Trifling details und ein neues Niveau

Nikolai Alexandrovich Yaroshenko's
painting 'The Student' (1881)

In Crime and Punishment (1866), Raskolnikov, after receiving some jeering comment in the street about his German hat (someone shouts at him "немецкий шляпник!") and realising how conspicuous it makes him, exclaims: Мелочи, мелочи главное!.. Вот эти-то мелочи и губят всегда и всё… (Trivial details, trivial details above all … It's these trivial details that ruin everything always).

Adorno posing with a musical score

Adorno also saw the power of trifling details: in Minima Moralia he writes "Keine Verbesserung ist zu klein oder geringfügig, als daß man sie nicht durchführen sollte. Von hundert Änderungen mag jede einzelne läppisch und pedantisch erscheinen; zusammen können sie ein neues Niveau des Textes ausmachen." (“No improvement is too small or insignificant to be carried out. Out of a hundred changes, a single one may appear trifling and pedantic; together they can raise the text to a new level.”).

Adorno, of course, understood music, and music is all details; as Emperor Joseph is reported to have said: Gewaltig viel Noten lieber Mozart!

Most anxious to appear clever

Усадьба Богимово, the setting of 'The House with the Mezzanine'

Chekhov in his story "The house with the Mezzanine" paints, in a single sentence, an instantly recognizable and convincing portrait of a young man who has retained the social awkwardness of his student days:

Chekhov, 1879

Зато мой  Петр  Петрович,  у  которого  еще  со студенчества осталась манера всякий  разговор  сводить  на  спор,  говорил скучно, вяло и  длинно,  с  явным  желанием  казаться  умным  и  передовым человеком.

On the other hand my friend Pyotr Petrovich, who still retained the student habit of turning everything into an argument, spoke boringly, listlessly and longwindedly - he was obviously most anxious to appear advanced and clever.

Tolstoy in Youth (Юность) presents himself as a young student with a similar social affliction in a memorably cringeworthy scene:

- Вам,  я  думаю,  скучно,  monsieur Nicolas,  слушать из  середины,  - сказала мне  Софья  Ивановна с  своим  добродушным вздохом,  переворачивая куски платья, которое она шила.
Чтение в  это время прекратилось,  потому что Дмитрий куда-то  вышел из комнаты.
- Или, может быть, вы уже читали "Роброя"?
В то время я считал своею обязанностию, вследствие уже одного того, что носил студенческий мундир,  с  людьми мало  мне  знакомыми на  каждый даже самый простой вопрос отвечать непременно очень умно и оригинально и считал величайшим стыдом короткие и ясные ответы,  как: да, нет, скучно, весело и тому  подобное.  Взглянув  на  свои  новые  модные  панталоны и  блестящие пуговицы сюртука,  я отвечал, что не читал "Роброя", но что мне было очень интересно слушать,  потому что я больше люблю читать книги из средины, чем с начала.
- Вдвое интересней:  догадываешься о  том,  что  было и  что  будет,  -

The young & unpleasant Tolstoy

добавил я, самодовольно улыбаясь.

'I expect you find it dull, Monsieur Nicolas, to hear the middle of the story without knowing the beginning,'  said Sophia Ivanovna to me with her good-natured sigh, turning over the pieces of a garment she was making.
The reading had stopped just then because Dmitri had gone out of the room.
'Or perhaps you have read Rob Roy before?'
At that time I thought it incumbent on me, if only on account of my student's uniform, always to give clever and original answers to even the simplest question put to me by people I did not know very well, and I should have been deeply ashamed to offer brief plain replies like 'Yes,' 'No,' 'I don't care for it,' 'I like it,' and so on. With a glance at my fashionable new trousers and the shining buttons on my coat I said that I had not read Rob Roy but that it was very interesting to me to listen to it because I preferred to read books from the middle rather than from the beginning.
'It is doubly interesting,' I added with a self-satisfied smile. 'One tries to guess what has gone before and what will happen further on.'

Youth p. 242 sect 23

Then in his story 'Muzhiki' (sometimes translated as 'Peasants'), Chekhov describes a character whose only achievement is the acquisition of a few unusual words.

В городе он не живал и книг никогда не читал, но откуда-то набрался разных умных слов и любил употреблять их в разговоре, и за это его уважали, хотя и не всегда понимали.

Although he had never lived in a town or read any books, somehow he had managed to accumulate a store of various clever-sounding words and he loved using them in conversation, which made him respected, if not always understood.

How many writers still it these shoes? The awkward youth eager to impress? The ill-educated spicing every paragraph with clever-sounding words? People like me peppering obscure blog posts with quotes in multiple languages.

Golo and Geneviève de Brabant

 from Le Petit Sheriff #87 9 Jan 1954

In Los pasos perdidos (1953) (The Lost Steps), Alejo Carpentier chooses as a book to represent the unsophisticated tastes of the simple peasant people his protagonist encounters on his journey through the Andes, an account of the story of Geneviève de Brabant and Golo. Carpentier contrasts the simplistic naive tale in the gaudily covered paperback with bad paper with the "modern" novel he had abandoned in disgust which is now being read by his urbanized and spiritually lost mistress, Mouche, whom he is soon to also abandon in disgust, while pursuing the grounded and beautiful Rosario:

Mouche sacó un libro de su maleta. Rosario, por imitarle, buscó un tomo en su hato. Era un volumen impreso en papel malo, lleno de escorias, cuya portada en tricromía mostraba una mujer cubierta de pieles de oso o algo parecido, que era abrazada por un magnífico caballero en la entrada de una gruta, bajo la mirada complacida de una cierva de largo cuello: Historia de Genoveva de Brabante. En mi mente se hizo al punto un chusco contraste entre tal lectura y cierta famosa novela moderna que estaba en las manos de Mouche, y que yo había dejado en el tercer capítulo, agobiado por una especie de vergüenza triste ante su caudal de obscenidad.

Man Ray's photograph
of a marionette of
Geneviève de Brabant.
Atelier Mascotte, 1926.

This choice of book — deliberately or unconsciously or coincidentally — has itself sophisticated literary echoes as an emblem of the simple primitive child-like view of the world and its magic. It recalls a passage from Proust where he describes the uneasy and disturbing distraction of a magic lantern projecting images of that same story of Golo and his "hideous designs" and Geneviève de Brabant, intended to provide solace to a bored an unhappy child in the long hours before bedtime.

A Combray, tous les jours dès la fin de l'après-midi, longtemps avant le moment où il faudrait me mettre au lit et rester, sans dormir, loin de ma mère et de ma grand'mère, ma chambre à coucher redevenait le point fixe et douloureux de mes préoccupations. On avait bien inventé, pour me distraire les soirs où on me trouvait l'air trop malheureux, de me donner une lanterne magique, dont, en attendant l'heure du dîner, on coiffait ma lampe; et, à l'instar des premiers architectes et maîtres verriers de l'âge gothique, elle substituait à l'opacité des murs d'impalpables irisations, de surnaturelles apparitions multicolores, où des légendes étaient dépeintes comme dans un vitrail vacillant et momentané. Mais ma tristesse n'en était qu'accrue, parce que rien que le changement d'éclairage détruisait l'habitude que j'avais de ma chambre et grâce à quoi, sauf le supplice du coucher, elle m'était devenue supportable. Maintenant je ne la reconnaissais plus et j'y étais inquiet, comme dans une chambre d'hôtel ou de «chalet», où je fusse arrivé pour la première fois en descendant de chemin de fer.

Au pas saccadé de son cheval, Golo, plein d'un affreux dessein, sortait de la petite forêt triangulaire qui veloutait d'un vert sombre la pente d'une colline, et s'avançait en tressautant vers le château de la pauvre Geneviève de Brabant. Ce château était coupé selon une ligne courbe qui n'était autre que la limite d'un des ovales de verre ménagés dans le châssis qu'on glissait entre les coulisses de la lanterne. Ce n'était qu'un pan de château et il avait devant lui une lande où rêvait Geneviève qui portait une ceinture bleue. Le château et la lande étaient jaunes et je n'avais pas attendu de les voir pour connaître leur couleur car, avant les verres du châssis, la sonorité mordorée du nom de Brabant me l'avait montrée avec évidence. Golo s'arrêtait un instant pour écouter avec tristesse le boniment lu à haute voix par ma grand'tante et qu'il avait l'air de comprendre parfaitement, conformant son attitude avec une docilité qui n'excluait pas une certaine majesté, aux indications du texte; puis il s'éloignait du même pas saccadé. Et rien ne pouvait arrêter sa lente chevauchée. Si on bougeait la lanterne, je distinguais le cheval de Golo qui continuait à s'avancer sur les rideaux de la fenêtre, se bombant de leurs plis, descendant dans leurs fentes. Le corps de Golo lui-même, d'une essence aussi surnaturelle que celui de sa monture, s'arrangeait de tout obstacle matériel, de tout objet gênant qu'il rencontrait en le prenant comme ossature et en se le rendant intérieur, fût-ce le bouton de la porte sur lequel s'adaptait aussitôt et surnageait invinciblement sa robe rouge ou sa figure pâle toujours aussi noble et aussi mélancolique, mais qui ne laissait paraître aucun trouble de cette transvertébration.

Certes je leur trouvais du charme à ces brillantes projections qui semblaient émaner d'un passé mérovingien et promenaient autour de moi des reflets d'histoire si anciens. Mais je ne peux dire quel malaise me causait pourtant cette intrusion du mystère et de la beauté dans une chambre que j'avais fini par remplir de mon moi au point de ne pas faire plus attention à elle qu'à lui-même.

Marcel Proust, Du Côté de Chez Swann

Censor vandals

This image is from the film Searching for Sugar Man and shows the method by which the former South African regime censored "unsuitable" tracks from LPs, in this case the track 'Sugar Man' from Rodriguez's album Cold Fact. Nothing new here; witness Erasmus's books, several examples of which can be seen in this condition in his house museum in the suburbs of Brussels ...

Flowers all the same colour

There are two kinds of photoreceptor in the eye: cones that are sensitive to colour, but are not triggered by low levels of illumination, and rods which are more sensitive to low levels of light but do not process colour. This is what accounts for the black-and-white feel of scenes at night, and the greys before the dawn.

Chekhov, in his story 'The House with the Mezzanine', has one of his characters obseve this: "Луна уже стояла высоко над домом я освещала спящий сад, дорожки; георгины и розы в цветнике перед домом были отчетливо видны и казались все одного цвета." (The moon stood high now over the house and illuminated the sleeping garden, the paths. Dahlias and roses in the flowerbeds in front of the house were clearly visible and all of them seemed the same colour).

The mechanisms of lens and camera will deliver a different picture of the world, unless great care is taken with filters or processing. The opening scene of Tarkovsky's Nostalghia (see picture above) conveys almost miraculously the sense of the landscape before dawn, the colour levels are so low that the eye struggles to make out whether there is any colour or not.

Precious knowledge

"There was much that he wanted to learn, but he could not believe that he would learn it as other people learned what they learned. He believed in something called precious knowledge. As a child, he had hoped to find some of that knowledge in some discarded or forgotten book. Later, he came to understand that such knowledge as he was looking for was not readily passed from one person to another." Gerald Murnane, Emerald Blue, p.84

The image above is a still from Tarkovsky's The Mirror - you can tell that it is the boy leafing through the book (the boy in the 'contemporary' time frame of the film) because of the clumsy way in which the pages are turned and the tissue paper over the plates is creased. Later in the film we are led to suspect that this is the book was stolen by his father when he was a boy. The dialogue below is the sister threatening to tell ... "I'll tell them you stole the book."

It's a subtle film, at times difficult with the different time periods and the same actors playing people in different generations, but it is marvellous ... and the ending of the film with that most sublime chorus "Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist" from the opening of Bach's great Johannes Passion BWV 245 makes the hairs on the back of your neck stand on end. After just having watched a scene where the central character (the boy from early days who becomes the father in the contemporary time) presumably dies, we see the young mother seemingly watching herself now aged leading her two small children (the boy and his sister) through a field. The different time periods coincide, the decades collapse, which is after all what happens in the mind, and presumably also what happens in the frame of reference of a photon, and maybe even at the moment of death. All time is one.

Des soldats qui jouent comme des enfants

One of Karl Kraus' dicta appears in a different guise in Jean Renoir's La Grande Illusion. Here is Kraus:

"Kinder spielen Soldaten. Das ist sinnvoll. Warum aber spielen Soldaten Kinder?"

Children play soldiers. That is sensible. But why do soldiers play children?

And here is what Captain de Boeldieu remarks to his fellow prisoners:   

«D’un côté, des enfants qui jouent aux soldats ; de l’autre, des soldats qui jouent comme des enfants.»

Once again, you can see how the subtitles distort things a little; changing the more aphoristic balanced sentence into a more specific observation with it's "in here" & "out there".