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bacchanal
commentary by fred clark
published 31 may 2008
 
thus spake fred | volume 6 number 14
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"Often it does seem a pity that Noah and his party did not miss the boat." -Mark Twain
 
published since August 2004 | Thus Spake Fred is comprised of syndicated articles that have emerged from the brilliant and witty mind of 'slacktivist' Fred Clark. His dead-on, deadpan analyses will come to feel as necessary as your day's first cup of organically grown Free Trade coffee.
 
 

Fred Clark (eMailblog) is an actor and a copy editor for a Wilmington, Delaware newspaper. He lives in Media, Pennsylvania.


"Indeed, there is no one I know who can sort through complex and often obtuse ideas and then explain them...to an audience in such a way that makes those ideas as plain as day—fairly and without distortion—all while making whatever point he wants to make. He is also dreadfully, painfully, surgically funny. And, better still, he is a man of conviction [and] grace." -Dwight Ozard on Fred

 
 

Michelangelo Merisi da Caravaggio (28 September 1571 – 18 July 1610) was an Italian artist active in Rome, Naples, Malta and Sicily between 1593 and 1610. He is commonly placed in the Baroque school, of which he was the first great representative.


Even in his own lifetime, Caravaggio was considered enigmatic, fascinating, rebellious and dangerous. He burst upon the Rome art scene in 1600, and thereafter never lacked for commissions or patrons, yet handled his success atrociously. An early published notice on him, dating from 1604 and describing his lifestyle some three years previously, tells how "after a fortnight's work he will swagger about for a month or two with a sword at his side and a servant following him, from one ball-court to the next, ever ready to engage in a fight or an argument, so that it is most awkward to get along with him". In 1606, he killed a young man in a brawl and fled from Rome with a price on his head. In Malta, in 1608, he was involved in another brawl, and yet another in Naples in 1609, possibly a deliberate attempt on his life by unidentified enemies. By the next year, after a career of little more than a decade, he was dead.


Huge new churches and palazzi were being built in Rome in the decades of the late 16th and early 17th centuries, and paintings were needed to fill them. The Counter-Reformation Church searched for authentic religious art with which to counter the threat of Protestantism, and for this task the artificial conventions of Mannerism, which had ruled art for almost a century, no longer seemed adequate. Caravaggio's novelty was a radical naturalism which combined close physical observation with a dramatic, even theatrical, approach to chiaroscuro, the use of light and shadow.


Famous and extremely influential while he lived, Caravaggio was almost entirely forgotten in the centuries after his death, and it was only in the 20th century that his importance to the development of Western art was rediscovered. Yet despite this his influence on the new Baroque style which eventually emerged from the ruins of Mannerism, was profound. Andre Berne-Joffroy, Paul Valéry’s secretary, said of him: "What begins in the work of Caravaggio is, quite simply, modern painting."


The "Young Sick Bacchus", dated between 1593-1594, is an early self-portrait by Caravaggio, now in the Galleria Borghese in Rome. It is also called "Self-portrait as Bacchus" and "Bacchino Malato". -Wikipedia


Caravaggio, here, makes no attempt to paint the god Bacchus, but just a sickly young man who may be suffering from the after-effects of a hangover—appropriate for the god of wine. -Boston College online

 
 
 

 
 
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Young Sick Bacchus
by Caravaggio
click to enlarge

I haven't seen Prince Caspian yet, but since it was the "No. 1 Movie" two weekends ago, let's revisit what that wonderful little book was about:


Prince Caspian is about beer.


Here's C.S. Lewis elsewhere (Mere Christianity) in defense of one of his favorite things:

It is a mistake to think that Christians ought all to be teetotalers; [Islam], not Christianity, is the teetotal religion.
 
Of course it may be the duty of a particular Christian, or of any Christian, at a particular time, to abstain from strong drink, either because he is the sort of man who cannot drink at all without drinking too much, or because he is with people who are inclined to drunkenness and must not encourage them by drinking himself. But the whole point is that he is abstaining, for a good reason, from something which he does not condemn and which he likes to see other people enjoying. One of the marks of a certain type of bad man is that he cannot give up a thing himself without wanting every one else to give it up. That is not the Christian way. An individual Christian may see fit to give up all sorts of things for special reasons—marriage, or meat, or beer, or the cinema; but the moment he starts saying the things are bad in themselves, or looking down his nose at other people who use them, he has taken the wrong turning.

Lewis enjoyed meat and the cinema, and he later came to appreciate marriage, but the motivating passion for the passage above has to do with that other thing. Lewis loved his beer and defended it fiercely.


The same point, often expressed with a grumpy impatience, can be found repeatedly throughout Lewis' popular devotional writing. Lewis saw that many Christians—particularly American Christians—were trying to take away his beer, and he wasn't going to stand for that. In Mere Christianity, he refers to such Christians as "a certain type of bad man". In Prince Caspian, Lewis gives these anti-beer Christians another name: "Telmarines".


When the Telmarines came to Narnia, they banished all the wild things—the talking beasts, the dwarves and centaurs, the dryads and naiads and magical creatures of every sort. Old Narnians have been driven underground, literally. The Pevensies arrive to right that wrong, with the help of Aslan, himself.


And lest readers miss the point, Aslan's return and restoration is accompanied at every turn by fat old Bacchus, calling out "Refreshments! Time for refreshments!" It is Bacchus who, at Aslan's bidding, tears down the bridge that symbolizes and enables the rule of the Telmarine King Miraz. And it is old, pagan Bacchus whose wine restores to health the old nurse who had surreptitiously taught a young Caspian about the wild ways of Old Narnia.


I grew up, as Caspian did, among the Telmarines. Lewis' story was, to me, like those tales the old nurse told the young prince—a secret, forbidden glimpse of something older, wilder and more joyous.


I read all of the Narnia books again and again, with the unwavering approval of my Telmarine teachers at school and Sunday school. By the third or fourth time I read Prince Caspian, I began to realize that this approval was due to those teachers not having read this book. It was about them, and I doubt they would have approved if they had understood that.

 

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