The Magic Flute 
This opera (see this great production) was composed by Wolfgang Amadeus Mozart and is based on a libretto by Emanuel Schikaneder. The opera premiered in 1791, just two months before the composer’s demise. The story is about the adventure of Prince Tamino and bird-catcher Papageno in the kingdom of Sarastro, after the Queen of the Night persuaded Tamino to rescue her daughter Pamina. The Magic Flute was pretty much the product of its time, encompassing humanistic messages which stress the victory of reason and love over vulgarities and superstitions. Notoriously, Mozart is said to have incorporated some “secrets” of Freemasonry into his opera, especially those connected with the initiation process (such as a trial by four elements), see some explanation here. Indeed, the opera is all about mystical symbolism as it fuses family drama, “striving for social utopia” ideas, fantasy and humour. Exotic settings and elements, transformations and miracles also form part of this opera. Continue reading “Mozart’s Opera: The Magic Flute”
Ferdinand Hodler (1853-1918) was a Swiss painter known for his realistic and later symbolic paintings. He is also said to have “shaped the image and identity of Switzerland” through his artistic creations. Hodler invented the style of painting – “parallelism” to describe his own way of arranging and presenting his figures in painting. That style focuses on symmetry, harmony and rhythm.
I. The Tired of Life  by Ferdinand Hodler. This painting shows five old men sitting on the bench facing the viewer, without looking or communicating with each other. The striking feature is their symmetrical positions and their expressionless, tired faces. They are different men, but dressed in similar clothing and adopting similar sitting positions, which may hint at them being united in their destiny and outlook on life past. All this produces an arresting impression, and the near-naked man in the middle emphasised this symmetry and collective hopelessness even more. There is something too honest and isolated in these men’s gazes, probably letting the viewer know that each person’s end is pretty much solitary, definite and final. Continue reading “Ferdinand Hodler: Symbolism”
The Luminaries  – ★★★★1/2
“We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time” (T. S. Eliot).
What is the most intelligent, complicated and intricately-designed novel of this century? Eleanor Catton wrote it in 2013 and titled it The Luminaries. The winner of the Man Booker Prize for Fiction in 2013, The Luminaries is a multi-layered tour-de-force, running about 820 pages, that tells the story of mysterious events, including a disappearance and a possible murder, taking place in a gold-mining town of Hokitika, New Zealand, in 1865 and 1866. To tell her story, Catton employs astrological charts, planetary positions and planetary relationships vis-à-vis zodiac constellations, thereby twelve leading male characters in her novel correspond to twelve zodiac signs, such as Scorpio or Sagittarius, and other characters relate to planets, such as Venus or Mercury. These characters’ interactions with each other take a complicated turn and, as we find out more about some eerie coincidences, undoubtedly influenced by astral positions, the mystery deepens and we uncover hidden relations, start to doubt our prior perceptions and come full circle to glimpse at the real truth. As Te Rau Tauwhare explains the origin of the word “Hokitika” to Balfour, “Understand it like this. – Around. And then back again, beginning” [Catton, 2013: 106]. Beautifully-written and cleverly-construed, this rich in detail/description novel may be difficult for the reader to get into at first, but the book proves hugely rewarding and could really be called a modern classic. Continue reading “Review: The Luminaries by Eleanor Catton”
“In man, various faculties of knowledge – sensory perception, the imagination, reason and deep insight – correspond to the tiered arrangement of the macrocosm. The last rung is the direct comprehension of the divine word in meditation. The ladder extends no further, because God himself cannot be comprehended” (R. Fludd, Utriusque Cosmi, Vol. II, Oppenheim, 1619).