Tuesday, November 24, 2015

Giving Thanks for John Thaw and Inspector Morse

"People who do crosswords..... have blanks in their lives, and no clue how to fill them"  

Adele to Morse, Death Is Now My Neighbour



My inaction to get a flu shot in October lead to--or at least contributed to--enduring a terrible bout of influenza in November. Maybe not of the magnitude of the pandemic of 1918 that killed more people than battlefields of WWl  (Wiki says 50 to 100 million, or 3 to 5% of the world's population) but it felt as deadly.

To make matters worse, I needed to keep going into work, as many do. And so began 14 days of a weird, feverish stumbling about between waking periods in pain and discomfort, and unrestful sleeping periods, not always at night. Living in the fog of the flu is the closest to being a zombie that I ever wish to experience.

Within the fog I was searching for anything to help me feel better, including surfing channels hither and yon, when I stumbled across CUNY NYC that was playing the second half of Inspector Morse, "Fat Chance."

Morse. 

Endorphins immediately flooded my brain at the first sight of John Thaw. Here the world made sense: it was visually beautiful and aurally sublime.  There was strength of thought and mind, not weakness of body (well, not yet).

I watched the 1991 episode with Zoe Wanamaker about theology students who wish to enter the Anglican priesthood (Church of England approved ordination of women in 1992, and the first are ordained in 1994) entwined with complications from a diet pill, with the Mozart Laudate Dominum playing throughout. 

That half episode transported me to a place where I felt a little better, for a little bit of time. And to try to continue any sense of well-being I launched into 2 weeks of a Morse marathon, from the beginning, through all 33 episodes. 

I watched sequentially, but it felt like a mosaic of bits & pieces as I dozed off here and there with the flu fatigue.

"You never married?" "You never married?" "You never married?"

"No,  I didn't, why do you keep asking?" I snap to no one. 

Oh, the fog of the flu. They're not asking  me. In the early episodes of the series someone is always questioning Morse about this. His answer: "Too choosy, too hesitant, too lazy, too busy."  I can go with that.

As I burrow into each story,  I meet several old friends. They are all so young, I first recognize their voices, and then the facial recognition snaps it. 



It's the 9th Doctor! (1991 Second Time Around)


It's Doc Martin! (1992 Happy Families)



It's Chief Superintendent Foyle! (1992 The Death of the Self)


It's Boromir! I mean Ned Stark! (1992: Absolution Conviction)

I knew none of these actors when I first watched Inspector Morse, back in the 90s. It was appointment TV for me, as for many.  You knew it was going to be a special series from its first distinctive opening sequence of The Dead of Jericho: glimpses of disparate scenes, which didn't yet make sense, intercut with black title cards, usually to the strains of some soaring piece of classical music.

The music was the most breathtaking for me. I had recently started singing with a choir and learning much of the basic choral repertoire.

Scene up on The Dead of Jericho, and we hear Vivaldi's Gloria.  It's actually very funny, given the later swipes that Morse will take at the piece, putting it down, particularly in relation to the greatness of Wagner.

There is lots of Wagner during the series.  Lots & lots of Mozart, Brahms, more Mozart, the cascades of the Allegri Miserere (years before it was overused).

No other episodic series has ever used classical music with such conviction of its worth, and implicitly, its ability to connect to wide audience.

There series is also imbued with poetry and poetic references of all kinds.  The one that jumped out at me was in "The Last Enemy"  when "the guy" [as Monk would said] is in hospital, and from his bed starts in with:

I FLED Him, down the nights and down the days;
 I fled Him, down the arches of the years;
 I fled Him, down the labyrinthine ways
  Of my own mind; and in the mist of tears
   I hid from Him, 

It is the very distinct opening of Francis Thompson's feverish "The Hound of Heaven."  (Well. everything Thompson wrote was feverish, as is wont for a Jack the Ripper suspect.)

Morse then jumps in with the end of the first stanza.

But with unhurrying chase, 
And unperturb√®d pace, 
Deliberate speed, majestic instancy, 
They beat--and a Voice beat 
More instant than the Feet-- 
'All things betray thee, who betrayest Me.'


Ok. Maybe.  Then the guy continues

"Yet ever and anon a trumpet sounds 
From the hid battlements of Eternity"

and finishes with couplets that actually come a little earlier, and is not the end of the poem:

My days have crackled and gone up in smoke, 
Have puffed and burst as sun-starts on a stream. 
Yea, faileth now even dream 
The dreamer, and the lute the lutanist;  

"The Hound of Heaven" is a very long poem. I fear that gone are the days when people committed stanza upon stanza to memory. But the series committed to poetry as deeply as it did to classical music.

The distinct cinematography and Barrington Pheloung's whistful, witty, haunting, Morse Code-influenced theme music, that beautiful Jaguar sliding through the canyons and exquisite spires of Oxford are all compelling, but the real draw are John Thaw and Kevin Whately.  

Thaw inhabits Morse with enormous authenticity: the misanthrope who accepts being alone, but continues to try to connect with women. The lover of logic and rules and law, who finds some release for his emotion in music. Who loves crossword puzzles (the Brit kind, not the simpler US type that I do) and good ale to a startling degree. 

And at his side, Whately's epitome of the "comfortable in me skin" man. Genuinely baffled by much of Morse, but drawn to the talent and a shared love of the rule of law.

Their work marriage--both the characters and the actors--is a joy to experience. 

In between watching episodes I was reading 30 years of articles on the series.  When the Blue-Ray 25th anniversary came out lots more articles were written, now with lots of comments.  One sentiment that I saw over and over was "I can't watch 'The Remorseful Day' again."  That is the episode where Endeavour Morse dies, set beautifully to the strains of the Faure Requiem.  I hadn't thought of it in years.

When my own marathon brought me to that point in the story, I thought I was ready. But my fellow fans were right.  It was terrible to watch again, to lose that special character again. My congested chest started heaving amongst deep sobs drowning out "Libera me Dominum . . ."

I knew what I had to do.  

A few clicks of the fingers, and Morse is back creating havoc trying to get his Jaguar fixed at the closed garage, set against the cheery Vivaldi's Gloria, intercut with a choir room rehearsal of Parry's "My Soul, There is a Country," until Morse slips into his front-row seat in the choir, and the story is off and running. All the sorrow of "The Remorseful Day" is gone, and I can visit Oxford again now whenever I want, outside of the fog of the flu. 





Happy Thanksgiving everyone!

Thursday, November 5, 2015

Thomas Hardy's Guy Fawkes Bonfire & the Lessons of Eustacia Vye


While the men and lads were building the pile, a change took place in the mass of shade which denoted the distant landscape. Red suns and tufts of fire one by one began to arise, flecking the whole country round. They were the bonfires of other parishes and hamlets that were engaged in the same sort of commemoration. Perhaps as many as thirty bonfires could be counted within the whole bounds of the district.

It was as if these men and boys had suddenly dived into past ages, and fetched therefrom an hour and deed which had before been familiar with this spot. The ashes of the original British pyre which blazed from that summit lay fresh and undisturbed in the barrow beneath their tread. Festival fires to Thor and Woden had followed on the same ground and duly had their day. Indeed, it is pretty well known that such blazes as this the heathmen were now enjoying are rather the lineal descendants from jumbled Druidical rites and Saxon ceremonies than the invention of popular feeling about Gunpowder Plot.

Moreover to light a fire is the instinctive and resistant act of man when, at the winter ingress, the curfew is sounded throughout Nature. It indicates a spontaneous, Promethean rebelliousness against that fiat that this recurrent season shall bring foul times, cold darkness, misery and death. Black chaos comes, and the fettered gods of the earth say, Let there be light.

Thomas Hardy set his beguling The Return of the Native in his beloved Wessex, around Guy Fawkes Day. It gives us an excellent, up-close look at this most Albion of holidays.

First, A Quick Guy Fawkes primer, from the History Channel site * * * 

•Catholicism in England was heavily repressed under Queen Elizabeth I
•During her reign, dozens of priests were put to death, and Catholics could not legally celebrate Mass or be married according to their own rites.
•Many Catholics had high hopes when King James I took the throne upon Elizabeth’s death in 1603. James’ wife, Anne, is believed to have previously converted to Catholicism, and his mother, Mary Queen of Scots, was Elizabeth’s Catholic archrival prior to being executed.

•It soon became clear, however, that James did not support religious tolerance for Catholics.
•In 1604 he publicly condemned Catholicism as a superstition, ordered all Catholic priests to leave England and expressed concern that the number of Catholics was increasing.
•He also largely continued with the repressive policies of his predecessor, such as fines for those refusing to attend Protestant services. * * *

This is the context whereby 13 Catholics got the stupid, murderous idea that blowing up James 1, while he was speaking in the House of Parliament,  would put his daughter on the throne and she might be more lenient.

The conspirators brought 36 barrels of gunpowder into the tunnels under parliament and were going to ignite it during the session on Nov. 5. Lots of twists and turns ensued, which a UK education site discusses in detail, but Guy Fawkes, the poor sap left to guard the gunpowder, is discovered when the authorities decide to search the tunnels. The plot is completely foiled.

It's one of those quirks of history that Guy Fawkes is the face of the conspiracy, when Robert Catesby was the mastermind.  They were all executed one way or another. Fawkes was tortured on the rack to get the names of his co-conspirators, and so that he would sign a confession. There is a comparison of his handwriting before and after his torture which is very chilling..

Back to the History Channel * * *
 •Londoners immediately began lighting bonfires in celebration that the plot had failed and their king was not assassinated
•A few months later Parliament declared November 5 a public day of thanksgiving.
•Guy Fawkes Day, also known as Bonfire Night, has been around in one form or another ever since.  * * *

In many counties it was the pope that was burned in effigy, along with Guy.  Then over time local bonfires burned all sorts of politicians in effigy.

Hardy's Bonfire on Edgon Heath and Eustacia Vye
Hardy wrote Return of the Native in 1878.  I love that he focuses on the primal urges of the bonfire—the Lux Fiat against the darkness—as the heart of the tradition, and not the echoes of the Gunpowder Plot with its religious baggage.

I read The Return of the Native in high school, a novel well matched to that time and place. Wildeve, the heath, the bonfires, the odd, red Diggory Venn character, cross-dressing mummers, burning a foe in effigy, Hardy’s relentless themes of loneliness and isolation—does anything more clearly speak to the surging angst of high school?

And to top it off, I connected with the tortured, sad, exotic figure of Eustacia Vye, deemed by a chapter heading to be Queen of the Night. It’s hard not to read Hardy as mocking his heroine, but this was a serialized novel during Victorian times, and modern irony was still waiting just over the horizon in the No Man's Land of World War I:

"Eustacia Vye was the raw material of a divinity. On Olympus she would have done well with a little preparation. She had the passions and instincts which make a model goddess, that is, those which make not quite a model woman."

Hardy’s Tess has gotten the serious attention through the years, and we won’t even talk about the effect Jude the Obscure's Sue Bridehead and Father Time have had on subsequent literature.

But for me, Eustacia is the character that made me feel less lonely in high school, because she was so solitary.

She enters the story silhouetted against the Guy Fawkes bonfire:

"When the whole Egdon concourse had left the site of the bonfire to its accustomed loneliness, a closely wrapped female figure approached the barrow from that quarter of the heath in which the little fire lay.

Her reason for standing so dead still as the pivot of this circle of heath-country was just as obscure. Her extraordinary fixity, her conspicuous loneliness, her heedlessness of night, betokened among other things an utter absence of fear."

A tract of country unaltered from that sinister condition which made Caesar anxious every year to get clear of its glooms before the autumnal equinox . . . was not, on the face of it, friendly to women."


Hardy's language is a joy: "extraordinary fixity." It is astounding that he would write of a woman in terms of such strength—"utter absence of fear"—while understanding that such fearless independence can also be isolating. That was comforting to hear in high school.

Eustacia suffers from yearnings of grandeur: she is trapped by class and circumstance to live on the heath, which she detests, while she’s tormented by delusions of living in Paris. She yearns for love in an equally distraught way. Much of the book is overwrought passages about her comings and goings on the heath, as she walks between bonfires.

Yet, amid all the hype, I found a metaphor that seared into my teenage memory.

". . . a clue to her abstraction was afforded by a trivial incident. A bramble caught hold of her skirt, and checked her progress. Instead of putting it off and hastening along, she yielded herself up to the pull, and stood passively still. When she began to extricate herself it was by turning round and round, and so unwinding the prickly switch. She was in a desponding reverie."

Important lesson for women: beware the brambles of life because they will snag the hem of your dress if you are not careful. If you are not vigilant, they will keep you motionless, throw you into a desponding reverie,  or worse. Clear them away, or at the least, walk around them.

Here's the rub: It’s not always easy to see these low-growing thorns, especially when your gaze is focused elsewhere than on your feet, like when looking up at a glorious sky or into the eyes of a beloved or at the bobbing head of a toddler. And that's when you can get ensnared . . .

But since high school, I have been on the outlook for those brambles. And it has helped. Thanks, Hardy.