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Tag Archives: Pyotr Ilyich Tchaikovsky

The National Rifle Association: Unrestrained Individualism

29 Saturday Dec 2012

Posted by michelinewalker in United States

≈ 8 Comments

Tags

Alexander Pushkin, National Rifle Association, NRA, Pyotr Ilyich Tchaikovsky, Spengler, Thomas Hobbes, Webster, William Spengler

A fictional pistol duel between Eugene Onegin and Vladimir Lensky
A fictional pistol duel between Eugene Onegin and Vladimir Lensky*

*Vladimir Lensky is a fictional character in Pyotr Ilyich Tchaikovsky‘s opera Eugene Onegin.  The story is based on a verse novel by Alexander Sergeyevich Pushkin.

Photo credit: Wikipedia

—ooo—

They have done it again.  This time it was in Rochester, NY.  Two volunteer firemen were killed and two seriously injured.

I gathered the following information from CBCNews: http://www.cbc.ca/news/world/story/2012/12/24/firefighters-shot-rochester.html (24 December 2012 and 25 December 2012).

The dead are:

  • Lt. Michael Chiapperini, of Webster police and West Webster Fire Department.
  • Tomasz Kaczowka, a volunteer with the fire department.

The injured firefighters in intensive care were named as:

  • Joseph Hofsetter.
  • Theodore Scardino.

As for the shooter, he has been identified as William Spengler.  He had spent seventeen (17) years in prison for manslaughter.  On 18 July 1980, William Spengler beat his grandmother to death with a hammer and was convicted of murder in 1981.  Released in 1998, William Spengler did not have the right to own a firearm, as is the case with all convicted murderers.  However, Mr Spengler had a gun and, after killing and injuring his victims, he committed suicide, as did Mr Lanza.

Reason vs Self-Interest

This may sound simplistic, but William Spengler killed not only because he had a propensity to violence, if such was the case, but because he had access to a firearm.  As I wrote in my blog, dated 18 December, no one can shoot someone else without a firearm.  Had Mr Spengler not been in possession of a firearm he could not have ambushed firefighters, killed two of them, injured two more and committed suicide.  This must end and it can end.

However, the four million and a half members of the National Rifle Association stand in the way of reason because Washington lets petty self-interest — what else — dictate its policies.  In other words, the government itself — and the government is the people — gives the nation the questionable “right” to bear arms, thereby allowing massacres.

Francisco de Goya, The Sleep of Reason Produces Monsters (El sueño de la razón produce monstruos), c. 1797

Francisco de Goya, The Sleep of Reason Produces Monsters (El sueño de la razón produce monstruos), c. 1797

The “Armed Brigade:” Cowboys and Indians

I believe the logic of members of the NRA is thwarted.  In their opinion, schools should be protected by what I am calling an “armed brigade.”  The remedy the National Rifle Association, the NRA, has proposed would make the situation worse.  In fact, it is not a remedy, but a symptom pointing to a deeply ingrained atavism.  Members of the NRA still live in a by-gone age when settlers in the Wild West were killing their way to the Pacific Ocean, doing so legally.  Imagine what would happen if the school’s “armed brigade” started to shoot at a potential killer.  It could be a shootout in perfect “cowboys and Indians” fashion.

We are not actors and actresses in a movie; this is real life.  In real life, we do our best not to have shootouts.  I have heard grieving or frightened citizens say that they now want a firearm.  I can understand their feelings.  Many rape victims also want a weapon.  Yet letting individuals carry a weapon keeps alive the classic confrontation of Western movies.  Remember the scenes where two men faced each other and the fastest “gun,” shooting from the hip, killed “the bad guy.”  These were duels à l’Américaine, but duels nevertheless, minus a Codex Duello.

Pushkin killed in a duel, dead at 37

When writer Alexander Pushkin (6 June 1799 – 10 February 1837; aged 37) was fatally wounded duelling with Georges-Charles de Heeckeren d’Anthès, duels were illegal in Russia.  Georges d’Anthès was therefore incarcerated in the Peter and Paul Fortress, but he was soon pardoned and returned to France.  The point I want to make is that, in 1837, duels were illegal in Russia.  In fact, they had been illegal in many countries beginning in the 17th century because of the staggering number of victims.  Similarly, if an American citizen now has a firearm and fights against an individual bearing arms, it is also a duel and one person dies, if not both.  There are victims.

Consequently, the bearing arms for self-protection solution and the “armed brigade” solution are both recipes for disaster.  When President Obama addressed the people of Newtown, he stated that during his Presidency, four massacres had occurred, the saddest of which was the Newtown tragedy — children died — and another killing occurred on Christmas Eve.  In these instances, firearms were not used for self-protection.  All were attacks by armed individuals.  I hope Washington will rally behind the President who wishes to put into place bolder gun-control legislation.

Individualism and Collectivism

Putting firearms in the hands of individuals is extremely dangerous.  It is as though a nation let citizens take the law into their own hands.  We cannot take the law into our own hands.  If citizens did take the law into their own hands, it would be a serious breach of the social contract, or a breach of a covenant.  In fact, it would be unbridled individualism and near complete denial of collectivism, i. e. collective rights and duties.

A few weeks ago, I posted a blog on Thomas Hobbes (5 April 1588 – 4 December 1679, Jean-Jacques Rousseau and John Locke.  It addressed the social contract.  People get together, surrender some “freedom” — such as bearing arms — and live in safety.  This does not preclude the appropriate measure of individualism, but it creates a balance between individualism and collectivism.  In other words, people can still put a little picket fence around their house and lock their doors — I don’t — but the other side of the picket fence is someone else’s property.  Note that in my example, both homeowners, individuals, are respecting a law, a covenant, so that order is maintained.

We have red lights, stop signs, speed limits, construction codes, fire safety codes, etc.  It’s called the rule of law.

—ooo—

Peter Ilyich Tchaikovsky  (7 May 1840 – 6 November 1893)
Eugene Onegin 
 
The Death of Tecumseh

The Death of Tecumseh

  
© Micheline Walker
19 December 2012
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Scheherazade, or the Power of Storytelling

31 Tuesday Jul 2012

Posted by michelinewalker in Art, Music, Russian Music

≈ 7 Comments

Tags

Alexander Borodin, Ballet Russes, Five, Nikolai Rimsky-Korsakov, One Thousand and One Nights, Pyotr Ilyich Tchaikovsky, Saint Petersburg, Scheherazade

 
 
The Blue Sultana, by Léon Bakst
Photo credit:  Wikipedia
Video: George Barbier (1882-1932) &…
 

Nikolai Rimsky-Korsakov: One of “The Five”

Nikolai Andreyevich Rimsky-Korsakov (18 March 1844 – 21 June 1908) was one of the The Five composers: Mily Balakirev, the leader, César Cui, Modest Mussorgsky and Alexander Borodin  who wanted to create a specifically Russian music.

Therefore, Rimsky-Korsakov’s music is not altogether European music, but it is music to which a ballet could be choreographed, as is the case with so much of the music of Tchaikovsky (May 7, 1840 – November 6, 1893).  Composers were then setting music to ballets based on fairy tales and other tales.  Russia is the birthplace of an enormous number of tales and in the nineteenth century, both folklore and orientalism were fashionable. (See Orientalism and Japonism.)

Orientalism

The Arabian Nights reached Western and Eastern Europe in the eighteenth century.  They did not replace Charles Perrault‘s (12 January 1628 – 16 May 1703) Contes de ma mère l’Oye FR (Tales of Mother Goose) published in 1697, but enriched the répertoire of stories that could be set to music.  Orientalism was not knew to Europe, east and west.  The Orient helped shape the European imagination from the time of the Crusades, if not long before.  For instance, Italian-language countries had been exposed to the travel accounts and tales of Marco Polo (c. 1254 – January 9, 1324), written as Il Milione.

Sergei Diaghilev′s Ballets Russes

Among early twentieth–century ballet companies, none was more popular than Sergei Diaghilev‘s Ballets Russes and among the ballets he produced was Scheherazade (1910), set to the music of Rimsky-Korsakov.  The ballet was choreographed by Michel Fokine and performed in 1910.  Léon Bakst had designed the appropriate sets and costumes and the ballet starred Vaslav Nijinsky.

The narrative is a gem.  Scheherazade (Persian transliteration Šahrzâd) was a Persian Queen and the storyteller of the One Thousand and One Nights  (Scheherazade in Wikipedia).  Rimsky-Korsakov’s simply loved the story of Scheherazade.  It had an oriental flavour, a flavour the “Mighty Handful,” the Five, wished to impart to the music of Russia.  The music of Russia could not be altogether Western European.  Russia stretches all the way to the Far East.  Léo Bakst  produced sets and costumes that constituted a brilliant dépaysement, or change of scenery.

The Story of Scheherazade

As the story goes, King Shahryar, whose wife has been unfaithful to him, vows to marry a virgin every day and have her beheaded the next day.  When he meets Scheherazade, a thousand wives have already been beheaded.

So our clever Scheherazade collects an enormous number of stories.  In Sir Richard Burton‘s (19 March 1821 – 20 October 1890) translation of The Nights we are also told that Scheherazade “had perused the works of the poets and knew them by heart; she had studied philosophy and the sciences, arts and accomplishments; and she was pleasant and polite, wise and witty, well read and well bred.” (quoted in Scheherazade, Wikipedia)

Scheherazade is therefore well prepared to entertain the King by telling him stories.  Much against the will of her father, she volunteers to spend one night with the King.  However, after the marriage is consumated, Scheherazade asks to be allowed to bid her sister Dinazade farewell.

Storytelling

Dinazade’s role is to ask her sister to tell the King a story.  The first night Scheherazade tells her story, but does not finish it in the hope that the King will want to hear the remainder the following night.  The second night, Scheherazade not only finishes her first story, but she begins to tell another story which, again, she does not finish so the King will keep her alive.  This goes on and on.  Never has such a tribute been paid to storytelling, the art of the raconteur.  That would be one of my conclusions.

In all, Scheherazade tells the King a thousand and one stories over a thousand nights and then says that she has no more stories to tell.  But all is well that ends well.  King Shahryar has fallen in love with his storyteller and during the thousand nights, he has also fathered three children.  In other words, he is no longer bitter and vindictive and makes Sheherazade his Queen.

So now we know how powerful good storytelling can be.  The effectiveness of the good raconteur has been confirmed.  Therefore, to be a successful writer, it may be useful to write a page-turner and, if at possible, give it rhythm and powerful imagery.  And it may go a good idea to tell it to music and, in the case of stories based on Scheherazade, burn incense: synesthesia, summoning every sense.

I must close leaving details behind, but we have nevertheless looked at riveting storytelling and the magic of the trivialized “song and dance.”  Ballet is not your ordinary “song and dance,” it is a great art form originating in Italy, France and Russia.  But that is another story.

 
 
 
© Micheline Walker
31 July 2012
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