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Entries in German literature and film (105)

Saturday
May312014

Heine, "Lady Macbeth"

An essay by this German poet on one of the most exquisite literary works known to man. You can read the original here.

From among the actually historical dramas I turn to those tragedies whose tales are either purely contrived or hewn from old Sagas and narratives. Macbeth transports us to these compositions in which Shakespeare's great genius may unfold his wings most pertly and freely. The contents are borrowed from an old legend; they do not belong to history. Nevertheless the play makes some claim to historical beliefs since in it the forebear of the Royal House of England played a role. Macbeth was staged during the reign of King James the First, who is famously said to be descended from the Scotsman Banquo. In this regard the poet also wove into his drama a few prophecies about the reigning dynasty.       

Macbeth is a favorite of critics who see it as an opportunity to promote as widely as possible their own views about the the ancient "drama of fate," in comparison with the concept of fate possessed by modern playwrights. On this subject I will allow myself only a passing remark.

Shakespeare's idea of fate is different from the idea of fate in ancient times in the same way that the soothsayer women, who meet Macbeth in the old Nordic legend with prophecies of the crown, differ from any sisterhood of witches one sees in Shakespeare's tragedies. These wondrous women in the Nordic legend are apparently Valkyries, frightful goddesses of the air who hover above the battlefields, decide on victory or defeat, and can be seen as the actual levers of human fate when the latter were initially dependent on the outcome of sword fights. Shakespeare transformed them into trouble-making witches, stripping away all the awesome grace of Nordic sorcery. He made them into androgynous miscreations who knew how to summon monstrous phantoms and fomented decay out of malicious glee or as bidden by Hell itself. They may be but the servants of Evil, yet whoever allows himself to be fooled by their words will be destroyed in body and soul. Shakespeare thus translated the old pagan goddesses of fate and their venerable magic into Christian terms, and the downfall of his hero is therefore no longer something predetermined and necessary but something as avoidable as ancient fate. Yet it is indeed the consequence of the temptations of Hell that so knows how to entrap the human heart with its most intricate nets. Macbeth falls under the power of Satan, the primordial Evil.

It is interesting to compare Shakespeare's witches to the witches of other English poets. One notices that Shakespeare cannot quite free himself from the old pagan point of view, and his coven of sisters is therefore noticeably more grandiose and respectable than the witches of Middleton who possess a more distinctly evil hag nature and play petty tricks. They also only damage the body: they have little sway over the spirit and can do no more than incrust our hearts with jealousy, resentment, prurience and suchlike leprosies of feeling.

The reputation of Lady Macbeth, whom one had thought a very evil person for two centuries now, has improved in Germany the last twelve years to her benefit. The pious Franz Horn, as it were, made the remark in the Brockhausen daily that the poor lady had been hitherto wholly misunderstood, that she truly loved her husband, and that all in all she possessed a lovable disposition. This opinion Mr. Ludwig Tieck then sought to buttress with all his science, erudition, and philosophical depth.  And it did not take long for us to behold Madame Stich upon the royal stage in the role of Lady Macbeth cooing like a turtle dove, so that no heart in Berlin could resist these tender tones and many a lovely eye was overcome with tears upon seeing the good Macbeth. This happened, as mentioned, about twelve years ago, in that gentle time of restoration where we had so much love within us. Since then bankruptcy has spread, and if many crowned persons do not enjoy our effusive love, then the guilt lies with those people like the Queen of Scotland who during this same restoration period thoroughly exploited our hearts.   

Whether Germany still advocates such amiability towards the aforementioned lady, I cannot say. Since the July Revolution our views on many matters have changed, and perhaps even in Berlin one may come to see that the good Macbeth was a rather foul beast.

Saturday
May032014

Aguirre, the Wrath of God

In the morning I read mass and then we descended through the clouds.

                                                                                                                        Gaspar de Carvajal

The folly of many colonial expeditions was exposed well before the last century, where anti-colonial sentiment rightly replaced the silly arrogance of Westerners who believed it their holy duty to reform the ruffians who stalked jungles darker than they could have ever imagined. Throughout history critics, oftentimes silent or silenced, were aware of what was transpiring, an evil so far from God's will that one almost shudders. Now I for one am all for the spread of Good News, provided it is offered and not spoon-fed. Yet more important than any creed or system of belief is the notion that we are all brothers, regardless of what we worship as long as our divinity believes in good, in redemption, and in tolerance. The ignominy of what the Spaniards and Portuguese did in the New World in the sixteenth century needs no summarizing or rhetoric. So we would do better to focus on one of their most preposterous searches, that of the Gilded Man, and the brutal mockery of that search in this film.

Our initial screen shot informs us that what the Spaniards are pursuing, El Dorado, is a myth devised well after their landfall; whether this was clear at the time to the emissaries and assassins of Spain is not ours to worry. We venture into the Peruvian highlands on a jungle march of master and slave, the masters easily being distinguishable by their weapons and skin color. One native carries a wheel; another a crate of chickens; a third leads wild boars on a leash; a fourth is burdened only with the icon of the Virgin. We look upon the animals in consort and know they are no less doomed to die and be consumed than any other member of the party. And when an Inca lies collapsed on the ground out of exhaustion or disease, we know not a single Spanish step will lose its pace. After the march has depleted the expedition's reserves, Gonzalo Pizarro – the conqueror's brother and trusted aide – appoints a new party to head out on rafts, ostensibly as scouts against possible enemy attacks, although everyone seems to understand the assignment as a death sentence. Everyone, that is, except one man. That man is Lope de Aguirre (Klaus Kinski), a feral blond skeleton of a Spanish mercenary who has little respect for his superiors or the Crown he allegedly serves. When his eyes are not gazing upon his beloved teenage daughter Flores, their glint bespeaks nothing less than mutiny. A complex but typical series of power transfers takes place, with Pizarro's choice for the secondary expedition being a man of some dignity by the name of Ursúa (Ruy Guerra), who also happens to have brought along his radiant mistress, Doña Inez de Atienza (Helena Rojo). Ursúa will endure, even after being shot and reduced to a mute captive, as Aguirre's bloody conscience for most of the film. That Aguirre's conscience and guilt are drowned out by the indigenous sounds of the tightening cage makes Ursúa's participation all the less likely.

For better or for worse, we know precisely what will happen to most if not all of these miserable men. What is odd is that they know it as well. The first raft comes back littered with corpses and arrows, all in close conjunction; a day later the tides wash away rafts and other useful items, so more must be built. Aguirre predictably infects his comrades with ideas of the glory that Cortés attained in Mexico, then anoints a fat and pasty nobleman, Don Fernándo de Guzmán, Emperor of El Dorado – at which point Guzmán's days officially become a matter of whispered wagers. The narrator throughout most of the journey is a Franciscan monk, Gaspar de Carvajal, who flashes piety and goodness but evinces his true colors in a wicked last-act confrontation with an Amerindian couple. And as the only European women for miles around, Doña Inez and Flores tend to each other's grooming and occasionally make the priest think he's in the wrong line of work. As the river flows and the difficulties mount, we regularly stumble across a Spanish corpse. It is one of the nameless minions of the bloated Emperor, and death has invariably arrived in the form of a poisoned arrow – although the bow and archer are never revealed. The arrows fly in from the most unexpected angles, or at least that's what a brief examination of the cadavers would lead us to believe, as if the perpetrators were invisible or suspended behind a cloud. All the while we see and hear the whip of Aguirre's tongue as he urges his troops on, slaps a horse into the water, and generally acts as if the only thing that mattered were the discovery of something in which no one believes.   

A cynic would be almost right in concluding that, in format, there is little to distinguish a film like Aguirre, the Wrath of God (as it were, a self-proclaimed epithet) from any slasher vehicle in which a batch of stupid, pretty people are numbered and destroyed in sequence. Yet that similarity speaks more deeply about the patterns of our nightmares than its engagement in true philosophical conjecture. When you hear Herzog's film labeled as a forerunner to this later work, you may think the comparison valid until you compare Aguirre's quest for eternal life and wealth to Willard's contract killing. And anyway, Aguirre and his thugs may be soldiers, but we are not dealing with war, devastation, or ruin. What informs the entire picture is greed, greed for something that cannot possibly exist, greed for taking advantage of nature in every way imaginable to obtain a treasure that, once found, would probably be impossible to defend. None of this occurs to Aguirre; nothing in his beady eyes suggests any awareness of the fact that he alone cannot keep all this money and all this land. Even when he gets to share his thoughts with the monkeys that assault his craft towards the end, no one pays him too much attention. Not even the people behind the clouds.

Sunday
Apr132014

Goethe, "Natur und Kunst"

One of the greatest poems ever written ("Nature and Art"), the work of this German man of letters. Especially famous is the penultimate line, a favorite quote of this writer.  You can read the original here.

Nature and Art, from one another fled,     
Are, ere one knows, again in closest tie;  
Aversion, too, from me has soon been bled,              
And equal force attracts me to their side.            

And yet, one honest effort will suffice! 
And when in measured hours ourselves we bind              
To art, at zeal and fervor's glorious price,   
Anew may nature's glow our hearts then find.  

All learning asks for such tuition paid;           
In vain will strive those minds unbound, unmet,                       
To reach at last some marveled heights unseen.   

Thus great things come to those whose will is made,
We know the Master by his limits set, 
For this one law can only make us free.

Wednesday
Apr092014

Ein Landarzt

A story ("A Country Doctor") by this German-language writer. You can read the original here.

I was in quite a quandary: before me lay an urgent trip; a deathly ill patient waited in a village ten miles away; heavy snowdrifts filled the space between me and him; I had a light, large-wheeled carriage well-suited for our country roads; wrapped in furs, my medical kit in hand, I stood in the courtyard ready to travel; but a horse, we needed a horse. Last night my own horse had perished from overexertion in this icy winter, and now my domestic was scampering around the village trying to borrow another one. Yet I knew it was hopeless; the snow was accumulating in larger and increasingly sturdier heaps, and I was standing there without a purpose. At the gate my domestic appeared alone, her lantern swinging, and I shouldn't have been surprised. Who would loan out his horse for such a trip? Once again I trudged through the courtyard and found no possibilities. Annoyed and distracted, I kicked open the dilapidated door of the pig stall unused now for many years. It opened only to snap back and forth on its hinge; from within came warmth and horse-like odors, and I espied a dim stall lantern hanging on a cord. A man was curled up in a lowly crate, his blue-eyed face open to the light. "Should I yoke the horses?" he asked, crawling forward on all fours. I didn't know what to say and only bent over to see what else was lurking in the stall.  The domestic was standing next to me. "One has no idea what's stored in one's own house!" she said, and we both laughed. 

"Hullo, brother!  Hullo, sister!" said the stable-boy as two horses came out of the doorway which kept them restless. They were powerful and broad-shouldered beasts, their legs tight against their bodies, their well-formed heads sunken like camels, and they pushed themselves out only through the strength of their torsos. But then suddenly they stood up straight, their legs locked, their serried muscles evaporating in steam. "Help him," I said, and the willing domestic hurried to give the stable boy the carriage harness. But hardly had she reached him when the boy grabbed her and pressed her face to his. She screamed and fled to my side, her cheek bloodied by two rows of teeth. "You brute!" I cried out in anger, "do you want to taste my lash?" Then I remembered three things: that he was not from these parts, that I didn't know where he was from, and that he had willingly helped me when others had turned away. As if reading my thoughts, he took no umbrage at my threat but instead, still occupying himself with the horses, he turned towards me. "Climb in," he then said and, as it were, everything was indeed ready. I concluded that I had never ridden with so fine a team, and I climbed in. "I'll be the one driving, however, since you don't know the way," I said. "Certainly," he responded, then added: "In fact, I won't come along at all.  I'll stay here with Rosa." "No!" screamed Rosa, and rightly sensing the inevitability of her fate, she raced back into the house. I heard her chain the door and bolt the lock; then I saw her in the hall running through the rooms and turning off all the lights to make herself unfindable. "You're coming along," I said to the boy, "or I won't travel at all, so urgent is the matter. And I have absolutely no intention of leaving you the girl as payment for my trip." "Giddy up!" said the boy, clapping his hands, and the carriage was yanked forward like lumber down a stream. Then I heard the boy's assault on my house gate, bursting and splitting, since all my senses, eyes and ears included, were filled to the brim with sounds of bustling activity.

But even that only lasted a moment. The next thing I knew, the patient's house gate opened as if directly across from my own. I was already there; the horses were standing and silent; the snowfall had ceased; moonlight was all around; the patient's parents came running out of the house; his sister was right behind them; I was quickly helped out of the carriage; from the cacophony of voices I understood nothing; the air was barely breathable in the patient's room; the neglected stove top emitted smoke; I wanted to crack open a window; but first, I needed to see my patient. Gaunt, feverless, neither cold nor warm, without a shirt and with empty eyes, my patient, a mere lad, lifted himself out of bed, hung his arms around my neck, and whispered in my ear: "Doctor, let me die." I looked around; no one seemed to have heard him. His parents stood on without as much as a word, bent slightly forward and anticipating my evaluation. His sister had brought a chair for my kit. I opened the kit and looked for my instruments; meanwhile, the lad kept groping from the bed in my direction to remind me of his request. Finally I found a pair of pincers, checked them in the candlelight and replaced them. "Yes," I thought blasphemously, "in such cases it is the gods who help, who send the missing horse, even a second one to compensate for the matter's urgency, who provide the stable boy as added assistance."  

And here I thought of Rosa. What should I do? How could I save her? How could I pull her out from under that stable boy with her being ten miles away and my carriage chained to unwieldy horses? These horses who had now somehow loosened their straps; who, I still didn't know how, had pushed the windows in and stuck a head through each window and, undeterred by the family's screams, were watching the patient. "I'll come right back," I thought as if the horses were summoning me, but then I let the sister – who believed me to be dazed from the heat – wrest my fur coat from my shoulders. A glass of rum was prepared, the father clapped me on the back; the surrender of his beloved son justified such trust. I shook my head; nausea would have overcome me had I succumbed to his way of thinking; and for that reason alone I refused to drink. The mother stood beside the bed and beckoned to me. As a horse neighed loudly to the ceiling, I walked over and laid my head on the boy's chest as he shuddered beneath my wet beard. What I already knew was confirmed: the boy was healthy, a victim of some bad circulation and drowned in coffee by his solicitous mother perhaps, but healthy and best yanked out of bed. Not being an idealistic do-gooder, however, I left him lying there. 

I am a district employee and bound to every inch of my duties' ambit, even when it becomes all too much. Badly paid, I am generous towards the poor and always ready to help. I also had to worry about Rosa, since the lad might be right and I too would die. What could I do here in this endless winter? My horse had perished and there was no one in the village from whom I might borrow another. I had to retrieve the harness from the pig stall; if I didn't have horses, perhaps I could ride with pigs. So it was. I nodded to the family. They knew nothing of the matter, and even if they had, they wouldn't have believed me. Writing prescriptions is easy, but getting along with people is much more difficult. Now my visit had come to an end; yet again had I been bothered unnecessarily, something to which, of course, I was well accustomed. I was well accustomed to having the whole district martyr me through my night buzzer. But this time, this time I had to surrender Rosa, that lovely girl who had lived for years in my house with hardly any attention on my part, such a sacrifice was too great. With sophistries I had to gain time to arrange my thoughts so as not to abandon this family who, try as they might, could not give Rosa back to me. 

Yet as I closed my medical kit and waved for my fur, the family gathered together: the father sniffing about the rum glass in his hand; the mother, in all likelihood quite disappointed in me – but what do people really expect? – biting her lips, teary-eyed; the sister waving a thick, bloody handkerchief. Under certain circumstances, I could be persuaded to admit that the boy was in fact sick. I went to him. He smiled at me as if I were bringing him the heartiest of soups – oh, now both horses were neighing. Mandated from on high, the noise was supposed to facilitate the examination and now I found that, as it were, the boy was sick. In his right side near the hip he had a wound about the size of a human palm. Pink, in various shades, dark in its depth, bright along its edges, soft at its core, with irregular rivulets of blood, exposed like an open mine shaft. So it appeared from a distance; from close up there was an aggravation. Who could look upon it without whistling mildly? Worms, in length and force the equal of my little finger, in and of themselves pink but also sprayed with blood, were winding their way deeply ensconced within the wound, all with white heads and their many legs against the light. Poor lad, there was nothing to be done. I found your great wound; this flower across your ribs would be your destruction.

The family was happily gazing at me in action; the sister said as much to the mother; the mother to the father; the father to a few guests who were standing on tiptoe, balancing themselves with their arms spread wide as moonlight crept in through the open door. "Will you save me?" the boy whispered, gulping, still dazzled by the life in his wound. The people in my neighborhood were no different: always demanding the impossible from the doctor. They had already lost the old faith; their preacher sat at home disentangling and teasing his chasubles, one after the other. But the doctor had to accomplish everything with his tender surgical hand. Well, as you like it: I had never offered my services; you used me for holy ends, and I let that all occur. What better could I wish for, old country doctor, robbed as I was of my domestic? And they all came, the family and the village elders, and they disrobed me. A school choir led by a teacher stood before the house and sang an extremely simple melody to the following text:

Disrobe him, then he'll heal.
And if he fails, so kill him!
'Tis but a doctor, 'tis but a doctor.

Then I was disrobed and I looked upon the people, my head bent forward, my fingers in my beard. I was completely composed and superior to all, and things remained as such, although this helped me in no way since now they took me by my head and feet and carried me into bed. Against the wall, on the side of my wound, they laid me down. Then everyone left the room; the door was shut; the singing stopped; clouds appeared before the moon; the bed covers lay in warmth around me; and like shadows the horse's heads were swinging in the open windows. 

"You know what," I heard spoken in my ear, "I have very little trust in you. You got shaken up somewhere, and you can't get back on your own two feet. Instead of helping, you're crowding me in upon my deathbed. I'd love to scratch your eyes out." 

"Right," I said, "this is all very scandalous. Yet I'm a doctor. What should I do? Believe me, it's not any easier on me." 

"Am I supposed to content myself with this apology? Oh, I suppose I'll just have to do so. I'll always have to do so. I came into the world with a lovely wound; this was the only provision I received." 

"Young man," I said, "your mistake is that you have no perspective. I who have already been in all the hospital rooms far and wide, I say to you: your wound is not that bad. Two strokes with the sharp end of an axe. In the forest many cutters turn to the side and do not hear the axe fall, much less approach." 

"Is that really the case or are you deceiving me in your febrile state?"

"That is most certainly the case. Take the word of a public health officer."

And he took it and fell silent. But now it was time to think of my escape. The horses were still loyally at their places. Clothes, fur, and medical kit were quickly rounded up; I didn't want to delay myself by putting on my things; the horses raced back as they had raced here, and in a way I was going to jump from his bed into my own. One of the horses stepped back from the window obediently; I threw the ball back into the carriage; the fur flew too wide; only one sleeve held on a hook – good enough. I swung myself onto the horse. Rubbing the straps loose, one horse barely tied to the other, the carriage straying behind, then the fur dragging in the snow. "Faster!" I said, but faster we did not go. Slowly like old men we drove through the snowy desert; for a long stretch behind us sounded the new, insane song of the children:   

Be happy, you patients,
The doctor has come into your bed!

I had never come home like this; my booming practice was now lost; a usurper arrived, but unnecessarily since he could never replace me; in my house raged that repulsive stable boy; Rosa was his victim; I did not want to think of the consequences. Naked, exposed to the frost of this most unblissful of seasons, with earthly carriage and unearthly horses, I, old man, drove around. My fur hung behind on the carriage, but I couldn't reach it, and from the rabble of patients not one of them even moved a finger. Betrayed! Betrayed! Once you've followed the night buzzer mistakenly, there is no going back.

Thursday
Mar132014

Rilke, "Wer verzichtet, jeden Gram zu kennen"

A work ("He who forsakes to know each grain") by this Austrian poet.  You can read the original here.

He who forsakes to know each grain,  
That sobs in fonts with gushing force, 
Will not produce the Holy name              
Which touches him and swerves its course.

And we alone shall thoughts express –   
So close were we to her who left,                         
To her whom God's delight caressed –
When life and love from her were cleft. 

The emptiness of our remove,
Dark hours surround in hollow fence,
Becomes but shells in which a fugue
Drones on.  And yet we hardly sense

How in unmeasured time's clear lens
Pipe organs hum, built to be soft,
Cantatas come, an angel bends
To sudden sounds he knew too oft.

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