‘Tenebrous Trinity,’ a Supernatural Horror Short Story

[This short story is inspired by The Three Mothers trilogy of horror films by Dario Argento, Inferno in particular.]

I

Mary kept reading the book with fascination. She had already read three pages, and she couldn’t take her eyes away from the text. 

She had come to this passage: “Thomas De Quincey surely had insight when he wrote of Levana and Our Ladies of Sorrow, though he wasn’t entirely accurate about the identities of the three goddesses. To know of their true nature, it is helpful to compare and contrast them with the Christian Trinity.

“Just as there is a masculine Trinity in Christianity, so is there a feminine, tenebrous Trinity. There is God the Father, who said, ‘Let there be light,’ and there is the Mother-Goddess of Darkness. There is God the Son, who gave Christians the joy of hope in His resurrection, and whose suffering caused the tears of his mother, Mary; then there is the Daughter-Goddess of Tears. Finally, there is God the Holy Spirit, the ruach, or wind that went over the face of the waters at the beginning of the Creation; and there’s the Spirit-Goddess of Sighs, those sighs of sadness that blow through the leaves of the trees.

“Everything has its opposite: god and goddess, light and darkness; also, the goddesses take the four elements and pair them into opposites for their purposes—fire with water, and air with earth. Fire is passion, and water quenches and calms passion. Air is movement and restlessness, while earth is stasis and restfulness. These contraries, when pressed against each other, create greater power for the goddesses, and so they are fond of intermingling them.

“I, Verne Edgars, author of this book you are reading, built the three houses of the goddesses in our city of Hamilton; I built them in their honour. These buildings are their churches, where we commune with the goddesses in ritual and grow in blessedness with them. Just as the Christian Church teaches salvation by sharing in Christ’s suffering, so do the goddesses’ three churches help us achieve absolute blessedness through suffering. When we are spiritually ready, we may descend to the lower room and become one with the goddess of the house we are in, just as Jesus ate the Last Supper with his disciples in the Upper Room, where in eating his flesh and drinking his blood, they became one with Him.”

Descend to the lower room,’ Mary thought after raising her eyes from the book. In my search for my missing kid sister, Penny, I found this ‘House of the Daughter-Goddess of Tears’  a month ago. I didn’t find her here; perhaps she’s in one of the other two houses…or perhaps they’re hiding her here…in the ‘lower room’? The basement? No one ever goes in there, no one except the priestesses, who are the only ones allowed down there. The door is locked, though I managed to pick a priestess’s pocket and get one. I’ve been meaning to go down there, to see if that’s where Penny is, though I’m scared of what I may find. Do I dare?

She took out her phone and typed an email to her brother, Elliot. This is what her message said: “I’ve found the address of one of the three houses of the religious cult of the ‘Tenebrous Trinity’ that Penny ran off to join. I’m not sure if she’s in this house—probably not—or in one of the other two, whose addresses I don’t know. I’ll be looking around here some more; if I don’t contact you in the next one or two days, you can come here to find me. The address is 246 Kent St., here in Hamilton. The other two houses are in our city, too, though as I said, I don’t know their addresses yet. I hope to contact you soon with news of finding her. Love, Mary.”

She put her phone in her purse and took out a notebook from it. She opened it to the page with the latest poem she’d been working on. This is some of the best work I’ve ever done, she thought as she looked at her verses. Another reason I’m still in this house, despite not having found Penny, is that I find life here charming and inspiring. I really do believe these goddesses exist, and they have become my Muses…at least the Daughter-Goddess of Tears has been. No wonder Penny got caught up in this religious cult: they really do seem to have a way of achieving absolute blessedness. It surely feels that way when we do the rituals with the priestesses. Elliot would never accept the way of the goddesses; he’s too attached to the Catholic faith we were all raised on, with our old priest, Father Rosario, his father-figure, in St. Andrew’s Church. He’d never open his mind to our new faith. He wants me to find Penny to get her out of here; I want to find her to tell her I’ve seen the light here. He would never accept that.

She put her notebook in her purse and got up from her chair. She put the book back on the shelf where she’d gotten it, then walked out of the library. Nobody else was around; everyone, including the priestesses, had left the house for the day to run errands. She was left here all alone.

She walked down the hall, which glowed with spots of red, blue, and purple among the shadows, towards the door to the basement. She took the stolen key from her purse and fit it in the lock. She took a deep breath and opened the door. She swung it all the way open and looked down the stairs into the darkness. She gulped and took a few steps down.

She reached for a light switch; there was none. Though she was too scared to go down into the pitch-black, she felt a warm, vibrating feeling that encouraged her to explore. It was the same vibration she felt during the rituals, the same feeling that charmed her so, that inspired her poetry. The vibrations made her feel safe, protected. She continued down the stairs, feeling as if she could see what was down there. 

When she got to the foot of the stairs, the door slammed shut, startling her. Now, she didn’t even have that glowing blue light upstairs. She stood in absolute black. The warm vibrations soothed her fears somewhat, though, and she walked ahead, as if she knew her way.

She heard a faint sobbing.

“Penny?” she said. “Is that you?” She took a few steps forward.

The sobbing continued, a bit louder now.

“Penny? It’s me, your sister, Mary. Are you there?”

As she stepped forward in the blind darkness, walking as if she could see, the sobbing got louder. Then she felt a few drops of water on her shoulders and hair.

“What? Dripping from pipes above?” She stopped walking. The sobbing got louder, and the drops of water were now as numerous as rain. “It’s raining inside?

A puddle was growing around her feet. That water was rising fast into what felt like a pond. In a minute, it had gone up to her waist. It felt like being in a lake on a starless night in the woods.

“Oh, my God,” she said. “I gotta get out of here.”

She turned around and tried to go back to the stairs; of course she had no idea where they were, and the water was so thick to walk through that she could barely even move in it. It was now chest high on her. 

I’m gonna drown in here, she thought, shaking. 

Don’t be afraid, a voice whispered. You’re about to join the Goddess of Tears.

“W-wait…no!” she said in a trembling voice. The water was now up to her chin. “I’m n-not ready yet!”

Don’t be afraid, the voice said again. You are ready. All will be well. Trust the goddess. You suffer a little now, then you gain absolute blessedness.

Her head was now completely underwater. She held her breath for as long as she could. 

Remember the ritual, the voice whispered in her mind’s ear. Move your arms and legs. Swim in the goddess’s tears.

Mary did just that. She swam around freely, but couldn’t hold her breath much longer. She tried to swim up to the surface, but couldn’t find it. It seemed as though the entire basement was filled with water, right up to the ceiling!

Breathe in Her tears, Mary, the voice advised. Don’t be afraid. Have faith in Her grace. Breathe in Her tears, and be one with Her. You won’t die; you’ll have eternal life.

Mary breathed in, desperately trying to believe the voice. Instead of passing out and drowning, she found herself breathing the water like a fish! 

But another alarming thing happened: she felt her body beginning to…melt?

Indeed, her arms and legs were gone, at one with the water. She felt her torso and head melting now. Her heart, though fading fast, was pounding in terror. Her clothes floated away.

Her face melted off. Her breasts melted off. Her stomach, intestines, and heart were now gone. Her hair was one with the watery waves. Her brain was merging with her surroundings…

II

Elliot looked away from his notes when he saw the new message on his phone. It was from Mary. The title of the message said, “Penny.”

“Hey,” he said as he went to pick up his phone. “Has Mary found her?”

He read the message, disappointed at his kid sister not being found. Still, he’d make time to find the house. He put the phone down and resumed listening to the lecturer talking about the scene in Mozart’s Don Giovanni when the libertine is taken away to Hell by demons.

“Note that Don Giovanni is unrepentant to the end,” the professor said while a recording of the music was playing. “Only when the demons come to take him does he realize his mistake.”

Elliot felt a warm vibrating all over his body at that moment. He felt an urge, he couldn’t explain why, to look over to his left, where a beautiful young woman was sitting at a seat across the aisle from him, at the row of seats in front of his row. She was staring at him with hypnotic green eyes. Her lips were bright red, her hair a long, wavy blond, and her curvy figure was in a tight, black dress.

Is this my lucky day? he wondered. 

No sooner did class end than she walked over to him. 

“Hello,” he said with a smile. “How can I help you?”

“It’s I who can help you,” she said, with a serious face. “Your family is still searching for Penny, and you’ll be searching for Mary, too.”

His eyes and jaw opened all the way. “How did you know about that? Do you have Penny with you?”

“No,” the woman said. “But I can take you to where they are. My name is Sibyl.”

“Elliot,” he said, shaking her hand.

“I already knew your name. Come with me.”

They left the music school together. On the street and walking in the direction of the house of the Daughter-Goddess of Tears, they exchanged furtive glances at each other.

“How do you know so much about my family?” he asked.

“You won’t believe me, but I’ll tell you, then I’ll make you believe,” she said. “I have magical powers.”

“Oh, really?” he said with a chuckle. “Good luck convincing me of that.”

She put her hand on his forehead, and instead of seeing the street before him, he saw a dark area in a house…a hallway next to an opened basement door. What little light there was came in through the windows behind. The light was a dark, glowing blue. Penny was standing at the doorway. She looked as if she were in a trance. Someone in the dark seemed to be behind her.

“What the hell?” he said, his eyes and mouth agape again. “What is this place? Is it where we’re going?”

“No,” she said. “It’s the house of the Spirit-Goddess of Sighs. Just watch, and see what became of your sister Penny.”

He felt a chill go through his body as he saw Penny slowly descending the stairs into the basement. Glowing red and blue light among the shadows gave her face enough illumination for him to see a frown of fear, yet also determination, on her face. Walking behind her on the steps was, as Elliot could barely make out, some mysterious, older man.

When she reached the foot of the stairs, she heard a sighing voice. She jumped at the sound and froze where she was. Then she continued walking in the dark.

The door upstairs slammed shut, startling her again. All around her was pitch black, except for a slight, glowing blue coming from a wide-open window further off. Trembling, she began walking toward it.

More sighs.

Wailing, too.

After several slow, careful steps, she was standing by the window, a powerful wind blowing against her and making her long, wavy hair flutter about. The wailing, sighing sound was heard even louder now; she stood there, transfixed and mesmerized. 

Don’t be afraid, the loudly sighing wind told her. Let the goddess take you, and you’ll achieve absolute blessedness.

“I’m not afraid,” Penny said, trying hard to believe her words. Her eyes shut and her mouth curled up in a smile. “Take me!” Her heart was pounding.

The mysterious man was watching the whole thing from further back, still only barely visible to Elliot.

Now the winds were sucking at her, pulling her towards the window. Her heart was pounding even harder, she was shaking all over, but she held onto her faith in the goddess.

The wind pulled her out through the window. She screamed. Now Elliot saw his sister flying in the night sky.

“Oh, God, No!” Elliot shouted. People on the street were shocked at Elliot’s reaction to what only he and Sibyl saw. Sibyl just watched his horrified reaction in all stoicism, as if testing his attitude towards what he was seeing.

As Penny kept flying in the air, pulled in the wind as if caught in a cyclone, she felt her body evaporating. Her eyes and mouth were wide open in horror at the sight of her disappearing arms and legs, but she held onto her faith as best she could. 

Don’t be afraid, she thought. Have faith in the goddess!

Her hair vanished. Her clothes blew away without enough of a body to keep them on. Her breasts, belly, pubic hair, and buttocks became one with the wind. Then her face disappeared, along with her ears, her skin, and her bald scalp. Soon, her sighs were one with the goddess.

The vision ended. 

Elliot saw the street again. Some people were looking at him as if he were a madman.

“She…vanished into…thin air…literally,” he said in a tremulous voice. “Who was that man in the basement with her?”

“That would have been Verne Edgars, the architect who designed the three houses,” Sibyl said.

“We should find him,” he said. “Was he responsible for leading Penny to her death?”

“No, and she didn’t die,” Sibyl said. “She’s one with the goddesses.”

He grabbed her by the arms. “You have to help me get her back!” he shouted. “I lost my father when we were all kids, and my dear mother died a year ago. My sisters are all I have left of a family. You’ve gotta help me find Penny and Mary, and save them from this sick religious cult!”

Sibyl looked in Elliot’s eyes with a frown, thinking for a moment what to say to him. “To get your sisters back, you would have…to defeat the goddesses.”

“Yes!” he said. “I want them to pay for what they did to Penny, for what I fear they’ll do to Mary. You’ve got to help me! Those goddesses are demons! With God’s help and yours, we’ll destroy them.”

“I see,” she said, looking away from him for the moment. “To defeat the goddesses, you must…cultivate the power of fire, the energy of desire, then use it to burn down the houses. It’s the houses that hold the power of the goddesses; in destroying the houses, you’ll deprive the goddesses of their power, and your sisters will be freed from the goddesses’ spells on them.”

“How will I get this ‘power of fire,’ Sibyl?” he asked.

“Come with me to my apartment,” she said, taking him by the arm. “It’s very close.”

III

Verne Edgars, 61, was watching Elliot and Sibyl a half a block away from them, hiding among the pedestrians. 

I know what she wants to do with him, he thought as he followed them. I love the goddesses, but Elliot will never accept our way, and he’ll be enslaved, if not just plain killed, for rejecting it. I don’t want him to suffer. I have to figure out a way to stop him from going along with her.

Suddenly, he heard a sighing, and felt the wind blow against him.

“Wait,” he said, feeling the wind take more and more control of his body. “O Great Goddess, by Your grace, allow me to help E—“

Go home, Verne, the voice in the winds sighed in his mind’s ear. We will help you understand. Come with us.

A wind, which only he felt blowing against his body and through his hair, escorted him, as it were, back to the house of the Spirit-Goddess of Sighs. He tried to resist as best he could, pressing his feet against the ground to stop him from walking there, but his shoes kept moving, scraping against the pavement.

“Please, O Great Goddess,” he pleaded in a strained voice. “By your leave, allow me to warn Elliot. He’s a good man, just misguided. Penny, surely you don’t want your own brother to be–”

We will guide him, the sighing wind told him. Stop resisting. You know what will happen to you if you continue to resist, which is futile.

Finally, his scraping shoes took him back to the goddess’s house. In he went in all reluctance, and now his shoes were scraping on the wood of the hall leading to the basement. Vivid red glowed among the shadows.

Take out your key and unlock the door, the voice sighed in his ear. The wind forced him to put his hand in his coat pocket and take out the key. Put it in the lock.

“But, Great Goddess, I—“

His arm was sore from resisting putting the key in the lock. In it went, the lock clicked, and the door swung all the way open. He looked down the stairs into the all-enveloping black.

Down he went, his shoes scraping against the wooden stairs. He almost tripped a few times.

When he reached the foot of the stairs, he no longer felt wood or any hard surface under his shoes. He felt clumps of dirt there. The door slammed shut, startling him.

“What?” he said, feeling the dirt rising and covering his shoes.

You resisted the movement of the air, the wind sighed, therefore you will feel the stasis of the earth, holding you in position as you tried to hold yourself out there on the street.

“Wait, Goddess, I’m not ready,” he said in a hoarse voice as the dirt had now come up to his knees.

Yes, you are, the wind sighed. You have done the rituals. Remember what to do. Don’t be afraid, Verne. Don’t resist. All will be for the best in the end.

“But, Elliot—“ The dirt was up to his waist now.

He is no longer your concern. Be at one with us.

“Yes, Goddess,” he said as the dirt rose up to his chin. There is no denying the will of the goddesses, he thought, the dirt just under his lips now. I tried my best to help you, Elliot. You’re on your own now. Good luck.

He was completely buried under the earth now. His heart was pounding, more from his fear of angering the goddesses than from knowing he was going to be one with the earth. Would they deny him the absolute blessedness he’d been hoping for as punishment for going against their will? He hoped they’d forgive him as he continued holding his breath.

Finally, he could hold it no longer, and soil flooded his nostrils. He was breathing it like air, and his body was crumbling into tiny pieces that intermixed with the dirt. His consciousness was fading, as was his individual ego, which merged with the eternal spirit of the goddesses…

IV

In Sibyl’s apartment now, Elliot was led by her into her bedroom. They stood at the foot of her bed. She looked up at him.

“To gain the power of fire, we must arouse your passion to the greatest intensity,” she said, reaching back and unzipping her dress. “Therefore, I must indulge your lust.” She let her dress drop to her feet, and she kicked off her high heels. Wearing no bra or panties, she stood there completely naked before his delighted eyes. “Put me on the bed and make love to me.”

Am I having a lucky day, or what? he thought as his eyes poured over her flawless body: large breasts that hung naturally without sagging, creamy skin, hourglass curves, and even a full Brazilian wax. “You’re a bold one, Sibyl,” he panted. “You don’t even know me. Aren’t you afraid I might hurt you?”

“I’m a witch, remember?” she said, turning around so he could see her round, creamy buttocks, then turning again so he could see her full frontal again. “You couldn’t hurt me if you tried. Do you like my body? Only a witch’s magic can make her body this flawlessly beautiful.”

“It’s better than any I’ve ever had the pleasure to see,” he said. “How shall we do it?”

“Any way you like. The object is to get you as excited and passionate as possible, so do to my body whatever is most pleasing to you. My magic will protect me from any pain you could possibly cause me, so I’m not at all afraid.”

“I see.”

Still amazed, he hesitated in disbelief at his good luck…and in his doubt as to whether he could trust her.

“Well? Are you a man, or not? Take me, and enjoy yourself to the fullest.”

“If you insist.”

As he was having her, he felt himself glowing brighter and brighter with the fire of his passion. He was getting hotter, literally hotter, but not burning in any pain—nor was she; after all, it was she who was passing her power over to him for use against the goddesses. His eyes widened in amazement at the changes to his body.

As they were approaching climax, his body was all aflame. “Holy shit!” he gasped.

Finally, they came, the flames flickering all over him from head to toe subsided, and he cooled off. He lay beside her on the bed.

“I can’t believe what just happened,” he panted.

“You are a wicked lover,” she sighed with a lewd smirk. “Most women would be too timid to do the things I allowed you to do to my body. You’re lucky I had the power to endure it.”

“Forgive me my sinful passions,” he said, though glad he had the chance to indulge them. 

“No need to apologize,” she said. “As I said, you didn’t and couldn’t hurt me. Now you should have all the power of fire needed to defeat the goddesses.”

“I’m just curious: why are you helping me? Aren’t you one of them? Why should I trust you not to betray me in the end?”

“I’ve seen the evil the goddesses are capable of. They are demonesses. I saw them kill a Father Rosario just the other day, and—“

“Father Rosario?” Elliot shouted. “Father Robert Rosario, of St. Andrew’s Church on Fleet St.?”

“Yes, him,” she said with a sigh and a frown.

“He was my spiritual mentor as a kid. After my father died, Rosario was like a second father to me! And your goddesses killed him? Why?”

“For opposing them, of course.”

“How can I know for sure that they really killed him?”

“I’ll show you another vision. Brace yourself.” She touched his forehead.

V

Elliot saw Father Rosario, 65, standing on Fleet St. in front of the House of the Mother-Goddess of Darkness and, beside it, the dilapidated remains of what once had been St. Andrew’s Catholic Church, where Elliot’s mother took him and his sisters when they were kids…years before Penny went astray and followed the goddess cult. The church had been struck by lightning a week after the House of the Mother-Goddess of Darkness was finished construction and open for use by her priestesses, and a pervading sense of evil surrounding the area made the parishioners wish no longer to attend their church, so no attempt was ever made to repair the damages.

That pervading sense of evil was only a vague feeling, most of the parishioners not attributing it to the goddess’s house; but the priest was convinced that that house was Satanic in nature, and he blamed it for destroying his livelihood and place of service to God for so many decades. He was determined to confront that Satanic presence, and if he couldn’t rid the neighbourhood of it, he’d die trying.

He looked up at the damaged steeple of the church, where the lightning bolt struck the crucifix, shattering it and leaving the top of it with a jagged edge. The ugly new shape of it looked blasphemous to Rosario.

He looked over at the black house next to the church, and walked over to it. Standing on the front porch and facing the front door, he took a deep breath, gritted his teeth, held his hands in fists, and pushed the door open.

He walked down the hall, where spots of green, red, and blue glowed among the black shadows. He passed by the door to the basement; unlocked, it swung open for him.

“No, she-devils,” he hissed. “I won’t descend into your Hell.”

You have no love for the darkness, Father? a female voice asked him.

“Of course not,” he said. “I believe in the light.”

Very well, the voice said. Come upstairs to the roof, and we’ll discuss whatever is bothering you.

He went up four flights of stairs, which were shrouded in absolute black. No glowing colours here to illumine his way.

The wooden steps creaked. The only way he didn’t trip or bump into walls in the absolute darkness is that the power of the goddess guided his steps so well, it was as if he could see.

Rather than reassured with this guidance, he could only feel profoundly disturbed at being led the way by devils. After all, it wasn’t so much that he was being guided as he was being compelled to go up these stairs.

By the time he reached the roof, the ascent had caused his aging legs to be sore and tired. He bumped into a door leading outside to the roof.

Still no glowing colours accompanied the pitch black of the area in front of the door. He’d might as well have been blind standing there. He held the crucifix hanging from his neck tightly.

You abide by the light of the Lord, don’t you? the voice asked him tauntingly.

“Of course,” he said defiantly. “Jesus is the light of the world. Whoever follows Him will never walk in darkness, but will have the light of life.”

Very well. Open the door, and have your light.

He opened the door, and the light was like a white fire–it shone in so brightly that it burned his eyes. He staggered forward and out onto the roof. He was slipping along the slope of the side of the roof. He opened his eyes, but saw only black.

“What? What the…I’m blind!”

He kept sliding down the side of the roof, then fell off the right side of the house, screaming.

If you want your Christ and your crucifix, you may have them, the voice said.

He landed, facing upwards, on the jagged edge of the steeple’s crucifix, impaled through his back, with the jagged edge coming out of his belly.

VI

“Father Rosario!” Elliot screamed as he saw his priest’s lifeless body, with copious amounts of blood pouring out of the wound. “I will avenge you.” Tears ran down his face.

He and Sibyl put their clothes on and left her apartment. He felt the fire inside him. In his rage, he even let himself flame up all over; he was so amazed to see the fire not burning his clothes off that he took no notice of the shock on the faces of the people who saw his fiery self on the streets.

He smiled at the sight of his new power. “I feel like a comic book superhero,” he said with pride. “So, am I a god now, like you?”

“Well, something like that,” she said as they walked down the street in the direction of the House of the Daughter-Goddess of Tears. 

They reached the house within ten minutes. They stopped by the front door.

She looked at him. “Are you sure you want to do this?”

“Yes,” he said. “They took everything from me. I want to take everything from them.”

“Well then, follow me down into the basement. There is the best place to start the fire; burn the foundation, and the fire will rise up to the rest of the house.”

“OK.” They went inside and down the hall. He saw glowing spots of red, purple, blue, and orange among the shadows. He saw the door to the basement swing open, welcoming him. “I’m not afraid of you, bitch-goddesses! I have the power to destroy you. I’ll go down into your Hell, and make of it an even greater inferno.” He went down the stairs, lighting up his fire so he could see the way. He reached the foot of the stairs, noting the wet floor.

He stretched his arms out, using them like flamethrowers to hit the walls and wooden stairs with his fire. Everywhere he saw flames engulfing the basement. He smiled. 

Suddenly, he heard loud sobbing, hurting his ears. He shot more fire from his hands.

“Yes, go ahead and weep, goddesses,” he said. “You’re about to be destroyed!”

It started raining tears from the ceiling of the basement. Within ten seconds, he was up to his ankles in water. 

He fired his flames onto the watery floor, as much fire as he could muster in an attempt to vaporize it. It wasn’t enough, though. 

“Why isn’t this working, Sibyl?” he shouted, feeling himself becoming at one with the flames in his consuming rage. “Sibyl? Where are you?”

The water, now at waist level on him, displayed three female faces on its surface, the faces of Penny, Mary, and Sibyl. His eyes and mouth widened.

You wanted to find us, Elliot, his sisters said with grins, and you’ve found us.

“But you’re my sisters!” he shouted. “I came here to save you! And now, you’re trying to kill me?”

We don’t need saving, his sisters said. The goddesses saved us. They have given us absolute blessedness. You should embrace their power, too.

“Never! Sibyl, you bitch! I thought you said you wanted to stop the goddesses’ evil!”

I am one of the goddesses, you fool, she said from her face among the wavy surface of water, which was now at Elliot’s neck level. I’m the Daughter-Goddess of Tears, using your fire to increase my power. But why should you complain? Today was your lucky day. You got to have sex with a goddess.

He strained to increase the power of his fire, desperate to vaporize the water that was now at the level where his lips had been. The glowing fire pushed back the water to be separated from his body, which was now almost completely transformed into a pillar of fire, by about a foot all around. He was getting tired.

Give in, his sisters said. Let go of your passion. It only leads to suffering. Embrace sorrow and tears. When you accept pain as inevitable, you can join us and be blessed forever.

“No! Never!” he—a talking pillar of flame—shouted, and fired more flames out. “God is…my…salvation…”

He could sustain it for only a few more seconds, though. Finally, he shrank from exhaustion, and the water extinguished him.

Poor Elliot, his sisters said. He never could adapt to new beliefs.

It is no matter, the daughter-goddess said. We have his power now, and can benefit from it. His soul will serve us for all eternity. We’ll feel him near us always. After all, family should always be close.

Yes, Great Goddess, the sisters said, grinning. It was our plan to have Elliot serve us. The wisdom of the plan came clearer and clearer the more we became acquainted with your divine ways. His God won’t save him from the flames.

Analysis of ‘A Passion Play’

A Passion Play is a 1973 concept album by Jethro Tull, their sixth album. This album moved the band further in the direction of progressive rock, a move started with their previous album, Thick as a Brick.

Both albums have the format of continuous music spread over two sides of the original vinyl releases; but with A Passion Play, the music became much more elaborate and complex. Also, while Thick as a Brick has been largely well received critically, A Passion Play was panned by the critics, who soundly thrashed bandleader Ian Anderson for his perceived self-indulgence (i.e., the over-the-top “Story of the Hare Who Lost His Spectacles”) and pretentiousness.

Nevertheless, the album sold well, reaching No. 1 on the charts in the US and Canada. It also sold well in Germany, Norway, and the UK. Though I agree that the “Story of the Hare” is little more than outright silly, I feel it’s unfortunate that the album has such a bad rap, for musically it’s among Tull’s most accomplished, with Anderson expanding on his already considerable multi-instrumentalist abilities to include soprano and sopranino saxophones. He does some fine acoustic guitar playing here, too; and John Evan‘s keyboards and Barriemore Barlow‘s virtuosic drumming and percussion add lots of musical colour.

Here are links to the lyrics, and here is a link to the album.

When I bought my copy of the LP as a teen in the 1980s, it didn’t have the gatefold inner sleeve with the lyrics and the drama masks (let alone the six-page programme included in the original album to tell us the characters, etc.). All I had was the outer cover, with the pictures of the ballerinas. As gleaned from just the lyrics, the story is quite unclear.

Indeed, what do they mean by “a passion play”? The story of the album isn’t a dramatization of the suffering and death of Christ, so the title is obviously a metaphor…but of what? Here’s where everything is open to interpretation–so here’s mine.

A “passion play” is a metaphor for life. Instead of Christ, our protagonist, as indicated in the programme, is “Ronnie Pilgrim,” an everyman whose death at the beginning of the story, and whose progress through the judgement of his life, then through heaven and hell, and back to corporeal existence (rebirth), is an ironic cross between passion plays and a variation on John Bunyan‘s allegory, The Pilgrim’s Progress.

Now, the story is full of Christian imagery, though Jesus is only briefly and occasionally referred to. On the other hand, since passion here has its original meaning of “suffering,” rather than “ardent emotion,” and play refers to life, as in “All the world’s a stage,/And all the men and women merely players,” then “a passion play” as a metaphor for life means a life full of suffering, which sounds more like the Buddhist concept of dukkha. After all, the first of the Four Noble Truths is that all life is suffering. Furthermore, Pilgrim ends his progress by being reincarnated.

Whether Anderson consciously or unconsciously intended A Passion Play to have a Buddhist subtext hidden under Christian concepts is ultimately irrelevant; my point is that such a subtext can be found in the story.

Another irony is how a story about the suffering of life is mostly presented in the afterlife, causing one to wonder if this “afterlife” is literal or metaphorical. Indeed, how does one go from being accepted into heaven, then opting for hell, and finally coming back to physical life if this is all understood to be literally happening? After all, when entering hell, aren’t we all supposed to “abandon all hope” (i.e., of leaving hell)?

I’d say the Pilgrim’s “death” is really either a coma in which he, dreaming, mistakenly believes he’s dead, and from which he eventually wakes; or, the death, heaven, and hell experiences are just temporary psychological states between incarnations. Whatever the answer may be, let’s dive into the music.

Side One begins with a fade-in during which we hear Evan’s synth imitating a heartbeat. This is mixed with various other instruments, including the organ and Anderson’s sax; it has a trippy, psychedelic quality, suggesting a dream-like state, as if Ronnie Pilgrim is merely imagining the whole story.

Barlow’s drums kick in with the rest of the band, and we hear them playing a brief instrumental fittingly called “Lifebeats.” It has an almost march-like rhythm in triple time, until there’s an interruption in 9/8 (subdivided 2+2+2+3), first played only on organ, then with added acoustic guitar, whistling, and tritones on Martin Barre‘s guitar and Jeffrey Hammond-Hammond‘s bass.

This brief 9/8 passage ends with a ritardando of the synth-heartbeat, which also lowers in pitch, indicating that Pilgrim is dying. A crashing sound then indicates that he is now dead, as Anderson sings, beginning the narration of the predicament of our protagonist. “The Silver Cord,” which ties mortal flesh to the spirit, now “lies on the ground”…and so Pilgrim is dead. Evan’s soft and pretty piano accompanies Anderson’s singing.

Pilgrim sees his friends all attending his funeral, though they’ve arrived too late by taxi. “A hush in the Passion Play” means that death is the silence when life ends.

Pilgrim meditates on the good and bad moments in his life, though the “rich attainments” are “all imagined,” and “sad misdeeds in disarray” seem more prominent. Such is the essence of life as an experience of sorrow, or a “passion play” that we all must go through. To compare the suffering of life (e.g., aging) to music, we could speak of “melodies decaying in sweet dissonance.”

“The Ever-Passion Play,” or eternal life of suffering, with death conceived as an integral part of this eternal experience, suggests the cyclical suffering of samsāra. Since the Passion of Jesus ends with His harrowing of hell (as Pilgrim will do on Side Two) and resurrection, Pilgrim’s ‘resurrection’ could be seen as symbolic of reincarnation.

An instrumental section interrupts the narration, starting with a reprise of that 9/8 tune, now played slower on the organ and with Barlow’s marimba and the tritones on the guitar and bass. After this, a jazzy passage is heard in 11/8 time, featuring a sax solo by Anderson. Then there’s a return to the narration, with Evan’s dainty piano playing.

An angel descends to meet Pilgrim, and “a band of gentlemen” escort him out of Limbo. An instrumental “Re-Assuring Tune” comes next, including an acoustic guitar solo displaying Anderson’s skill on the instrument. This leads to “Memory Bank,” in which we find Pilgrim in “the viewing room,” where he’ll watch video of his entire life. They have him taped; he’s “in the play” of life, which will now be judged.

We’re coming into what is perhaps the most musically tense part of the album, and fittingly so, since this is the moment that determines whether Ronnie Pilgrim will go to heaven or to hell. Still, this issue is resolved with him going to heaven by the end of Side One. Pilgrim’s real issue isn’t whether or not he’ll be saved, but rather if he even likes it in heaven, or if he likes the afterlife in general.

In contrast, the pilgrim of John Bunyan’s Pilgrim’s Progress (the protagonist fittingly named “Christian,” for the purposes of Bunyan’s allegory) has to go through an ordeal of temptations and dangers of being led astray, and therefore he’s in danger of not being saved. Of course, Christian passes all the tests and makes it to the “Celestial City,” or heaven. Ronnie Pilgrim’s “progress” is about contemplating the vey nature of the afterlife, and making up his mind whether it’s worth venturing into at all…or would one rather just stay in this material world.

An instrumental passage in 11/8 leads to a reprise of that jazzy section originally with the sax solo, but this time instead of the sax, we hear the album’s major showcasing of Anderson’s trademark breathy flute soloing. Though there is, of course, lots of flute heard on this album before and after this particular passage (on which Anderson overdubs two solos), since Jethro Tull in general is more or less synonymous with the flute, by Tull standards, A Passion Play has far less of the instrument highlighted.

“Memory Bank” ends with the judges watching the videotape of Pilgrim’s life and noting some of those ‘rich attainments’ of his (“Captain of the cricket team,/Public speaking…” and “a knighthood…”), I must wonder if he really did attain these honours, or were these attainments “all imagined,” as stated above. In any case, this section segues into “Best Friends.”

Apparently, Pilgrim never stopped chatting on the phone with his best friends. Rain coming through a tear in his old umbrella, rain like tears, seems to represent old sorrows of his; still, “the rain only gets in sometimes,” and the sun, which seems to represent his fiery passions, never left him alone, as we’ll judge soon enough.

The next section is the particularly dark, heavy, and tense “Critique Oblique,” which opens with an ostinato of six notes (G, A, B-flat, D, D-flat, and C, each with an inverted parallel fifth below these tonic notes) that starts slowly on the organ and is repeated accelerando. These six notes (and their inverted fifths) will form the basis of the riff for this whole section, backed by Barlow’s pounding drums.

The judges watching the videotape of Pilgrim’s life seem to be judging him here for a sexual indiscretion of his, which has resulted in an illegitimate child. As a comment on this sin, we hear comically melodramatic voices singing an example of the album’s fatuous infatuation with puns: “The examining body examined her body.”

After a judgement of Pilgrim’s moral imperfections, we have one on the limitations of his intelligence. Since life is a passion play, we who live life are the actors, and Pilgrim is one “of the low IQ.” Not only was his sexual indiscretion sinful, but it was also foolish, leaving the illegitimate child’s mother “faded,” that is, her life ruined.

Still, in spite of his errant ways, the judges “won’t cross [him] out.” Pilgrim is loved like a son, or like the Son (John 3:16). Indeed, the only way Pilgrim could be saved is through Christ’s blood on the Cross, because of “how absolutely awful [he] really [is],” awful the way Lucifer is awful, as we’ll learn on Side Two, the way the state of unredeemed sin makes us awful.

In any case, Pilgrim is admitted into heaven, and the blissful state of the celestial paradise is reflected in “Forest Dance No. 1,” which leads to “The Story of the Hare Who Lost His Spectacles,” ending Side One and beginning Side Two.

It’s curious how “The Story of the Hare Who Lost His Spectacles” is sandwiched in between the two ‘Forest Dances’ of Pilgrim’s experience of heaven. As we will discover on Side Two of the album, he becomes disenchanted with heaven when he finds its inhabitants all reminiscing about their lives on Earth rather than simply enjoying eternal life (indeed, at the beginning of “Forest Dance No. 1,” we hear that synth heartbeat of life again).

The story, narrated by Hammond-Hammond in an over-the-top, affected Lancashire accent, seems a mixture of Prokofiev‘s Peter and the Wolf (i.e., the music), Peter Rabbit (i.e., the hare), Winnie-the-Pooh (i.e., the kangaroo and rabbit), and Alice’s Adventures in Wonderland (i.e., not only the rabbit but also the extensive use of puns). As pretentious, self-indulgent, and generally annoying as this story is as an interruption of Pilgrim’s story (I used to skip this part when listening to my LP, and when I taped it, I omitted the story), in a sense it could be considered a fitting inclusion, in that, as a children’s story placed in the middle of Pilgrim’s experience of heaven, it represents how one must be a child to enter the Kingdom of God (Luke 18:17).

The hare losing his spectacles sounds like someone who has lost his vision, lost his way. This is an odd experience to have when in heaven…unless the whole point is that heaven was an illusion from the beginning. We all fantasize about a perfect world that can never be, and in that fantasizing we grow myopic, if not outright blind.

Or perhaps the point is that in heaven, our troubles are only slight. The hare loses his spectacles, yet has a spare pair, so his problem is quickly solved. Heaven is thus perceived as a charming children’s world, with the cute hare, a kangaroo, an owl, a newt, and a bee. (Here is a link to a video dramatizing the story.)

During the course of the story, we hear a number of puns on the animals’ names: “Bee…began,” “Owl…scowling,” “Kangaroo…hopping mad…” and “…can guru,” “Newt knew too…”, and Hare did have a spare pair/A-pair.”

After this nonsense we hear the heavenly “Forest Dance No. 2.”

In “The Foot of Our Stairs,” Pilgrim expresses his astonishment, incredulity, and surprise at how disappointing he finds heaven to be. Instead of enjoying eternal bliss, the saved just remember their old lives on Earth. Apparently, our life here in the physical world, in spite of all its suffering (“a passion play”), is the only life worth having. Indeed, dukkha as the Buddhists understand includes even the mildest of unpleasant feelings, like disillusionment, or the foreknowledge that even the best of parties have to come to an end sooner or later.

Pilgrim, in fact, is so disappointed with heaven that he’s decided, as AC/DC would observe years later, that “Hell Ain’t a Bad Place to Be” (though he’ll regret his decision soon enough). He tells God that his “is the right to be wrong,” and requests to be sent to the Other Place; for the reward of heaven is just “Pie in the sky.”

Could “Jack rabbit mister” be a link to the hare who lost his spectacles? In any case, “The last hymn is sung, and the Devil cries, ‘More’,” suggesting that the Devil has all the best tunes. What we note in this qualifying of heavenly bliss vs. hellish torment is that the two places aren’t as black and white as we’ve been told; that as in life, there’s a considerable grey area in both heaven and hell, and that ultimately we never really escape suffering as long as we keep existing.

After an instrumental passage with a sax solo, Pilgrim carries on in his qualifying and relativizing of heaven and hell by singing of “that forsaken paradise that calls itself ‘hell’.” Pilgrim’s decision to leave heaven for hell is made all the more ironic with his allusion to Christ’s healing of a paralytic (Mark 2:9) by singing “Pick up thy bed and rise up from your gloom smiling,” since Christ spoke of how much easier it is to forgive sins (i.e., deliver a sinner from hell and admit him into heaven) than it is to cure paralysis.

Anyway, Pilgrim has left heaven and gone to hell, where in “Overseer Overture,” we are given Satan’s perspective, him being “the overseer.” One would expect music depicting the hellish experience to be of the gloomiest, most hopeless and evil sort; oddly, what we get instead is music of a mostly merry sort, with a bouncy rhythm in triplets. There’s even a joining “round the maypole in dance.”

The only exception to this merry tune are two brief, dissonant moments with synthesizer arpeggios and groaning. These appear before the lyrics “Colours I’ve none…” and “Legends were born…” These are the only truly musically infernal moments in this part of the story. These brief moanings put among larger passages of musical merriment reinforce the sense that heaven and hell are not meant to be understood here in the classical, Christian sense of being absolute opposites. Again, I suspect that Pilgrim either hasn’t really died, but is merely mulling over the idea of the afterlife in his mind, or he’s experiencing a temporary, relative heaven and hell before being reincarnated.

So his dissatisfaction with hell is really just like his dissatisfaction with heaven and everything else–all is dukkha.

In “Flight From Lucifer,” the Devil being “an awful fellow” sounds like extreme understatement for describing Satan, once again reinforcing the relativity of hellish torments as felt in Pilgrim’s experience of the place. Though the Devil is “icy,” a reference to Dante‘s Inferno, Canto XXXIV, in which Lucifer is trapped waist-deep in ice, he is called by his original name, Lucifer (“Light-Bringer”), back when he was once held by God to be fairest of the angels before his pride became his infernal undoing.

The musical structure of the louder, more rhythmically pounding verses of this section is interesting in its trickiness. (I refer to the verses beginning with “Flee the icy Lucifer,” “Here’s the everlasting rub” [an allusion to Hamlet, perhaps?], “Twist my right arm in the dark,” “I would gladly be a dog…”, “Pick me up at half past none,”and “Station master rings his bell.”) In the first, third, and fifth of these verses, we have 4/4, 2/4, 5/4, 4/4, 5/8, and three bars of 4/4. This pattern happens again in the second, fourth, and sixth of these verses, but instead of the bar in 5/4, it’s one in 6/4, with a pounding of Barlow’s tympani providing the added beat.

In Pilgrim’s regret over coming to hell, he realizes he’s “neither…good nor bad.” He wants to come back to physical existence; it’s “Time for awaking,” or coming back from the sleep of death. He politely says he’d like to stay, but his (angel’s, or devil’s?) “wings have just dropped off.”

Another pounding of the tympani, as well as some organ, fades out and segues into the next section, an instrumental passage called “To Paddington,” on which we hear overdubs of sweet acoustic guitar playing by Anderson in 5/4.

Next comes “Magus Perdé,” with a scratchy, angular electric guitar riff by Barre, including quickly strummed harmonics, as well as hammer-ons and pull-offs. Anderson’s flute joins in, along with shaken tambourine from Barlow and Evan’s synth.

Pilgrim, “voyager into life,” wants to come back to the material world. He’s with “The passengers upon the ferry crossing, waiting to be born”; normally, Charon would be taking them in the opposite direction, to Hades. There is an instrumental section in 7/8, then a tricky passage with jumps, starts, and interruptions before a restating of the main guitar riff, and the final verse.

Here, reincarnation is given the metaphor of resurrection. Christ’s in particular is alluded to in “son of man” and “Roll the stone away.” Note that in the Old Testament, “son of man” (ben-‘adam), lacking the definite article, refers to humanity in general; whereas in the New Testament, Christ tends to refer to Himself as “the son of man” (ὁ υἱὸς τοὺ ἀνθρώπου, or ho huios tou anthropou). So this last verse, while linking reincarnation metaphorically with resurrection, is also linking man in general (and Pilgrim in particular) with Christ.

In the “Epilogue,” we hear a brief reprise of the soft piano melody from Side One and Anderson singing about “the ever-passion play.” The word ever was heard repeatedly in the verses of “Magus Perdé,” namely “ever-dying,” “ever-burning fire,” “ever-door,” “ever-life,” and “ever-day.” In all of these “evers,” we have the eternal sense of recurrent death, pain, and movement through the (as it were) doorway of changing states of life experience, as well as the eternality of existence in the light of day. In this sense, we move away from Christian symbolism to the Buddhist concept of the endless cycle of life, death, and rebirth…samsara.

So Pilgrim returns to physical life, and we hear that synth heartbeat again, as well as what would seem, at first, a reprise of the Forest Dance of heaven as heard at the end of Side One, just before “The Story of the Hare.” Both of these sections begin with the “passion play” reprise of the soft piano and Anderson singing “play,” ending the word in falsetto, suggesting a conceptual link between the reprises.

So, coming back into the physical world, despite its suffering, is the closest we’ll ever come to anything like heaven.

Why do people believe in an afterlife? A simple fear of death, which is of course unavoidable, but we feel a yearning for at least some kind of existence afterwards. Belief in hell satisfies our wish for justice against the evildoers of the world, but that belief also carries with it the negative trade-off of a fear that we ourselves may be included among the wrong-doers. The afterlife, as a solace against the fear of death, becomes a cause for an even greater fear of death.

The conclusion of A Passion Play is that we should focus on this material life here, with all of its pain and contradictions (as symbolized in the fadeout of Side Two, with its dissonant, startling organ chords, etc.). Instead of fantasizing about a utopian heaven for our narcissistic selves (as parodied in the absurd “Story of the Hare”) to enjoy, and an infernal concentration camp for those we hate, we should do what we can to improve our material conditions here as best we can.

Instead of admiring and imitating a resurrected Christ who has suffered a passion for us, we should be like the bodhisattvas, who swear off entering into the blissful state of nirvana to return to the physical world and help all of humanity to end suffering. Instead of emulating the passion play of life, one should end the passion of it (i.e., life’s suffering), liberating us all to enjoy the play.

Analysis of ‘Central Park in the Dark’ and ‘The Unanswered Question’

I: Introduction

Charles Ives‘s Two Contemplations (1908) are his Central Park in the Dark (1906) and The Unanswered Question (1908), though Central Park in the Dark has also been grouped with his Hallowe’en and The Pond in “Three Outdoor Scenes.” Central Park in the Dark and The Unanswered Question embody many of the avant-garde musical ideas that Ives famously toyed with, independently of the European experimentation that took place often in the years following the completion of these two compositions.

In fact, Ives’s own innovations had precedent in the curious musical experimentation of his father, George Ives, who was fascinated with the clash of harmony heard in, for example, the polytonal effect of two marching bands playing completely different pieces while passing each other on the street. Young Charles picked up on his father’s then-highly-unusual open-mindedness about the different possibilities of musical expression, and he incorporated these ideas in his own compositions.

Indeed, independently of Stravinsky and Darius Milhaud, Ives made use of polytonality and polyrhythms. Before Bartók, Ives composed agonizing dissonances. Before Henry Cowell, Ives used tone clusters. Without any cognizance of such pieces as, say, Schoenberg‘s 1906-7 Chamber Symphony No. 1, Ives used quartal and quintal harmony (in Central Park in the Dark, as we’ll see). Independently of Alois Hába, Ives composed music with quarter tones. And before Stockhausen, Ives experimented with spatial effects.

The first of these two pieces I’ll be looking at was originally called A Contemplation of Nothing Serious or Central Park in the Dark in “The Good Old Summer Time”. In contrast, the second of these was originally called A Contemplation of a Serious Matter or The Unanswered Perennial Question. Ives wrote detailed notes explaining the programmatic meaning of these pieces. As to whether either of these pieces deal with matters that are or aren’t serious, I’ll give my opinion on that later.

Both pieces are scored for chamber orchestra, allowing for at least some degree of variation in the instrumentation: for example, the two pianos in Central Park in the Dark can be a player piano and a grand piano; while in The Unanswered Question, the woodwind quartet can be all flutes, or two flutes, an oboe, and a clarinet. Both pieces have string sections, each playing a repeated progression representing “silence,” a kind of static music that hovers in the background, while the other instruments (in The Unanswered Question, the four woodwinds and a solo trumpet; in Central Park in the Dark, piccolo, flute, oboe, E-flat (B-flat) clarinet, bassoon, trumpet, trombone, percussion, and the two pianos) play independently of the strings, and to a great extent at least, independently of each other, culminating in a huge chaos of dissonance.

So, though the two pieces are understood to be programmatically opposed to each other, there is actually much that is paralleled between them, suggesting (in my opinion, at least) that the opposition of “Serious” and “Nothing Serious” is a dialectical opposition.

Here is a link (with the score) to Central Park in the Dark, here is a link (also with the score) to The Unanswered Question, and here is a link to Samuel Andreyev‘s analysis of The Unanswered Question.

II: Central Park in the Dark

Ives’s programmatic notes for the piece are as follows:

“This piece purports to be a picture-in-sounds of the sounds of nature and of happenings that men would hear some thirty or so years ago (before the combustion engine and radio monopolized the earth and air), when sitting on a bench in Central Park on a hot summer night.”

and

“The strings represent the night sounds and silent darkness – interrupted by sounds from the Casino over the pond – of street singers coming up from the Circle singing, in spots, the tunes of those days – of some “night owls” from Healy’s whistling the latest of the Freshman March – the “occasional elevated”, a street parade, or a “break-down” in the distance – of newsboys crying “uxtries” – of pianolas having a ragtime war in the apartment house “over the garden wall”, a street car and a street band join in the chorus – a fire engine, a cab horse runs away, lands “over the fence and out”, the wayfarers shout – again the darkness is heard – an echo over the pond – and we walk home.”

As much as Ives’s notes insist that the story, if you will, of this piece is of something trifling and even pleasantly amusing, I can’t help hearing in that string arrangement, “the night sounds and silent darkness,” an eerie, foreboding quality, as if dangers are lurking in the dark. Indeed, that string arrangement is a brilliantly experimental progression using dissonant, non-triadic harmony.

The string progression is, for the most part, in parallel motion, with a number of notable exceptions, some of which I’ll point out. Both the cellos and contrabasses are playing a sustained A-flat for two bars before going up to a B-flat, then the cellos tend to follow the intervallic structures of the upper strings, often moving in parallel motion with them, while the contrabasses stick to B-flat for three bars, then go down to F-sharp for three bars, then to E-flat for the final two bars of the cycle before going back to A-flat.

The first and second violins and the violas play, for the first two bars, stacks of pairs of augmented triads, starting at the bottom with a stack of D and F-sharp and B-flat, and on top of it, E, G-sharp, and C. All of these notes together, along with the A-flats in the cellos and contrabasses (enharmonic with the G-sharp), make up the whole-tone scale.

These violins and violas move up and down by minor thirds in parallel motion over the course of these first two bars, thus returning to the notes I mentioned in the previous paragraph before switching from augmented triads to stacks of perfect fourths, going from the third measure to the end of the fifth measure.

The cellos join the violins and violas in making these stacks of perfect fourths, going mostly in parallel motion until the sixth measure, when the intervals change to eerily dissonant stacks of tritones, starting with a stack of G-flat and C-natural (cellos), G and C-sharp (violas), and G-sharp and D-natural (second violins), with the first violins playing a high A. Each pair of tritones is also a minor ninth apart from the one above or below it, creating especially sharp discords.

These tritones of second violins, violas, and cellos move mostly in parallel motion, culminating in a chromatic ascension topped with the first violins of F-sharp, G, G-sharp, and A-natural that resolves to stacks of perfect fifths in the ninth bar, starting with a stack of E-flat (contrabasses), B-flat (cellos), F (violas), C-natural and G-natural (second violins), and D-natural and that A in the first violins that was tied over from the previous bar.

The perfect fifth stacks continue for the ninth and tenth bars, in mostly parallel motion without the contrabasses, which sustain the E-flat. The very last high note of the first violin pairing, a D-flat, isn’t a perfect fifth from the note under it, a B, because this D-flat must flow comfortably by a half-step to the C of the first high note of the first violins, to return us to the beginning of the cycle, with the augmented triad stacks.

So what we get in this progression in the strings is generally an expansion of intervals from augmented triads (i.e., major thirds), to perfect fourths, to tritones, and to perfect fifths, then back to the augmented triads to begin the cycle all over again. These strings–which, recall, “represent the night sounds and silent darkness,” notated ppp–in their cyclical expansion of intervals and mostly parallel motion, represent a sense of sameness underneath all the surface changes about to be heard in the woodwinds, pianos, brass, and percussion.

Just as with the stasis of the strings in The Unanswered Question, these strings would seem to represent a spiritual mystery incomprehensible to the senses, or to the noisy, dissonant winds and other instruments that fight for dominance at repeated points in the rest of the piece.

The first of these other instruments is a B-flat clarinet playing a piano melody that seems to be in G-flat major, though if that’s true, we never hear the tonic, and an A-natural, heard when the clarinet decrescendos to pianissimo, would be outside of the G-flat major scale. Therefore, if this clarinet tune is understood to be tonal, its tonality is unclear.

The same uncertainty of tonality is heard in the tune that the next woodwind, a flute, plays–coming after a second tune on the clarinet that is almost the same as the first tune, though it ends differently. As the second clarinet tune ends, the flute begins with quarter notes in C, then B, A, and B again in a quintuplet. The flute tune would seem to be in C major, but again, accidentals make its tonality unsure. The same is true of the next woodwind melody, one played pianissimo on the oboe.

What is sure about all three woodwinds, as well as the lyrical solo violin and bouncy piano parts to appear after a statement of the string progression alone (from the last bar of the perfect fourth stacks onward), is that these added parts are, for the most part, melodically, harmonically, and rhythmically independent of the strings. As we know, Ives liked having clashing, independent instrumental parts heard simultaneously.

In traditional music, the melodic, harmonic, and rhythmic reconciliation of all the different instrumental parts is meant to give coherence and unity to a composition, a sense that all of the parts are conforming to and ‘obeying,’ as it were, the rules to give a piece a single direction to be followed, a collective of tones moving to the beat and tonality of, so to speak, one master. The music of Ives, however, defies this insistence on musical conformity and uniformity, preferring to allow each part to go its own way.

In this ‘going one’s own way,’ we can perceive a kind of individualist philosophy underlying the musical experimentation of Ives. If we understand the woodwinds, brass, pianos, and percussion of Central Park in the Dark (as well as the trumpet and woodwind quartet of The Unanswered Question) to be representative of people, then their clashing independence can be heard to be telling us that we should welcome differences of opinion and habit, rather than frown on them.

Vive la différence! Ives seems to be saying.

On the other hand, the soft string parts of both pieces seem to represent that mystical, subatomic unity underneath all the differences that our senses perceive. To use Hindu concepts as metaphors for my purpose, the string progressions are Brahman, while the clashing, independent woodwind, brass, piano, and percussion parts represent the sensory illusion of Māyā.

To attain spiritual peace, Ives seems to be saying through his music, we must stop trying to force everything around us to follow any one, dominant way of doing things. We must just let things be as they are and tolerate them, like the man sitting in Central Park that summer night, listening to all those clashing, conflicting sounds, accepting the fact that contradiction is a universal reality.

[Now, speaking of contradiction, in case any of the readers of my political posts thinks I’m contradicting myself here, realize that the dominant way of doing things that we today are being forced to follow is that of capitalism/imperialism, which when completely wiped off the face of the Earth will result in the withering away of the state, because the class differences that necessitate the existence of a state (to protect the dominant class’s interests) will be eliminated. The slavish obeying of bosses, worker alienation, and addiction to wealth, social status, and material things are far more destructive to individual freedom than socialism could ever be.]

As with The Unanswered Question, in Central Park in the Dark the independent parts pop up and disappear on and off throughout the work. In both works, the instrumental groups are also to be separated spatially (in the case of The Unanswered Question, the strings are to be “off stage,” if possible, away from the trumpet and woodwinds). These spatial separations reinforce the idea that the music each group plays is to be understood as coming from different worlds (i.e., Brahman vs. illusory Māyā, nirvana vs. samsāra).

Approaching the climax of Central Park in the Dark, we hear ragtime piano tunes, flute, and oboe. We also hear the B-flat clarinet quoting Hello! Ma Baby, which will be heard again on the trumpet (One may recall that old Warner Bros. cartoon with the singing and dancing frog). Apparently, the Washington Post March is also played by the marching band group, though I can’t locate it, buried in the chaos and cacophony of everyone playing together. The climax ends with a huge, dissonant swell in the brass and woodwinds, all playing trills in fff.

We return to hearing just the soft string progression. The clarinet comes in softly soon after (piano), then the flute, both of them playing pianissimo together, then we hear the lyrical solo violin part. The winds and solo violin stop, allowing the string progression to play alone again, from the chromatic ascension at the end of the tritone-stack section to that of the perfect fifths stacks.

The piece ends with just the beginning augmented triad stack of (top to bottom) C, G-sharp, E, and B-flat, F-sharp, D. These whole notes decrescendo from pppp to silence.

III: The Unanswered Question

Now, Central Park in the Dark is supposed to be “a contemplation of nothing serious”; whereas The Unanswered Question is supposed to be “a contemplation of a serious matter.” Recall above, though, how I treated that ‘non-serious’ contemplation as actually being the one that is truly edifying in a spiritual, philosophical sense: we should welcome differences of opinion, and note that these contradictory elements are just the illusion of Māyā, deceptions of the senses that cloak the mystical, unifying reality that the strings represent.

I would argue, on the other hand, that the futility of answering “the perennial question of existence” proves how absurd the very pondering of that question is, let alone trying to answer it. Therefore, such a futile pondering is a truly trivial matter. If the question can’t be answered, why waste one’s time asking it? Put away such distractions, and as Camus would later teach us, accept the absurdity and meaninglessness of life. Like Sisyphus, be happy while rolling the stone uphill, as pointless and fruitless as the labour is. Be like the fellow in Central Park at night, hearing the conflicting musical parts: don’t try to make sense of the senseless, and just sit there, receive it all, and be.

Such an understanding is the dialectical unity of the serious vs. non-serious in these two Ives works. Instead of seeing them as opposites of each other, we should see them as paradoxical parallels of each other. Hence, both have ‘silent’ strings looming in the background (or offstage), with conflicting, independent parts clashing with each other and with the strings, these independent parts appearing, disappearing, and reappearing throughout both pieces.

The musical parallels thus reflect the philosophical parallels I described above.

The strings, which open The Unanswered Question playing a G-major chord, ppp and con sordino, represent “the silence of the Druids–who Know, See and Hear Nothing,” according to the text Ives wrote to explain the meaning of the work. The Druids never recorded their knowledge in written form; we know of it only through the writings of others. I can’t say for sure what Ives meant by the Druids ‘knowing, seeing, and hearing nothing,’ but perhaps the point is that even the Druids, for all their wisdom, had the humility to admit to themselves that in that wisdom, “all is vanity,” hence their refusal to write it down.

So the ever-so-softly played, muted strings represent the ‘silent’ Druids’ reticence, their wise reluctance to describe the ineffable reality of life, a reality too fluid to be captured in the ossification of words, words that would distort our perception of that reality too much to be effective. Each string part is also spaced widely apart from the others, giving them all a hovering, ethereal effect. As Ives further describes the strings, they are “like the eternal music of the spheres“; or as I described them (and those of Central Park in the Dark) above, they represent Brahman, nirvana.

The string progression, to simplify, goes from a G-major chord to a B-minor chord, then to a C-major chord (at first, with a suspension second [D] before the second violins do a retardation to the third [E]). Then we have an A-minor chord, which ultimately resolves back to G-major. This, essentially, is the string progression for the whole piece (with some variations later): I, III, VI (a six-four chord), IV, I (with an added 6th), II, I. Note the conspicuous lack of a dominant (V) chord–e.g., no D-dominant seventh chord. The lack of a V chord reinforces the progression’s sense of stasis, which is fitting, since the strings represent that sense of the eternal–unchanging, unaffected by impermanence of the material world.

Still, there are fools among us who aspire to wisdom, to intellectual preeminence, and must ask the question: “What is the meaning of life? Why are we here? What is God’s plan for us?” This question is represented by the trumpet (or English horn, or oboe, or clarinet, according to the score). The tune it plays is without a discernible tonal centre: B-flat, C-sharp, E-natural, E-flat, and C-natural (this last note alternating with B-natural in each reiteration of the tune). Actually, they’re (pretty much) all notes from the octatonic scale.

This lack of a tonal centre is fitting, given the absurdity of trying to receive an understanding of the infinite complexity of life through a straightforward answer, given presumably in the form of a brief sentence. The question itself is pointless, since it can’t be answered.

There are folks out there who aspire to such a stratospheric level of wisdom. Yet as it says in the Tao Te Ching, 56, “He who knows does not speak. He who speaks does not know.” And as Touchstone observed in As You Like It, “The fool doth think he is wise, but the wise man knows himself to be a fool.” (V, i)

Speaking of such talkative fools, the woodwinds (as I said above, either four flutes, or two flutes, an oboe, and a clarinet) attempt an answer to the perennial question. We shouldn’t be surprised to hear how dissonant and atonal their answer is, for after all, which two people will have the same, or even harmonious, answers to such an absurd question? They can only fight with each other for dominance, as religions have done throughout history.

The first of these woodwind answers, marked adagio and piano, is a tentative, cautious, timid attempt, yet ultimately failing. We have mostly tied, held notes, rather than a flurry of them. With each successive attempt, though, the notes are played a bit faster, a bit louder, and with slightly shorter rhythmic values.

Indeed, as the piece carries on, these woodwind answers get more and more frustrated and desperate to get it right, though of course always getting it wrong. By the time of the final attempt at an answer, the woodwinds are frantic, marked molto agitato, con fuoco–a flurry of frenetic notes that botch the answer so badly, they end in a piercing tone cluster.

In the end, the woodwinds give up. The trumpet asks the question one last time, without getting another attempt at an answer. The piece concludes with just the strings holding the G-major chord in whole notes tied over several bars, in a decrescendo to ppp, then to pppp.

IV: Conclusion

So, as we can see, which contemplation is “a serious matter,” and which is “nothing serious,” is at the least a matter of opinion, and at the most the dialectical reverse of each other. Is sitting in a park listening to conflicting tunes “nothing serious,” and is wanting an answer to the meaning of life “a serious matter,” or is it the other way around?

You know my answer; and just for the sake of clarity, my articles on The Three Unities aren’t an attempt to answer “the perennial question,” or to provide life with meaning. Rather, they’re an attempt to provide a sense of organization to the cosmos. Nonetheless, these attempts of mine, too, are more than likely horribly wrong–just more flatulent flutes being dissonant windbags, blowing out fetid, intellectual nonsense.

In sum: don’t take life too seriously. We aren’t getting out of it alive, anyway.

Lakes

The water of a lake should be our focus.
Its fluid, moving waves, no firmness,
do not detract from its reality.
Pay no attention to the land:
there’s nothing there.

The universe is watery, all wavy–it’s vibration.
The stoniness of earth is just illusion.
The rocky land just hardens hearts.
The hard earth makes life hard,
but lakes are refreshing.

All life is flowing, fluid change, lakes’ blue beauty.
Sticking with the hard ground causes suffering.
We must learn to drift with the current.
Take note of only peaceful waters.
Be blind to the dirty land.

Jump in the water, take a swim, enjoy the cool.
Don’t let want’s summer heat dehydrate you.
Lakes’ ever-moving waters do enlighten.
Rocky ground makes rocks of brains.
Get yourself all wet instead.

The Unity of Space

Photo by Lisa on Pexels.com

The Three Unities, as I discussed them in this post, are those of Space, Time, and Action, mystical ideas whose verbal expression I derived and modified from the theatrical notion of the three classical unities. After all, “All the world’s a stage,” isn’t it?

The Unity of Space is my idea for expressing the oneness that exists everywhere, within and without, underneath all the material, surface differences as perceived by the senses. The Hindus would call it Brahman, of which each manifestation in each individual person is an example of Atman. In some Mahayana Buddhist traditions, it’s called the dharmakāya, as understood in a panentheistic sense. For modern physicists, it can be understood in the particle/wave duality, in the unity of all particles everywhere, which can also be seen as waves.

These ubiquitous waves can be symbolized by the waves of the ocean, a metaphoric ocean that spreads out everywhere, in all directions, forever and ever, hence the name of my blog, as well as this song I wrote (lyrics here), recorded, and sang and played all the instruments on. I discuss ideas similar to these in my old post, Beyond the Pairs of Opposites.

My dialectical monism is closer to dialectical and historical materialism than it is to any form of spirituality, hence in my Beyond post, I emphasized a disavowal of any intention for these ideas to constitute a religion; this disavowal was meant to anticipate and prevent the possibility, as extremely unlikely as it is, of anyone misappropriating my ideas to establish a new religion with which to exploit the gullible. Thus, I wash my hands of such a misuse of my ideas, if it arises.

I don’t believe in God/gods, eternal souls, or spirits. This unity I write of is grounded in particle/wave unity/duality. Hence, it is all materialist, though materiality is to be contemplated from a different angle, the oneness of matter as understood to be underneath all the surface differences as perceived by the senses.

I believe that contemplating this oneness of all that is inside and outside, combined with contemplating the Unity of Time (which is understood both as cyclical and as an eternal NOW) and the Unity of Action (the dialectical resolving of all contradictions in life, including its ups and downs), can help us achieve peace of mind, something desperately needed in today’s troubled times, with everything around us falling apart.

The contemplating of the Unity of Space, I believe, can also help us cultivate more empathy; for in meditating on what is the same inside ourselves with what is outside, in others, we can reconcile the self-other dialectic, learning more intuitively that there is much in ourselves that is in others, and much in other people that is inside ourselves. This heightened understanding can inspire us all to care for each other more, to build solidarity, and to fight for a better world for all of us.

As Che Guevara once said, ““At the risk of seeming ridiculous, let me say that the true revolutionary is guided by a great feeling of love. It is impossible to think of a genuine revolutionary lacking this quality.”

Meditation, regardless of whether one is spiritual/religious or not, is known for giving people many physical and mental health benefits, including improved empathy, inner peace, alertness, better powers of concentration, etc. Therefore, it’s well worth doing.

One of the biggest problems so many of us have (and yes, I very much include myself with the people who have this problem) is that we focus far too much on our egos, on our own personal grievances, and we don’t think enough about helping other people with their problems. I’m hoping that the meditation I’m about to describe and propose that we do will help us to come out of our egocentric shells and be more inclined to empathize with, and therefore be more motivated to help, others.

My aim, in devising the meditation I’m about to describe, is thus to blur the egoistic distinction between self and other, and to help us develop an instinctive sense of how the self is in the other, and vice versa. The blurring is to be achieved by visualizing oneself and everything around oneself as an ocean whose soothing waves pass into, through, and out of oneself.

One should try to sustain this ‘oceanic feeling’ for as long as possible, concentrating on it and keeping distracting thoughts as few and far between as possible. One should feel one’s whole body vibrating, from head to toe, and in this state of hypnotic trance, a state in which one’s mind is most suggestible, one should whisper affirmations to oneself, the kind of affirmations of ways one wishes to improve oneself.

Such affirmations can include the following:

I am a giving person.
Every day, I become more and more selfless.
I care more about others.
I am naturally good at listening.
Every breath I take calms me.
I will care more about others than myself.
I will release my negative energy.
I am a good person.
I am patient and kind.
I like people.
I like the world around me.
All is one.
The world within and without are one.
I like the world outside, so I like myself, too.

Of course, any other affirmations more suited to your needs can replace the above suggestions, if you wish to use others.

My other oceanic meditation, described previously, involved–after lying on one’s back, closing one’s eyes, and relaxing by taking long, slow, deep breaths in and out–imagining water at one’s feet, then slowly, the water rises up one’s legs to one’s torso, arms, chest, neck, and head. While imagining oneself totally immersed in the water, one imagines one’s body dissolving and becoming totally at one with the water, which is now imagined to be everywhere.

You can begin this new variation on the meditation in the above way if you wish, or you can simply begin by imagining yourself already immersed in and at one with the water, visualizing the waves flowing into you from one side, flowing through you, and flowing out of you on the other side.

After establishing this feeling of the wave movements, you need to emphasize a sense in your mind that the waves and water are not just in your immediate position, but everywhere else, also, including farther away from your body. The oceanic feeling isn’t to be limited to the ‘Atman,’ as it were, of your body, but to be extended out far enough to give you a sense of ‘Brahman,’ the infinite ocean that you wish to be at one with.

So, to get that sense of the vibrations extending beyond your immediate position, to feel a blurring of the boundary between self and other, between Atman and Brahman, within yourself and outside of it, during this meditation you can visualize the undulating waves moving up from where you are (i.e., from your chest level as you lie on your back) to one or two feet above you. Keep the undulations above your body for several seconds, to impress on your mind the idea of the infinite ocean really vibrating above you as well as within you.

Then, visualize the waves moving back down to your chest area, then moving a foot or two below your body. Again, visualize the vibrations staying down there for several seconds before mentally bringing them back up to your chest level.

Next, move the waves a foot or two to your left, keeping them there for a few seconds before returning them to your chest area. Then move them a foot or two to your right side and leave them there for a few seconds.

After visualizing the waves coming back to your chest area again, mentally move them down to your feet and beyond, leaving them there for several seconds before moving the waves back up to your chest, then beyond to your head, and past that to behind your head, so you can sense the waves back there before returning them to your chest area.

As you imagine the undulating waves, try to visualize them as being as still as possible, always undulating, but with only slight crests and troughs. This will feel more soothing, and it will also impress on your mind the fact that the ups and downs of life aren’t always as extreme as they seem. The Unity of Action, a dialectical unity of those ups and downs, should emphasize their unity, not their duality. One of the forms of emotional healing we’re attempting is to cure psychological splitting, replacing it with a more emotionally integrated worldview. After all, it is our negative belief systems (capitalism, racism, etc.) that cause so much of our pain, not so much the world as it really is.

If you have visualized this meditation correctly, that is, if my description of it has accurately conveyed my meaning to you, Dear Reader, you should feel a vibrating sensation all over, with no sense of it being limited just to where your body is. It should feel as though your body is at one with the symbolic waves you feel all over–you’re at one with the cosmic ocean.

And in this state, you’ll also be in a hypnotic state of trance, suggestible to any ideas you want to feed into your unconscious mind, to make changes in your thinking (i.e., those affirmations I discussed above). You’ll want to maintain this meditative state for as long as possible to gain the best results, from time to time repeating those displacements of the waves above and below you, to the left, to the right, down beyond the feet, and up behind your head.

As you do it, focus on what’s happening all over your body at the moment (i.e., fuse the Unity of Space with the Unity of Time, focusing on NOW), not allowing any distracting thoughts; keep this focus on the eternal NOW for as long as you can. Do this meditation as often as possible, for as long each time as you can, to achieve the best results.

If you have problems with anxiety, depression, etc., I hope my meditation idea will help you. The basic principle behind meditation is to do one thing–to focus on one thing–and remain focused on it for lengthy periods of time (at least ten to twenty minutes each time), to improve concentration and to relieve emotional pain by turning off your negative thoughts (worry, regret, etc.) and by just being.

Boats

The
small
boats
exclude, give
salvation
to few.

The
large
boats
are much more inclusive.
They will eventually
provide room for
all the world.

We
can
not
save only the
few, the rest
drowning.

We
can
not
rescue everyone, all
at one time, either,
with not enough
room onboard.

So
all
our
boat can do for
now is start
smaller,

and
grow
into
a bigger boat. One big
country of permanent
evolution, until the
whole world

is
one
all-
inclusive ark of dry
salvation for us all,
shielding us from
the big Flood.

“Staring at a cloud,” a New Poem by Jason Ryan Morton

My poet friend, Jason Ryan Morton, has written a new poem with the first line, “Staring at a cloud,” which I’m using as a tentative title, for practical purposes as far as distinguishing this one from my many posts on his other poems is concerned.

This one is a pleasant departure from so many of his other poems in that it is more positive and hopeful; not that there’s anything wrong with the others, of course, but I’m always in favour of variety. As usual, I’ll put his poem in italics to distinguish his writing from mine.

Staring at a cloud
I watched the sun fold
Into tiny pockets of light
Like the third eye
Of a blind man
Came the wisdom of the age
Focus on today
Relax and play
Let all the darkness slip away

Ware though my friend
Where goes the end
Peeking round the corner
Will only make you bend
But seek thyself
Find the truth
The only person who deserves your loyalty
Is you
Tis true in a way the day is born for you

Just staring at a cloud
As the sun sang a sonnet
Awaiting the moon for a kiss of purity
Today and tonight belong only to me.
The moon embraced me
Wiped the tears from my face
Tears of joy not tears of sorrow
Kissed Luna goodnight in my prayers
Awaiting another tomorrow

And now, for my analysis.

“Staring at a cloud” can be seen to represent a ruminating over past sorrows, or a grieving over trauma. Such contemplation of pain is a common theme throughout Morton’s poetry, as I’ve observed in my previous posts about it; but here, something surprising happens, and pleasantly so. He continues: “I watched the sun fold/Into tiny pockets of light.” Light has come to replace the darkness of the cloud. When grieving over trauma is completed, happiness can return.

The theme of the contrast of dark and light continues, though in a different form, when he says, “Like the third eye/Of a blind man.” The third eye, like that of Shiva, a mystical eye that gives a kind of illumination beyond that of physical sight, replaces the pitch-black, physical darkness a blind man can only see. Sometimes in our darkness and sorrow, a special kind of light and happiness arises.

The “wisdom of the age” is that of our age today, not the ages of times past; for he advises himself to “Focus on today/Relax and play”. Only in the here and now, the eternal NOW, or the Unity of Time as I described it here, can we experience true joy and happiness, then we can “Let all the darkness slip away”.

We get a few archaic expressions in the second verse, a link to the past that contrasts the first verse’s “Focus on today”. These include the use of “Ware” (an archaic form of aware), “thy,” and “Tis.” To focus on the present, one must also reconcile oneself with one’s painful past.

“Ware” makes a pun on “Where” in the following line; one is aware of what’s going on, yet unaware of such things as “the end.” There is a dialectical relationship between knowing and not knowing; to know the truth, one must accept one’s lack of knowing. Therefore, one shouldn’t go “Peeking round the corner”, which “Will only make you bend” (i.e., twist your mind and make you believe falsehoods, untruths).

Instead of trying to find knowledge from out there, one should “seek thyself” and “Find the truth”. We find the truth within, not through trying to gain the validation and approval of others. Don’t seek the light outside, which will often lead to darkness; find the light within.

The contrast of light and darkness continues with a refrain of “Just staring at a cloud/As the sun sang a sonnet,” this being my favourite line in the poem. One is reminded of Shakespeare’s Sonnet 18 (lines 5 and 6 especially). The paradox of dark and light is given again in the switch from the sun to the moon, which he awaits “for a kiss of purity.” Again, the juxtaposition of light and dark is achieved with “Today and tonight belong only to me.”

We begin to see Morton’s leanings towards pagan mysticism and spirituality when he says, “The moon embraced me/Wiped the tears from my face.” Here, the personified moon is his goddess, even a lover, whose love causes him “Tears of joy not of sorrow,” for She has helped him heal from so much of his past pain. Therefore, in gratitude, he “Kissed Luna tonight in [his] prayers/Awaiting another tomorrow.”

I await another poem of this spiritually uplifting sort from my literary friend.

Analysis of ‘Gesang der Jünglinge’

I: Introduction

Gesang der Jünglinge (“Song of the Youths”) is a 1955-1956 electronic music piece by avant-garde composer Karlheinz Stockhausen. It was realized in the Westdeutscher Rundfunk (WDR) studio in Cologne. The vocal parts were sung by then-12-year-old Josef Protschka. The piece is exactly 13 minutes, fourteen seconds long.

Ryan Simms called it “the first masterpiece of electronic music,” and Pascal Decroupet and Elena Ungeheuer called it “an opus, in the most emphatic sense of the term.” The work has influenced such musicians as the Beatles (“Tomorrow Never Knows” and “Revolution 9“; Stockhausen’s face is also seen on the Sgt. Pepper album) and Frank Zappa (check out his own electronic sound montage experimentation on We’re Only In It for the Money).

Gesang der Jünglinge is also an early example of the use of spatial effects in music; it was originally meant to be played in five-channel sound, but this was reduced to four, then mixed to mono and later to stereo for commercial recording release. Similarly, it was originally meant to have seven sections, but it was truncated to six due to time constraints.

Here is the composition (with Kontakte, from the record I bought in my late teens, introducing me to Stockhausen’s music), and here is the analysis of Gesang der Jünglinge by Samuel Andreyev, to whom I owe a huge debt for my own analysis of the work.

In 1954, Stockhausen wanted to compose a mass for electronic sounds and voices. He was hoping to have the piece played in the Cologne Cathedral, but his request for permission was refused on the grounds that having loudspeakers in a church would be inappropriate. So instead of composing the mass, Stockhausen created Gesang der Jünglinge.

II: Sound Continua and the Unity of Opposites

The three types of material used to make the electronic sounds are sine tones, impulses or “clicks” (i.e., short, staccato-like sounds), and filtered white noise. Paralleled to these electronically generated sounds are three kinds of sound made with the recorded voice of the boy soprano: vowels (corresponding with the sine tones), fricatives and sibilants (corresponding with the filtered noise), and plosives (corresponding with the impulses). Each of these goes on a continuum ranging from the purest or simplest to the most complex.

What’s particularly fascinating about Stockhausen’s meticulous manipulating of these sound continua (structured statistically) is how he managed to make seamless links between vocal and electronic sounds, as well as seamless links between, on the one hand, the electronic sounds–from sine tones to impulsions to filtered white noise–and, on the other hand, the vocal sounds–from vowels to fricatives/sibilants to plosive consonants.

Gesang der Jünglinge, therefore, demonstrates in musical form the unity between the opposing worlds of electronically generated sound and the sounds of the human voice (as recorded and manipulated in the manner of musique concrète). Added to this unity in diversity is Stockhausen’s total organization of all the other musical parameters, total serialism, which is an expansion of Arnold Schoenberg‘s twelve-tone technique (the serializing of the twelve semitones) to a formal ordering of such elements as frequencies, durations, timbres, etc. To hear such music, it might sound chaotic, but nothing could be more precisely organized; thus, through his use of total serialism, Stockhausen also achieved the paradoxical unity of “chaos” and order.

III: Catholic Mysticism

Now, a discussion of the unity of opposites as manifested in this composition can only meaningfully be approached through an acknowledging of Stockhausen’s sense of Catholic mysticism. This means addressing the text sung by young Protschka, which is derived from Song of the Three Children, verses 35-51, from the Apocrypha. In the Bible, the entire set of verses is meant to follow the Book of Daniel, chapter three, which tells the story of three young men, Shadrach, Meshach, and Abednego, who are thrown into a fiery furnace for refusing to bow to a giant, golden idol of King Nebuchadnezzar; God saves them from the flames, so they sing praises to Him.

Original text in German: 

Preiset (Jubelt) den(m) Herrn, ihr Werke alle des Hernn—
lobt ihn und über alles erhebt ihn in Ewigkeit.

Preiset den Herrn, ihr Engel des Herrn—
preiset den Herrn, ihr Himmel droben.

Preiset den Herrn, ihr Wasser alle, die über den Himmeln sind—
preiset den Herrn, ihr Scharen alle des Herrn.

Preiset den Herrn, Sonne und Mond—
preiset den Herrn, des Himmels Sterne.

Preiset den Herrn, aller Regen und Tau—
preiset den Herrn, alle Winde.

Preiset den Herrn, Feuer und Sommersglut—
preiset den Herrn, Kälte und starrer Winter.

Preiset den Herrn, Tau und des Regens Fall—
preiset den Herrn, Eis und Frost.

Preiset den Herrn, Reif und Schnee—
preiset den Herrn, Nächte und Tage.

Preiset den Herrn, Licht und Dunkel—
preiset den Herrn, Blitze und Wolken.
Original text in English: 

O all ye works of the Lord—
praise (exalt) ye the Lord above all forever.

O ye angels of the Lord, praise ye the Lord—
O ye heavens, praise ye the Lord.

O all ye waters that are above heaven, praise ye the Lord—
O all ye hosts of the Lord, praise ye the Lord.

O ye sun and moon, praise ye the Lord—
O ye stars of heaven, praise ye the Lord.

O every shower and dew, praise ye the Lord—
O all ye winds, praise ye the Lord.

O ye fire and summer’s heat, praise ye the Lord—
O ye cold and hard winter, praise ye the Lord.

O ye dew and fall of rain, praise ye the Lord—
O ye ice and frost, praise ye the Lord.

O ye hoar frost and snow, praise ye the Lord—
O ye nights and days, praise ye the Lord.

O ye light and darkness, praise ye the Lord—
O ye lightning and clouds, praise ye the Lord.

IV: Garbled Words

Now, you wouldn’t know that this text was being sung (apart from the obvious refrain, Preiset den Herrn, or “Praise the Lord,” which is heard at least once in all six sections of the piece) to hear how it’s presented in the recording, with neither the printed text in front of you nor fluency in German. These varying levels of comprehensibility vs incomprehensibility–seven, to be exact, which range from the one extreme to the other– are due to Stockhausen’s having cut up the text into such fragments as scrambled words, scrambled syllables, and even scrambled phonemes.

His clever use of such permutations of vocal sounds was the result of his study of phonetics with Werner Meyer-Eppler at the University of Bonn. The vocal sound permutations, recall, have been placed on continua paralleling analogous electronic sounds, to get that seamless sense of transition from the former kinds of sounds to the latter, and vice versa. So in the juxtaposition of fragmented words, syllables, and phonemes with these seamless transitions between vocal and electronic sounds, we have yet another instance of the unity of opposites in Gesang der Jünglinge, here a unity of brokenness and smoothness.

V: The Unity of Opposites in the Biblical Story

To explore further this idea of the unity of opposites, let’s recall the story. The three youths have angered the king by refusing to bow before his idol, so he has them thrown into the fiery furnace to be burned alive. Their faith in God, however, saves them, and so though they’re engulfed in the flames, they are completely unscathed. They emerge praising God in the manner shown in the text above.

What’s interesting about them being thrown into a fiery furnace is how the image immediately invites comparison to being thrown into hell, into the Lake of Fire (Revelation 19:20, 20:10, 20:1415, and 21:8). Damnation by faith in God, or salvation by blaspheming, as it were, the Neo-Babylonian god-king? Deliverance from the flames while sitting among them? These paradoxes of heaven in hell, and of hell in heaven, are pregnant with meaning.

Connected with these paradoxes in the story is one manifested in the vocal harmony at one point in the first section of Gesang der Jünglinge. We hear the recordings of Protschka singing a dense chord of the word Ihn (“Him,” referring to God). This chord is sustained for a while, though some of the notes fade in and out, at the end with only two left in the interval of the tritone. Stockhausen would have known that the tritone is the diabolus in musica, the “devil in music,” and he therefore at least unconsciously had Ihn, for God, represented musically this way. Is God the Devil? I’m sure he never meant to blaspheme the object of his religious devotion, but my point is that, in this moment, Stockhausen the mystic was acknowledging, if only unconsciously, more spiritual paradoxes. Like heaven in hell, it’s more of the unity of opposites.

It shouldn’t be too shocking to speak of God having both good and evil sides. After all, Isaiah 45:7 says, “I form the light and create darkness: I make peace, and I create evil: I the LORD do all these things.” We can connect this verse with the last part of the text Stockhausen uses in Gesang der Jünglinge, which says, Preiset den Herrn, Licht und Dunkel, or “Praise the Lord, light and darkness.” In the text, the three youths sing of how everything God has created should praise Him. Such elements include the light and the dark…symbolically, good and evil.

VI: Resolving the Paradoxes

We must now try to make sense of these paradoxes, to sublate the dialectical contradictions of heaven and hell, God and Satan, salvation and damnation. To do this, we must be able to imagine the mental state of the three youths as they are being taken to the fiery furnace.

They may have righteousness and conviction of their belief in God, but none of this means that they’re going into the fiery furnace with smiles on their faces and relaxed heartbeats. We mustn’t assume they’re in a state of total blissful calm. They have faith in God…but is their faith sufficient to please Him? They have no way of being sure of this, and as Paul wrote, “he that doubteth is damned if he eat, because he eateth not of faith: for whatsoever is not of faith is sin.” (Romans 14:23)

There’s always some doubt, even among the most faithful. Just as all of the sounds used in Gesang der Jünglinge are on continua, so are faith and doubt on a continuum. The three youths would have feared that any doubt in their minds, however small, might have been enough to cause God to abandon them in the flames. Contemplation of such a possibility must have been terrifying to them; such terror is part of the true test of faith.

This fear would have been their hell in the flames; and yet when they realized that God wasn’t letting the fire burn them, they’d experienced heaven in the metaphorical hell of the fiery furnace. Danna Nolan Fewell said, “we hoped for deliverance from the fire; we had not expected deliverance within the fire […] God doesn’t extinguish the fire but joins them in it.” (Danna Nolan Fewell) So in this moment, we have heaven in hell, salvation in damnation, and even God in Satan’s (metaphorical) dwelling. Recall that among the trio of singing youths is a fourth “like a son of God,” suggesting an angelic presence in that hellish dwelling.

VII: Stockhausen’s Suffering

Stockhausen was inspired by these Biblical texts because he found himself identifying with the three youths. Just as they suffered and prevailed, so had he, though of course in very different ways.

WWII under the Nazi regime was difficult for young Karlheinz in many ways. His mother, having suffered from mental health issues, was deemed a “useless eater” by the Nazis, and therefore forcibly euthanized by them through Aktion T4. Later, his father, as a soldier during the war, was killed. Perhaps most traumatic of all, as a youth during WWII young Karlheinz had to do work as a stretcher bearer in Bedburg; he found himself often in close contact with cadavers!

Apart from these trying experiences in the war, Stockhausen would later have to endure negative receptions of his experimental, and therefore challenging, music. Still, he grew from all of these difficulties and became a stronger man, in his estimation, because of them. In these ways, he could be said to have gone through his own fiery furnace, and since then his faith in God grew stronger, and he sang to God, in his own way, through not only Gesang der Jünglinge but also such other mystical musical works as his gargantuan opera cycle, Licht, of which a full performance requires no less than 29 hours.

VIII: Heaven in Hell

To get back to my point about the paradox of heaven in hell, one way we can interpret the meaning, or lack thereof, in Stockhausen’s cutting up of the text into fragments of words, syllables, and phonemes is to think of the resulting extents of incomprehensibility as showing the difficulty, or impossibility, of verbalizing a traumatic experience. As I said above, even though the three youths are physically unharmed, they are still terrified by the possibility of being so harmed.

This inability to put trauma into words is part of what Lacan was talking about in his conception of the Real. The psychology of the Real is an inexpressible experience of non-differentiation. Gesang der Jünglinge achieves, by means of those sound continua I described above, a fluid sense of unity, a sense of non-differentiation between vocal and electronic sound.

Now, as I’ve written elsewhere, the non-differentiated unity that Lacan called the Real is not necessarily all hellish and traumatic. Like Wilfred Bion‘s O, this unity can be a heavenly, blissful experience, depending on one’s attitude to it. The difference lies in whether or not one is capable of, or willing to accept, a giving up of one’s ego. The three youths, as I see it, could and would give up that attachment, and so they were saved.

Still, it was a terrifying experience for them, as Stockhausen’s experiences of WWII were for him, so even though the youths are singing God’s praises through the harmonized chorus of Protschka’s angelic, overdubbed voice, the voice of a child (recall Luke 18:17), the recent terror of the fire makes articulation of those praises next to impossible, save Preiset den Herrn.

IX: Heaven and Hell in the Music

Another way to sublate the thesis (heaven) with its negation (fiery furnace as metaphorical hell) is to consider a number of ascending and descending electronic motions in the piece, as well as combinations of such ascents and descents. Samuel Andreyev, in his analysis (link above in the introduction), mentions these at around 30:00-31:08 in his video.

These ascending/descending impulse complexes can be seen to symbolize movements up to heaven or descents to hell (literal or figurative). Section A of the piece, going from 0:00 to 1:10, begins with an ascending impulse complex, a swarm-like flurry of impulsions of varying pitches, but nonetheless moving in an upward path.

At the apex of this ascension, arriving at heaven, so to speak, we hear the angelic voice of the boy soprano singing jubelt (“exalt”), the two syllables sung in a descending perfect fourth. Immediately before this word, though, we hear two soft impulsions of an ascending tritone–again, the diabolus in musica juxtaposed with an angelic exalting of God.

Next comes a chorus of overdubs of the boy’s voice, quite unintelligible except for the word alles, and interrupted twice by electronic sounds. Then we hear jubelt Ihn (“exalt Him”), the syllables sung in an ascending minor third (or is it a microtone between that interval and a major second?) and a descending minor ninth. Section A ends with that dense chord in which the sustained Ihn is sung, as discussed above: such a complex chord with notes fading in and out, and ending with a soft fadeout of the aforementioned tritone. Ihn–God, that is–is a complex, mysterious being, requiring no less than an extremely complex mass of sound to represent Him.

Early in Section B, we clearly hear Preiset den Herrn (the singing of Herrn ending with a descending tritone…that diabolus again!). We can also make out the word Scharen (“hosts”). Preiset den Herrn is soon heard again, with the same notes as before…including that tritone, and bear in mind that obvious instances of repetition are rare in Gesang der Jünglinge.

X: Juxtaposed Opposites in the Text

Though it is uncertain if the apocryphal Biblical text, on which Stockhausen’s German translation is based, was originally composed in Hebrew or Aramaic, since what exists of it is only in Greek, Syriac, or Latin translations, it does nonetheless have the hallmarks of ancient Hebrew Biblical poetry, namely, its use of parallelism (e.g., the “praise ye the Lord” refrain; also, “sun and moon” with “stars of heaven,” “O every shower and dew” with “O all ye winds”; and parallels of opposition, such as “fire and summer’s heat” with “cold and hard winter,” “dew and fall of rain” with “ice and frost,” and “nights and days” with “light and darkness”). [See also Carmi, pages 58-59.]

These oppositions are of particular interest in how they support my interpretation of Gesang der Jünglinge as a musical, mystical unifying of opposites. Sometimes, such pairings of opposites can be deemed merisms, meant to express the idea of not only the two extremes, but also everything in between. Noteworthy Biblical examples of this are in the early chapters of Genesis (e.g., “God created the heaven and earth,” meaning He created the whole universe; or “the tree of knowledge of good and evil” meaning knowledge of everything, that is, from the best to the worst). It would thus be reasonable to assume that the text’s references to extreme winter and summer weather are merisms for all the seasons of the year, from hottest to coldest; and “light and darkness” includes all the tints and shades in between–unifying continua of opposites.

These unifying continua of opposites in the text are, of course, paralleled in those in the musical structure and in those ranging back and forth between vocal and electronic sound. For this reason, it’s logical to regard the pairs of opposites in the text as merisms.

XI: The Electronic Sounds as Fire

Now, if Protschka’s superimposed vocal recordings are meant to represent the three youths, then it’s reasonable to hear the electronic sounds as symbolic of the boys’ surroundings: remember that the four speakers playing the music surround the audience, making them feel as if they are with the three youths in the fiery furnace.

These surroundings that the electronic sounds represent include the metallic casing of the furnace (i.e., some of the electronic sounds suggest the resonant ringing of voices bouncing off the metal–see 2:28-2:32 of this recording for a brief example of what I mean). The resonance of the boys’ voices inside the furnace can also be heard through the use of reverb on Protschka’s voice from time to time. And, most importantly, the electronic sounds can represent the sound of the flames.

Now, the electronic sounds don’t generally imitate the crackling sound of fire; I’d say, instead, that they simply represent it. As for those ascending and descending impulse complexes, they do tend to have a bubbling sound, suggestive of boiling liquids, and therefore associative with scalding heat.

To bring out this association more clearly, recall how, in the middle of the piece (about 6:20-6:40 in this recording), Protschka’s voice, one voice alone, sings the disjointed syllables of Kälte und starer Winter (“cold and hard winter”), with largely no electronic accompaniment at all (especially from und onwards), suggesting the loneliness and desolation of winter. No heat.

XII: On the Unity of Opposites…Again

The opposites of Sonne und Mond (“sun and moon”) are heard clearly, as are those of aller Regen und Tau (“every shower and dew”). These are the opposite lights of nights and days (Nächte und Tage, heard later; and while the moon isn’t technically a light, back in Biblical times, it would have been regarded as a “lesser light“), and of great waters above (rain) and lesser waters below (dew).

We can also clearly hear the opposites of Feuer und Sommersglut (“fire and summer’s heat”), as against the above-mentioned Kälte und starer Winter. Tau und des Regens Fall (“dew and rainfall”), as opposing Eis und Frost (“ice and frost”), are also heard clearly; melted vs frozen water. I can make out Dunkel (“darkness”) but not Licht (“light”); still, in all of these opposites generally, we have plenty of their implied unity via juxtaposition.

Now, another point should be made about this unity of opposites, be it implied or explicit. Though Christianity is generally understood to be dualistic in nature (a more moderate dualism than that of Gnosticism or especially Manichaeism, but sufficiently so in a general sense), none of this precludes the possibility, at least, of unifying these dualities while remaining essentially Christian. Stockhausen’s Catholicism could allow this without him having to make any syncretist forays into, say, Eastern mysticism. There are the dualisms of God vs Satan, good vs evil, and the spirit vs the flesh, but as George K Haggett says in his blog post on Gesang der Jünglinge, “In Catholic theology, the soul–a person’s incorporeal essence–is not as dichotomized from the body as it might be in popular imagination.”

Recall that Christ came and died in the flesh; the more radically dualistic Gnostics and Manichaeans were the ones who could not accept His having been crucified, and so they followed an alternative tradition of someone else being substituted for Him on the Cross, a tradition that even appeared in the Koran (see also note 663 in Abdullah Yusuf Ali‘s translation). Furthermore, at Mass, one takes Communion, eating the transubstantiated body of Christ.

In the concluding paragraph of Haggett’s blog post, he says, “the body and the soul are a one-ness, the more-than-integrated sacred and profane; they are sanctified flesh and blood, both breathed into life and breathing through it.” Recall that God breathed a very physical breath into Adam, and he became a living soul. (Genesis 2:7)

XIII: Conclusion: What Can This Piece Mean for a Secular Audience?

The unity of body and soul can be extended to a unity of materialist and idealist dialectics, too. This leads our discussion in a new direction: the religious, spiritual meaning of Gesang der Jünglinge has been dealt with; but is there a way this piece of music can be relevant to a secular audience? I believe there is.

Now, before I go into my secular interpretation of the piece, it should be acknowledged that Stockhausen was essentially a liberal; he was no staunch leftist by any stretch of the imagination. His controversial remarks about 9/11 may have angered conservatives, but his quip that the attacks were “the greatest work of art that exists for the whole Cosmos” was misunderstood (as a work of art of Lucifer, he meant a great evil work of art). Still, his hostility to Nazi imperialism is enough, I think, to warrant the interpretation below; for even if he himself wasn’t an anti-imperialist in his life, this piece in itself can easily be seen as such.

If we consider Nebuchadnezzar and his idol as representative of imperialism, and the ancient Judaeans in the Babylonian captivity as being oppressed under that imperialism, then the three youths’ refusal to bow before the idol is an anti-imperialist, revolutionary act, rather like any country today that refuses to bow before US/NATO imperialism (e.g., Russia, China, Venezuela, Bolivia, etc.). Remember that the idol is golden, sixty cubits tall (Daniel 3:1); as such, it is a symbol not only of the imperialist authority of a king, but also of the wealth of the ruling class, be this class the ancient slave-masters of such civilizations as the Babylonian empire, or the subsequent feudal landlords of Europe, or the capitalist class of today.

Anyone who dares challenge the authority of imperial rule, be it past or present, will be put to the test, as the three young men are, and will suffer persecution. When they are put to this test, though, they must not lose their nerve. Though the three youths are afraid, as they’re tied up and thrown into the fiery furnace, they keep their faith in God, just as the anti-imperialist of today, regardless of his or her religious beliefs (or lack of them), must keep faith in the eventual achievement of the revolutionary cause.

Just as the religious may have doubts that God will intervene and save them, so do secular-minded revolutionaries have doubts that they’ll succeed in overthrowing the ruling class. When in doubt, they should recall Rosa Luxemburg‘s words: “Before a revolution happens, it is perceived as impossible; after it happens, it is seen as having been inevitable.”

So, just as the three youths sing their praises to God while surrounded in flames that don’t touch them, so were the Russian workers and peasants in 1917 thrilled to be rid of tsarist rule, and rid of continued involvement in WWI; so were the Cubans in 1959 rejoicing over having removed that butcher Batista from power; and so were the Vietnamese joyful over having ousted the French colonialists.

Of course, just as the rejoicing three boys continue to be surrounded in flames (and the Judaeans continue to be held in Babylonia), so did the RSFSR have to fight off the capitalist White Army during the Russian Civil War; so has Cuba had to endure the cruel US economic embargo; and so did the Vietnamese have to confront the US army. Still, all three prevailed in these struggles, and while times are particularly dark for anti-imperialism now, we can listen to Gesang der Jünglinge, and the recordings of that boy’s sweet, angelic voice, for inspiration as the flames of oppression draw closer.

Analysis of ‘Tommy’

I: Introduction

Tommy is the fourth studio album by The Who, released in 1969. Most of the songs were written by Pete Townshend, with two songs by John Entwistle (“Cousin Kevin,” and “Fiddle About”), “The Hawker” being Townshend’s adaptation of a song with lyrics by Sonny Boy Williamson II; and “Tommy’s Holiday Camp,” though credited to Keith Moon, being based on his suggestion of what kind of religious movement Tommy could lead, was actually written by Townshend, too.

Though there are some historical precedents dating from the mid- to late 1960s, Tommy is the first album to be billed as a “rock opera,” according to Scott Mervis of the Pittsburgh Post-Gazette. Townshend himself made some musical forays beyond the simple three-minute pop song from 1966 onwards, with songs that have extended narrative elements, resulting in such suites as “A Quick One, While He’s Away” and “Rael,” the latter having melodic material in its second half that was used in “Sparks” and “Underture.”

In 1968, Townshend became influenced by the Indian spiritual mentor Meher Baba, and deaf-dumb-and-blind Tommy Walker’s connection to the world through vibrations (making him amazingly gifted at pinball, as well as a spiritual leader in his own right) came from Baba’s mysticism. Indeed, this mystical connection is the flip side to Tommy’s self-isolating trauma response to the killing he, as a sensitive child, has seen, but has been forbidden by his perpetrator parents to acknowledge having seen or heard, or to speak about. This trauma reaction, Tommy’s mental block, was also influenced by Townshend’s own experiences of childhood trauma. As of 1968, the rock opera was referred to by such tentative titles as Deaf, Dumb and Blind Boy, Amazing Journey, Journey Into Space, The Brain Opera, and Omnibus.

Tommy was acclaimed on its release by critics, who called it The Who’s breakthrough. It has been developed into other media, including the Ken Russell film of 1975 and the 1992 Broadway musical. The album has sold 20 million copies and has been inducted into the Grammy Hall of Fame.

Here is a link to all the lyrics of the album.

II: Traumatic Beginnings

The Overture is mostly instrumental, incorporating themes from “1921,” “We’re Not Gonna Take It,” “Go to the Mirror!”, “See Me, Feel Me,” “Pinball Wizard,” “Listening to You,” and “Sparks.” Another musical highlight is John Entwistle’s French horn. The song ends with one verse sung by Townshend, establishing that Tommy’s father, Captain Walker, is missing in action in WWI and presumed dead.

Tommy’s mother, left to raise the boy alone, takes on a lover. Though the year is 1921 in the album’s version of the story, Russell’s film changes the year to 1951; the war is thus changed to WWII, and her lover (played by Oliver Reed) has Fifties style hair. Furthermore, while on the album, Captain Walker kills his wife’s paramour, in the film, killer and killed are reversed.

Since the killing is the traumatic event that causes Tommy’s psychosomatic deafness/muteness/blindness, it’s interesting to explore the precise psychological circumstances of this trauma. We’re dealing with either the killing of Tommy’s father, implying an Oedipal wish-fulfillment (especially relevant given how the little boy’s mother is played by the oh, so hot Ann-Margret in the film), or the killing of her lover, suggesting what the boy’s daddy might do to him if he were to satisfy his Oedipal desires with her. (While Freud is generally considered passé today, recall how Townshend’s story was conceived at a time when the ideas of the founder of psychoanalysis were still in vogue, and his ideas are therefore a valid interpretation of the story’s meaning.)

Another crucial aspect of little Tommy’s traumatizing is the denying of what he’s seen and heard. The man and woman screaming at the boy, “You didn’t see it, you didn’t hear it!” happens while he says he did see and hear it, though his words are ignored. Such denial, or refusal to validate a painful experience, is the essence of gaslighting, which causes the victim to doubt his or her perception of the world–in Tommy’s extreme case, to doubt his very senses to the point where he feels forbidden even to use two of them.

The ultimate trauma, though, is in his being forbidden to talk about the painful incident. Being able to put one’s trauma into words is indispensable to healing, and his own parents, refusing to take any responsibility for what they’ve done, are denying the very thing the boy needs to do to get better. One is reminded of that old poem by Philip Larkin.

III: Lacan’s Angle

So this trauma, making Tommy psychosomatically deaf, dumb, and blind, has cut him off from society. The inability to communicate with others has isolated him from the world. Normally, a child of his age would, using Lacan‘s terminology, shift from the narcissistically Oedipal Imaginary Order to the Symbolic; that is, he would go from the dyadic mother/son relationship of self and other mirroring each other’s narcissism, to the healthy relationship of self to the many Others of society. Tommy’s move from other to Other would have been mediated by the Non! du père, the father’s prohibition of Oedipal incest with the mother, and the introduction of language, culture, law, and social customs.

Tommy, however, gets neither the Non! du père nor an introduction to language and culture. The murder of his mother’s lover (or, in the film, the killing of his father) precludes the boy’s entry into society with him seeing his father commit a crime (an antisocial act pushing Tommy in the opposite direction of society), or be killed. He cannot use language and relate to the Other of society if he’s deaf, dumb, and blind, so he cannot enter the Symbolic. Instead of le Non! du père, his is a case of les non-dupes errent: that is, not being duped by the hypocrisies of social life (because not initiated in society), Tommy errs in a non-Symbolic, solipsistic world.

If his mother is reunited with his father (or if, in the film, “Uncle Frank” [Reed] replaces his father, as Uncle Claudius replaced King Hamlet by crawling into Gertrude‘s bed), then Tommy cannot indulge in his incestuous, Oedipal desires with her, the transgressive jouissance of the Imaginary. He can be in neither the Imaginary nor the Symbolic. Therefore, Tommy is trapped in the traumatic world of the Real, a world of the undifferentiated, because of the absence of sight, sound, and speech.

IV: Heaven and Hell

Now, the undifferentiated world of the Real, or of Wilfred Bion‘s O, is not necessarily all traumatic. It’s actually on the cusp where heaven meets hell; it involves the dialectical relationship between the highest happiness and the most traumatizing pain. The only thing that marks the difference between an experience of bliss or one of horror is whether or not one is still attached to one’s ego (something formed during the mirror stage in the Imaginary).

In his essay Heaven and Hell, Aldous Huxley wrote of what he called antipodes, or extreme opposite “regions of the mind,” where one can have blissful or hellish visionary experiences, brought on by trances, meditation, self-flagellation, fasting, or the use of such drugs as LSD or mescaline, all of which in some sense biologically disable the mind–that is, turn off the senses, as Tommy has had his turned off.

Huxley wrote of how quickly one can shift from the blissful to the hellish experience: “In life, even the blissful visionary experience tends to change its sign if it persists too long. Many schizophrenics have their times of heavenly happiness; but the fact that (unlike the mescaline taker) they do not know when, if ever, they will be permitted to return to the reassuring banality of everyday experience causes even heaven to seem appalling. But for those who, for whatever reason, are appalled, heaven turns into hell, bliss into horror, the Clear Light into the hateful glare of the land of lit-upness.” (Huxley, page 90)

Now, we’ve already examined the traumatizing aspect of Tommy’s loss of connectedness with the social and sensory worlds. We must also look into the blissful, mystical aspect of his experience, something first heard in the song “Amazing Journey.” We learn that the “deaf, dumb, and blind boy [is] in a quiet vibration land.” The unifying vibrations of the Brahman-like universe are his only connection with everything around him…but they are also a powerful connection with it, because a connection not requiring the senses. Here we see the influence of Baba on Townshend.

These vibrations will be the mystical source of Tommy’s incredible talent at pinball. Since the regular, wave-like movement of these vibrations suggest a rhythm, we can see how Tommy’s interpretation of the world around him can be understood as a musical one. Such a context is what we need to hear “Sparks” in: a kind of musical dream. In this sense, “Sparks” can be interpreted to mean tiny flashes of symbolic light to guide Tommy through the darkness, and the rhythm of those vibrations is a sound he can feel rather than hear.

V: The Manic Defence

A quack/pimp known as The Hawker claims his wife, a drug addict/prostitute known as the “Acid Queen” can cure Tommy. The use of the lyrics to Sonny Boy Williamson II‘s blues song “Eyesight to the Blind,” which refer to how the beautiful prostitute’s sexy walk is so compelling that it would restore a man’s eyesight, his ability to talk and to hear, are effective in how they dovetail with my psychoanalytic interpretation of the cause of Tommy’s trauma.

The sexual allure of the Acid Queen (played by Tina Turner in the film), as well as the hedonistic escape that her drugs represent, embodies what Lacan called the objet petit a, the unattainable object-cause of desire. Since part of Tommy’s trauma is based on the violent expression of the paternal prohibition against the boy having his mother (given on the album in the form of his father killing her lover, on whom Tommy has projected his Oedipal desire; and given in the film in the form of “Uncle Frank” killing the boy’s father, usurping his position as his mother’s new lover and causing Tommy to have guilt feelings about a murder he himself has, however unconsciously, wished for…like Hamlet vis-à- vis Claudius, in Freud’s interpretation), the Acid Queen as seductress attempts to act as a replacement, a transference, for the Oedipally-desired mother, which if she succeeds, she theoretically could cure him of his mental block. Since the objet petit a never ultimately satisfies that forbidden desire, though, the Acid Queen’s attempt is doomed to fail.

Similarly, the boy may enjoy an intense LSD trip, as musically expressed in “Underture,” with musical themes similar to those of “Sparks” (implying the similarity between a drug trip and a blissful mystical experience of universal oneness, as Huxley observed), still, drugs won’t cure Tommy of his trauma any better than sex will. If anything, indulgence in these fleeting pleasures are the opposite of a cure, for they are only a manic defence against facing the pain, which is the only real cure. Hence, the Acid Queen’s drugs will fail, too.

VI: The Opium of the People

If drugs fail to help Tommy, religion, “the opium of the people,” will also fail. At “Christmas,” his parents fret about how the boy’s disconnect from the world around him means he doesn’t know about Jesus, and therefore cannot be “saved from the eternal grave.” Of course, these parents–being impenitent about a murder they’ve kept secret, a murder whose very secrecy is the cause of Tommy’s trauma–are in no position to judge whether Tommy, or anyone, for that matter, needs to be saved by Christ or not. Their main concern, in making Tommy a ‘good Christian,’ is in integrating the boy with the hypocritical bourgeois values of society.

Making Tommy know of religious custom, or the laws of morality and mores of society, is another manifestation of the Nom, or Non! du père (in this case, God the Father). But with Tommy, who won’t accept pretending he never saw or heard the killing (recall his protests of having seen and heard it in 1921), and who therefore won’t talk about it, is someone not willing to be duped by his parents’ social hypocrisies (including the phoney pretence of Christian piety). Therefore, the boy’s response to le Non! du père is les non-dupes errent: he won’t be duped into following the hypocrisies of society, so he errs in his psychosomatic disabilities.

Along with Tommy’s rejecting of hypocritical Christian piety is his flouting of other social graces. His playing of “poxy pinball,” of course, is a presaging of his uncanny skill at that game, but it’s a game played alone, without friends, and skill at pinball, like skill at billiards, is a sign of a misspent youth. Note how kids at Christmas normally are very excited, but the holiday means nothing to Tommy. He also “picks his nose,” a social horror that guarantees most people won’t like him. Still, since these dysfunctional habits are trauma responses to something his selfish parents have brought on, it is they, not he, who are to be blamed.

His parents ask, “Tommy, can you hear me?”, but if they’ve refused to hear him when he’s said he saw and heard their murder, why should he obligated to hear them? They should be more focused on removing the beams in their own eyes than on removing the mote in his eye (Matthew 7:3-5). Meanwhile, Tommy mentally pleads, “See me, feel me, touch me, heal me“: he so desperately wants to be able to connect with his parents, to be cured of his mental block.

VII: Fiddling About with Fourths

Indeed, far from making a decent attempt at curing him, his parents emotionally neglect him, something carried to the extreme that they “think it’s alright” to leave the deaf, dumb, and blind boy in the more-than-questionable care of, first, his bullying “Cousin Kevin” and his drunk, child molester Uncle Ernie, thus compounding Tommy’s childhood traumas.

A recurring musical motif in Tommy is the back-and-forth progression of suspended fourths to major chords (and variations thereof), a progression epitomized in “Pinball Wizard,” but also heard on “1921” (i.e., when we hear, “Got a feeling ’21 is gonna be a good year.”), and on such tracks as “Sparks” and “Underture” (i.e., the theme they share with that of the second half of “Rael”). In a way, it’s even heard on Townshend’s guitar part in “Cousin Kevin,” though the ‘suspended fourth’ part is actually in the context of a dominant 7th chord resolving to the tonic (i.e., the ‘fourth’ is really a minor 7th).

This back-and-forth, up-and-down movement between the suspended fourth and major third can be seen to symbolize the up-and-down, wavelike movements of the vibrations that Tommy feels are connecting him with the world. They’re the source of his mystical bliss, but paradoxically, they are also caused by his trauma. Significantly, the movement from suspended fourth to the major third chord is also a movement from musical tension to resolution (i.e., a symbolic move from pain to peacefulness). Hence, while we hear the back-and-forth of fourths and thirds in the mystical, visionary instrumentals (“Sparks” and “Underture”), as well as in “Pinball Wizard,” we also hear them in some of the trauma-oriented songs (“1921” and “Cousin Kevin”).

The trouble with childhood trauma, especially the kind that results in the “freeze” trauma response that Tommy’s deaf-dumb-and-blind mental block represents, is how quickly it attracts predatory types. Bullies like Cousin Kevin and child molesters like Uncle Ernie find people like Tommy, now a teen in the story, to be easy prey. Bullies and pedophiles are cowards who cannot take out their pain on people who fight back, so they prey on the weak, resulting in re-victimization for people like Tommy. PTSD thus grows into C-PTSD.

“Cousin Kevin” is sung by Townshend and Entwistle on the album, while in the film it’s sung by Paul Nicholas, whom we see torturing Tommy, who in turn is played by Roger Daltrey. “Fiddle About” is sung by Entwistle on the album, while in the film, the lyrics are growled by Moon, who plays Uncle Ernie. An amusing performance of this role, done during the reunited Who’s 1989 tour, was done by Phil Collins, dressed in the stereotypical pervert’s bathrobe, underwear, and with messy hair and glasses. Billy Idol did a profanity-laced performance as Cousin Kevin during that show.

“Fiddle About” switches from 4/4 to 3/4 when the song’s title is heard in the lyrics. That creepy, rocking 3/4 suggests the act of molestation, to our ears’ horror.

VIII: Heaven and Hell 2

It is fitting that “Cousin Kevin” should occur just before the Acid Queen giving Tommy his acid trip (“Underture”) in the sequence of songs on the album; then, that “Fiddle About” should appear just before “Pinball Wizard.” That is, two of the most traumatic events in his life should happen just before a great mystical or visionary moment, a move from hell to heaven. (Similarly, the traumatic “You didn’t see it!…” of “1921” immediately precedes the mystical/visionary “Amazing Journey” on the album.)

This juxtaposition of the worst with the best brings us back to what I discussed above about the traumatic and blissful aspects of Lacan’s Real Order and Bion’s ineffable O. Rudolf Otto, in his book The Idea of the Holy (1917, Das Heilige), wrote of the non-sensory numinous, the dual nature of experiencing God, which is both blissful and traumatic, mysterium tremendum et fascinans. Tommy’s traumas are so extreme that he’s come out the other end, dialectically speaking, from hell out to heaven; he’s so well connected to the world, so touched by God, so to speak, that he can excel at pinball without even seeing the ball.

As I’ve discussed in many other posts, I use the ouroboros to symbolize the dialectical relationship between opposites: the serpent’s coiled body represents a circular continuum with the biting head and bitten tail representing extreme opposites that meet, phasing into each other. All intermediary points are on the coiled body of the ouroboros, the head and tail of which can represent any pair of opposites–heaven and hell, sanity and insanity, etc.

In Tommy’s case, his mental state is right where the serpent’s head is biting its tail: the bitten tail is his trauma, and the biting head is the bliss of his mystical, visionary consciousness. So with the trauma of Uncle Ernie’s molestation of him, immediately preceding his amazing extrasensory powers as the usurper of the Pinball Wizard, we have a perfectly fitting juxtaposition.

IX: Tommy Uses the Force

How do you think he does it?” you wonder. “What makes him so good” at pinball? That Tommy has “no distractions” reminds me of that scene in Star Wars, when Luke is practicing with his lightsaber on the Millennium Falcon, and Ben has him wear a helmet with the blast shield down, making Luke unable to see the remote. Ben says, “Your eyes can deceive you. Don’t trust them.” Then he tells sightless Luke, “Stretch out with your feelings,” and Luke can, through the “mystical energy field” surrounding him, sense when and where the remote will shoot at him, and he can deflect its shots perfectly. Similarly, Tommy is, so to speak, using the Force when playing pinball.

On the album, Daltrey sings most of “Pinball Wizard,” while Townshend, elsewhere quickly strumming those suspended fourths and major third chords on his acoustic guitar, sings some lead vocals during the bridge (quoted at the top of the previous paragraph). In the movie, Elton John plays the Pinball Wizard (in huge shoes!) and, on his piano, plays over the suspended fourth and major chord acoustic guitar strumming with fast, descending arpeggios of subdominant and tonic triads. The film version of the song is extended to include variations on the main guitar riff to “I Can’t Explain.”

X: The Mirror

A doctor is found who, his parents hope, will cure Tommy. In the film, he’s played by Jack Nicholson (“The Specialist”), who–like Oliver Reed–also sings…for good or ill. In the song on the album, we hear a refrain of Tommy’s “See me, feel me…”, a reflection of his trauma; then soon after, “Listening to you…”, a reflection of his mystical, visionary state of mind–again, a juxtaposition of his inner heaven and hell. Realizing that Tommy’s disabilities are all psychosomatic and not at all biological, the doctor et al advise that Tommy “Go to the Mirror!”

It is interesting, from a Lacanian perspective, that blind Tommy would be brought before a mirror, of all things, as an essential part of his cure. An infant establishes its ego, its unified sense of self, an ideal-I, by seeing itself in the mirror reflection for the first time, bringing it into the Imaginary Order. Apart from seeing itself in the specular image, the infant feels itself to be a fragmented body, awkward, lacking in boundaries between me and not-me, and lacking in a unitary identity.

The traumatic arrest in Tommy’s development as a child came from his having witnessed the murder and his parents gaslighting him into not seeing, not hearing, and never talking about it. Also, his having been deprived of his Oedipal desires (note that a baby seeing his mother’s loving smiles is also a metaphorical mirror that returns his infantile narcissism back to him; note also that, in the film, Tommy’s oh, so desirable mother is seen in the mirror reflection with Tommy during “Smash the Mirror”) is connected with the need to establish his ego before the mirror, something his trauma has frustrated. This connection is now key to curing him.

Having Tommy stand before a mirror and stare at himself also symbolically suggests therapy through the methods of Heinz Kohut–that is, a temporary indulging of narcissism through the mirror transference before gently weaning him of this indulgence through optimal frustration. The problem is that Tommy’s mother, chanting “Tommy, Can You Hear Me?” with the others, grows impatient and frustrated herself, and she decides to “Smash the Mirror.”

Such a smashing is far from the gentle weaning of optimal frustration. It’s much too sudden and abrupt, and the fragmenting of the mirror, its shocking suddenness, is symbolic of the threat of psychological fragmentation, a danger often averted by resorting to pathological narcissism. Sure, Tommy’s mental block is gone: he can finally see, hear, and speak, but his “Miracle Cure” is a superficial one.

XI: The Messiah

Now, the narcissism of Tommy’s fancying himself as a Messiah-figure is the one thing keeping him from falling apart and having a psychotic break with reality. What’s worse, as we see especially in the film, his family is indulging his megalomania to make a buck or two.

Tommy has already had “disciples” from the discovery of his amazing pinball skills, but now he’s become a “Sensation,” gaining many more followers, including groupie-like “Sally Simpson,” whose preacher father disapproves of her involvement in Tommy’s cult. Since he’s “free,” Tommy is trying to get as many followers as he can, people who, devoted to him, are treated as mere extensions of himself. They are the other, a mirroring back to himself of his ego, the other of the Imaginary (i.e., a form of the objet petit a, where a is French for autre, only one ‘other’), not the Other (many people) with its radical sense of alterity, the alterity of the Symbolic.

Wishing to cash in on Tommy’s new celebrity, his Uncle Ernie, his mother and Frank (in the film), set up “Tommy’s Holiday Camp.” This whole set-up would be the rock opera’s satirical take on all those who would exploit the spiritual yearnings of the masses for profit.

And at first, the masses go along with it. There’s an ironic twist in having them wear ear plugs, eye shades, and a cork in their mouths. As we know, Tommy’s psychosomatic disabilities gave him a mystical connection with the “deep and formless infinite”; but his followers, seeking to be pinball-playing imitators of Tommy as Christians would be imitators of Christ, are being wilfully deaf, dumb, and blind followers…that is, unthinking adherents of this phoney new religion that gives Tommy narcissistic supply.

When Tommy starts scolding certain of his followers for drinking, smoking pot, or being “Mr. Normal,” they grow disillusioned with him and his restrictions on their freedoms, realizing he is no different from any other religious leader who becomes too authoritarian and repressive. Thus, they all chant, “We’re Not Gonna Take it,” and reject his phoney cult.

XII: Rejection of the Messiah

Their rejection of Tommy leads to an ironic repeat of his “See me, feel me…” plaintive singing. Before, the traumatized boy had our sympathies; now that he’s not only regained his senses but also become a powerful cult leader, his pleas to be heard and healed fall on…deaf…ears.

This irony leads to yet another. The masses’ rejection of Tommy, their refusal to indulge him in his narcissism and megalomania, has made him retreat into himself again. Now, his singing of “Listening to you…,” instead of being straightforwardly visionary and mystical, has become dubious in this new, narcissistic context.

XIII: Conclusion

So, what are we to make of the ending of Tommy? Is it a happy one? To hear the driving guitar, bass, and drums of Townshend, Entwistle, and Moon, as well as the operatic grandeur of Daltrey’s vocals, harmonized by Townshend and Entwistle, one would think it’s a happy ending. The lyrics certainly seem upbeat at the end. Let’s consider, however, what has happened in light of the plot.

Tommy’s recovery from his trauma, from staring at a mirror which is then smashed by his mother, is a shaky recovery to say the least. He’s replaced his previous isolation with a narcissistic Messiah complex. In the end, his followers have rejected him, relegating him to his loneliness, and he’s withdrawn into himself. From this, can he really “see the glory,” “climb the mountain,” and “get excitement at your feet”?

I would describe these ecstatic words not as an attainment of nirvana, but rather as him deluding himself that he’s attained it, as a narcissistic defence against fragmentation. He can convince himself that he’s found the highest bliss, though he’s actually lost his mind, because as I’ve argued above, the heavenly and hellish mental states are actually opposite sides of the same coin.

Still, the very dialectical proximity of these opposing states makes the ending of Tommy ambiguous rather than pessimistic. Just as his childhood trauma also gave him his mystical connection with everything, so can his new isolation, with all the pain of the world’s rejection of him, make him once again pass the ouroboros’ bitten tail to the biting head of visionary bliss.

The “you” he’s “listening to,” “gazing at,” and “following” could thus be his rejecting herd of followers, or it could be God…or it could be both.

‘Between the Divide,’ a Poem by Jason Ryan Morton

Here’s a new poem by my Facebook friend, poet Jason Ryan Morton, whose work I’ve looked at many times before. As usual, I’ll put his writing in italics, to distinguish his words from mine. Here’s the poem:

frenzied and lost
a shadow of what i was
lost in a second
fulfilled at any cost

the parallel lines
turn to parallel lies
I keep seeking the divine
but fall between the
divide

answers hurt to
questions unasked
i bathe in the glory
of a chemical axe
waging war within

that is a sin
as it goes beneath the
skin
to drown me deep within
and without
just another day that
passes far too quick

leaving me trembling
shaky and sick
what was a vision of
mortality
is now a passage of
doubt
and i’m lost again

too many yesterdays
still portraits
crawl with the rotten
stage
falling through my anger

and i just want to turn
the page
to burn the magazine
tie up all my aspirations
and burn the stage

winter is here and it is clear
i am not wanted here
too many disharmonies
to ever sleep without
fear

i close my eyes
and say goodbye
no more goodnights
no more lullabies

only the rage
the justifications
an empty gun
and a permanent
vacation

And now, for my analysis.

Jason is speaking of the struggle to find happiness, including spiritual enlightenment. We sense his frustration with the difficulty of attaining this in the first verse.

The “parallel lines” seem to represent, on top, the spiritual path of God above, and on the bottom, Jason’s attempt to emulate that path below, on the Earth. The problem is that parallel lines never meet, so try as he might, Jason cannot reach God, no matter how hard he may try to conform to the Christian way.

He learns soon enough, though, that those parallel lines are lies, an effective pun. The lie is the failure to attain spiritual enlightenment without “Christ,” which translates actually to not attaining it without first conforming to the catechism of the Church; hence his “seeking the divine,” and falling “between the divide,” another effective pun. The “questions unasked” of the Church, that is, the taboos of questioning and doubting Church authority, lead to “answers hurt.”

Other attempts to heal pain, the alternative of the “chemical axe/waging war within,” sound like the illusory euphoria of psychiatric drugs, with their chemical compounds: this medication never cures mental illness–it only keeps it under control. It “is a sin/as it goes beneath the skin/to drown [him] deep within.” The pills are “invisible handcuffs,” as Charles “Haywire” Patoshik (played by Silas Weir Michell) calls them in season one of Prison Break.

Realizing the hard truth of these false paths to happiness leaves Jason “trembling/shaky and sick,” “a passage of doubt/and [he’s] lost again.” Then there are his painful memories: “too many yesterdays/still portraits.” He just wants “to turn/the page/to burn the magazine,” to get rid of the past, to destroy all of it.

He feels the “winter” coldness of alienation and loneliness; he is “not wanted here/too many disharmonies.” He’d go to sleep and escape the cruel realities of daily, waking life; he’d “close [his] eyes/and say goodbye/no more goodnights/no more lullabies.” He feels “only the rage”…a rage brought on by “the justifications” of the Church that once betrayed him? He has “an empty gun” from having already fired out all of that rage.

His “permanent vacation” could be anything from indefinite disability leave to the dream of an eternal state of nirvana…or maybe even enjoying listening to Aerosmith!