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21.3.1930-30.3.2016 Animator Butyrin

The Signs as Symphonies (or just symphonic works)

Being someone who just graduated with my BA in music and is will be pursuing my MA in Musicology in the fall, I'm a bit of a music nerd. This was a long time coming, but here it is. Please enjoy!

Aries:

Schubert - Symphony No. 8, “Unfinished” (1822)

The DRAMA. But seriously, this symphony is so beautiful. It’s beautiful balanced, it occasionally has huge outbursts of drama and sudden dynamic changes. It frequently modulates to major which provides a nice balance to the otherwise minor work. It goes from dramatically chaotic and quick to a calm waltz-like melody. The work itself only has two movements, hence it being nicknamed the “Unfinished” symphony. These sudden changes in mood, the short-lived dramatic/passionate outbursts, and the fact that this work was left unfinished is what lead me to associate this with Aries. Their outbursts rarely last long, they often leave things unfinished, and they can be a bit dramatic at times.

Taurus:

Beethoven - Symphony No. 7 (1811-12)

An amazingly stable and consistent work with subtle hints of sensitivity. It has incredibly driving rhythms which I think can be compared to the stubbornness of a Taurus. There is some drama, as with much of this music but it’s much more calm in this case. It’s driving but in a way that feels more like a steady, determined walk than a climatic charge forward. This work was composed when Beethoven was working on improving his heath in a Bohemian spa town. This is a creative work born from a time when the composer was working on his self-care. Sound familiar?

Gemini:

Elgar - Enigma Variations (1898-99)

This isn’t a symphony, but this is something full of orchestral works so I’m including it anyway because it seems appropriate. This work consists of fourteen different variations on a theme, each variation represents someone in Elgar’s close circle of friends. There’s a wide variety of sounds in this work, similar to the way Geminis can easily switch between topics. Additionally, this work reflects the importance of the friends which Elgar had in his life, similar to how a Gemini’s complexity and occasional bubbliness can lead to popularity. I had the hardest time figuring out what work to give Gemini.

Cancer:

Tchaikovsky - Symphony No. 6, “Pathétique” (1893)

The Russian title of this symphony is “Патетическая” meaning “passionate” or “emotional.” It’s truly a work that tug’s on one’s heart strings, and it’s quite dramatic. Tchaikovsky himself had a hard time composing the work and even tore up the manuscript at least once when he was doubting his abilities. It’s said that his brother Modest suggested the title after hearing it. When it was time for first perform the work Tchaikovsky was quite excited about it. The emotions surrounding this work and the beautiful emotional roller coaster it takes you on when listening to it are wholly appropriate for the sign ruled by the Moon. (Tchaikovsky, unfortunately, died 9 days after premiering this work)

Leo:

Semtana - Má vlast (1874-79)

This is technically a set of 6 symphonic poems, not a symphony. However, this work is a representation of the Czech composer’s intense pride in his homeland (hence the title, “Má vlast” = “My homeland”) and everything he loves about it from the course of the Vltava to the warrior Šárka and the legend of the Blaník mountain. The beautiful harp opening of the first poem and the immense pride and love you can hear from the brass and strings. Although the emphasis (and love) of home that this work has almost leans into Cancer territory, it’s the pride and the occasional fanfare-ish instrumentation that makes me say Leo.

Virgo:

Mozart - Symphony No. 25 (1773)

There’s no programmatic backstory with this one but the clear organization of this work while cleanly organizing various themes screams Virgo to me. It’s not too extensive, everything is clean cut and in its place. It opens a bit dramatically but it never develops too intensely. There were, indeed, risks taken which are interesting for the time it was written, however, nothing was too extreme because the crowd at its debut still absolutely loved this work.

Libra:

Haydn - Symphony No. 104, “London” (1795)

This opens with a monothematic movement (a movement that uses one theme as a basis for the entire thing). It has the occasional drama to draw in your attention, but overall it’s simply a very well balanced, easygoing piece of music. Some may refer to it as boring but it’s still beautiful and well written with some subtle innovations to keep the listener entertained and to keep the work interesting. It never gets too gritty, sticks to traditional form and remains as beautiful as ever. Even at its most suspenseful, it remains light.

Scorpio:

Berlioz - Symphonie Fantastique (1830)

I was originally gonna list this as Pisces because most of this is a prime example of escapism and living in an opium induced dream. However, the drama, extremes, and obsessiveness of this work scream Scorpio. This may be a dream but it doesn’t end well, he actually dreams of his own doom and of his soul being dragged to hell before being taunted by witches. This work transforms from a quiet dreamy opening to a light dance movement then eventually it becomes a dramatic work reflecting the beheading of the main character and the damnation of his soul--all of which is tied together by the idée fixe. It’s appropriate for Scorpio if you ask me.

Sagittarius:

Dvořák - Symphony No. 9, “From the New World” (1893)

This work is inspired by the experiences that Dvořák had while living in the United States in the 1890s. It draws influence from the music he heard across the US from various cultures (namely Black Americans and Natives). Some of the music he heard while in the States reminded him of music he heard in some European countries. He was influenced by not only the music but also the things that he saw. The blending of cultures and experiences that he does in this work is truly worthy of being associated with Sagittarius if you ask me.

Capricorn:

Tchaikovsky - Symphony No. 4, “Fate” (1877-78)

I honestly love this symphony, it has a lot going on in it and it’s beautiful. It was dedicated to Tchaikovsky’s best friend Nadezhna von Meck, which was quite something at the time because it meant he was acknowledging her to be his equal. Tchaikovsky stated that the opening of this work is representative of the the ways the universe prevents one from attaining their happiness. He says that there’s no way to escape this reality and one just has to take it as it is, “no haven exists.” He also incorporates traditional Russian themes into the final movement, a touch of tradition. This heavy emphasis on the grimness of reality as well as the dedication to a friend he was long loyal to, is all Capricorn.

Aquarius:

Beethoven - Symphony No. 3, “Sinfonia Eroica” (1803-04)

This work was dedicated to Napoleon Bonaparte, the man which Beethoven believed to embody the anti-monarchal ideals of the French Revolution (at some point he even titled the work “Buonaparte”). It’s a representation of heroics (eroica=heroic), being someone who saves the people and works for the greater good. A work dedicated to the idea of revolution while also being a landmark piece in western music history? What could be more Aquarian?

Pisces:

Rimsky-Korsakov - Scheherazade (1888)

This is another one that isn’t technically a symphony, it’s actually a symphonic suite. It opens big and includes a well known violin solo, the texture frequently changes in this work. It was intentionally written to create a sensation of fantasy, like a dream. The composer intentionally avoided creating movement titles that were too specific, and instead decided he wanted to create titles which were more vague. He wanted the listener to hear this work as something vaguely themed, he wanted it to take the listeners through a fairytale. The only thing he kept clear was the main title “Scheherazade” because he wanted the listeners to know the main inspiration for the style in which he wrote this work. The vagueness and the elements of some fantastical story is undoubtedly Piscean.

Dido Belle and Jane Austen's Fanny Price

With the critical success of the new film Belle, there’s a lot of interest in the life of its heroine, Dido Belle. Many have even hailed the movie as as Austen-esque, with it being centered around a headstrong, 18th century woman who doesn’t quite fit in with her stuffier surroundings. And yet, there is quite a bit of (circumstantial) evidence that suggests that it was Jane Austen who was inspired by Dido’s story for her novel, Mansfield Park.

About a year ago, I wrote a research paper on the historical and literary events that may have influenced Austen’s Mansfield Park. If you’re interested in the subject, here’s some excerpts from that paper, including some of the sources I used:

“Historically speaking, the characters of Fanny Price and the Lord and Lady Betram seem to have been loosely based on the life of Dido Belle, the illegitimate daughter of a British Admiral and African slave, who was sent to live with her uncle in England…

There is evidence to back up the fact that Austen knew about the life of Dido Belle and the Mansfield family. Lord Mansfield was a Lord Chief Justice and a distinguished figure of society, whose “public image…[was] of a brilliant judge and a man of impeccable integrity… famous for his silver-tongued oratory” (Adams 1). In 1772, he made a controversial decision in the case of a black man, James Somerset, who was being forced to leave England to be sent back the American colonies as a slave. Lord Mansfield ruled in Somerset’s favor, essentially freeing the man from his enslaved state. This case became “widely interpreted to mean that all enslaved people in England must be ‘discharged’… [giving] great momentum to the movement of abolition”(Jones). The circumstances of this case is believed to have partially influenced William Cowper’s poem The Task, a poet whom Austen is known to have read and alluded to in several of her books, including Mansfield Park (Pemberly). Christine Kenyon Jones, in her essay “Ambiguous Cousinship: Mansfield Park and the Mansfield Family,” sees the following lines as evidence of Mansfield’s ruling as being influential in Cowper’s writing: We have no slaves at home—then why abroad? And they themselves, once ferried o’er the wave That parts us, are emancipate and loosed. Slaves cannot breathe in England; if their lungs Receive our air, that moment they are free, They touch our country and their shackles fall. (2.37-42) The imagery of the first line compares “slaves at home” to slaves “abroad,” making the case that it is hypocritical to want one’s own immediate surroundings to have the appearance of moral uprightness, while simultaneously profiting from slavery abroad and away from view. One can apply this to Mansfield’s own household, as well as Sir Thomas’ in Mansfield Park: once Sir Thomas returns from his plantation in Antigua that he desires to treat Fanny as an equal instead of as the kind of servant she is used to being treated as; likewise, it was widely speculated at the time that Mansfield’s ruling was partly influenced by the presence of his niece, Dido, who was, after all, the product of his own nephew’s capture of a slave woman and taking sexual advantage of her. That is, his first-hand experience with slavery and its effects may have given him a fuller perspective of the horrors of enslaving human beings.

In addition to the possibility of Austen being influenced by Cowper’s poem and Lord Mansfield’s reputation, she was also acquainted with Lady Elizabeth Finch-Hatton, who was the cousin and childhood companion of Dido Elizabeth Bell. Citing Austen’s letters as evidence, Jones suggests that her association with Lady Elizabeth inspired the “elegant-but-dumb” character of Lady Bertram of Mansfield Park and even Lady Middleton from Sense and Sensibility. In a letter to her sister Cassandra, Austen imparts her meeting of the Hattons in August of 1805: “Fortune was also very civil to me in placing Mr. E. Hatton by me at dinner. I have discovered that Ly. Elizth for a woman of her age & situation, has astonishingly little to say for herself…” (CE, #45). Jones believes that Austen’s remarks suggest that “she was aware of Lady Elizabeth’s ancestry and origins, and was disappointed not to find her a more interesting person or forthcoming I conversation.” In her later letters, however, this disappointment in Lady Elizabeth’s lack of personality becomes amusement for Jane and Cassandra, just as Lady Bertram’s presence in Mansfield Park provides comic relief. In another letter, Austen briefly mentions her with some mocking: “Lady Eliz. Hatton & Anna-maria called here this morng;-Yes, they called,-but I do not think I can say anything more about them. They came & they sat & they went” (CE, #91). Here, Lady Elizabeth’s presence is mute and unremarkable; yet despite her seeming lack of personality, Austen mentions her several times in her letters in much the same way, suggesting that while colorless and dull, she was worth mentioning for this same reason. In Mansfield Park, nearly every mention of Lady Bertram is irrelevant and unrelated to the plot—she is referenced as a side note or afterthought.

Austen often mentions her in terms of her non-presence, as in her unenthusiastic, almost lifeless responses to the events that occur around her. Often, “Lady Bertram [makes] no objection” (89), “[makes] no opposition”(41) or is “perfectly quiescent and contented, and with no objections to make” (264). Austen seems to be consciously making correlations between Lady Elizabeth and Lady Bertram. The luxurious lifestyle of both women contrasts greatly next to their relationship with their less fortunate relatives, Dido and Fanny, and the similarities of their stories do not seem coincidental. It is almost a certainty that Austen knew of Dido Belle’s story, and makes use of it in her creation of the character of Fanny Price.

Dido Belle and Fanny Price have a lot in common. Both begin life with disadvantages. While Fanny is born into a poor, overcrowded household, Dido was born to a slave. Both girls were sent to live with wealthy relatives who could better provide for them. Because of her mixed-race status, Dido’s role at Kenwood was rather unclear, much like Fanny’s presence at Mansfield. When Fanny arrives to Mansfield, she is made to believe herself unequal to her cousins, and is treated like a servant by Mrs. Norris and Lady Bertram. An invitation to live with rich relatives should have been a privilege to appreciate, but as Christine Kenyon Jones points out, Fanny is, at first, made to feel reliant on their benevolence. Jones explains that though Fanny receives “the advantages of comfort, wealth, and education…Fanny was a poor relation whose status at Mansfield was unregulated and totally dependent upon the good-will and affection of those around her.” Dido Belle, while given better treatment than most slaves or even servants, was still considered unequal to her cousin, Lady Elizabeth, who also lived at Kenwood. Thomas Hutchinson, an American who visited Kenwood, made detailed observations of Dido Belle in a 1779 diary entry. At one point, he speculates that Dido is some kind of glorified servant: “And she was called upon by my Lord every minute for this thing and that, and shewed the greatest attention everything he said” (Adams). Jones concludes her argument for the connection between Dido and Fanny: “While neither the novel nor the painting is ‘about’ slavery, both evidently allude to its effects and probe the uncomfortable realities of inequality, power, and obligation concealed beneath the smooth surface of family representation.” Austen’s allusion to Dido’s life adds depth to Mansfield Park beyond its rags-to-riches storyline.”

Works Cited:

Adams, Gene. “Dido Elizabeth Belle: A Girl at Kenwood.” Camden History Review 12 (1988). Web.

 Jones, Christine Kenyon. “Ambiguous Cousinship: Mansfield Park and the Mansfield Family.” Persuasions Online 31.1 (2010). Web.

 Slavery and Justice at Kenwood House. n.d. Web.

(To cite my essay, please refer to MLA handbook and use “Violet Pamplempousse” as the author)

Dita Von Teese in episode 2 of Le Carrosse Noir (The Black Carriage), 2010. A mini series by Christian Louboutin.

Giovanni da Udine (1487-1561) - Dettaglio del finto pergolato con festoni di frutta e fiori che incornicia le Storie di Amore e Psiche, ciclo realizzato da Raffaello e aiuti nella Loggia di Psiche, Villa Farnesina, Roma.

Tra i tanti capricci realizzati da Giovanni si notano una serie di composizioni basate su zucchine, cetrioli ed altre verdure lungiformi, che prendono la forma di falli e che si pongono quali elementi apotropaici di fertilità e di buon augurio. Il più notevole, ricordato anche dal Vasari, è il capriccio posto sopra Mercurio ed indicato dalla stessa divinità.

“…sopra la figura di un Mercurio che vola ha finto per Priapo una zucca attraversata da villucchi, che ha per testicoli due petroncioni, e vicino al fiore di quella ha finto una ciocca di fichi brugiotti grossi, dentro a uno dei quali, aperto e troppo fatto, entra la punta della zucca col fiore, il quale capriccio è espresso con tanta grazia, che più non si piò alcuno immaginare”

Giorgio Vasari, vita di Giovanni da Udine.

Summer of Love 💛

Tunes For The Signs | Sun & Venus

🌞 Aries: Let’s Live For Today - The Grass Roots | Wild Child - The Doors |  The House Of The Rising Sun - The Animals | Help! - The Beatles | Venus - Shocking Blue

🌞 Taurus: Nights In White Satin - The Moody Blues | Lay, Lady, Lay - Bob Dylan | Daydream Believer - The Monkees | Happy Together - The Turtles | The Letter - The Box Tops

🌞 Gemini: Here Comes The Sun - The Beatles | My Generation - The Who | I Get Around - The Beach Boys | I’m Alive - The Hollies | Brown Eyed Girl - Van Morrison

🌞 Cancer: Groovin’ - The Young Rascals | Dedicated To The One I Love - The Mamas & The Papas | All Day And All Of The Night - The Kinks | Ain’t No Mountain High Enough - Marvin Gaye & Tammi Terell | Penny Lane - The Beatles

🌞 Leo: I’m A Believer - The Monkees | Gimme Some Lovin’ - The Spencer Davis Group | Respect - Aretha Franklin | Can’t Buy Me Love - The Beatles | Be My Baby - The Ronettes 

🌞 Virgo: Purple Haze - Jimi Hendrix | Heart Full Of Soul - The Yardbirds | Sunny Afternoon - The Kinks | For What It’s Worth - Buffalo Springfield | Love Is All Around - The Troggs

🌞 Libra: All You Need Is Love - The Beatles | Dream A Little Dream Of Me - The Mamas & The Papas | Somethin’ Stupid - Frank Sinatra & Nancy Sinatra | Something - The Beatles | Do You Believe In Magic - The Lovin’ Spoonful

🌞 Scorpio: Black Magic Woman - Fleetwood Mac | I Can See For Miles - The Who | Sunshine Of Your Love - Cream | I Had Too Much To Dream (Last Night) – The Electric Prunes | Riders On The Storm - The Doors

🌞 Sagittarius: Tuesday Afternoon - The Moody Blues | Born To Be Wild - Steppenwolf | Summer Wine - Nancy Sinatra & Lee Hazlewood | Light My Fire - The Doors | Ruby Tuesday - The Rolling Stones

🌞 Capricorn: I’m A Man - The Spencer Davis Group | Paint It Black - The Rolling Stones | Strange Brew - Cream | Break On Through (To The Other Side) - The Doors | A Day In The Life - The Beatles

🌞 Aquarius: Strawberry Fields Forever - The Beatles | People Are Strange - The Doors | Good Vibrations - The Beach Boys | Visions Of Paradise - The Moody Blues | If 6 Was 9 - Jimi Hendrix

🌞 Pisces: San Francisco - Scott McKenzie | California Dreamin’ - The Mamas & The Papas | Lucy In The Sky With Diamonds - The Beatles | Spooky - Classics IV | All Along The Watchtower - Jimi Hendrix

female character deaths in shakespeare

@mistergandalf asked top five historical women

I don’t think it was a sin. Because it didn’t feel like a sin. It felt like I’m supposed to feel.

Novitiate (2017), dir. Maggie Betts

horror movies / paintings

ginger snaps / ilya repin

dean cornwell / hannibal

the exorcist / rené magritte

francis bacon / alien

the blackcoat’s daughter / dean cornwell

georges roux / crimson peak

ready or not / gustave moreau

rené magritte / evil dead 2

saw / jenő gyárfás

john singer sargent / the loved ones