The Gaze of the Gorgon | |
---|---|
Written by | Tony Harrison |
Screenplay by | Tony Harrison |
Based on | The Gaze of the Gorgon book of poems |
Country | Britain |
Language | English |
The Gaze of the Gorgon is a film-poem created in 1992 by English poet and playwright Tony Harrison which examines the politics of conflict in the 20th century using the Gorgon and her petrifying gaze as a metaphor for the actions of the elites during wars and other crises and the muted response and apathy these traumatic events generate among the masses seemingly petrified by modern Gorgons gazing at them from pediments constructed by the elites.
The verse-documentary is aimed at describing the "unspeakable horrors and atrocities of the twentieth century" through the Medusa paradigm and it was broadcast on BBC-2 in October 1992. [1] According to literary critics, Harrison's work acts as a mirror through which the audience can gaze at the horrors without being petrified. The video-poem has been described as the "right lyre for the twentieth century". [2] [3]
The narration of the film is done through the mouth of a statue of the Jewish poet Heinrich Heine, which Kaiser Wilhelm II had removed from the Achilleion palace on Corfu after he took over ownership from Empress Elisabeth of Austria. The film describes the connection between Heine, the Corfu Gorgon and Kaiser Wilhelm II, who had an obsession with the Gorgon. [4] [5] [6] [7] Harrison has also published a poetry book based on the same concept. [8] The book version received the Whitbread Prize for Poetry. [9] [10]
Kaiser Wilhelm II had developed a "lifelong obsession" with the Gorgon sculpture which is attributed to seminars on Greek Archaeology the Kaiser attended while at the University of Bonn. [5] The seminars were given by archaeologist Reinhard Kekulé von Stradonitz, who later became the Kaiser's advisor. The Kaiser, while residing at Achilleion and while Europe was preparing for war, had been involved in excavations at the site of the ancient temple of Artemis in Corfu. [7]
In 1911 the Kaiser along with Greek archaeologist Federiko Versakis on behalf of the Greek Archaeological Society and famous German archaeologist Wilhelm Dörpfeld on behalf of the German Archaeological Institute, started excavations at the Artemis Temple of Corfu. The Kaiser's activities in Corfu at the time involved both political and archaeological matters. The excavations involved political manoeuvering due to the antagonism that had developed between the two principal archaeologists at the Corfu Temple site. [11]
The Kaiser upon assuming ownership of the Achilleion also removed the statue of Jewish poet Heinrich Heine which Empress Elisabeth had installed at the palace because the Kaiser detested the Jewish poet whom he considered a democrat, and therefore a radical and a subversive. [7]
Harrison has used these historical facts as background for his verse-documentary.
In an article written for The Guardian Harrison stated that "Statues are one of the ways I try to test the traditions of European culture against the most modern destructive forces", and this is the reason why he used Heine's statue as the mouthpiece of The Gaze of the Gorgon. [12]
In the film-poem, Harrison represents the Kaiser as a scholar archaeologist who is doing excavations in Corfu attempting to unearth the Gorgon pediment from the site where the ruins of the Artemis Temple of Corfu were situated. Harrison combines Heine's real-life predicament of having to leave from his homeland of Germany with the eviction of Heine's statue from the Corfu Achilleion and creates a common thread for his film-poem by having Heine's statue meander through Europe and moving from one European place to another delivering the narration of the film through the petrified mouth of Heine's statue. [4] In the film, the narrative of the poem begins as follows: [7]
...what was Kaiser up to? Excavating on Corfu, the scholar Kaiser on the scent of long lost temple pediment not filling trenches, excavating the trenches where the Gorgon's waiting there in the trenches to supervise the unearthing of the Gorgon's eyes.
Harrison uses the myth of the petrifying gaze of the Gorgon to analyse the common elements of the war-related atrocities of the twentieth century and to demonstrate that the war crimes of governments or the social failures of the capitalist system transcend historical time periods and they have the common element of turning individuals and societies to metaphorical stones as demonstrated by their apathy, inflexibility and intolerance. He then uses that metaphor to criticise systems and societies from Kaiser's time to the modern era. His criticism encompasses such wide-ranging events as World War I through World War II and the Gulf War. It also includes right-wing fanaticism and bigotry across Europe. At the end of the film, the wondering statue of Heine finally arrives at its final resting place of Toulon, France. [7]
Harrison concludes his 1992 film-poem by making a proposal that in the 1994 European Union summit in Corfu, Heine's statue be returned to the Corfu Achilleion, where the European leaders held their meetings, in time to assume the presidency of the new Europe so that EU can keep its eyes open: [6] [13] [14] [15]
Soon, in 1994,
in this palace Greece starts to restore,
in this the Kaiser's old retreat
Europe's heads of state will meet,
...So to commemorate that rendezvous
of ECU statesmen in Corfu
I propose that in that year
they bring the dissident back here
and to keep new Europe open-eyed
they let the marble poet preside
The book Witness and Memory: The Discourse of Trauma mentions that Harrison points to the muted response of the Western world to the traumatic events during the Gulf war as an indication of the petrifying effect of Gorgon's gaze. According to the book, Harrison contends that the paralysing effect of the gaze of the Gorgon brings about ghettos, genocide and gulags. The book also mentions that during the Gulf war the [Gorgon] pediments have turned to steel and the eyes of the Gorgon are the tank wheels which make all of "their devotees rigid staring at them from her temple frieze". [16]
The book then compares Harrison's film to Primo Levi's work The Drowned and the Saved , where Levi makes mention of those who saw Gorgon and they were never able to return alive and calls them the "true witnesses" who could authentically testify as to the horrors of abuse as compared to those who suffered but at least were able to survive the extermination camps and whom he considers not true witnesses. [16]
In the book Tony Harrison and the Holocaust, Harrison's film is called the right "lyre", i.e. instrument to describe the events of the 20th century and is viewed as a "bridge between The Holocaust and the Medusa". [17] It continues that since Harrison chose the term "lyre" to describe his work, knowing that his work would be made for a television audience, it must be that he believes that only "television can draw a mass contemporary audience into a radical theatre of atrocity" and that his choice of the term also shows "his artistic self-confidence". [17]
The Routledge Guide to Modern English Writing: Britain and Ireland mentions that Harrison's "televised long-poem produced in the wake of the Gulf war has shown that Harrison's energy and creativity are constantly developing" a fact which "makes him both accessible and exciting". [18]
English Social and Cultural History: An Introductory Guide and Glossary mentions that Harrison has also been called "the Gorgon poet" because of this work. [19]
Lorna Hardwick states that Harrison's work allows to gaze at the horrors without turning to stone ourselves, and that is his achievement as a "public poet". She mentions that Harrison uses the ancient Greek metaphors to create an art that can bring redemption by "holding a mirror to horror". [20]
Canadian Poetry comments that Harrison "uses two monuments, an ancient "pediment…featur[ing] a giant Gorgon" and a "marble statue of [the] dissident German Jewish poet" Heinrich Heine to confront Kaiser William II's legacy to the twentieth century". [21]
Robert Winder, literary editor of The Independent , comments that Harrison uses a "persistent and delicious mixture of high and low tones" to convey "the odyssey undertaken by the statue of the German poet Heinrich Heine" and finds it a "neat idea" because "the Gorgon turns even poets into stone". [22]
Professor Roger Griffin Department of History Oxford Brookes University in his paper The palingenetic political community: rethinking the legitimation of totalitarian regimes in inter-war Europe calls Harrison's film-poem "magnificent" and comments that he is trying to tell his audience "to avoid falling prey to the collective mirage of a new order, to stay wide awake while others succumb to the lethe of the group mind, to resist the gaze of modern Gorgons". [23]
Harriet L. Parmet in the journal for the Holocaust and Genocide Studies says that in his book Tony Harrison and the Holocaust, Antony Rowland has observed that "in The Shadow of Hiroshima and The Gaze of the Gorgon Harrison has articulated a response to the events of 1933-45". [24]
Peter Robinson from the University of Hull, analysing Harrison's work, writes that Harrison in his film-poem follows Nietzsche's diction that "Art forces us to gaze into the horror of existence, yet without being turned to stone by the vision". By using his verse-documentary, Robinson continues, Harrison is trying to force his audience, through his art, not to turn away from the horrors and atrocities which would otherwise make them try to avoid and forget them. By doing that he is trying to make these events memorable through art and therefore help people not to forget the horrors and atrocities that are an integral part of their common memory and therefore essential to a life worth living. [25]
Robinson writes that Harrison reaches his audience even when the viewers want to turn away from the TV-screen because they cannot bear looking at the horrors depicted. Harrison achieves this because of the continuing narration of his poem which reaches his audience through their ear, thus helping them, through his art, absorb the events and make them part of their collective memory. Harrison is inspired by the Greeks who through their tragic vision want to "always keep looking, keep singing". [25]
Sandie Byrne writes that Harrison may be indicating a way out for Europe which might enable EU to escape the gaze of the Gorgon, but she remarks that even then it is only a tentative suggestion on the part of Harrison and depends on a statue assuming the EU presidency. [15]
Corfu or Kerkyra is a Greek island in the Ionian Sea, of the Ionian Islands, and, including its small satellite islands, forms the margin of the northwestern frontier of Greece. The island is part of the Corfu regional unit, and is administered by three municipalities with the islands of Othonoi, Ereikoussa, and Mathraki. The principal city of the island is also named Corfu. Corfu is home to the Ionian University.
Wilhelm II or William II was the last German emperor and king of Prussia, reigning from 15 June 1888 until his abdication on 9 November 1918. Despite strengthening the German Empire's position as a great power by building a powerful navy, his tactless public statements and erratic foreign policy greatly antagonized the international community and are considered by many to be one of the underlying causes of World War I. When the German war effort collapsed after a series of crushing defeats on the Western Front in 1918, he was forced to abdicate, thereby marking the end of the German Empire and the House of Hohenzollern's 300-year reign in Prussia and 500-year reign in Brandenburg.
A Gorgon is a creature in Greek mythology. Gorgons occur in the earliest examples of Greek literature. While descriptions of Gorgons vary, the term most commonly refers to three sisters who are described as having hair made of living, venomous snakes and horrifying visages that turned those who beheld them to stone. Traditionally, two of the Gorgons, Stheno and Euryale, were immortal, but their sister Medusa was not and was slain by the demigod and hero Perseus.
Christian Johann Heinrich Heine was a German poet, writer and literary critic. He is best known outside Germany for his early lyric poetry, which was set to music in the form of Lieder by composers such as Robert Schumann and Franz Schubert. Heine's later verse and prose are distinguished by their satirical wit and irony. He is considered a member of the Young Germany movement. His radical political views led to many of his works being banned by German authorities—which, however, only added to his fame. He spent the last 25 years of his life as an expatriate in Paris.
Tony Harrison is an English poet, translator and playwright. He was born in Beeston, Leeds and he received his education in Classics from Leeds Grammar School and Leeds University. He is one of Britain's foremost verse writers and many of his works have been performed at the Royal National Theatre. He is noted for controversial works such as the poem "V", as well as his versions of dramatic works: from ancient Greek such as the tragedies Oresteia and Lysistrata, from French Molière's The Misanthrope, from Middle English The Mysteries. He is also noted for his outspoken views, particularly those on the Iraq War. In 2015, he was honoured with the David Cohen Prize in recognition for his body of work. In 2016, he was awarded the Premio Feronia in Rome.
In Greek mythology, Medusa, also called Gorgo, was one of the three monstrous Gorgons, generally described as winged human females with living venomous snakes in place of hair. Those who gazed into her eyes would turn to stone. Most sources describe her as the daughter of Phorcys and Ceto, although the author Hyginus makes her the daughter of Gorgon and Ceto.
Emma Lazarus was an American author of poetry, prose, and translations, as well as an activist for Jewish and Georgist causes. She is remembered for writing the sonnet "The New Colossus", which was inspired by the Statue of Liberty, in 1883. Its lines appear inscribed on a bronze plaque, installed in 1903, on the pedestal of the Statue of Liberty. The last lines of the sonnet were set to music by Irving Berlin as the song "Give Me Your Tired, Your Poor" for the 1949 musical Miss Liberty, which was based on the sculpting of the Statue of Liberty. The latter part of the sonnet was also set by Lee Hoiby in his song "The Lady of the Harbor" written in 1985 as part of his song cycle "Three Women".
Achilleion is a palace built in Corfu for the Empress Elisabeth of Austria, also known as Sisi, after a suggestion by the Austrian consul Alexander von Warsberg. Elisabeth was deeply saddened by the tragic loss of her only son, Crown Prince Rudolf of Austria following the Mayerling incident in 1889, and a year later she had this summer palace built as a refuge.
Ernst Gustav Herter was a German sculptor. He specialized in creating statues of mythological figures.
The Archaeological Museum of Corfu in Corfu, Greece was built between 1962 and 1965. The museum land was donated by the city of Corfu. Its initial purpose was to house the archaeological finds from the Temple of Artemis in Corfu. In 1994 it was expanded with the addition of two more exhibit halls that display the more recent finds at the ancient citadel of Corfu. It is located on 1 Vraila Armeni St.
The mythological monster Medusa, her sisters, and the other Gorgons, have been featured in art and culture spanning from the days of ancient Greece to present day. Medusa has been variously portrayed as a monster, a protective symbol, a rallying symbol for liberty, and a sympathetic victim of rape and/or a curse.
The Municipal Theatre of Corfu was the main theatre and opera house in Corfu, Greece, from 1902 to 1943. The theatre was the successor of the Nobile Teatro di San Giacomo di Corfù, which became the Corfu city hall. It was destroyed during a Luftwaffe aerial bombardment in 1943. During its 41-year history it was one of the premier theatres and opera houses in Greece, and as the first theatre in Southeastern Europe, it contributed to the Arts and to the history of the Balkans and of Europe.
Willy Stöwer was a German artist, illustrator and author during the Imperial Period. He is best known for nautical paintings and lithographs. Many of his works depict historical maritime events such as the sinking of the RMS Titanic in 1912.
Louis Hasselriis was a Danish sculptor known for his public statuary.
The Temple of Artemis is an Archaic Greek temple in Corfu, Greece, built in around 580 BC in the ancient city of Korkyra, now called Corfu. It is found on the property of the Saint Theodore monastery, which is located in the suburb of Garitsa. The temple was dedicated to Artemis. It is known as the first Doric temple exclusively built with stone. It is also considered the first building to have incorporated all of the elements of the Doric architectural style. Very few Greek temple reliefs from the Archaic period have survived, and the large fragments of the group from the pediment are the earliest significant survivals. It was excavated from 1911 onwards.
Prometheus is a 1998 film-poem created by English poet and playwright Tony Harrison, starring Walter Sparrow in the role of Prometheus. The film-poem examines the political and social issues connected to the fall of the working class in England, amidst the more general phenomenon of the collapse of socialism in Eastern Europe, using the myth of Prometheus as a metaphor for the struggles of the working class and the devastation brought on by political conflict and unfettered industrialisation. It was broadcast on Channel 4 and was also shown at the Locarno Film Festival. It was used by Harrison to highlight the plight of the workers both in Europe and in Britain. His film-poem begins at a post-industrialist wasteland in Yorkshire brought upon by the politics of confrontation between the miners and the government of Margaret Thatcher. It has been described as "the most important artistic reaction to the fall of the British working class" at the end of the twentieth century.
The film-poem is a label first applied to American avant-garde films released after World War II. During this time, the relationship between film and poetry was debated. James Peterson in Dreams of Chaos, Visions of Order said, "In practice, the film poem label was primarily an emblem of the avant-garde's difference from the commercial narrative film." Peterson reported that in the 1950s, overviews of avant-garde films "generally identified two genres: the film poem and the graphic cinema". By the 1990s, the avant-garde cinema encompassed the term "film-poem" in addition to different strains of filmmaking. Film-poems are considered "personal films" and are seen "as autonomous, standing apart from traditions and genres". They are "an open, unpredictable experience" due to eschewing extrinsic expectations based on commercial films. Peterson said, "The viewer's cycles of anticipation and satisfaction derive primarily from the film's intrinsic structure." The film-poems are personal as well as private: "Many film poems document intimate moments of the filmmaker's life."
The Labourers of Herakles is a 1995 play created by English poet and playwright Tony Harrison. It is partially based on remaining fragments of tragedies by ancient Greek dramatist Phrynichos, one of the earliest tragedians. Harrison's play deals with genocide and ethnic cleansing and uses Heracles's filicide as a metaphor for the unspeakable horrors of war and man's inhumanity to man.
The Blasphemers' Banquet is a film-poem created in 1989 by English poet and playwright Tony Harrison which examines censorship arising from religious issues. It was created in part as a response to the Salman Rushdie controversy surrounding his publication of The Satanic Verses. It was aired by the BBC 1's programme Byline on 31 July 1989.
Johannes Gottfried Götz was a German sculptor.
The Gaze of the Gorgon - broadcast in October 1992 on BBC2,...
After the purchase of the 'Achilleion', Kekule was invited by the Kaiser to go to Corfu to provide advice on the positioning of the ... 94 Without a doubt, Wilhelm's lifelong obsession with the statue of the Gorgon unearthed in Corfu stems from the ...
der Räume und Kunstwerke des Achilleions hat, von entsprechendem dokumentarischem Filmmaterial begleitet.
The poem concludes with the proposal that 'to keep new Europe open-eyed/ they let the marble poet preside...'.
steel pediments have Gorgon's eyes now grown as big as tank-wheel size that gaze down from her temple frieze on all her rigid devotees.