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Posts Tagged ‘symbolic women’

Friends and readers,

I’ve put off writing another blog on Ferrante since my first so long ago on her Days of Abandonment, I fear I’m too late to join in on the controversy that exploded in 2016 about her supposed anonymity.

Not bothering to disguise a vicious attack on this author, Claudio Gatti made a strong case that she was Anita Raja, known publicly thus far for her sympathetic translations of Christa Wolf (which she has written about), and then proceeded to do all he could to characterize her as a liar, someone trying to attract attention, and insinuate her husband, the Neapolitan writer Domenico Starnone, may have “helped” write her novels (see Alexandra Schwartz of the New Yorker, “The Unmasking of Elena Ferrante”). Reviewers and critics, especially when women, defended her right to be anonymous ferociously (Jeannette Winterson}: it was an attack on her as a woman writer; others said they couldn’t care less who the writer is, and it made no difference to know accurately the life or about the character of an author insofar as this is possible. People became mystic over how the mystery added to the books deepened them. Some said the novels are nothing but chick-lit, or they are the usual tired sentimental stories about women as victims. Look at the covers; in a more nuanced ways, objections were made to the paradigm of the abject, half-mad vulnerable heroine (Days of Abandonment), the raw language and anger (Troubling Love), the repetition of a very few motifs over and over (it was suggested this is common with a certain kind of woman’s novel).

Other praised the books strongly, showed how deep and nuanced each of the texts, how the Neapolitan novels were only pretending to be large depictions of a social world: Ye a the same time a depiction of a violent still fascist corrupt order; all agree elusive, with Ferrante’s abiding interest the inner life of women (Lidija Haas, TLS: “Closet Conservative or Radical Feminist?” — no longer available to the public).


Anita Raja

When the dust settled, we were still left with the troubling reality that Ferrante’s Frantumaglia, which she presented as truly autobiographical, is from a concrete standpoint, knowingly untrue in places; recent contradictions where she seems to want to be recognized (an introduction to Austen’s Sense and Sensibility where she said she was strongly influenced by Austen’s doppelganger and novels in general), and worse yet, continued repetition in respectable books that Ferrante’s texts could be written by her husband (Karen Bojaar who seems not to know that female friendship is a common topic for women writers).

I, for one, am glad to know who she is so as to throw light on her literary world, outlook, and also gladdened by her refusal to commercialize her life (I believe her as I notice many ordinary commentators do not), sell her books, alienation from the capitalist values of her society, value for privacy. Yet her attempts to shield herself and protest the norms and values of our violent patriarchal society have backfired; critics like James Wood read her all wrong because they want to de-gender her texts


Ann Goldstein who also translates Primo Levi

Put me in the camp of those who find true genius in her novels; who think she wrote them unaided by a husband, find in them the strengths of the best l’ecriture-femme (so she belongs to traditions of women’s texts, read Rebecca Falkoff), and am (alone may be) enchanted to think she translated Wolf’s great anti-war essays Cassandra, her autobiography, her touching historical fantasy set in the later 18th century, No Place on Earth into Italian. Yes they have some flaws: they are not intended to be Tolstoy-like depictions of society that finally neutral but the social order analysed and felt on the pulses of her heroines in the different stages of their lives.  I love reading Italian and have three of Ferrante’s books in the original Italian. I find Ann Goldstein’s to be good translations : she captures the elegance more than the raw but she gets enough there an has her own elusive tone too. When you think you are reading Primo Levi in the most recent English editions, you are reading Goldstein’s translated English.


La figlia Oscura

Since being so riveted by Days of Abandonment, I’ve read Troubling Love (a raw, bitter expose of the life of her mother, a woman continually beaten by her husband, taking revenge out on the daughter until the daughter escaped), The Lost Daughter aka La Filia oscura (quiet elegiac, a woman academic now divorced comes with her student papers to a beach after her daughters have chosen to stay with the father, fantasizes and steals a young girl’s doll) and The Beach at Night (a nightmare vision disguised as a child’s book), and some of the essays in Frantumaglia (brilliant political analysis of fascism in Italy, explications of her books and her stance for alienation).


The Beach at Night

A truly terrifying book. Masquerading as a children’s story, it is a kind of prose poem where a doll is left behind on a beach in favor of a kitten the child has been given a present of. The doll gets covered with sand, is treated badly by a Mean Beach Attendant, ends up laying next to a dead beetle with his feet up (shades of Kafka’s metamorphosis, is set on fire at one point, then doused with water, come near drowning. She is abandoned, deserted, motherless. I cannot imagine anyone giving this book to a child, European or not. I remember when by mistake (or not knowing) I bought the first Barbar book for Laura; she was traumatized by the sudden death of the mother elephant, shot wantonly and without warning by a hunter. It took hours for her to calm down. This is a distillation of Ferrante’s deeply powerful novellas before & her Quartet.

Now at last after having listened to My Brilliant Friend as translated by Goldstein read aloud, and watched avidly a couple of times all eight episodes of the recent HBO film, I’ve read this first book of the quartet slowly — as lovingly as I once read Elsa Morante’s Historia so feel I am qualified to speak, though I’ve not much to say: it’s a novel centered on a doppelganger (like Austen’s Sense and Sensibility) where the tragic heroine is Lila (Raffaele, and her counterpart, the luckier (because sent to school and then allowed to find an identity where she can try to fulfill her gifts an individual), Lenu (Elena).

As I read I recognized analogous events and experiences and thoughts and feelings to those I experienced as a girl-child growing up in the working class southeast Bronx and then Richmond Hill High School in Queens (both NYC). While at first I was turned off by Lila’s temptation to get back at the world through malice, wild anger, spite, withdrawal, even revenge on her friend, gradually I recognized the source for all this as the source I had known that turned me into an isolated teenager. Lenu too I recognized myself in. I had — as have so many girls — even read Little Women over and over and recently discovered so did other girls who now women I count as among my friends. So I became deeply invested in the book.


L’amica geniale (Italian title emphasizes the girls’ deep congeniality)

The awfulness of Lenu’s mother, the successful attempts of her teacher to rescue her, the experiences of the girls in the streets dominated by sexually and socially anxious-domineering males, what parties and schools are like, but above and especially the girls’ responses to one another amid all this take us through the childhood and young puberty of a girl. The sexual experiences Lenu has on the beach with Donato Sarratore, the older man who takes advantage of her after her luxurious and intellectually awakening summer at Ischia (she reads much of the time, learns not to be ashamed of her body, to swim too, falls in love with the intellectual Nino) re-taught me about my own. The climax of the book is a fireworks display on a roof after a dance where the each of the personalities and values of the different characters are exposed as they take a turn into young adulthood.

Since the common cover of My Brilliant Friend is now this stereotypical bridal gown and wedding party seen from the back, let me emphasize this: at its close the book mounts an uncompromising attack on everything having to do with a wedding, every hypocrisy, and how its meaning far from giving a girl access to a new wonderful life, cuts her off utterly from herself, and can be the first step in a life-long imprisonment.

Ferrante’s book is about how social life attempts to destroy, or repress or distort the best that was in one young woman innately and distorts the life of another) or she truly doesn’t mean us to care about these other characters as she, like Lila, silently cannot stand their norms and values.

A couple of incidents where I felt so moved and the film adaptation tried to capture. Unexpectedly (to Lenu), Lila wants Maestra Oliviero to come to her wedding. From the point of view of Lenu and probably everyone in the world Lila has done nothing to catch the woman teacher’s attention, compel her liking or respect, yet how badly she wants her to come. When she comes to the door, although Lenu has given us enough to feel Oliviero does remember Lila (because she says she dislikes her) she is very cruel, says you are not “Cerullo” I don’t know you, don’t want to come.

I identified and understood wholly how Lila could be crushed. In my life analogous incident have happened to me where in my mind I so admired someone for their intellect or position in a school and thought (naively) they valued me and was taught that no, unless you obey the world’s rules and do something to make yourself valued the world gives prizes too, you maybe insulted, cut off. I had some hard lessons in high school this way. Lenu is right to say Oliviero is “a mean old lady,” but we are given to know she would be miserable at such a wedding too. Lila might not see this.

I don’t know what a “speech master” is at an Italian wedding but guess it is a important function of announcing the people who speak. (These speeches are more than half phony and I wish the custom had not grown up recently.) Stefano, Lila’s bethrothed insists it shall be the chief crook of the neighborhood, the Solaro father, Silvio. At that Lila also breaks off the wedding altogether after all that has been done. Only Lenu can get her to change her mind, “seduce” her is how Lenu puts it. So she is acting as a Satan — the argument that persuades or seems to is they must not judge their generation by the older people, and Stefano is different. But from the dialogue we see Lila is sensing she is making the worst mistake she can. Stefano she says loves her “only when I don’t put real money at risk.” That’s important — money comes first. Lenu says she is able to rebel momentarily as she did in school as the authority of a religious teacher, but she caved, and what would happen to Lila if she returned to “the pale ponytailed Lila, with the narrowed eyes of a bird of prey, in her tattered dress.” She is admired by all now in her Jackie Kennedy icon look with dark glasses. During the (tellingly) long but boring ceremony Lenu knows her mother thinks Lila is doing infinitely better because at 16 she owns a flat, has this refrigerator and so on.


Lenu and Nino (walking together in school)

Everyone so overdressed, the only person not is Nino (who we are to have identified as the one true partner for Lenu apart from Pasquale who, fool in this wya, preferred Lila for her looks not her mind). But is he true to himself either dressed in such dishevelment? He comes so his mother overdressed can come; somehow she is slightly disgraced because her husband is blamed for the profoundly distressed Melina. Lila’s parents look well for the first time Lenu ever saw: the father’s Randolph Scott face (so many connotations there) and the mother all in blue. Note she kept away from most of the fraught conflicts. But one she invites: inward. She asks if her essay has been published, but discovers it was not included. Like Lila, she is a girl, comes from the wrong family or school, so it will take a lot more than the school certificate to gain a place in a community she might hope to fulfill part of herself in.

In that dress as Lenu dresses Lila she feels Lila is “the body of a dead woman.” what are they going to all this trouble for: so at night the young man can ram his penis into this 16 year old and perhaps ruin her beauty with a pregnancy.

A deeper incident which does not appear to crush Lila at the time is that these shoes she and her brother made so lovingly are not sellable – no one will buy them. They are dream shoes of young children wishing to have upper class stigmata on their clothes. No one in the neighborhood has the money; outside the neighborhood they make uncomfortable and they will not buy them. Stefano won Lila because he put all this money into the shop and now we see ahead that Rino who seems to be all important for real in Lila’s life will be a failure. Note that he was allowed to beat her

What will become of me, says Lila to Lenu. The answer is you will be destroyed — we see that in the opening chapters of the book where in older age she is vanishing in an attempt to escape a no-good son.

This is an extraordinary women’s book; it’s not recognized for what it is because it’s not explicit in the way Christa Wolff’s are — which books Ferrante translated.

Diane Reynolds wrote to WomenWriters@groups.io about this ending as follows:

The tragedy is that Lila has no other real options but to marry this awful man. The way the teacher rejects her reinforces that. Lenu does act the role of Satan—but what else is there for her friend? What Ferrante makes so relentlessly clear is that Lila would have been destroyed to if she had returned to the self in the tattered dress. The neighborhood/neighbors would have destroyed her. This is great literature because Ferrante shows us step by step that Lila is doomed—as doomed as Oedipus. It’s deeply poignant too. The friendship is remarkable—the one thing Lila has that is pure or as pure as anything can be in that world. I was so moved by the scene—which I did not take as sexual at all—when Lila has Lenu bathe her. She wants her friend as witness to what she was bodily before she is destroyed—she knows she is going to be destroyed by the marriage as much as any soldier going into a doomed battle. And yet the shock is that it happens faster than she imagined—at the wedding

As for the film adaptation: I’ll begin with Episode 2 (I won’t go through them all): The Money — and high brutal violence at the core of this world. Done in a muted black-and-white, it is in color but they are so muted. To give the impression of heat, chalk, lack of any beauty anywhere …. No trees, nothing to soften, make any beauty, or refreshment for the eyes.

I took the title to refer to how money is controlling much of the behavior we see. While the teacher feels that Lila’s family can afford just as surely (or just as little) to send her on to middle school as Lenu’s parents do, the money while an excuse is real. These people are poverty-stricken and the wretchedness of their existence comes from money, lack of it. The whole milieu reminds me of the southeast Bronx, where I grew up, circa 1950, only the patriarchy is so much more overt, fierce, the women more desperate and/or angry and taking out their misery on those they can prey upon or feel envy for: Lenu’s mother is awful and I for one am glad this portrait was not softened. In the book it explains some of Ferrante’s early deeply disquieted and troubled books: Troubled Love, the Lost Child. I wonder what was Ferrante’s relationship with her mother (and now her daughters – but that’s these other books and later in this series, the second). Lila’s mother is guilty but she is herself in accord with her husband, except when he throws the Lila out of the window.

What I like is it is a portrait of two girlhoods shared. Not like that movie this summer which gave a boyhood acted out by a girl with a mother there for disguise. Girls do let one boss another and Lila is the dominating one. she says let’s throw the dolls down the basement, now let’s see Achille, and then hide the money. I feared they would lose it and would not have give in to Llla then. The buying of Little Women is an allusions: girls’ book! we are told about girls growing up. I went back to the book and yes it’s Little Women all right: in the movie the Italian is back-translated into Alcott’s English. I have a copy of Little Women in Italian which I picked when in Italy in 1994 with Jim and my daughters — on a stall. It must be a popular book — well circulated. I was touched at how they read and reread — that’s what I did.

I would not have given in to Lila to walk to the sea – -I might not be a dominating girl in a relationship but I won’t be dominated. Still the whole sequence gave us a breath of fresh air, Suddenly the movie opened up. The houses are sets, and now we were on location somewhere. Alas Lila was trying to hurt Lena: she knew they couldn’t get there and hoped to get the girl in trouble. She succeeded. So spite. She is trying to one up Lenu so write a story, the blue Fairy. I feel for her because she does never have a chance to get out of this rotten culture. School here is seen as a central lifeline to a better world.

The episode was coherent, held together by the girls’ inner world together and their trajectory — and it began and ended on Achille, killed at the end, perhaps by a woman.

Yes high brutal violence is at the core of this society. And money. When the group finally is old enough to walk in Naples, they find they are outsiders, with not enough money to buy a meal in a restaurant.

For further episodes see comments: 3, Metamorphosis; 5, The Island; 7, The Engaged Ones.

Ellen

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Vivian Maier from the archive and film by John Maloof and Charlie Siskel (review by Manohla Dargis: “Nanny as Sybil”)


Yalitza Aparicio as Cleo in Alfonso Cuaron’s Roma (review by Richard Brody: “There’s a voice left out”)


Sally Mann: What Remains, a film directed by Steven Candor, reviewed by Ginia Bellafonte)

Finding Vivian Maier, a complex film about a complex woman surrounded by complex people. As in the film, Kedi, on cats in Istanbul, the portraits by interview of those Vivian lived with as remarkable as the couple-of-hours portrait and Vivien. Another great poet of the camera (Dorothea Lange, and Annie Leibovitz the two I wrote of earlier this winter season). I allude to Cleo in Roma whose voice is also unheard for the most part; I bring in Sally Mann, about whom at OLLI at Mason this winter we also saw a film about; I used an Emily Dickinson poem as suggestive explanation …..

Friends and readers,

This was a season for nannies, from the meretricious new Mary Poppins, to the (however silent) heroicizing of Cleo (the film has now won the Bafta for Best Picture), and at OLLI at Mason, John Maloof’s slow emerging portrait of Vivian Maier, a brilliant street photographer, amateur in the best sense: she took pictures as a vocation, as a quest to record the actual world around her, seemingly against being ignored. In life “we” may not have paid any serious attention or respect to her, but she paid alert attention, respected unsentimentally us. I’ve blogged twice on Ellen and Jim have a blog, two, about a course I’m taking in films about women photographers: the first on Dorothea Lange; the second, Annie Leibovitz. Last week was Sally Mann, and this Vivian Maier.

It is so hard to tell original fine sincerely-meant authentic art & a film about it from the exploitative (which I think Mann’s photos of her children may be, carefully, it seems, posed like Diane Arbus to arrest our attention, shock, voyeuristic); and from the well-meaning compassionate and true to memory and actual experience (Roma) film.  If the criteria is selflessness, impersonal and distancing, so varied and yet intimately observed, Maier’s photographs pass the test. Just look at some of them on Malouf’s website. I was by turns riveted, bemused, fascinated, put off (some are too Diane Arbus),


A common type by Maier: the older hard over-dressed rich woman walking in the streets: here our eye is made to look at the unfortunate mink whom her camera makes look so alert, alive, sad …

touched,


Young black man looking up with a sort of uncertain hope, Central Park

fascinated by the enormous unexpected variety of images. Like Dorothea Lange’s of a terrified horse, this one of young African American riding a horse down a New York City Avenue under a raised subway is a revelation, though quite what of I can’t say:

There are photos capturing tragic existences: a black man who is a beggar on the street and has no legs. Vivian can capture the self-satisfied arrogance, or hardness of a face, someone all body or all clothes whom we grasp is all carapace. The ridiculous. She was liberal in her politics. Asked by someone what or who she was, she said “a sort of spy.”


I’ve walked in just this square in Central Park (which I so love) many times, including during snow

Her story is now well-known: the film is set up as a sleuthing expedition so there are ironies along the way: the professor who invites us to read his Ph.D. dissertation which he suggests proves his point that Maier had a faked French accent is followed much later by Malouf finding that Maier was born in a small village on February 21, 1926, in France, traveling there, meeting what’s left of her family, photos of her and her mother. At first we feel for the exploited nanny who is low paid and over-worked but gradually it emerges her employers were long-suffering and generous too: they gave her enormous space for her hobby, one made friends with her, another let her be part of the family. She worked briefly for Phil Donahue. Then we learn that she could be mean and cruel to the children under her care, and probably had had some traumatic experience in her teens, perhaps from a man.


But here with her charges she reminds me of my aunt and my cousins (and me) circa the Bronx, 1950s

She sought out pain — as when she insisted on photographing animals about to be killed to be made into meat or clothes (sheep).


Avert your eyes


She still has pride and dignity intact

She was utterly silently gregarious, and at the same time solitary. Someone says she dressed like one would expect a working class women in the Soviet Union, 1950; I think she looks more like someone from a lower middle class village in France. She would have been in dire distress late in life but that two people whom she was nanny for supported her.

There needs some explanation for her insistence on utter privacy, her never trying to publish her photos that she takes obsessively and ceaselessly that they are the point of her existence. I know how hard it is to publish, how hard to interest people, negotiate, how they judge you immediately as to class, rank, self-esteem. But she never put herself forward in any way at all.

She died before Maloof found and sought out and put together her corpus; she left only a few precious written documents; so it’s just us, the gov’t and church records, and 100,000 photographs.


The pity for the child afraid and the child neglected is palable

There are just so many sites on the Net of her photos, and I’ve casually counted what looks like 6 excellent books. I am (as usual) late, this time four years: the film was produced and received its nominations awards in 2019.

The New York Times critic of the film is too hard on Maloof as a salesman. It is true that Maloof is now making a living from his find, but he worked long and hard — though my guess is he had money inherited or given to him at some point during the years of sheer gathering (including looking everywhere and anywhere, from flea market to garage, finally to those she worked for one of whom had kept the material in a huge container), archiving, scanning. Maloof began on line with a blog, then twitter. He couldn’t get museums to take an interest for years, and even now after some hugely successful exhibits, he has not found a permanent home for Maier’s legacy. I spoke of Roma on my Sylvia II blog, and don’t want this blog on Maier to go on beyond what’s necessary to alert someone who may not have heard of Maier.

I’m ceded, I’ve stopped being theirs;
The name they dropped upon my face
With water, in the country church,
Is finished using now,
And they can put it with my dolls,
My childhood, and the string of spools
I’ve finished threading too.

Baptized before without the choice,
But this time consciously, of grace
Unto supremest name,
Called to my full, the crescent dropped,
Existence’s whole arc filled up
With one small diadem.

My second rank, too small the first,
Crowned, crowing on my father’s breast,
A half unconscious queen;
But this time, adequate, erect,
With will to choose or to reject,
And I choose—just a crown
— Emily Dickinson, refusing to accept the identity imposed on her, choosing another; what did Vivian move around the world for?

I also ask the serious question of photography, when is it art, if always, what kind are Mann and Liebovitz’s work. Lange I think is beyond question a great poet of images and after looking at Malouf’s site I trust you’ll agree that Maier is an authentic sincere heartfelt and ironic poet too. I don’t want to be hard on Mann: read her site and you discover, one of her sons killed himself.


A rare color photo

Ellen

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Mary, Queen of Scots: Ismael Cruz Cordova, Maria Dragus, Izuka Hoyle, and Saoirse Ronan in intimate flirting friendship scene

Don’t miss the latest Mary Queen of Scots: while it has its flaws, it is very much worth the watching. This is a must-see to gauge the sharp changes in the depiction of this icon once again. What makes the film intelligently different and interesting is it more or less follows the outline of a serious good biography of Mary by John Guy. … Each phase of Mary’s career is dramatized. Elizabeth as icon is also traced. After being initially all pageant, the stories are effectively dramatized. I disagree with some of Guy’s interpretation (especially over Bothwell) and say why. Moray’s importance emerges. There are fine performances, wonderful color palates.

Friends and readers,

Quite a number of women, even queen-centered films this winter: two on Ruth Bader Ginsburg (RBG, On the basis of sex), two on nannies, one poor and absurd, the other a masterpiece (Mary Poppins, Roma), the courageous reporter (A Private War), and the big budget costume drama variety updated to include what might seem to be uninhibited sex scenes: The Favourite, and Mary Queen of Scots. I’ve been nearly alone in calling out The Favourite for its repulsive, gut-level anti-feminism and have mentioned only in passing what makes Cauron’s Roma a compelling masterpiece. Josie Rourke’s Mary, Queen of Scots (the screenplay has as little complicated language as one could get away with so as to keep the film popular) shows some of the same obsessive masculinizing violence in women as The Favourite: Ronan as Mary is depicted on horse wherever possible; she’s as eager to shoot something as any of the crowd of men that crowd in, dominate the movie-screen. Still, I recommend going to see it, even if you are not fascinated and interested in this Tudor-Stuart Matter. If you are, this is a must-see to gauge the sharp changes in the depiction of these icon queens once again.

Mary is still or once again the victim; her downfall is once again (made explicit in this film) her erotic engagement with men, marrying, bedding, thinking she can rely on law and custom (towards divine rulers) to control rivals. Elizabeth has returned to her 19th century role as perhaps Machiavellian, and ghastly dried-up old maid by film’s end (because she must be this way since she never married, never had children).


Elizabeth with Dudley (also called Leicester)

During the film punctuating Mary’s story are swift suggestive moments of Elizabeth, now with Leicester (Joe Alwyn called Dudley), now Cecil (Guy Pearce); she gets small pox and looks just hideous for a time. Staring down at flowers because she hasn’t had children:

The scenes with Elizabeth are too stilted — popular depictions just don’t want to give Elizabeth I credit — in literary studies we have gone beyond choosing sides … but it is very rare for anyone to present her as the brilliant political success story. If people really wanted a heroine who made a success out of grim beginnings (including as a teenager harassment by her step-mother Catherine Parr’s husband, Thomas Howard, and accusations by Mary Tudor of plotting against her), it’s Elizabeth Boleyn Tudor.


Margot Robbie as the aging Elizabeth: a clown-face of grief (very similar to the way Elizabeth appeared in a recent Metropolitan opera production of Donizetti’s trio)

What has changed to make this pair once again palatable to the 21st century female film-goer? Make no mistake this is a film intended for women: when I went the audience was all women, except the husbands who came along: it was playing alternatively in the same auditorium as On the Basis of Her Sex (even in local art cinemas women’s art ghettoized). Nothing much for Elizabeth. For a while it seemed she was becoming the sentimental queen, first in love with Leicester and then Essex (Helen Mirren’s film with first Jeremy Irons and then Hugh Dancy as Essex); but here we revert without even giving Elizabeth any Machiavellian traits. Mary has changed; she is now ceaselessly pro-active, aggressive, and free of conventional restraining conventions and beliefs (see anibundel’s accurate assessment for NBC), at moments fierce.

This is the new type heroine from Offred/June in the second season of Handmaid’s Tale, to Demelza Poldark in the rebooted version, to Brianna Fraser in Outlander. Feminism turns out to be doing what you want, and complaining when you can’t.


First impression

What makes the film intelligently different and interesting is it more or less follows the outline of a serious good biography of Mary by John Guy. So you can learn where the icon has moved now. Each phase of Mary’s career is dramatized: however briefly, her time in France and first husband, Francois. The nature of her relationship with Darnley (Jack Lowden, he was central to Dunkirk and can be seen in good BBC serial dramas), her second husband: at first she did fall in love with him, but when she saw what a dullard he was, and felt his attempts to domineer and control her, she turned to her musician, David Rizzio. Apparently nowadays Darnley is “accused” (the word is accused) of homosexuality and in this film has sex with Rizzio. That was not part of the narrative in the older books and the way it’s presented here shows homophobia is by no means gone from movie audiences. We have the two murders, first Rizzio, horrifically violent with Mary pregnant there. Time for touching scenes of her with a baby boy, and (much later) a poignant effective scene of her being forced to part from an older child and him crying for her.

and then Darnley in the courtyard. In this version Mary is not at all guilty of Darnley’s murder, not even complicit.

I’m someone who has been reading biographies of Mary Stuart, Queen of Scots since I was 18, and I know in the older biographies Mary was either accused of plotting to kill Darnley (pretending just collusion) as revenge and also simply to get rid of a nuisance; or she allowed it to happen. So the film whitewashes her here. More importantly, it denies she was in love with Bothwell. I remember being thrilled by Stefan Zweig’s, and then disagreeing with Antonia Fraser’s first revisionist story. It was she who began the idea that the letters Mary is said to have written Bothwell, her third husband: these first surfaced, suspiciously enough in a casket after her death, and were used to damn her as a “harlot.” Alison Weir’s best-selling biography makes the case for them as basically false and forged, conceding only there seems enough reality in them from Mary that they might be a set of letters tampered with and re-written.

Here is one of Mary’s poems, whose provenance no one has doubted:

Que suis-je hélas? Et de quoi sert ma vie?
Je ne suis fors qu’un corps privé de coeur,
Une ombre vaine, un objet de malheur
Qui n’a plus rien que de mourir en vie.
Plus ne me portez, O ennemis, d’envie
A qui n’a plus l’esprit à la grandeur.
J’ai consommé d’excessive douleur
Votre ire en bref de voir assouvie.
Et vous, amis, qui m’avez tenue chère,
Souvenez-vous que sans coeur et sans santé
Je ne saurais aucune bonne oeuvre faire,
Souhaitez donc fin de calamité
Et que, ici-bas étant assez punie,
J’aie ma part en la joie infinie.

Then a good modern English translation:

Alas what am I? What use has my life?
I am but a body whose heart’s torn away,
A vain shadow, an object of misery
Who has nothing left but death-in-life.
O my enemies, set your envy all aside;
I’ve no more eagerness for high domain;
I’ve borne too long the burden of my pain
To see your anger swiftly satisfied.
And you, my friends who have loved me so true,
Remember, lacking health and heart and peace,
There is nothing worthwhile that I can do;
Ask only that my misery should cease
And that, being punished in a world like this,
I have my portion in eternal bliss
— from an excellent Mary Stuart site.

The denial of the letters depends on ignoring Mary’s poetry, a whole body of lyrics and sonnets in French, a number to a lover-husband who could be Darnley but it more likely Bothwell. The Casket letters come from the same mindset of self-doubt, self-berating, depression behind the French sonnets, both religious and of of enthralled love. Yet a third infatuation (the first Darnley, the second Rizzio) does fit Mary’s character and makes sense of events after the murder of Darnley — some time elapsed — and Mary’s flight to England. One of the sites (dungeon tower fort) I saw in the border country of England and Scotland (debatable land) is presented as famous for Mary coming there to meet with Bothwell. She probably did. Many feminists just don’t want to believe in the casket letters. Sophia Lee’s powerful Recess (early gothic novel, 1782) about Mary’s unacknowledged twins by Bothwell doesn’t help increase belief since this romance is as fantasy and erotically driven as Outlander.

Nonetheless, there is credible evidence of a late miscarriage (or some illness) — from Bothwell (Martin Compston here), because who else? She was not promiscuous. In the time after Darnley’s murder, and Mary’s imprisonment, Mary did enter into the civil wars that her presence and poor (non-)diplomatic acts (like trying to get Catholicism accepted by showing herself tolerant of protestantism) engendered. She did fight with Bothwell too. In the film she is forced to marry him. But who would do that? it was not in her step-brother, James Moray’s interest (yes that’s James McArdle inside all that hair and beard). In the film she is (confusedly forced) and we see Bothwell rape her; this moves rapidly and the man we remember (rightly too) is Moray.

The film moves rapidly into Mary and Bothwell’s defeat by Moray. All along we’ve seen Knox inveigh against her: she is not legitimately the monarch because no woman can rule, because she’s Catholic (Mary tried to use the “toleration” card — she would tolerate all Protestanism but as this did not work for James Stuart II more than a hundred years later, it did not work for her) and anyway is a “harlot.” David Tennant offers a fierce old man (he too almost unrecognizable because of flowing hair and beard). Now the two sets of armies converge, and we fast forward to a council which in effect de-thrones her, gives her son to Murray, and leaves her isolated.

Next her on the shore with what ladies are left; cross to England and incarceration awaits her. Montage takes us through uncounted years (during which we see the aging Elizabeth grieve over her lack of child, writhe over the demands she execute Mary) and we have the confrontation, which never took place, first invented by Schiller. It is done at length in this film, and Mary (somewhat improbably) is driven at last to insult Elizabeth by telling her she Mary is the rightful queen. I agree that Mary Stuart thought Elizabeth a worthless bastard when it came to rank or illegitimacy but even she never would have thrown this idea in Elizabeth’s face.

The film opened up with the execution scene, and we revert back, re-see some of it, but this time are taken through the beheading and gruesome carrying of a head. Saoirse Ronan is accurately dressed: Mary did get herself up in black with white lace, pull the outer gown to reveal a martyr’s red shift. And so it ends with Elizabeth sitting there hollowly: this icon goes back to Scott, but in the 20th century was first realized by Bette Davies her film of Lytton Strachey’s Elizabeth and Essex (recently re-done with Helen Mirren in the parts as a sympathetic sentimental queen first loving Leicester and then the treacherous Essex).

All that said the movie is worth it. The music is good, the color palates fascinating and effective.  Grey and blue for Mary except when happy, then warm reds, oranges, golden light; garish red and greens for Elizabeth, cool white light. (Too much computer enhancement on Scottish scenery.) We see how Mary as a young woman could not realize all the pretense of respect when she first arrived in Scotland was fragile veneer. We see how Knox’s fierce anti-feminism was her first obstacle, which she failed even to address. The film however indirectly and as a sort of bye-blow of what’s happening that it was James Moray, her step-brother, who played the pivotal role at important moments and ends up inheriting the throne as regent and the boy as his ward. The film begins as grim and then luxurious pageant and progresses to dramatic effectiveness, with many effecive performances, e.g., Brendan Coyle as Darnley’s father; a couple of the actresses as one of the four Marys. The two queens are juxtaposed repeatedly, twinned

I would like now to read John Guy.

Ellen

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Drums of Autumn (detail from original 1996 cover)

Friends and readers,

Having queried three lists, I discovered that there is very little in the thousands of pages Diana Gabaldon wrote for her Outlander series on Christmas. The rational presented for this is that in Scotland after the repression of medieval customs by the Presbyters, hardly anyone keeps Christmas. Instead the winter solstice is celebrated on New Year’s Eve and day as Hogmanay. I pointed out that Catholics surreptitiously kept up Christmas even in the later 17th century in Scotland (see The Days of Queen Anne [Hamilton]), and that parts of the Outlander books occur in Boston and North Carolina. I was told that in A Fiery Cross (No 5), there is a brief mention of Christmas, Jamie gives Claire a kitchen utensil that looked to my eyes like a thin spatula, and a celebration of Hogmanay occurs (Chapters 31-33). As far as I could tell, the emphasis is not only this ritual holiday.

But there is a long passage in Drums of Autumn where a Christmas story is made doubly central. I’ve linked in the story line of this fourth Outlander novel, and baldly retold the way it’s being dramatized this year – without the many interludes – the novel seems ridiculous. Jamie mistakes poor Roger for Briana’s rapist, beats Roger up badly, and with Ian, sells him to the Indians; Briana has become pregnant by Mr Bonnet (the actual rapist) and is almost persuaded to marry Lord John Grey, who happens to be visiting her Aunt Jocasta at River Run ….

What saves this resort to patently obvious contrivances are these long interludes where little overt action in term of story moving occurs and we get long meditative sequences, sometimes about a victim they come across, sometimes an idyllic fantasy of Gabaldon’s own, e.g., Jamie and Claire walking in a lush forest come across a field of strawberries. There are sequences where the idea is to present them as colonial settlers, coping with the different classes, upper establishment and middling rebels (against unfair taxes), floating down river, building their house, furniture, getting stock together, he hunting, she sewing.


Outlander winter landscape

In one of these where they are building their home together, he goes out in the night to bring back an animal to cook for a meal, and seems never to return. It’s late December, snow everywhere. She worries after several hours and goes to seek him. She finds him wounded and nearly frozen in a sunken sort of meadow. Claire tells Jamie Dickens’s A Christmas Carol to help keep him awake and both of them warm while they are stranded in the snow late in December, having built themselves a nest out of logs, leaves, their cloaks; and where she remembers also being stranded in the snow more than 20 years ago inside a car with Frank and Brian as a child where Frank Randall told the story to Briana, with Claire filling bits, as they huddled in their car amidst blankets.

Here is the passage: Drums of Autumn, Chapter 21: “Night on a Snowy Mountain, December 1767


From the serial drama Outlander: Promotional Snow scene (not sure if this is Scotland or North Carolina ….)

Jamie’s hair and shoulders were lightly dusted with snow, and flakes were settling on the exposed backs of his legs. I pulled the hem of his cloak down, then brushed the snow away from his face. His cheek was nearly the same color as the big wet flakes, and his flesh felt stiff when I touched it.

Fresh alarm surged through me as I realized that he might be a lot closer to freezing already than I had thought. His eyes were half closed, and cold as it was, he didn’t seem to be shivering much. That was bloody dangerous; with no movement, his muscles were generating no heat, and what warmth he had was leaching slowly from his body. His cloak was already heavy with damp; if I allowed his clothes to become soaked through, he might very well die of hypothermia right in front of me.

“Wake up!” I said, shaking him urgently by the shoulder. He opened his eyes and smiled drowsily at me.
“Move!” I said. “Jamie, you’ve got to move!”
“I can’t,” he said calmly. “I told ye that.” He shut his eyes again.
I grabbed him by the ear and dug my fingernails into the tender lobe. He grunted and jerked his head away.
“Wake up,” I said peremptorily. “Do you hear me? Wake up this moment! Move, damn you! Give me your hand.”
I didn’t wait for him to comply, but dug under the cloak and seized his hand, which I chafed madly between my own. He opened his eyes again and frowned at me.
“I’m all right,” he said. “But I’m gey tired, aye?”
“Move your arms,” I ordered, flinging the hand at him. “Flap them, up and down. Can you move your legs at all?”
He sighed wearily, as though dragging himself out of a sticky bog, and muttered something under his breath in Gaelic, but very slowly he began to move his arms back and forth. With more prodding, he succeeded in flexing his ankles—though any further movement caused instant spasms in his back—and with great reluctance, began to waggle his feet.
He looked rather like a frog trying to fly, but I wasn’t in any mood to laugh. I didn’t know whether he was actually in danger of freezing or not, but I wasn’t taking any chances. By dint of constant exhortation, aided by judicious pokings, I kept him at this exercise until I had got him altogether awake and shivering. In a thoroughly bad temper, too, but I didn’t mind that.
“Keep moving,” I advised him. I got up with some difficulty, having grown quite stiff from crouching over him so long. “Move, I say!” I added sharply, as he showed symptoms of flagging. “Stop and I’ll step square on your back, I swear I will!”
I glanced around, a little blearily. The snow was still falling, and it was difficult to see more than a few feet. We needed shelter—more than the rock alone could provide.
“Hemlock,” he said between his teeth. I glanced down at him, and he jerked his head toward a clump of trees nearby. “Take the hatchet. Bi branches. Six feet. C-cut four.” He was breathing heavily, and there was a tinge of color visible in his face, despite the dim light. He’d stopped moving in spite of my threats, but his teeth were clenched because they were chattering–a sign I rejoiced to see.
I stooped and groped beneath his cloak again, this time searching for the hatchet belted round his waist. I couldn’t resist sliding a hand under him, inside the neck of his fringed woolen hunting shirt. Warm! Thank God, he was still warm. His chest felt superficially chilled from its contact with the wet ground, but it was still warmer than my fingers.
“Right,” I said, taking my hand away and standing up with the hatchet. “Hemlock. Six-foot branches, do you mean?”
He nodded, shivering violently, and I set off at once for the trees he indicated.
Inside the silent grove, the fragrance of hemlock and cedar enfolded me at once in a mist of resins and turpenes, the odor cold and sharp, clean and invigorating. Many of the trees were enormous, with the lower branches well above my head, but there were smaller ones scattered here and there. I saw at once the virtues of this particular tree—no snow fell under them; the fanlike boughs caught the falling snow like umbrellas.
I hacked at the lower branches, torn between the need for haste and the very real fear of chopping off a few fingers by accident; my hands were numb and awkward with the cold.
The wood was green and elastic and it took forever to chop through the tough, springy fibers. At last, though, I had four good-sized branches, sporting multiple fans of dense needles. They looked soft and black against the new snow, like big fans of feathers; it was almost a surprise to touch them and feel the hard, cold prick of the needles.
I dragged them back to the rock, and found that Jamie had managed to scoop more leaves together; he was almost invisible, submerged in a huge drift of black and gray against the foot of the rock.
Under his terse direction I leaned the hemlock branches fan-up against the face of the rock, the chopped butt ends stuck into the earth at an angle, so as to form a small triangular refuge underneath. Then I took the hatchet again and chopped small pine and spruce branches, pulled up big clumps of dried grass, and piled it all against and over the hemlock screen. Then at last, panting with exertion, I crawled into the shelter beside him.
I nestled down in the leaves between his body and the rock, wrapped my cloak around both of us, put my arms around his body, and held on hard. Then I found the leisure to shake a bit. Not from cold—not yet—but from a mixture of relief and fear.


Frank and Claire’s Boston apartment (Season 2)

He felt me shivering, and reached awkwardly back to pat me in reassurance.

“It will be all right, Sassenach,” he said. “With the two of us, it will be all right ….
“All right, all right,” I said. “What if I tell you a story, instead?”
Highlanders loved stories, and Jamie was no exception.
“Oh, aye,” he said, sounding much happier. ‘What sort of story is it?”
“A Christmas story,” I said, settling myself along the curve of his body. “About a miser named Ebenezer Scrooge.”
“An Englishman, I daresay.”
“Yes,” I said. “Be quiet and listen.”
I could see my own breath as I talked, white in the dim, cold air. The snow was falling heavily outside out shelter; when I paused in the story, I could hear the whisper of flakes against the hemlock branches, and the far-off whine of wind in the trees.
I knew the story very well; it had been part of our Christmas ritual, Frank’s and Brianna’s and mine. From the time Bree was five or six, we had read A Christmas Carol every year, starting a week or two before Christmas, Frank and I taking it in turns to read to her each night before bed.
“And the specter said, ‘ I am the Ghost of Christmas Past…’”
I might not be freezing to death, but the cold had a strange hypnotic effect nonetheless. I had gone past the phase of acute discomfort and felt now slightly disembodied. I knew my hands and feet were icy, and my body chilled half through, but it didn’t seem to matter anymore. I floated in a peaceful white mist, seeing the words swirl round my head like snowflakes as I spoke them.
“…and there was dear old Fezziwig, among the lights and music…”
I couldn’t tell whether I was gradually thawing or becoming colder. I was conscious of an overall feeling of relaxation, and an altogether peculiar sense of déjà vu, as though I had once before been entombed, insulated in snow, snug despite desolation outside.


Boston Christmas — Roger visiting from Scotland

A memory within this subjective narrative:

As Bob Cratchit bought his meager bird, I remembered. I went on talking automatically, the flow of the story coming from somewhere well below the level of consciousness, but my memory was in the front seat of a stalled 1956 Oldsmobile, its windscreen caked with snow.
We had been on our way to visit an elderly relative of Frank’s, somewhere in upstate New York. The snow came on hard, halfway there, howling down across the icy roads with gusts of wind. Before we knew where we were, we had skidded off the road and halfway into a ditch, the windscreen wipers slashing futilely at the pelting snow.
There was nothing to be done but wait for morning, and rescue. We had had a picnic hamper and some old blankets; we brought Brianna up into the front seat between us, and huddled all together under coats and blankets, sipping lukewarm cocoa from the thermos and making jokes to keep her from being frightened.
As it grew later, and colder, we huddled closer, and to distract Brianna, Frank began to tell her Dickens’s story from memory, counting on me to supply the missing bits. Neither of us could have done it alone, but between us, we managed well. By the time the sinister Ghost of Christmas Yet to Come had made his appearance, Brianna was snuggled sound asleep under the coats, a warm, boneless weight against my side.
There was no need to finish the story, but we did, talking to each other below the words, hands touching below the layers of blankets. I remembered Frank’s hands, warm and strong on mine, thumb stroking my palm, outlining my fingers. Frank had always loved my hands.
The car had filled with the mist of our breathing, and drops of water ran down inside the white-choked windows. Frank’s head had been a dark cameo, dim against the white. He had leaned toward me at the last, nose and cheeks chilled, lips warm on mine as he whispered the last words of the story.
“’God bless us, every one,’” I ended, and lay silent, a small needle of grief like an ice splinter through my heart. It was quiet inside the shelter, and seemed darker; snow had covered over all the openings.
Jamie reached back and touched my leg.
“Put your hands inside my shirt, Sassenach,” he said softly. I slid one hand up under his shirt in front, to rest against his chest, the other up his back. The faded whip marks felt like threads under his skin.
He laid his hand against mine, pressing it tight against his chest. He was very warm, and his heart beat slow and strong under my fingers.
“Sleep, a nighean donn,” he said. “I wilna let ye freeze.”


Three different covers thus far

This retelling is fun because so many readers enjoy realizing that we remember the story with others. I do. I feel less lonely tonight at the thought.

I am just now watching Outlander Season 5, episode by episode, and listening to Davina Porter read the novel aloud in car (audiobook in CDS) and next year, Season 5, I’ll again watch and listening to Porter again read the next novel, A Fiery Cross, and should be able to supply the scenes of Hogmanay.

Ellen

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From the National Bibliotheque: Marie-Jeanne Phlipon later Roland


Madame Roland, the last year of her life, a sketch from the life

Friends,

Marie-Jeanne or Manon Phlipon Roland (1754-93) was our fourth writer, witness, and in her case sufferer — egregiously unjustly imprisoned and executed woman — as a direct result of her public and powerful activity on behalf of her and husband’s political vision in the earliest phases of the French revolution. As I knew the probability was that none of the people in the room would ever have heard of Roland, I was very worried people wouldn’t even buy her book as too unfamiliar and therefore daunting. It turned out that Politics and Prose got in about 10 copies of the abridged Memoirs, chosen, arranged, introduced, translated by Evelyn Shuckburgh. And all 8 who stayed for the last 2 and 1/2 weeks read this book.


Paperback copy

She riveted people as she opened her book explaining how she came to be arrested, how she is treated (not with any particular respect to keep her separate form prostitutes to “great men”), and how she came to be there. And they kept reading the portraits of important French philosophes and politicians, the story line of being welcome into Paris to being pariah hunted down and out. Not omit the second half, her own private experience of life up to the time of her marriage to Marie-Jean Roland (they had the same name, backwards). More than one person declared what an irony that had she not been imprisoned, and not under threat of immediate execution, she would not have written this great masterpiece of a political autobiography. Perhaps the first one. She could not break through the taboo against women writing and publishing. Others agreed that it was more than a little naive) (insane) of her not to have fled as her husband, (chaste) lover and many others did once it was clear the Jacobins were going to arrest of them on charges of treason. She hoped people would admire her as an example, she’d be allowed to put her case forward publicly at the show trials at last. One memorable phrase was “Madame Roland sought all her life to be the author of her life.” Yes. Whatever it was, a deep determination to shape the conditions she lived in once her beloved mother died, together with luck or chance, and one older man, Jean-Marie Phlipon (1734-93), recognizing in her the deeply passionate reciprocating partner he had longed for — enabled her to become her best self and hold to that until the moment of death.

She came from the same artisan class Diderot and Johnson hailed from. Her father was a prosperous master engraver, her mother a fringe aristocrat, religious, had lost seven children before Marie-Jeanne was born and they lavished attention on her once they discovered how intelligent she was. She was studious, contemplative, a “blue-stocking” who ranged far and wide in the classics: from Plutarch’s Lives to Rousseau, devotional authors to poetry and plays, the 17th century French feminist women (Scudery, Lafayette), to D’Epinay and Madame de Genlis; in her later years Voltaire, Montesquieu, Diderot and treatises, doubtless the English radicals in French translations. Since she never rebelled against the male hegemonic order in her writings (indeed never wanted to be published under her own name until she wrote her memoir), never tried for public office or recognition (she sat at the back of the room and did not talk in most sessions), the question asked is, how far was she feminist? She is not interested in women’s issues but in restructuring the gov’t (she would not put it this way) to redistribute education and wealth to reach far more people and bring prosperity. Not at all one might say except her whole life shows someone who given any chance dedicates herself to public service. She learns to loathe the social life imposed on a middle class woman seeking a husband, and puts off several candidates for her hand before she met Roland, a man 20 years older than she.


M. Roland from the Bibliotheque nationale

Her book is ostensibly divided into two parts: the first half, a political memoir, where she first wrote out her principles and gave a rigorous account of the revolution’s story before descending to particular people. Alas, when she smuggled that out, it was burnt — or so she was told. Can you imagine how she felt? It’s arguable she went into prison to be able to make an example of herself and she realized she needed to tell the story from her point of view. With astonishing fortitude, she rewrote this first half but this time just as portraits, anecdotes, an explanation of what went wrong so in the assembly’s early years (people refused to act, to agree, to be explicit, followed their own particular interests), her experience as the wife of a minister (visits from Danton whom she did not cultivate though he invited this), then her and her husband’s life during his first and then second term of office, ending on the dismal now of awaiting trial, execution; she begins with her first arrest, and ends with the fake release and her second arrest. This part is very immediate — both are. She recurs to the conditions she is living in again and again, the prostitutes, the debauchery, when she is interrupted, what she is eating, the weather. Originally the first half of our book book had a lot more particulars of politics, probably a treatise of sorts too.

The second her own story, and we get a depiction of a middle class girl’s early childhood, her admiration for her loving religious mother, for her grandmother, her sceptical analysis of her worldly, pragmatic, and (after her mother’s death she was to learn) superficial, incompetent, shallow father (he took a young mistress for a while, and the business began to fail badly). The happiest sections of the early part of her autobiography tell of her, her mother and father’s Sunday afternoons in the Paris parks. Then we learn a little of then engraving business and then an incident which in 1796 (when her book was first published in an early shorter form) caught the attention of the public: she was sexually harassed by her father’s apprentice. He took out his penis in front of her and attempted foreplay with her. She was profoundly shocked and also allured, but upon a second encounter, told her mother, who turned the incident into something far more traumatic than it had to be. Manon was persuaded to think herself intensely sinful, and put in a convent for her adolescent education. Her mother feared for her reputation, but what she did was make sex into an experience to be dreaded, a view she probably never got over. In the convent she did make two important friends who she stayed close to by visits and then letters for the rest of her life: Sophie and her sister, Henriette Cannett. She was not religious even then — and when we meet her seems to be a deist — and returned home. Then begins her this stifling snobbish social life she learns to detest; the courtships that go nowhere. She was probably intimidating, and the two young men who tried to get close (showing her love of reading and writing was known), one of whom promised to open a periodical and publish her (she rejected this offer vociferously — from afar there is a comedy in this scene) gradually realized she had not much of a dowry.

This facsimile of a 19th century scholarly study contains letter by Roland to Sophie and to Buzot — Charles Dauban is the 19th century scholar to whom we are indebted for this first collection of her correspondence: letters to and from her. An old fashioned biography: life and times, with insertions of letters and documents. Her best friend Sophie. The man she loved Buzot Unfortunately it does not contain the large book of essays that were published anonymously that she obviously wrote. There’s been no attempt to bring them together and publish as a single scholarly book. So I suppose Roland studies are in their infancy: this is not uncommon for women’s writing and women writers.

A devastating turning point is the death of her mother – who had become her world, her best companion, her meaning. A long section called bereavement is of deep interest for a mother-daughter relationship. Roland appealed as a father figure she needed, a substitute for this mother too, someone she can trust, look up to, admire, work with. He came from a higher echelon of the middle class and as a man was very well educated, especially on his own in the new technologies, sciences, arts: he held various local political positions: an inspector, assiduous and accurate, imagine him as an expert in industrial and agricultural matters. He had begun a distinguished public career in Amiens, just the type Trump hates and is slowly eradicating from all gov’t – tremendously competent in his areas, publishing learned tomes and articles on manufacturing processes, and trade. At first they courted, then he hesitated, her father resented him, and he disappeared for a while, only finally to return and then they married. She became his helpmate. She wrote the articles which appeared under his name in the Courrier de Lyon – gradually they were known to be by her. Again happy moments are the birth of her daughter, her years running the household, a trip to Switzerland and then England — in the footsteps of Rousseau and Voltaire. They return, and her husband had been active in questions of debt and was useful in Lyons, and came to the attention of prominent national politicians and was invited to come to the National Assembly — and of course took his wife, and a daughter who had been born to them, their whole household.

He was ambitious and gradually rose to have a position of authority in the new Parliament formed in 1789 May; which became the National Assembly in June 1789, promulgated the Declaration of the Rights of Man, August. He was not humanely that astute and she was; she could write far more eloquently, more talented; she held a weekly salon and gradually it was understood she was in herself powerful through him. She wrote in the Sentinelle. Madame Roland never had an official position; she didn’t want it. She never published anything. Her husband attended the Jacobin Club and she sat in the back; Tuesday evenings became her night to have politicians over and gradually a Girondist group, for constitutional monarchy, for gradual revolution but real emerged. It was almost inevitable that she should find herself in the centre of political aspirations and presiding over a company of the most talented men of progress. She ends her story of herself with her present time in prison: her disillusion, her waiting to die, her attempt at self-starvation, how she was taken to a hospital and then brought back. The book ends on a justification of herself, eloquent and passionate.

*************************


Women’s march on Versailles … Modern rendition of original caricature

The first question to ask of the book and what I went over is, What happened that went wrong? We returned to 1788 when the overt events began to pile up.

In 1788 Louis XVI forced to call the Estates-General for the first time in nearly a couple of hundred years. There had been an absolute mismanagement of budget – court extravagances were horrendous but they needed a minister to reorganize the national debt; the way business was conducted in many phases of life was utterly corrupt patronage system. Several ministers brought in to re-organize and to reform and failed. I’ll name Jacques Necker, sometimes today referred to as Madame de Stael’s father; banker of Genevan origin. Bread riots were common in the 18th century: price of bread kept artificially high; the gov’t had overspent helping the Americans in their war. Necker made the budget pubic in 1781 – shock and horror, hitherto it had been kept secret. He was dismissed. Within a few years of his dismissal and other failed attempts, there is a devastating fiscal crisis, he is recalled but it doesn’t help. The truth was the King did not want to change the system.

Storming of Bastille July 11, 1789 is a symbol. The estates-general had convened in May and it became immediately apparent nothing could be passed when nobles had 300 votes, clergy 300 (a tiny percentage of population) and everyone else 600. So they reconvened without nobles and clergy (except those who broke away) in the tennis court, and took a oath they would not be suspended. August 26 Declaration of Rights of Man – extraordinary document. Drafted by Abbe Sieyes and Lafayette in consultation with Thomas Jefferson: based on idea “self-evident” that human beings have certain natural rights. Born free, and only those social distinctions should exist which are for the common good. Inalienable rights: liberty, property, safety, right to resistance against oppression. Law has right to forbid only actions harmful to society. Free communication of thoughts and opinions. State expenditures should be taken from people only in accordance with their ability to pay. If you think about these, you begin to see definitions must make all this more precise. There was a women’s march to Versailles where they forced the royal family to come and live in Paris, 5-6 October 1789. 1790 monasteries dissolved; nobility abolished.


Hubert Robert imagining the demolition of the Bastille prison

Height might be the famous Fete de Federation, July 14, 1790 – a vast public spectacle where everyone professed great principles – at the site of the current Eiffel Tower – pavilion with king and queen, people were joyous, much gaiety – big picnic for the nation.

But then the push-back began: from emigres fleeing and forming armies, and wanting to return to overturn this new order; in the countryside outbreaks of mixed violence –- it was a many sided civil war. Servants revolted and got back after years of oppression; those who had been deprived of the common for the master to drain his land, took back their land or tried to. They fought among themselves. Civilian armies emerged called People’s armies formed by the national assembly to go out into the provinces and get money and supplies. Many peasants were loyal to the church and while the poorest curates might be revolutionary, the church was not and had firm grip on people’s outlook. Counter-revolutions begin. Austria, the UK began to form armies to invade France on behalf of their order.

In the assembly, there were ruptures as they argued over what to do or were just vague and held out. Madame Roland is sardonic over how people dithered, did nothing because while they were for a principle, they were never for giving anything up of their own or their friends. King used his veto power again and again. June 21-22, 1791 he and his wife fled to Varennes and bought back. They were to meet with armies across the border. In 1792 March, Roland had been made minister of interior, he had a very brusque manner and she was writing decrees and suggestions that were very radical economically and politically. March 1792, Madame Roland wrote a letter addressing the question of the king’s vetoes, he read it aloud and it was judged so disrespectful that he was dismissed from his office. There were very conservative people among Girondins and constitutional monarchs. August 10th 1792 the National Guard stormed the Tuileries where the royal family lived and the monarchy was considered to have fallen. Roland is reinstated but liked by no one. A group of Jacobins tired of the stalling began to meet separately; Montagnards they were called as they sat high up. Roland and other moderate Girondists opposed the formation of a sort of rump to rule the capital and country called the Paris Commune which began to exclude the Girondists. The Commune was in charge of the army and took over.


The Mayor of the town coming down from apologetic visit to the King and Queen, now going to be arrested by the People’s Army (Ettore Scuola)

An army under the Duke of Brunswick invaded in August and captured Verdun.

Then a wave of killings, hysterical massacres of people in prison, September 9, 1792 – as traitors, as non-juring clergy, as against the revolution. Who fomented this? Madame Roland blamed Danton. She saw him as a hard vulgar man, corrupt yes, but radical and he did try to win her over in the early days and she didn’t like him. No manners, very working class. Never tried for a “de” in his name. Alas, had she joined him, she might not have ended up dead. Much like say when in Charlottesville two summers ago Trump did not call out national guard to stop the violence or protect people, or closer, Selma Alabama (I recently saw that film) where Johnson did not call out National Guard to protect black people or anyone demonstrating or marching — Georges-Jacques Danton and Maximillian de Robespierre did not call for any protection of the people in the prisons. Just the opposite: Jean-Paul Marot whipped up feeling. He was a very effective journalist, vehement invective against people, and exerted power through his newspaper, The Friend of the People, L’ami du peuple. She saw him as a monster and he attacked her vehemently, deeply misogynistic accusations of her as sex-mad (promiscuous) and power-hungry. Marot is still recognized by a wider audience today because of a painting by David made of him in his bathtub after the unhinged Charlotte Corday murdered him – he had caught some terrible skin disease from living in sewers. He was at times very poor.

M Roland was accused of hiding documents showing the king’s relationship with corrupt politicians. They now put the king on trial — they felt he couldn’t be trusted and was a site around which counter-revolutionaries would form movements. During the trial of the king, Roland and the Girondists demanded that the sentence should be decided by a poll of the French people rather than the new National Convention. After the king was executed in January 1793 Roland and others were denounced. He among others fled.

So on June 3, 1793 a group of Girondists were arrested (all her friends), her husband and others flee, and 21 days she is arrested. In truth she had the whole winter and spring to flee. She arranged for her daughter to stay with people who would take permanent responsibility for the girl if necessary. The charges were seen as trumped up, she was released and re-arrested before she could flee – she should have immediately upon getting out. And she tells of all this in part one. She is interrogated and her judges and the court insinuate she was part of a wide conspiracy to overthrow the republic and replace it with a monarchy. 8 November she is killed. Sophie Cannett was there at the front of the crowd. I said that last time. Courageous to do that – reminds me of how Thomas Wyatt, English poet, friend and protected by Thomas Cromwell in 1533 was on the scaffold when Cromwell was murdered. These are all murders. Cannett described the scene and her death but I am not sure who presented the scene of her with sufficient presence of mind to say as she mounted the scaffold: “O liberty! What crimes are committed in thy name!”

So why didn’t she get out when she had time? Was she so disillusioned that she wanted to escape the reality of what her life would be in hiding? depressed? She had fallen in love with another Girondist, Francois Buzot was his name. I don’t see that. She had had a number of close male friends though – all politicians and local people –- Brissot with his followers called Brissotins. Almost no women. There was great guilt after she died — her husband killed himself two days after she died. Buzot killed himself in June. She says she wanted to be an example. She learnt that this was naive, and to be grateful to the prison keeper’s wife in the earlier part of her imprisonment when she was given a room apart, permitted to leave her cell and come to the woman’s space to read and to write. Why didn’t she try to escape since she had real flexibility until her second arrest? Was she more than a little insane by that time? she says she went on a hunger strike but couldn’t keep it up? As a class we hashed this out thoroughly.

***************************

Then I talked of the aftermath of the book’s reception, the earliest publications and the woman’s context. It was first published in 1796 so it’s possible Jane Austen read it. The passages about sexual harassment were the ones that made the most scandal, and in some 19th century notices she is criticized severely for telling of this incident.

I brought in the unabridged 19th century facsimile edition of Roland’s Memoirs supervised by her daughter. This so people could get a feel for what the book is. Nowadays there is a multi-volume edition of Roland’s Memoirs and letters from a French university, the kind with full introductions, annotations, notes and expensive abridgements you can buy of these. Published by her loving daughter who she didn’t give enough credit to: the first part is her autobiography of her life, and the second part the political story. It’s a facsimile and not that easy to read because it uses a “o” where modern French has an “A.” But that is how I read it. This is the fine recent biography in English that I by Gita May: it sets her in context and tells of phases of her existence. Hardships of courting. Also a trip she and her husband took to England and saw all the important sites pointed out by Voltaire. A deeply psychologically insightful account by Francoise Kermina, Madame Roland ou la passion révolutionnaire (1977). Kermina shows Roland shows to have been intensely ambitious, and bitter at her failure. Her writing hides her frustration, two years of intense politicking, and “une amertume terrible.” Her writings reveal a woman who valued the few friendships she managed to sustain intensely; she argues that Roland was throughout her life profoundly depressed (angry). When she and her husband fell from power and she was anathematized (with salacious slander), a barely controlled hysteria and paralyzing trauma actuated her decision not to flee death. She kept herself sane and explored this trauma by writing the famous memoir.

I had thought I would talk about the early phases of the French revolution, but one you can find this on wikipedia, and two we have two periods so I’d like first to talk about early feminism. There is no doubt in my mind that Roland, Olympe de Gouges were guillotined partly because they were women and taking power; Charlotte Corday is famous for being guillotined; let us say she was not a well person. A couple of people read the (not very good) pair of essays I sent by attachment: two different women writers argue over whether we can consider Roland’s apparently complete obliviousness to women’s issues at the time (divorce based on incompatibility, the right to custody of her children) and her refusal to publish under her own name a sure sign she was no feminist and therefore only of historical interest. So I decided to try to tell of the early history of feminism and the two good chapters in English from two books I know that deal fairly with Roland.

Roland is seen as this great souled woman and unfortunately that prompts discussions of her character: how far was she feminist or what kind of feminism did she practice? Well, none except her whole life shows a person who given any chance dedicates herself to public service. She is not interested in women’s issues but in restructuring the gov’t (she would not put it this way) to redistribute education and wealth to reach far more people and bring prosperity. Many women weren’t. My other example I’ll talk a bit about: Helen Maria Williams did not write about women’s issues particularly – though she got closer. You might look upon writing about women not as inferior, not in condemnatory ways – there were hundreds of anti-feminist tracts from the time books have been printed on – as a whole new outlook.

There were poems written about the need for liberty, education and a whole new attitude towards in the early modern period; it’s arguable that novels written by women in the 18th century implicitly carve out this new area of discourse: they have realistic heroines at the center. Such a writer was Henry Fielding’s sister, Sarah Fielding. Diderot’s La Religieuse is part of this conversation: how women mistreated. Sarah Scott, Millenium Hall: about a community of women to which abused women can flee, where you are educated and helped to find a new life. Jane Austen’s books are indirect, but not Fanny Burney’s.

The first writer though to carve out this area, but in an ambiguous way was Jean-Jacques Rousseau. People reading him can be perplexed on why his works meant so much to women, why they read him and imitated: his Emile, a book on education, has Sophie educated to be his good wife not on her own account; his exaltation of breast-feeding and motherhood has had mixed results: but he cared, he wrote about women as women separately and said what they do in private and public life too matters.

They take off from him, books correcting him, Louise D’Epinay, books arguing with him: a long section of Mary Wollstonecraft’s Rights of Women is about how women are mis-educated. It’s a beginning. Another step she took was to show that when women became mothers they were not well treated, not helped. A later step was to stop tethering what a woman’s life could be from the biological – her as a mother. That comes later after a fight over rights: to custody, to separation and divorce, freedom from male violence in marriage or as a daughter. In his Subjection of Women, 1869, a kind of companion treated to his On Liberty (mostly civil) he argues we don’t know what women’s nature and capabilities are because the way society has been structured has been to prevent them from doing anything but the narrowest of tasks.

I then described Mary Trouille’s book, Women Read Rousseau: Sexual Politics in the Enlightenment (1997), where Prof Trouille shows however narrowly anti-feminist Rousseau seems at first, he is the one man to pay attention to women’s needs, the naturalness (and ease) of breast-feeding, and to write to persuade them to see their functions as mothers as centrally important. Trouille has a long section on the paradoxical subversive use Roland made of Rousseau, and her demonstration by quoting the venomous attacks on her by the newspapers of the day that she was murdered for having as a woman tried to take public power on behalf of women and a moderate stance. Then Marilyn Yalom’s Blood Sisters: The French Revolution in Women’s Memory (2004): Roland’s memoir belongs to a subgenre of memoirs by women about the revolution who were imprisoned or suffered directly for a time: most are vitriolically reactionary so hers shines out (like Helena Maria Williams’s letters on the revolution) for remaining true to the ideals of the revolution and presenting these ideals as good, true, capable of making a good society from the ashes of the ancien regime. What all agree is that she was no diplomatic, never detached, not a manipulator and thus a poor politician.

I then asked them, how would they say Madame Roland saw herself? What is her portrait of herself? Anyone? she sees herself as grave, serious, earnest, and moral. One woman said she found Roland irritating; another said she saw herself as correct in her judgement. She had a passionate romantic nature. She saw herself as embodying the best of the revolution an example to others. She says so. You see this in her letters to Buzot. She did have a rage to write – and finally found her metier without censure in the prison. So many denigrate her – she is not social enough, not sexy. lead a life at odds with her era’s mores and customs: the power of an intensely rebellious and non-religious private spiritual life. Solitary. That was when one man said she wanted to the author of her own life.

So what did they think was at risk today from the enlightenment. One man said we were returning to authoritarianism, not thinking for ourselves. Another said we were returning to intolerance.  We needed to return to good education.  People today don’t read enough, know enough. I then read from Richard Feynman’s closing paragraphs from his eloquent speech to the National Academy of Sciences when he resigned from the organization on “The Value of Science”. And so the course ended.


Detail from Greuze’s The Woolwinder (with her cat) 1759

Ellen

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Emma Thompson as Elinor (1995 Miramax S&S, scripted Thompson, directed Ang Lee)

Absence.
Absence, hear thou my protestation against thy strength, distance, and length.
Do what thou canst for alteration
For hearts for truest mettle.
Absence doth still and time doth settle.
— John Donne as recited in tandem by Claire and Ned Gowan looking out over a loch in the highlands (Outlander, “Rent”)

I dreamed I was acting out Sense and Sensibility. I was not the characters, but I was right next to them, watching them go through the motions of their story. I tried to tell others of how this is my experience, and what the characters are like, what they are doing, their houses, their living arrangements.


Charity Wakefield as Marianne, holding out her hand, all expectant (2008 S&S, scripted Andrew Davies)

My dream-thoughts included how Austen calls the man who willing to play with and then when amusement is over hurt Marianne Willoughby, the name of the abrasive cad in Fanny Burney’s Evelina, and how Austen is either too discreet herself, or was unable to get past the censorship of her family to dramatize the kinds of ugly things Willoughby subjects Evelina too, or other males and older hard authority-females do in French novels of the era take advantage of, raping, needling the heroine with.

And I thought of what Elinor stands for. Austen was showing us how to protect yourself from harm, how to build an apparently invulnerable self: she began to wear spinster clothes after she is said to have written her first three novels (then called First Impressions, Elinor and Marianne, perhaps Susan).


Hattie Morahan as Elinor, Janet McTeer Mrs Dashwood having arranged their faces (2000 S&S)

As  I rose from sleep, the dream made no literal sense in its last fragments in the ways dreams don’t. The two women are on a train, the seat is the long type against long rows of windows, I am between them, we are speeding through the countryside, going somewhere together.

It is daylight and as I imagined it, our surroundings looked like a train I took long ago with Jim on our way towards Exeter in Devon. Only the Dashwoods take a coach.


Joanna David as the displaced Elinor traveling, gazing long ago (1971 BBC S&S, scripted David Constantduros)

It was a morning dream, and in that way of my dreams when they trouble me most I believed it had happened. I had really been on that train with them, and for hours, days, years, living, breathing, remembering, being them. As I woke, it took a long while to realize that it had been a dream

I think I am missing talking in the form of writing about Austen to others for myself. The Janeites listserv has been in effect long dead for real talk, Austen-l spoiled utterly by trolls and both stupidity long ago, there is nowhere for in-depth talk of what these books can and do mean to me except a blog such as this or an occasional paper delivered at a conference which escapes the censorship of careerist editors guarding their journal.

I had been reading Barbara Pym’s naively written diaries, which however reveal a frightening masochistic drive willing to endure humiliation, and at the same time Nicola Beauman’s extraordinarily insightful biography of E.M. Forster who did and did not cover his tracks in his novels: like Austen, she protected herself through her taking on the guise of spinster in her books, he survived with his identity alive by immersing himself self-consciously in his imaginative writing whose surface can resemble Austen’s, though he is alert to what he is doing fully (which she apparently is not).  I’ve been reading of Woolf (Virginia) too, & watching very late into the nights beloved historical romance time-traveling movies.

This absence, these immersions, this lesson I tried to practice myself as a teenager and still, and the connections made from Pym, to Burney, to Austen, Jim and I on a train gazing out, became this dream.


Barton Cottage (1995 S&S) — my house is defective as a cottage too

Ellen

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Hans Holbein’s (hostile) depiction of Thomas Cromwell

Dear friends and readers,

I attempt to capture something of the experience I have just had with a group of people at an Oscher Institute of Lifelong Learning (attached to George Mason). We read and discussed carefully Mantel’s two novels as providing us with a fresh angle on the Tudor Matter. Tudor matter includes all that happened, all that can be connected to people influenced by and influencing a family tree of Tudors, from the time of the ascension of Henry Tudor (1485-1509) to the English throne (also 1485) to the death of his son, Henry VIII’s third child, Anne Boleyn’s daughter, Elizabeth (born 1533, died 1603).

In this case Mantel writes the kind of historical fiction which uses actual historical people for all its characters, remains faithful to what is historically documented as having happened while the novelist, like the historian, has a duty to realize the living experience and interpret the significance small and large of each event or character. Mantel presented a point of view so persuasive and well-supported that her book is now influencing the way historians as well as countless others evaluate Thomas Cromwell. The two books are labelled “the Thomas Cromwell trilogy,” though the third does not exist as yet (at least not as a finished published book) and will make up a fictionalized biography: all three will cover the years from Cromwell’s birth (said to be 1485) to execution (1540).


Mark Rylance as Cromwell

She was also an active spirit in Peter Straughan’s six part TV serial drama (2015) and Mike Poulton’s stage play (2012). I read aloud Mantel’s character descriptions at the beginning of the play text.


Ben Miles as Cromwell

It was important not to omit movies as the Tudor matter for many consists of movies. At the beginning of each session I’d play 3 clips from the 2015 Wolf Hall, for the 2nd through 7th session. Since (as in the case of Arthurian matter or the classical Greek and Roman stories) includes many others takes, I included the two books that constitute the powerful originating sources of Mantel’s: Robert Bolt’s play A Man for all Seasons, Philippa Gregory’s The Other Boleyn Girl, and at the opening of our 8th session I played 4 clips from 2 movies made therefrom: Zinneman’s 1966 movie, A Man for All Seasons with Paul Scofield and Robert Shaw as man and master, Wendy Hiller as Alice; the highly original inward (daring) Philippa Lowthorpe’s 2003 BBC Other Boleyn Girl, with Jodhi May as Anne and Stephen Mackintosh as George Boleyn (central to the interpretation that finds Anne and George incestuous in a desperate attempt to produce an apparently legitimate son for Henry). I showed 2 very brief and a bit of the feature (with Philippa Gregory) of commercially successful Columbia 2008 Other Boleyn Girl (by the ubiquitous Peter Morgan, whose 2003 serial drama Henry VIII, with Ray Winstone, I also went over but could not show as I have only a Region 2 copy), remarkable for its depiction of strong women everywhere who are nonetheless forced to submit. Let’s gaze at those moments and characters less paid attention to:


Wendy Hiller bitterly telling More awaiting his death in prison as she awaits hers in poverty outside: “I’ll tell you what I’m afraid of: that when you’ve gone I shall hate you for it.”


Jodhi May as Anne Boleyn exiled to Hever for a year to bend her to comply with her father and uncle’s demands she serve the family interests first (2003)


Kirstin Scott Thomas as Elizabeth Boleyn, coerced not willingly into selling all three of her children, realizing two are going to be beheaded (2008)

So what we did was have themes we drew out from the books alongside talking of them section-by-section: I lectured on real early modern women I’ve studied (and translated) and what we know about Anne and Mary Boleyn (and a few other supporting characters so-to-speak, as Jane Boleyn, Catherine of Aragon, Margaret More, fast forwarding to Mary Stuart and Elizabeth Tudor. A guarded bunch, easily rendered powerless, who left few papers, and most of those self- or other-censored. We talked about the spread of a religious movement across all classes which would satisfy people’s inner needs for self-understanding as well as justification, a matter of increasingly secular identity and conscience. Then there was how the political world worked. Finally, the fluid sexuality of the era. Mantel’s two books support such discussions, if you just extrapolate out (not too far) into the real world outside the book that the book continually has reference to. Mantel’s history fiction functions like life-writing, which does not begin to end at any book’s first and last pages. We don’t know all we can know about a character who lived from any single book. Many questions, all sorts we hashed out. I sent two articles a week (three by Hilary Mantel who is a witty essayist), and recommended and brought in biographies (scroll down).

One cannot yet explicate the structure of a work that is only (at best) 2/3s done. The central climactic tragedy, the execution of Anne, who is stealth heroine, is realized at length in the penultimate pages of Bring Up the Bodies, hard upon the interrogations by Cromwell of the five executed men, and Anne and George’s trials. What one notices is that at the close of Wolf Hall, the execution of More occurs off-stage; on-stage is Cromwell’s perhaps psychosomatic illness (or it’s from exhaustion) and the thematic clashes and dialogues, whole history of the rivalry (unknown to More until late in life) of More and Cromwell’s outlook on life and behavior begins only in the third book of Wolf Hall. Six parts; each section has a tripartite structure (3 chapters) of opening, long center, and brief coda.

Parts One & Two:

Fathers and sons: Across the narrow sea: Cromwell fleeing his violent father, at first rescued by his sister, Kat Williams; then on his own; Paternity: Cromwell’s relationship with Wolsey as true father and the problem of Henry’s lack of a legitimate son and demand Wolsey enable him to marry Anne Boleyn; Austin Friars: a good world he and his beloved wife, Liz, create together.


Natasha Little as Liz Cromwell who will haunt Cromwell ever

Visitation: The Downfall of the Cardinal, with all the powerful men who bring this about; Occult History; in the context of mythic to long past to immediate history of Britain as acted out by some of our central characters (we meet Mary and Anne Boleyn, the male courtiers including Henry Percy, and Cromwell’s pasts, in Italy, Antwerp, the death of his beloved wife, daughters, the coming of Rafe, in England Buonvisi as neighbor, first clashes with More; Make or Mar: Cromwell grieving with Cavendish, chooses to stay loyal to his master as a way to make or mar himself.


Cromwell’s household: We glimpse from the back Josh Porter as Richard [Williams] Cromwell, Thomas Brodie-Sangster as the invaluable Rafe, Saskia Reeves as his beloved sisterin-law, lover Johanne

Parts Three and Four:

Three-Card Trick: Mantel tracks time carefully, backwards again (circular structure typical of l’ecriture-femme: Wolsey at Esher, now Cromwell must get into Parliament, interact with ambassadors, cope with Henry, visit More himself; Entirely Beloved Cromwell: Christmas w/o wife and daughter; 1513 when Henry spent hugely stupidly killing all for nothing, Cromwell’s protest (the other side of Flodden Field); now caring for Cardinal under whose bed a kitten, Marlinspike, born; more of Gregory, his son, entirely beloved, the rise of Anne Boleyn is presented secondarily, we don’t see her that; we see her sister, Mary more; The Dead Complain of Their Burial: Christmas tide, 1530, King’s nightmare transformed by Cromwell’s allegoresis


Jonathan Pryce as the Cardinal, tucked into bed by Cromwell, praying for him — the ghosts accumulate

Arrange your face; “Alas, what shall I do for love?”;: profoundly dangerous time, he has to give up Johanne; court life, Anne people must say whatever will keep them alive, Mary’s role, her retreat, individuals acting out religious clashes, torture, execution; Chapuys emerges as emperor’s man, Catholic. The center of book a graphic depiction of the burning of an old Lollard woman witnessed by Cromwell as a young boy. Early Mass: Henry has fucked Anne and they are bethrothed


Joanna Whalley as rigidly catholic queen, Lily Lesser as her daughter, Mary Tudor, twisted, deeply in need

What was the appeal of this Protestantism? It appealed deeply to powerless men with whom women belong as a category, to servants, and it spread. It is often talked about in the most inadequate ways; one group says you saved by faith, Christ’s self-immolation paid for your sin, God has predestined you, so need to sit and feel intensely fearful you are going to go to hell if you have had a conversion experience: truly feel God in your heart. Other group says well what kind of God is that to damn so many people, and also say you need not perform good works, need not be public in church (where of course you can be controlled), just you and God and the book.

Going to reach for text some of you read with me, Elizabeth Gaskell’s North and South, in the last part Margaret gets depressed and few will remember what book helps her after both father and mother are dead: it’s quoted at length in the text in French St Francis de Sales, “An introduction to the devoted or religious life.” Margaret finds much comfort in it. It’s translated in the back of those books with notes. Others did not want to look, wanted certainty of people saying your works would secure you, of authority figures

Before the 20th century if you were feeling terrible about yourself or your life there was no secular psychology free of blame to go to; and what these protestant re-tellings did was provide a way of thinking that absolved you. In this particular one Margaret reads how she should not “die of shame” because of what’s she done,” she has fallen into a pit,” but she can rise up if she thinks about what happened another way and realizes compassion and mercy are there. No blaming, no need to do anything for which you need power. Women began to write poetry in the 16th century and it was by an large paraphrases of the psalms or religious texts where they rewrote them in personal veins. Johane can be stopped from her love affair by her mother. A great deal of infamy was heaped on people over sex – that was part of Henry’s problem. There is good evidence to suggest – all you are ever going to have – that Anne Boleyn and Thomas Percy went through one of these informal bethrothals as did Anne Boleyn and the king and then she and Percy consummated.

Who were the kind of men who wrote this sort of thing? Thomas Kempis’s Imitation of Christ was huge continual re-translated best-seller for centuries; another one I’ve read is the Spanish so-called mystic, Juan de Valdes – Vittoria Colonna reread Juan de Valdes, Beneficio di Cristo obsessively. Methodism in the later 18th century show the intersection with power because they tried to throw off local landlords from choosing their vicars. Didn’t the rich and powerful in pews in the church.


Bainam burnt at the stake:

Parts Five and Six

Anna Regina and Devil’s Spit: women brought in: Helen Barre; Cranmer and Margarete the parallel; the half-mad Elizabeth Barton’s story, Anne as vulnerable woman by about half-way. Women doubles, surrogates, parallels; each reveals sides of man or men she is involved with. Cromwell’s kindness. Jane Boleyn emerges. Overriding mood is still paranoia: from enemies to crazy nun, all the reform depends on Anne who grows delusional and now wants daughter on throne. Rafe begins to emerge more. Painter’s Eye: Hans Holbein’s portrait. A theme:

An hour-long filmn Hans Holbein recommended by someone in the class; the speaker, an art historian named Waldemar Januszczak, art correspondent for the London Times, a controversial figure, often very provocative, who uses Holbein’s portrait of Thomas Cromwell to attack Hilary Mantel’s portrait of Cromwell on the grounds he looks like a murderer. I showed them a portrait of Cromwell where he does not look like a murderer. Holbein is tremendously arresting. We believe in his portraits. But Januszczak provides ammunition against his own thesis. He makes fun of Holbein’s imposing peacock, ever so tall and wide – Damien Lewis is hard put to look huge but does his best to strut. Why is Holbein’s portrait to be taken as gospel. Januszczak shows us Holbein came from Catholic people, he made many Madonnas, in fact he painted his own wife looking like a miserable madonna with two children.I suggest HOlbein’s portraits are catholic propaganda on behalf of More and against Cromwell. If you look at the portraits of Mary Boleyn as opposed to the one done by Holbein and thought to be her, they fit better. Juszcaak had a Holbein drawing of Anne Boleyn he says is her I’ve never seen and it looked convincing more convincing that that stiff woman in black we are often shown. Holbein could paint remarkable faces but that does not mean he is on oath –- he is like a modern camera or painter who can impose a view.


Partners: Rylance as More; Claire Foy as Anne Boleyn

Supremacy; A Map of Christendom: A rewrite of Bolt’s A Man for All Seasons, to the point where speeches that Bolt plucked out of the historical records are re-plucked but uttered in contexts that reverse or at least significantly alter their significance. Cromwell attempts to persuade, with Cranmore uttering the same rationalities; in Mantel it is Rich who engineers More’s downfall along with his own scorn of Rich; from More salivating over torturing someone, through dialogue and the burning and torture of other Protestants we are led to see More as the harmful fanatic. More’s utterance near the end that he has wished and done no man harm and if that cannot keep him alive, he’d rather not live (rendered famously by Scofield on the scaffolld), is answered here by Cromwell as they sit over a table by a list of people that Cromwell cites whom More has destroyed viciously. In the final scene of More’s beheading, in Mantel and Straughan there is only the pathos of a wretched narrow man; in Mantel she has it happen off-stage and in the text we see Cromwell’s illness, his family all about him.Theme: how did power work?


Anton Lesser as More refusing to sign

Was it the king acting alone and at the center with aristocrats obeying him; or King-in-Parliament and factions vying for power. The latter seems far more accurate. Ordinary courts of justice were about property, property rights and it could be within a family or companies over contracts. Gov’t would go to court over taking people’s property – as Cromwell did when he dissolved the monasteries and nunneries. Or some act of violence. Anyone could bring a charge or ask prosecutor to bring a charge. You did not have the right to a lawyer or to speak in your own defense. All this came later. Women has no rights in such places as suitors but they could be accused. Parishes went to court to kick people out and control them. Short prison sentences. Wretched places where you were expected to provide for your own keep. Disease sites. Different courts for different purposes, and very powerful were the church courts. Your right to life, liberty and property is a later 17th century idea. Locally the JP or magistrate appointed by JP. Movement from king all powerful with henchmen aristocrats with castles and liege men in armies to whole change in fabric of society as commerce, capitalism, changes in agriculture occur. King did not control the people and land during
feudalism, power was local, and if you wanted power far away, you had to control through other people — life built on sales and money, middling people feared chaos and wanted security, peace, stability. Strong authority emotionally for most people began with parents and older relatives. Boys sent to train as pages or out to work after initial schoolroom; girls educated at home to read and to do accounts; Renaissance added history, languages, sewing. Lower class girls put into service, cook and sew and clean. Bible spread reading; 1566 Great Bishop’s Bible commissioned by Elizabeth I. Two agricultural recessions: 1530s and 1590s; on the whole period of expansion due to trade and cloth and what destroyed ordinary people was enclosure movements. Henry a strikingly volatile psychopath emerged from an educated young prince gradually. Enormously overweight. Domineering grandmother, neglected by father.

To Wolf Hall. Jane Seymour; Seymours replacing Boleyns. Over course of these three Cromwell becoming a darker harder figure.


Kate Phillips as Jane Seymour; contemporary portrait of Jane Seymour

Elizabeth I probably the victim of sexual harassment and abuse from Thomas Seymour during the time she was growing up in Katherine Parr’s household. It will come as no surprise she was interrogated and blamed as seeking to marry him and overthrow her sister. This early trauma from which Parr could not protect her could be linked to her decided uneagerness for a man; but it was also political. To marry would have been to take a master.

We did Bring Up the Bodies much more rapidly; in the film covered by Parts Five and Six.


Purefoy a cynosure for Anne

Falcons; Crows; Angels: Opens with display of falcons, birds who are fierce, vultures, turned into abject enslaved creatures, named after his daughters and wife. Kimbolton is where Katherine of Aragon is staying, Cromwell visits this dying woman and stays at a lodging house where he sleeps with the wife and thinks of doing away with her husband. Stepney and Greenwich, Christmas in Cromwell’s new household, with young men married, new children about him. He no longer is compassionate figure; less wit but still there: for Jane Seymour men “an unpleasant surprise.” Displaced by drive to manipulate, fierce anger at men, ambition to re-organize the world; Henry’s fierce anger at Cromwell (at Chapuys).


Jessica Raine as Jane Parker Boleyn, Lady Rochford (2015 Wolf Hall); we read Mantel’s witty essay suggesting yes Jane Parker’s evidence was sinister

Black Book: Anne has one last late miscarriage; the one called a monster and now she a witch, or because (as Jane Rochford and others had it, it was the child of an incestuous union). Retha Warnke in her historical biography offers the idea that the child was carried beyond quickening but then something was wrong with it (spina bifida?). Something wrong with Henry, or a mismatch of blood types.

Her dog killed; rumors rife as others begin to accuse Anne of sexual unfaithfulness. Closing in. Master of Phantoms: One member of Anne’s circle after another, first the women frightened, easily gotten to talk; then Jane Boleyn’s role, Smeaton’s stupid boasting; the ceaseless interrogations, the final trial, Anne and George and the execution. Spoils, London, summer 1536: divvying up the plums

How did we end? I gave Philippa Gregory full credit for being the first to develop new characters, a new perspective from Mary Boleyn on. Mantel picked up from that and Mary Robertson’s work on Cromwell, Cavendish’s great biography of Wolsey. We discussed the mystery of Henry VIII’s character and I told of Morgan’s take on him, and Ray Winstone’s performance.

Finally, I used Jessica Jernigan’s review in The Women’s Review of Books: Bring Up the Bodies filled with ghosts and monsters. I still love the style: it’s plainer and more popular or demotic than Wolf Hall but still a strong sardonic irony and use of concrete popular language as metaphor persists. In Wolf Hall Cromwell was also a fond husband, kind master, against the worst excesses of power, kindly easy to like; not this man whose virtues now are given a sinister cast as they are used to murder 6 people. His own evil twin meting out revenge. Protecting himself. Jernigan also brings in Mantel’s other novels. As with Larissa MacFarland whose New Yorker article I gave out, Jernigan sees an obsession with another world outside the probable sane one. We saw Cromwell fighting a blighted life and now? Jernigan singles out passages where she says that tricky “he” is not Cromwell any more; there creeps in an “us” – as with Susan Sontag’s Volcano Lover, we the readers and Mantel herself are emerge from behind Cromwell and Henry. Perhaps in her third book we will move to continuity between present and past too:

Already you can feel the autumn. You know there cannot be many more days like these; so let us stand, the horseboys of Wolf Hall swarming around us, Wiltshire and the western country, stretching into a haze of blue – she wants us to feel the alders by the water’s edge, the early haze that lifted by nine; the brief shower, the small wind that died and settled; the stillness, the afternoon heat …

Ellen

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