Showing posts with label Romanticism. Show all posts
Showing posts with label Romanticism. Show all posts

Friday, August 1, 2014

The Swiss Disease

by Jean Roberta

Nostalgia, like masturbation, was once thought to drain “vital energy” from the afflicted patient. Both of these conditions, according to doctors, could lead to death.

Other similarities between masturbation and nostalgia would be worth exploring, but that is a different post.

A Swiss medical student named Johannes Hofer invented the term “nostalgia” (parallel to “neuralgia” and the rest of the “algia” family) in 1688. He also called it “mal du pays” and “mal du Suisse” as well as “Schweizerheimweh” because it was often seen in Swiss mercenaries in France and Italy who missed their native mountain landscape. (Think of the songs from The Sound of Music: “The Hills Are Alive” and “Edelweiss”.)

Symptoms of nostalgia, according to Hofer and later medical authorities, included weakness, fainting, fevers, indigestion, and stomach pains. Could any of these have been caused by bad food, unsanitary conditions, contagious diseases, or (in the case of mercenaries) the stress of war? Nah.

Being “grounded” in your native land was considered essential to good mental and physical health in those days. Travel—not to mention emigration--was unusual and dangerous. Does anyone still remember that Count Dracula, in the late Victorian Age, always keeps a small sample of his native earth with him in his coffin? In some sense, this keeps him “alive,” or at least undead.

Of course, Count Dracula is a traditionalist who comes from a past century. By the 1890s, when Bram Stoker wrote about him, “nostalgia” was a symptom of emotional sensitivity, not a life-threatening disease. Between Johannes Hofer’s medical treatise and Dracula, hordes of English Romantics had travelled to Switzerland to admire the Alps and find out why this small country had such a pull on its native inhabitants. (Note that Victor Frankenstein, in Mary Shelley’s novel of 1818, is a happy Swiss until he messes up his life by experimenting with body parts in the lab.)

I can understand why anyone who grew up surrounded by mountains would miss them while living on the plains. Sometimes I still dream about views like this:



Nostalgia for the mountains of one’s youth makes sense to me. I grew up (from ages 4-15) in Idaho, a state which is completely on the western slope of the Rocky Mountains. (The eastern border of Idaho is the Great Divide, the highest point of the mountains. Rivers on the western side flow into the Pacific Ocean. Rivers on the eastern side flow to the Gulf of Mexico and the Atlantic.)

My nostalgia for the earliest home I can remember clearly is bittersweet. The mountains were spectacular, and the sound of the train whistle echoing off the lava walls at the base of the mountains closest to my home (on an acreage outside the small town of Pocatello) was poignant. At the time, I felt “nostalgic” (if that’s the right word) for places I couldn’t remember well: the cities of New York and Chicago, and the San Francisco Bay Area, where my parents had lived when I was a baby. All those places seemed much more cosmopolitan than southern Idaho, where conservative Mormon values dominated the culture.

By the time I reached puberty, the tension between the local culture and my parents’ expectations for me was becoming unbearable. All my classmates, including the girls I hung out with and the boys I dated, thought I was ready for marriage by age fourteen, since they thought it was the fate of all womankind to start having babies as soon as possible, and to keep house until death. My parents were academics, and they thought my mind would be wasted if I didn’t graduate from high school and go on to university. Either my parents were insane (and vaguely Communist-inspired), as all my “friends” believed, or I was surrounded by shallow-minded rednecks, but they couldn’t all be equally grounded in reality.

Clashing belief-systems dominated my life, but the mountains rose above human culture, eternally serene. Just looking at them every morning helped keep me as sane as possible.

Ironically, by the time my father was hired by a university in Canada, and we moved north, I had already decided to find a way out of Idaho after high school. In the summer of my sixteenth birthday, I told myself that I had two years left, at most. I still had relatives in New York, and my parents had academic friends in Chicago and California. My plan was to keep my grades as high as possible so I could get into a university in one of those places, and never return to the Rockies, the sagebrush, or the Snake River of southern Idaho.

I can identify with Swiss mercenaries of the seventeenth and eighteenth centuries. Much as they might have loved the Alps and the mountain meadows where their sheep and goats grazed, no one can live on clean mountain air and a picturesque view alone. Leaving one’s childhood home to become a paid soldier in someone else’s war looks to me like a sign of desperation. A need for money will drive people out of many a beautiful landscape, where affluent travellers from other places like to go to get away from the “ratrace” of their urban lives.

Many immigrants to cities in the U.S., Canada, Britain, and western Europe miss their homes in what is now called the “Third World.” When they can afford it, they go home to visit. In some cases, a visit to the Old Country is like a brief return to childhood, but no one can live in that state forever.

As some others have said on this topic, feeling “nostalgic” for a place often means missing a particular time in one’s life, or an era in history. We can live there in dreams, and in fiction.

Friday, May 9, 2014

Bridge Songs

by Jean Roberta



Here is my favourite poem about living in the moment, written in the dawn of a day just after the dawn of the nineteenth century:

Composed Upon Westminster Bridge, September 3, 1802

By William Wordsworth

Earth has not anything to show more fair:/ Dull would he be of soul who could pass by/ A sight so touching in its majesty:/ This City now doth, like a garment, wear/ The beauty of the morning; silent, bare/ Ships, towers, domes, theatres and temples lie/ Open unto the fields, and to the sky;/ All bright and glittering in the smokeless air./ Never did sun more beautifully steep/ In his first splendour valley, rock, or hill;/ Ne’er saw I, never felt, a calm so deep!/ The river glideth at his own sweet will:/ Dear God! The very houses seem asleep;/ And all that mighty heart is lying still!

According to the poet, he and his sister Dorothy were in a carriage, leaving London, which then had a population of approximately 200K, which is the current size of the town where I live on the Canadian prairie. Wordsworth took a kind of mental snapshot of what he saw, before the invention of the camera. “Majesty” is the word he chose to describe the sight of such a huge metropolis.

According to some critics, the “sleeping” city seems dead, but this interpretation seems to me to miss the point. “All that mighty heart” is about to kick into life when horse-drawn vehicles and pedestrians begin going about their business, and smoke pours into the sky. (None of it will come from locomotives, which are still in the drawing stage.) Maidservants will shout “Gardez l’eau!” before pouring the contents of chamber-pots out of windows. Passers-by will move out of the way and hope nothing splashes onto their hats. City life simply requires a certain tolerance.

Street vendors will begin crying their wares, and the resulting symphony of sound will include (according to another English poet of the time, William Blake) “the harlot’s cry from street to street.”

I’ve always wondered what that “cry” sounded like – “fresh cunt, tuppence for a taste, a shilling a feel?” A modern reader can only imagine.

In any case, no one is crying anything in the moment when Wordsworth is bidding farewell to London. The City seems to be holding its breath.

The fact that the view is described from a bridge is not a coincidence. While on a bridge, you are not on one side or the other – you are literally suspended over a body of water, and it’s like being suspended in time. It’s also not a coincidence that this poem is a sonnet, traditionally a serenade to a loved one. Instead of being addressed to a person, this sonnet is addressed to a city in a moment that will never be repeated.

Living for the moment is an essential element in the philosophy known as Romanticism, which Wordsworth adopted when it was new. Many years later, (1966, to be exact), the American troubadours Simon and Garfunkel honoured another city bridge and the spirit of the Now which was then associated with a generation of Romantics known as hippies.

You can hear and see this serenade to the 59th Street Bridge in New York City on youtube. Unfortunately, I couldn't upload the video here, so here is an image of the bridge itself, built in 1909 to connect Manhattan (an island) to the borough of Queens:


The 59th Street Bridge Song

By Simon and Garfunkel

Slow down, you move too fast.
You got to make the morning last.
Just kicking down the cobble stones.
Looking for fun and feelin' groovy.

Ba da, Ba da, Ba da, Ba da...Feelin' Groovy.

Hello lamp-post,
What cha knowin'?
I've come to watch your flowers growin'.
Ain't cha got no rhymes for me?
Doot-in' doo-doo,
Feelin' groovy.

I've got no deeds to do,
No promises to keep.
I'm dappled and drowsy and ready to sleep.
Let the morning time drop all its petals on me.
Life, I love you,
All is groovy.

If William and Dorothy Wordsworth had had access to a recording device, who knows what a sweet duet they might have passed down to us? But all artists record the flavour of their lives as best they can at the time.

And we’re free to relive those moments in our own time. That’s the magic of art.