,  understood: "Now he belongs to the Angels." The brilliant New Yorker journalist, Adam Gopnik,  comments: "Now he belongs to the angels?  Where had that come from? That was a Monty Python element here."  There's something we can learn from this. Historians must not trust eye- and earwitnesses, no matter how close to a historical event they have been. We all  tend to see and hear what we want to.  No matter what Stanton really said, Now he belongs to the ages entered all history books. Not because it is necessarily the truth, but because it is what we want him to have said.

Monday, January 21, 2013

How To Stage A Musical

"The material – this is so elementary it shouldn't have to be stated, but almost every musical production in recent years seems oblivious to it – the material is the source for everything seen or said or done on the stage. The director, the choreographer, the designer, the actor who thinks he or she doesn't have to observe this is digging his own shallow grave... The fist five minutes of a musical are crucial: either the audience can be captured, in which case they are all the director's, no matter what he or she does, until at least half way through the first act; or they can be lost, in which case it will take some stage magic to get them back before the end of the first act, if ever. Never mind intelligence and craft, never mind desire, never mind talent. The musical must be in your bones."
Arthur Laurents