WILLIAM PLOMER – THE BURNING FIERY FURNACE – LIBRETTO
– CHURCH-OPERA BY BENJAMIN BRITTEN – 1966
William
Plomer in this libretto uses a famous and common episode of the Old Testament (Daniel
3) to build his story in his own poetical style. The fact that he uses three
Israelites in this story is not significant since it cannot be anything else.
It is the trinity of God from the Christian point of View, but before that it
was the trinity that became the symbol of wisdom of Judaism, I mean Jewish
wisdom, Solomon’s wisdom, when doubled to six, when that six is twice three, David’s
star.
What is
essential from my point of view in this tale is the status of foreigner of
these three wise Jewish men, because they have to be wise. They are foreigners
in Babylon and
as such are treated very badly, in an unacceptable way from their Jewish point
of view. First their Jewish names, three of course, are replaced by three
Sumerian names, which is highly unacceptable. Second they are requested to
drink wine and to eat meat that are certainly not kosher and they refuse. And
finally, third request, they are supposed to worship a Sumerian god represented
in a golden statue, which goes against Mosaic law that forbids any icon, any
material representation of God, and certainly not made of gold (the golden calf
of course).
So they have
to be sacrificed and thrown into a burning furnace. But from three they turn to
four since an angel gets to them and protects them. Miracle, miracle, when you
believe they seem and sound natural if not even logical. But it is a good
story, especially since four is not basically Jewish. It is basically Christian
and represents the crucifixion which brings salvation. Salvation through the
ordeal of a symbolical death. Jesus is lucky after all. Dying on the cross was
like being reborn and humanity with him.
This
Christian symbolism read into the Jewish tale is typical of the Christian
reading of the Old Testament in the Middle Ages: Systematic triptychs were
built with a reference in the Old Testament, an episode in the life of Jesus
and then a third element widening the approach. For example the first choir
tapestry of La Chaise Dieu (15th century) is cut in three sections,
each section being a triptych, thus building a triptych of triptychs: And most
of these tapestries have the same structure.
FIRST TAPESTRY
1- Left triptych
In the
middle: The Annunciation
On the left:
Eve facing the snake; God announces a Savior
On the right:
The dew, miraculously, falls over Gideon’s fleece
2- Middle triptych
In the
middle: The Nativity
On the left:
The blazing bush: God discloses his name to Moses
On the right:
Aaron’s blossomed rod
3- Right triptych
In the
middle: The Epiphany
On the left:
Three brave warriors bring water from besieged Bethlehem to King David
On the right:
The Queen of Sheba sees Salomon’s wisdom
The miracle will cause the
conversion of Nebuchadnezzar to Judaism. But to come back to the status of
foreigner of these Jews, the text is clear that the Jews are foreigners in Babylon, but from the
Jewish point of view the Babylonians are the foreigners. The moral of the story
is that people can finally understand one another when they just listen to the
others, respect the others and do not try to impose their ways onto the others.
Unluckily the Biblical story has a flaw since this mutual respect is negated in
and by the conversion of the king. It is mutual respect maybe, but not
reciprocal since it leads to the negation of one side.
But it is true the Librettist
goes very far in this ternary symbolism. Consider the following declaration of
the King:
NEBUCHADNEZZAR:
Ah! Heat the burning fiery furnace!
Heat the furnace! Heat the
furnace!
Three “heat,” there “furnace,”
plus the ternary “burning fiery furnace” with three words that mean exactly the
same thing or at least refer to the same thing, “fire.” The two triplets,
“heat” and “furnace,” could build David’s star or Solomon’s number, wisdom in
other words, but this double triplet contains in its very core another triplet
that makes the whole structure jump to nine, the most dramatic and ill-fated
number of Christianity, the hour when Jesus dies, the ninth hour, the number of
the beast and the dragon of the Apocalypse, the Apocalypse itself that comes
just after the second coming, represented by eight which is nothing but a
standing omega, the end of time.
The last chorus of the opera with
each line starting with “O” is a rich numerical symbolic passage (10 “bless,”
13 “O” + 1 opening “O” from the Acolytes, hence 14 or twice seven and seven is
essential for Nebuchadnezzar and could refer to the seven climes of the
children and descendants of Ishmael, one of the two sons of Abraham,
descendants who are called Arabs in the Old Testament, 23 addressees to which
each request to “bless the Lord” are directed. But the most striking formula is
“Bless ye the Lord, Praise him and Magnify Him for ever.” Double triplet again
with the three verbs and the three designations of God. But this phrase is
repeated three times in this final chorus, and that will lead to 3 “bless,” 3
“praise,” 3 “magnify,” thus leading to nine requests. When you add the other
“bless” of this chorus you reach 16 requests, twice eight, twice the end of
time, twice omega, twice the second coming, if that is not the symbol of the
Messianic Jerusalem, of the conversion of the pagan king, of the salvation of
the world in the unifying vision of Jesus contained in this tale, what is?
You may believe or not, that’s
not the point. The point is that the poetry of this libretto is extremely rich
in Jewish and Christian symbolism and then we can wonder what Benjamin Britten
can do with this poetry by turning it into music, since music is basically
tempo and rhythm.
Dr Jacques COULARDEAU
WILLIAM PLOMER – PRODIGAL SON – LIBRETTO –
CHURCH-OPERA BY BENJAMIN BRITTEN – 1968
William Plomer is a very skilled
librettist. He takes a Biblical parable, in this case from the New Testament,
and turns it into a simple show confronting good and evil in one nut’s shell. To
do this he has to embody the devil, the Tempter as he calls him in the line of
Thomas Becket and his own temptation in his cathedral.
William Plomer insists in making
that Tempter a stranger, an unknown visitor from the outside world, though he
is in fact the visitor from the inner deeper world of the Younger Son, the
world of his desires, impulses and other lusty lures and snares he is going to
fall in. Then this stranger of a Tempter takes the Younger Son into the outside
world, into the strange world, the world of strangers, the world in which the
Younger Son becomes a stranger himself, a stranger to be exploited and bled
into beggardom.
This light but meaningful play on
strange and stranger, on not being and becoming the stranger of the parable,
emphasizes the fact that we live in a very narrow circles of acquaintances,
family and friends and that getting out of it is dangerous, because it is
temptation and we are not prepared to that temptation since we were raised in a
locked up enclosed airtight cocoon. Get out of it and you suffer, you may
suffocate.
And suffer or suffocate he does
with three temptations: alcohol which means loss of control, the ecstasy of
joy, pleasure and beauty, that is to say women, which means loss of control,
and finally gambling which means loss of control again, and every single time,
at every single step the loss of control goes along with the loss of the
Younger Son’s portion. Three temptations instead of four for T.S. Eliot’s
Thomas Becket, the trinity of evil instead of the fourfold ordeal of the
crucifixion that redeems the world. No redemption in this ternary fall to that
triple temptation.
And yet the end is well known and
yet the end is maybe slightly pale in the acceptance of the Father’s
forgiveness by the Elder Son. This easy change of mood, this resigned
obedience, this smooth reversal from anger to compliance is another regeneration
in the Biblical field from the Old Testament to the New Testament, from the Old
Testament of Cain, the other famous Elder Son who kills Abel, the other famous
Younger Son, because Abel is favored by God while Cain is rejected. This
reversal into this Prodigal Son and his forgiving father is the basic meaning
of the New Testament. God, our Father, is not longer a punishing and vengeful
figure but a forgiving and gentle parent. And Benjamin Britten knows everything
about being rejected, including by the Father Abbot speaking in the name of
God.
The simplicity of the style helps
this story to remain limpid though the fact that the Tempter is no one but the
disguised Abbot is surprising. Economy of scale maybe with one actor-singer
instead of two, or maybe some deeper meaning that the Tempter may use at times
the language of God himself to make us fall in the appealing ruse of his. And
mind you, it works.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 12:54 PM