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of course all this would mean nothing if these works did not also appeal to me aesthetically i know of no music i revere more than i do the later compositions of beethoven and of schubert from the 1820s i find it hard to believe these are works of mere mortals meanwhile rossini was developing what we now recognise as italian opera earlier italian operas by say monteverdi though obviously masterpieces sound very different donizetti and bellini consolidated the form before verdi built upon their achievements to create what for me is the body of operatic work i love most alongside mozart s obviously and by the end of the century puccini had already composed la bohème with tosca just around the corner wagner meanwhile has claims to be the most towering artistic figure of his time and perhaps even of the century and not just for his contribution to opera immense though that is and one wonders how we would now be regarding bizet or mussorgsky had they lived long enough to produce masterpieces beyond carmen or boris godunov what little they left us is stunning non operatic music also flourished and how berlioz doesn t admittedly come to me easily his music is something i usually need to work on but i remain entranced by the music of such other early romantics as mendelssohn chopin liszt and schumann later generations produced brahms tchaikovsky dvořák smetana fauré yes i am sure there are other eras that could boast equally fine composers but none that attracts me more even bruckner whom i don t always see eye to eye with as it were can transport me into another world and by the end of the century there was a new rising generation mahler sibelius debussy elgar ravel nielsen etc to assure us that the future of the tradition was in good hands in painting turner and constable were in 1800 young artists establishing themselves but as the years unfolded they both produced the most extraordinary masterpieces constable giving epic form to the english landscape and turner painting pure light and in spain there was goya by 1800 he was already middle aged and was established but the outbreak of the napoleonic wars inspired in him a series of canvases and etchings depicting possibly the darkest and the most disturbing vision of any artist it is a good idea when visiting the prado not to start with the later works of goya it drains you making it difficult to take in adequately the other paintings in the gallery in the middle of the century there emerged in france an artistic movement known as impressionism although the artists associated with this movement had artistic visions too widely varied to fit comfortably under a single umbrella degas painted forms with a firm sense of solidity while monet seemed to dissolve everything into light and colour the paintings of his extreme old age well into the next century seem to me every bit as radical as the school of abstract expressionism meanwhile manet went his own way painting scenes from everyday contemporary life that seem to counterpoint the great french novels of that era no one not even the masters of the renaissance or of the baroque has produced a work of greater pictorial brilliance or of greater emotional depth and complexity than the bar of the folies bergère currently hanging in the courtauld collection in london un bar aux folies bergère by edouard manet courtesy of the courtauld institute london it didn t stop with the impressionists the next generation imaginatively known as the post impressionists built on these achievements and gave expression to their own highly charged individual artistic visions van gogh gauguin munch cézanne seurat etc they are often spoken of in terms of their influence but the actual level of their achievements is apparent enough and it s breathtaking even gauguin sometimes and then of course there s literature as the century started romanticism was in the ascendancy with wordsworth and coleridge at their peak and the next generation keats shelley byron soon to follow blake was still around but he was possibly too eccentric to be considered part of any school there were other great romantic poets around europe too goethe schiller heine pushkin leopardi etc but i am less familiar with their work than i am with that of the english romantics these are still the poets i find myself reaching for first when i want to read poetry scott at the time was the most famous and most influential novelist in the world and while his star shines considerably less brightly now than it used to his finest novels old mortality say or heart of midlothian deserve still to be read but the novelist from that era who has best weathered the changing fashions of taste is certainly austen it has taken me some time to get round to austen s novels and i still find myself needing to work hard when i revisit them but the fact that i do nonetheless revisit them speaks more eloquently than i could of their artistic stature the other novel of that period that i find more consonant with my temperament is that demonic masterpiece by james hogg private memoirs and confessions of a justified sinner by the middle of the century the novel had become the principal medium of literary expression and this dominance continued throughout the century the names trip off the tongue easily dickens thackeray trollope the brontës gaskell eliot and hardy from britain melville hawthorne twain and james from across the atlantic balzac stendhal hugo dumas flaubert maupassant and zola from france benito pérez galdós leopoldo alas and emilia pardo bazán from spain manzoni from italy and of course that extraordinary flowering in russia gogol lermontov turgenev goncharov dostoyevsky and tolstoy not to mention the great short story writers leskov and chekhov the flowering of the novel in the nineteenth century may sometimes have been equalled but has never i think been surpassed not even by giants such as joyce or proust if i had to name my own personal favourites from this formidable list it s dickens and tolstoy and that solitary masterpiece wuthering heights mention should also be made of the quite remarkable rise in the last decade of the century of popular literature of an extremely high quality in many ways robert louis stevenson had been a forerunner of this in the previous decade with his brilliant tales of adventure he died untimely in 1894 but the 1890s saw among other things the adventure yarns of henry rider haggard the ghost stories of m r james bram stoker s dracula anthony hope s the prisoner of zenda and rupert of hentzau and of course the appearance of conan doyle s sherlock holmes stories this tradition of quality popular literature continued into the early decades of the next century popular literature does not often have long shelf lives but that so many of these books are still read for pleasure that is read for reasons other than that of literary scholarship speaks for itself and of course there was drama drama as a medium of artistic expression had begun to play second fiddle as it were to the novel which was more adept at entering into peoples minds even into the secret and hidden chambers of their minds and depicting the inner lives of the characters however first ibsen and later strindberg and chekhov developed ways to get around this this flowering of drama though not as broad in scope as that of the novel was in its own way every bit as remarkable so that s it really without denying the claims that may be made for other centuries the nineteenth century holds for me at least the greatest fascination in all areas of the arts except for cinema of course but i really am not quite the cinephile i sometimes pretend to be even without cinema there s more than enough here to occupy one for an entire lifetime 11 sep the melancholy of the ambassadors posted by argumentativeoldgit in uncategorized 14 comments the conversation had turned to the subject of melancholy i m not sure how it had taken the turn but there it was perhaps there is something about alcohol that contrary to all expectations induces at least beyond a certain age a contemplative sadness rather than a riotous mirth and in this state of maudlin semi inebriation we asked ourselves for no reason that seems sensible to relate in my now sober state what films we had seen that could reasonably be described as melancholy it was surprisingly difficult there are many sad films but sadness isn t quite melancholy or rather melancholy is a special kind of sadness there are films where the sadness is intense and that very intensity prevents these films from being melancholy for similar reasons tragic films couldn t count as melancholy either the darkness visited upon these characters in such films in sunset boulevard in mouchette in midnight cowboy evokes emotions that are too close to the surface to be deemed melancholy eventually i suggested the films of ozu late spring tokyo story etc and we all agreed that these films could indeed be described as melancholy at least those of us who had seen these films agreed to be entirely honest i was the only one in our group who had seen these films so i agreed with myself but it struck me how rare a quality melancholy is not merely in films but it seems to me in other art forms too for melancholy is more than mere sadness to be truly melancholy the sadness must be qualified with pensiveness and pensiveness implies a certain distance immediacy kills melancholy and this i think is why melancholy is rarely if ever to be found in tragedy which demands an immediacy of response the sight of the eyeless oedipus of the lifeless cordelia of woyzeck s little child skipping off innocently to see his parents bodies all hit us with the force of a sledgehammer there can be no room here for pensiveness no distance that is so vital for melancholy to flourish but that is not to say that melancholy necessarily presents a more diluted version of the darkness in our lives the distance created by the pensiveness mutes the presentation it is true but it does not mute the immensity of what is presented we may find ourselves in a melancholy state of mind when we return home from the theatre and at some distance from what we had experienced ruminate sadly on the tragedies of woyzeck and of marie and on what their little boy will have to go through after the curtain falls but the distance from which we may ruminate all this does not diminish the horror of what we had witnessed on stage while we had been in the theatre the immediacy and the intensity with which that horror had been presented had allowed no distance and hence no space for rumination no melancholy in short but even when that distance is achieved the immensity of the horror remains undiminished a work that may be considered melancholy does provide us with that distance with that space for rumination even as we are experiencing it and that space must not should not diminish that we are ruminating upon all this naturally is difficult to pull off and perhaps that difficulty goes a long way towards explaining why melancholy works are so comparatively rare but they do exist and in compiling my own personal list of all the works i have encountered in various art forms that may be considered melancholy i was surprised by how many of them are actually comedies twelfth night cosi fan tutte the ambassadors the cherry orchard la règle du jeu perhaps this shouldn t be so surprising for after all comedy need not be frivolous nor humour flippant and comedy can to a far greater extent than can tragedy offer that distance that is so essential for a sense of melancholy and if the artist is skilful enough a sense of melancholy can survive even broad comedy it can survive malvolio s cross gartered yellow stockings or the partner swapping sexual shenanigans of cosi fan tutte or trofimov falling down the stairs in the cherry orchard even as we laugh at such things they reveal these characters to be vulnerable as vulnerable indeed as we are we laugh ultimately at ourselves and as we laugh we realise that we re all in the same absurd boat together and such a realisation but deepens the melancholy i read henry james the ambassadors lately i say read rather than re read advisedly as a novel of this stature reveals itself in such new forms at each reading it does not seem like treading old familiar ground this time round i was particularly struck not so much by its profound melancholy which had been obvious even the last time round but rather by its reaching towards that which resists expression its reaching towards that the very unattainability of which prompts such sadness and also for the first time i realised that the novel is indeed as is often claimed a comedy perhaps the difficulty i d previously had in negotiating its prose had inhibited the laughs but though the prose remains as difficult as ever as it does in all late james i now find myself after admittedly many years of practice better equipped to relate to each other the various different clauses in each sentence and to reach the end of each with the beginning still fresh in my mind no mean feat i think though i say so myself and those who doubt james sense of humour could do no better than to look at the opening of his preface to this novel in the new york edition nothing is more easy than to state the subject of the ambassadors describing as it does a novel in which the author takes as far as is possible although he may have taken it even further in his very next novel the golden bowl his habit of implying all sorts of things without ever stating anything directly this a very rare direct statement from this writer is about as mischievously misleading as anything i can imagine and yes it made me laugh to illustrate what this novel is so easily about james directs us to the second chapter of the book fifth in which the ageing strether advises a young man to live his life fully live all you can it s a mistake not to it doesn t so much matter what you do in particular so long as you have your life if you haven t had that what have you had the monologue continues in much the same vein and finishes with the repeated exhortation to live live but for all that positivity there is something vital that is missing how exactly does one live all one can how does one have one s life what do these things mean in the first place strether throughout the novel finds his perspectives broadening his vision deepening and in the course of all this he realises that his life has not really been lived that something that is essential to living his life well has been missed but whatever it is that is so essential cannot be described it cannot except perhaps very vaguely even be apprehended and therein it seems to me lies the source of the deep melancholy that permeates this novel despite or perhaps even because of the comedy that which might lead us to live fulfilling lives seems tantalisingly within grasp but seems to vanish as soon as we try t...