BENJAMIN BRITTEN – NOYE’S FLUDDE – THE GOLDEN VANITY – 1958
Noye’s Fludde is a surprising
opera adapted from an old medieval mystery collected in a printed version some
time after 1450 known as the Chester Miracle Plays available at
http://machias.edu/faculty/necastro/drama/chester/index.html,
(accessed July 21, 2016). Strangely enough this opera (of a deep Biblical
nature) has attracted the attention of some scholars, like Peter Happé who
seems to have captured what is most evident in the music by Benjamin Britten
but missed the Romanesque symbolism that is recuperated by Benjamin Britten
from his original and invested systematically in his own version.
The whole story is based on eight
characters but it becomes meaningful when we analyze the composition of this
set of characters. We have the Parents, Noye and his wife Mrs. Noye, and then
the three sons, Sem, Ham and Jaffett, along with the three wives known as Mrs.
Sem, Mrs. Ham and Mrs. Jaffett. This children’s group is an important set of
three and three, David’s star, a direct allusion to the Old Testament and the
Jews of course. And in the opera this set of six is clearly set aside as
compared to the parents because when the order to build an ark has come from
God, the original mystery has the eight characters in this order: Noye, Sem,
Ham, Jaffett, Mrs. Noye, Mrs. Sem, Mrs. Ham, Mrs. Jaffett. But Benjamin Britten
cuts out Mrs. Noye from this fifth position and places her at the end, thus having
the parents embracing the six children. So from four men and four women with
respected parental order, we shift to the father, three sons three daughters-in-law
and the mother.
Eight is the symbol of the Second
Coming, of Resurrection, of Doomsday, of the Last Judgment, of the Apocalypse.
In the original it is the central pattern and thus the Jewish reference is
erased. In Britten’s version the Jewish reference is set at the center of the
opera. This of course must question us and we think of another vocal work, The Children’s Crusade (1969), where in Poland, there
was a war in 1939, and a band of people, children apparently, are trying to
find a city where there is peace. At one moment a Jewish boy joins the band and
he is characterized as wearing a velvety collar. Then a couple of boys arrive
and a Nazi boy comes too, and then a drummer boy. Altogether they are six in
this band who are specified in identity: a Jewish boy, two brothers (farm
looters), a Nazi boy, a drummer boy and strangely enough a dog. In fact there
are more children around since two will make love, a girl of twelve and a boy
of fifteen. And in the war around them there is a trial and one is condemned.
So there is funeral and the one who is buried is identified by his velvet
collar, the Jew. I insist on this work because it shows how Benjamin Britten
had been deeply stirred, like millions of people in Europe
and the world, by the Second World War and the Shoah. It is clear here that he
assumes and carries the guilt of this incredible war crime that is a crime
against humanity. To miss the Jewish symbolism of this opera would be to miss
an important signifying and significant element.
When we have thus identified this
Romanesque symbolism slightly modified to reintroduce the Jewish symbolism of
modern reference, we can wonder what is God, the ninth voice? Nine is a very
deep symbol in Medieval Romanesque art. It is the Beast of the Apocalypse
(9-9-9 or 6-6-6=18=2x9), the time when Christ died (the ninth hour), hence the event
that triggers the end of the world, Doomsday, and here in this context the
flood decided by God, the ninth character that stands alone over the eight
others.
Benjamin Britten goes one step
further with four Gossips along with Mrs. Noye. As such they are the
representatives of the crucifixion and since they build a group of eight women
with the four in the family, they have to be rejected to purify the eight
members of Noye’s family, to break a possible pentacle of five women who would
refuse God’s authority, and indeed rejected they are, after the abduction of
Mrs. Noye by her own sons on the command from her husband.
Then we could wonder where the
basic Trinity is and we would find it in many places, added for some of them by
Benjamin Britten. First the three hymns in which the congregation, hence the
audience can take part, sing along. Then the triple Kyrie Eleison, and mind you
eight instances of this triple phrase that can even be amplified and that punctuates
the getting aboard of all the animals. The same way we can note the triple
Alleluia in the libretto when land is reached and the animals can disembark.
This triple phrase is repeated ad libitum to enable all the animals to come
down from the ark, and they can be numerous.
In the same way bugles are used
three times in the opera with obvious military music: when the animals are
marching in, then when they are marching out and finally to punctuate and
balance the final and third hymn. And we can now come back to these hymns.
The first one, at the very
beginning of the opera, is dedicated to “Lord Jesus” opening four stanzas,
hence repeated four times. In the third stanza (the trinity) Jesus is
identified as our Savior and he can only be our Savior because he died on the
cross, hence the fourth repetition of Lord Jesus at the beginning of the fourth
stanza.
The second hymn, after the end of
the storm and before the sending of the raven and the dove, has a first stanza
opening with “Eternal Father,” a second stanza opening with “O Saviour,” hence
Jesus, the son, and finally a third stanza opening with “O Sacred Spirit,” not
the Holy Ghost as Peter Happé says, but the Holy Spirit, which is supposed to
differentiate the two branches of western Christianity. Yet obviously you have
here a direct mention of the Trinity.
The third hymn, just before God’s
conclusion is also representative of the same logical symbolism and Peter Happé
misses it. First stanza (out of six) “the blue ethereal sky”; second stanza
“the unwearied sun”; third stanza “the moon.” This is the basic Genesis: the
sky, the day and the night. Genesis adds then a conglomerate of stars as a less
important addendum since it is not one of the two luminaries. Benjamin Britten
and this hymn is more complex. Fourth stanza a composite “all the stars. . .
and all the planets”; fifth stanza “the terrestrial ball” but with a Medieval
vision, pre-Galileo since “in solemn silence all [those enumerated so far] move
round the terrestrial ball”; the sixth stanza gives the conclusion that all
this universe that is so well balanced and organized, reveals that “the hand
that made us is divine.” We thus have six stanzas with six elements: sky, sun,
moon, all the stars, all the planets and the terrestrial ball, the first three are
the light and glory of God and the last three are the genial hand of God. This hymn
is all the more important because of the music, the bugle punctuating it and
the final grand music of God’s conclusion that decides his vengeance will never
be implemented again.
And that’s where we find many
other elements in many other works that show there is a curse on humanity that
is not able to escape from barbarity. Of course we can think of The Children’s Crusade, as we have seen,
but we can also think of the vaudeville The
Golden Vanity (1967) associated here to this opera. A banal ship with a
cargo of silver and gold, attacked by Turkish pirates in what must be the
Mediterranean Sea where the Turks and then Ottomans practiced piracy up to the
18th century with the enslavement of prisoners, women in harems and
men in various work activities or armed forces. The Turks are going to win when
a cabin boy proposes to sink the Turkish ship on the promise of being given the
Captain’s daughter. He undresses and dives into the sea and bores three (a
symbolic number) holes in the hull of the Turkish ship that sinks. But the
captain and his Bosun refuse to let the cabin boy get back on their ship and
they only accept to bring him back up when he is on the point of dying, and
dying he does on the deck and he is then buried in the sea. This vaudeville is
essential connected to the opera because it is on a ship. But it has a wider
impact. God’s vengeance might be finished, terminated but man’s curse is going
on. Going on with wars. Going on with sentencing people to death, Jews among
others. Going on with pirates and the refusal of some men to keep their
promises and their killing or causing the death of people who are across their
way, even if they have been of some important service.
That should remind you of the boy
who is abducted in The Curfew River
and who dies as soon as he has crossed the river and is buried on the other
side. Here the flood is a punishment from God but because man did not respect
God’s rules. We come across then another theme that stands upside down. It is
the whole humanity that is ostracized by God himself and the few who are not
rejected as strangers, foreigners, unacceptable individuals are saved. Positive
segregation in a way to select the few who will be saved against the many who
will be condemned, sentenced to die and executed. But in this case there is
another reversal. Traditionally in Benjamin Britten, it is a boy who is the victim
of such a segregation, even when it is a Chimney Sweep who is undressed, bathed
and then hidden and sent away to a future that is not specified, rejected then.
Here it is a family that is saved including the mother who refuses to be saved
and has to be saved by decision of the all-powerful father on the order from
God.
But there is another work that
should be quoted here, Canticle II:
Abraham and Isaac, that is the adaptation of another of Chester Mysteries
by Benjamin Britten that tells the sacrifice of Isaac by Abraham on the order
from God himself with the absolute submission of the father against the son and
the absolute submission of the son to his father since he is ordered to do this
by God. Never at any moment is there any intended, or accidental, or even
incidental element that would imply the son or the father could express any
distance and refusal of such a criminal absurd order. And yet Abraham twice
expresses his suffering with an image: “O! My heart will break in three” and
“Thou breakest my heart even in three.” That trinity is the announcement of
Christianity in the Old Testament story as it was told in the Middle Ages in
Romanesque tradition. Submission then not to the Jewish God but to the
Christian God. And Isaac expresses his submissive suffering that he has
qualified as cheerful before by asking a last favor from his father before the
knife dives into his heart:
“I pray you,
father, turn down my face,
For I am sore
adread.”
Once again a boy is selected to
die, this time by God’s own selective segregation. But Peter Happé does not
have it right when he says speaking of
the last hymn: “This is not a hymn
which celebrates the mystery and iconography of medieval Christianity: Addison’s climactic emphasis upon the universe working in
a perceptively reasonable way is more characteristic of eighteenth-century
belief.” Benjamin Britten does not express modern scientific criticism of
religion. He is more in the line of Descartes who considers the scientific
character of the universe that is describable, explainable and logical to be
the ultimate proof of the existence of God. For Benjamin Britten It is the
curse of humanity to be forever the collective carrier of hatred, violence,
crime, in one word evil, though the covenant with God is a covenant after total
submission, after total vengeance and after remission for those who are ready to
commit the worst crime possible provided the order comes from God Himself. If
there is criticism somewhere along that line it is to be found maybe in the
gullible innocence of the cabin boy, in the discrete love performed as a
physical intercourse among the children of the Crusade, in the naïve well-intentioned
escape planned by rich white kids for the poor black chimney sweep. That does
not sound very promising.
Maybe after all the hope we can cultivate is in the music itself Benjamin
Britten gives us and in the practice of music and singing among children who
could be, for a while at least, saved, purified, transcended from human evil to
musical and choral beauty.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 5:53 AM