Beethovenian art that isn't musical
I have not found a composer with a sound comparable to Beethoven, except for a few preceding him, whom the master himself had assimilated into his works -- sections of Bach, Handel, Vivaldi (since Bach/Vivaldi were often confounded) strongly anticipated the German master; but no musical artist subsequent captured the exact aura of 'Beethoven' -- that peculiar combination of power, scope, impeccable technique, profound creativity, and that highly idiomatic brand of sardonic jest. However, in a weird, twisted way, the great whaling epic, "Moby-Dick" has struck me artistically the exact same way Beethoven does. Melville's prose comes across as the spirit of Beethoven in text. Melville, I consider, as the most vigorous, uncompromising, and intense of the English prose writers; but there is also, just like Beethoven, a general lacing of forceful jest. The biggest difference between the two, however, is that Melville was extremely cynical, whereas Beethoven, while brooding over the tormented aspects of existence, was in the end very idealistic. Here is a passage that reminds me of prose suffused with Beethoven:
--
Thus, then, the muffled rollings of a milky sea; the bleak rustlings of the festooned frosts of mountains; the desolate shiftings of the windrowed snows of prairies; all these, to Ishmael, are as the shaking of that buffalo robe to the frightened colt!
Though neither knows where lie the nameless things of which the mystic sign gives forth such hints; yet with me, as with the colt, somewhere those things must exist. Though in many of its aspects this visible world seems formed in love, the invisible spheres were formed in fright.
But not yet have we solved the incantation of this whiteness, and learned why it appeals with such power to the soul; and more strange and far more portentous - why, as we have seen, it is at once the most meaning symbol of spiritual things, nay, the very veil of the Christian's Deity; and yet should be as it is, the intensifying agent in things the most appalling to mankind.
Is it that by its indefiniteness it shadows forth the heartless voids and immensities of the universe, and thus stabs us from behind with the thought of annihilation, when beholding the white depths of the milky way? Or is it, that as in essence whiteness is not so much a color as the visible absence of color, and at the same time the concrete of all colors; is it for these reasons that there is such a dumb blankness, full of meaning, in a wide landscape of snows - a colorless, all- color of atheism from which we shrink? And when we consider that other theory of the natural philosophers, that all other earthly hues - every stately or lovely emblazoning - the sweet tinges of sunset skies and woods; yea, and the gilded velvets of butterflies, and the butterfly cheeks of young girls; all these are but subtile deceits, not actually inherent in substances, but only laid on from without; so that all deified Nature absolutely paints like the harlot, whose allurements cover nothing but the charnel-house within; and when we proceed further, and consider that the mystical cosmetic which produces every one of her hues, the great principle of light, for ever remains white or colorless in itself, and if operating without medium upon matter, would touch all objects, even tulips and roses, with its own blank tinge - pondering all this, the palsied universe lies before us a leper; and like wilful travellers in Lapland, who refuse to wear colored and coloring glasses upon their eyes, so the wretched infidel gazes himself blind at the monumental white shroud that wraps all the prospect around him. And of all these things the Albino Whale was the symbol. Wonder ye then at the fiery hunt?
--
The hyperbolic rhetorical question at the end there perfectly demonstrates the seaman's brutal sense of humor.
This was piqued by the 'Artists Beethoven liked' thread.
But I am wondering -- have any of you experienced nonmusical works of art that strike you as mysteriously Beethovenian?
[This message has been edited by Beyond Within (edited 12-04-2005).]
--
Thus, then, the muffled rollings of a milky sea; the bleak rustlings of the festooned frosts of mountains; the desolate shiftings of the windrowed snows of prairies; all these, to Ishmael, are as the shaking of that buffalo robe to the frightened colt!
Though neither knows where lie the nameless things of which the mystic sign gives forth such hints; yet with me, as with the colt, somewhere those things must exist. Though in many of its aspects this visible world seems formed in love, the invisible spheres were formed in fright.
But not yet have we solved the incantation of this whiteness, and learned why it appeals with such power to the soul; and more strange and far more portentous - why, as we have seen, it is at once the most meaning symbol of spiritual things, nay, the very veil of the Christian's Deity; and yet should be as it is, the intensifying agent in things the most appalling to mankind.
Is it that by its indefiniteness it shadows forth the heartless voids and immensities of the universe, and thus stabs us from behind with the thought of annihilation, when beholding the white depths of the milky way? Or is it, that as in essence whiteness is not so much a color as the visible absence of color, and at the same time the concrete of all colors; is it for these reasons that there is such a dumb blankness, full of meaning, in a wide landscape of snows - a colorless, all- color of atheism from which we shrink? And when we consider that other theory of the natural philosophers, that all other earthly hues - every stately or lovely emblazoning - the sweet tinges of sunset skies and woods; yea, and the gilded velvets of butterflies, and the butterfly cheeks of young girls; all these are but subtile deceits, not actually inherent in substances, but only laid on from without; so that all deified Nature absolutely paints like the harlot, whose allurements cover nothing but the charnel-house within; and when we proceed further, and consider that the mystical cosmetic which produces every one of her hues, the great principle of light, for ever remains white or colorless in itself, and if operating without medium upon matter, would touch all objects, even tulips and roses, with its own blank tinge - pondering all this, the palsied universe lies before us a leper; and like wilful travellers in Lapland, who refuse to wear colored and coloring glasses upon their eyes, so the wretched infidel gazes himself blind at the monumental white shroud that wraps all the prospect around him. And of all these things the Albino Whale was the symbol. Wonder ye then at the fiery hunt?
--
The hyperbolic rhetorical question at the end there perfectly demonstrates the seaman's brutal sense of humor.
This was piqued by the 'Artists Beethoven liked' thread.
But I am wondering -- have any of you experienced nonmusical works of art that strike you as mysteriously Beethovenian?
[This message has been edited by Beyond Within (edited 12-04-2005).]
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