In praise of prose

Near the end of his mammoth 6-volume Oxford History of Western Music (which, I must confess, I haven't read all the way through), Richard Taruskin suggests that musical notation may now have outlived its usefulness. Notation emerged in order to preserve and transmit music, to enable other people to play something far beyond the context it was originally composed in. But when I can upload my latest composition straight onto YouTube (be warned), why bother writing it down?

A few years ago, the top Facebook execs apparently decided that prose was going the way of musical notation, if not necessarily the dodo. Their thinking was similar to Taruskin's. Now that we can just speak into a camera and upload the video onto the world-wide web (as they're calling it), why would anyone go to the trouble of writing their thoughts down? 

The huge shift to video on social media that the tech execs anticipated hasn't quite materialized (at least not yet). There are a lot more videos online, and YouTube has become a venue for spoken commentary and argumentation (what the Greeks would have called rhetoric) from ordinary citizens in a way that was never quite possible in the world of TV, with its relatively few channels overseen by hierarchical corporations. And yet, people are also still writing a lot of prose.

I think that's a good thing. The written word, you see, still has its advantages.

The main one is that it allows both writer and reader to take things at their own pace. That means you can wait till you're really sure of what you're saying to write it down. You can look up everything you can find bearing for or against your argument and include it in a footnote. You can even change your mind and write a completely different sentence to the one you thought you'd be writing. And your reader can go back and puzzle out what you've written if they don't quite get it the first time round. They can pause for a while to ponder what you've said before moving on to the next paragraph.

Writing also has some plus points when compared to conversation. Now, I'm aware we're all intensely aware of the joys of in-the-flesh interaction at the moment, after weeks if not months of lockdown. In-person conversation has its plus points too (not least of which is that we seem to find it inherently enjoyable). But we're also all aware, I think, that there are things we choose not to say to people's faces. Often that's a very good thing. Often it's a result of an apparently natural tendency to want to be kind to each other. At other times it can be a result of hierarchy or outright intimidation. That means it can often be easier to state what we really think in the privacy of our own rooms (or, at least,  behind the partial screen of a laptop screen).

Of course, many people are retreating to their rooms to voice their thoughts - they're just doing so into a camera rather than on a page. They're obviously free to do so - I'll defend their right to that to the death, even if Voltaire might not really. But what shift to video there has been has brought with it its own issues. We're rarely intimidated in front of someone talking to us on YouTube in the way we might be in real life, and (as comment sections attest) we usually feel free to reply in ways we wouldn't in person (sometimes even to a pathological degree). But videos do transmit things about a person - like passion and attractiveness - in a way that often distracts us from the tough but necessary work of evaluating claims on their merits. Since the types of charisma that videos transmit aren't equably distributed, it can also exacerbate various forms of privilege.

All that, obviously, is why I've written this entry. 

Is Theodor Fontane the German Hardy?

Again, I don't know enough to say. I did just read Unterm Birnbaum (Under the Pear Tree) and there were things about it that reminded me of Hardy - the strong sense of place, the use of local dialect, the pastoral setting combined with some very dark themes. The prose is deceptively simple, also, I think, like Hardy's. There's also the fact that Hardy and Fontane both seem to be in that rarefied set of writers who've achieved greatness both as poets and novelists. And that both touched on topics that were seen as 'inappropriate' by the society of the time.

Fontane seems most well-known in the German-speaking world for his ballad 'John Maynard' about a steamship captain on Lake Erie whose ship caught fire but who stayed with it and steered it to shore. Bizarrely to my mind, the repeated, 'Und noch ---- Minuten bis Buffalo!' ('And ----- minutes more to Buffalo!) has apparently been etched into the memory of generations of German school children. It is an exciting poem. The rest of Fontane's ballads read as very alien nowadays, even (or maybe especially) the 'English-Scottish' ones.

Fontane's lyric poetry, though, is straightforward, lucid, and, I would say, moving. (In the first two of these qualities his lyric poems are different to Hardy's.) I just wanted to post a couple here. The beauty is all in the simplicity - a simplicity which is, again, often a slightly deceptive one.

Der erste Schnee.

Die Sonne schien, doch Winters Näh’
     Verrieth ein Flockenpaar;
Es gleicht das erste Flöckchen Schnee
     Dem ersten weißen Haar.

5

Noch wird – wie wohl von lieber Hand

     Der erste Schnee dem Haupt –
So auch der erste Schnee dem Land
     Vom Sonnenstrahl geraubt.

[6]

Doch habet Acht! mit einem Mal

10

     Ist Haupt und Erde weiß,

Und Freundeshand und Sonnenstrahl
     Sich nicht zu helfen weiß.

I don't have any great grasp of German poetry, but the simplicity, the 'naive' joy in nature, and the bittersweetness of the ending - the sense that certain kinds of longing are inevitable - reminds me of nothing so much of Wilhelm Müller's Winterreise, as famously set to music by Schubert. All these notes - simplicity, an intimacy with nature, and, finally, of the inevitability of life's joys passing - all that is even stronger here:

In der Krankheit.

(Brief an E.)

     Mein ganzes Zimmer riecht nach Wald,
Das machen die kiehnenen Tische,
Glaub mir, ich muß genesen bald
In dieser Harzesfrische.

5

     Du bist noch kaum bei uns daheim

An unsres Kindes Bettchen,
Und sieh, schon sitzt ein muntrer Reim
Auf meinem Fensterbrettchen.

     Er sitzt allda und schaut mich an

10

Wie auf dem Felde die Lerchen

Und singt: „Du hast ganz wohlgethan,
Dich still hier einzupferchen.

[21]

     „Steh nur früh auf und schweif umher

Und lache wie der Morgen,

15

So wird dies grüne Waldesmeer

Schon weiter für Dich sorgen.

     „Und schied’st Du doch zu dieser Frist,
So tu es ohne Trauern,
Das Leben, weil so schön es ist,

20

Kann es nicht ewig dauern.“