Saturday, March 29, 2014

Lady Margaret Pole, nearly the last of the Plantagenets

Above is Lady Margaret Pole condemned to death by Henry VIII principally for the transgressions of her son. Lady Pole is s rumored to have refused to lay her head on the block, telling the executioner that he could chop her head off as she stood, horizontally rather than vertically. She was wrestled down and the flustered executioner missed her neck entirely, whereupon she leapt up and ran amok on the scaffold as he chopped the air around her, he eventually catching and dispatching her- her ghost is said to appear on the anniversary of her death running from a phantom executioner, blood streaming from the many non-lethal chop wounds.
She is the daughter of George, Duke of Clarence whose erratic behavior ( which included claiming his brother's throne for himself) led to his attainder and imprisonment. Reluctant to execute him, his brother had to be reminded by Parliament, upon which he was declared executed, legend having it that he was drowned in a butt of malmsey.

Also, From The Tudors:
THE FALL AND RISE OF ENGLISH THEATER:

WHEN ELIZABETH BECAME QUEEN, TWO VERY DIFFERENT
kinds of theater were alive and well in England. One was old and reli-
gious in impulse and tightly woven into the lives of the people. The other
was new and boisterously secular and more than a little disreputable.
Both were regarded, from Elizabeth's first days on the throne, as serious
problems—as threats to domestic peace if not to true religion, to the
morals of the community if not to the efficient functioning of the econ-
omy. Over the next forty years the government would systematically
suppress the old kind until finally, despite dogged popular resistance, it
was extinguished. By the end of the Tudor era the new kind, in spite of a
state censorship so strict as to amount almost to persecution, would be
emerging as one of the supreme achievements of English cultural history.
Drama, like so much of life in England, had its roots in the early Mid-
dle Ages. lt made its first, almost childishly simple appearance no later
than the tenth century, in the form of little scenes from Scripture acted
out by priests and worshippers inside their parish churches. Over the
next few centuries these performances grew larger and more elaborate,
finally spilling out of the churches and being taken over by the guilds.
Three types evolved: mystery plays, in which stories from the Bible were
acted out; miracle plays, based on incidents from the lives of saints; and
finally morality plays, forerunners of modern drama, in which characters
representing good and evil struggled to win the soul of some Everyman.
(Mystery plays, by the way, took their name not from the Latin word mys-
terium, meaning “secret,” but from misterium, meaning "occupation" or
”trade.” The name reflected the importance of the various occupational
guilds-—of silversmiths or bakers or carpenters or whatever—as spon-
sors, underwriters, and producers of dramatic performances, especially
in the cities and larger towns.)
Ultimately, and without losing their religious content and purpose,
such productions became a major form of popular entertainment and
communal celebration. Whole cycles of plays were developed; some
cycles included as many as twenty-five or even fifty separate tableaux
(enactments of the Genesis account of creation, say, or of Jesus raising
Lazarus from the dead). The sets for these miniplays would be mounted
on wagons called "pageants," which could be wheeled from place to
place in sequence so that in the course of a day spectators could see an
entire cycle without having to move. It was not unlike the passage of
floats in a parade. The cycles became central to observances of the major
events in the liturgical calendar: Christmas of course, but also Twelfth
Night (January 6, the feast of the epiphany), Candlemas (February 2),
Holy Week with its culmination in Easter, Whitsun (the seventh Sunday
after Easter), the feast of Corpus Christi (the Thursday after Trinity Sun-
day), and Hallowtide at the beginning of November. Schools, too, put on
regular theatrical productions-—which must have been a hugely wel-
come break from the tedious recitations that formed the core of class-
room instruction—as did the universities and the Inns of Court.
As in any society where even simple forms of theater thrive, some in-
dividuals found themselves prepared to sacrifice security and stability in
order to spend their lives performing. Tiny companies of professional
players began to form and to scratch out a living by traveling from place
to place. These groups would put on shows wherever they were allowed
to, occasionally finding employment in the universities’ Christmas pro-
ductions or at the courts of the great nobles or even the king. Thus did
the professional actor first emerge in post-Roman Britain. With him, in-
evitably, came nonreligious dramatic works. Few early examples have
survived; those available to us tend toward the crude, rude, and unre-
strainedly vulgar, but they are also funny enough in theirThree Stooges
slapstick way and sometimes surprisingly accomplished in character de-
velopment. One of the oldest survivals, Gammer Gurtons Needle, is be-
lieved to have been written as late as the 1550s but to be one of the first
comedies ever written in English. This dating, if correct, puts the play lit-
tle more than a generation before the start of Shakespeare’s career and
marks the beginning of a period of astonishingly rapid artistic develop-
ment.
At the beginning of Elizabeth's reign, in any case, the mystery, mira-
cle, and morality plays were still a central, much-loved element in En-
glish community life, and professional theater was becoming increas-
ingly popular both in London and in every place where local authorities
would permit touring companies to put on shows in exchange for
money. The new queen's council, its evangelical members especially,
was uncomfortable with theater of any variety and decided almost
before doing anything else that limits had to be imposed. The main prob-
lem with the religious plays was their traditional—meaning Catholic—
content. As for the newer, more secular performances, the Puritans
believed that, even if their content was not idolatrous or superstitious,
they wasted time that could better be devoted to work or prayer. Secular
theater suffered also from a growing perception on the part of the ever-
more-respectable middle classes that the kinds of people who engaged
in it were distinctly undesirable. Such opinions were not entirely unfair.
Plays were presented, usually, in neighborhoods where rents were cheap
and houses of prostitution and bear-baiting pits were leading forms of di-
version.
Officialdom’s first response was a 1559 proclamation to the effect
that no plays were to be presented anywhere unless licensed either by
the mayor of a city or town or by a titled nobleman. The sternest of the
Puritans undoubtedly would have preferred simply to ban all theater
outright, but this was rendered impossible by the inconvenient fact that
drama had established itself at court. Those responsible for providing
amusements for the queen and her courtiers were learning that hiring a
company of players to perform works already written and rehearsed was
easier—and vastly less expensive—than developing new entertainments
from scratch. Queen and courtiers, for their part, responded enthusiasti-
cally to theatrical performances—to the best of them at least.
Theater continued to be regarded as intrinsically disreputable, how-
ever. The Privy Council observed it through narrowed eyes, imposing in-
creasingly firm controls. Eventually it limited the authority to license
companies to the titled nobility, in part, no doubt, because nobles were
far fewer in number than mayors and judicial officials and more easily
monitored and subjected to pressure from the Crown. But another rea-
son must have been the fact that England's increasingly well-educated
nobility found pleasure in quality theater, displayed a willingness to sup-
port it, and would not have accepted its elimination without complaint.
By the 15605 the Earl of Leicester, the same Rob Dudley who stood first
Background - THE FALL AND RISE OF ENGLISH THEATER 471
among Elizabeth’s favorites, was sponsoring one of the most successful
companies. This weighty endorsement was given even more force by
Dudley's status as a prominent evangelical.
As the 15605 proceeded, men more puritanical than Dudley were
moving into positions of leadership in cities and towns including Lon-
don. Such men were repelled by the traditional religious theatricals so
loved by their neighbors, and they refused to issue licenses except for
scripts cleansed of all vestiges of the old religion. Finally they refused to
license the productions altogether, and though resistance was wide-
spread and persistent it was itself unlawful and ultimately fruitless. Cy-
cles tailored to the feast of Corpus Christi were still being performed in
Kendal in the north in the late 1580s, and in distant Cornwall even in the
1590s, but by the end of the century they were gone. The tradition they
expressed was fading. Henceforth the story of English theater was the
story of secular drama exclusively. And it, far more than the old religious
plays, was concentrated in London.
The capital was becoming the biggest city in Europe; by the end of the
century it would have 200,000 residents, four times as many as in 1500.
It was a boiling, brawling cauldron of tradesmen and nobles, clerics and
domestic servants, sailors and soldiers, idlers and whores and fortune-
seekers from every corner of Europe, most of them hungry for entertain-
ment and many with at least a penny or two to spare. Such a place was
a magnet for the traveling companies of actors that, as they put on per-
formances in the courtyards of inns and other rented spaces, found
themselves attracting large and lucrative audiences. Necessarily, such
performances were almost invariably presented in daytime, and natu-
rally they attracted the sorts of people who were free in the daytime-
prostitutes, sailors, and other visitors in search of a good time, workers
willing and able to slip away from their jobs. The city fathers, appalled,
appealed to the council to purge London of such decadence and refused
to issue licenses. The theater people responded by moving to downmar-
ket suburbs beyond the reach of city law. Respectable England's attitude
toward the whole phenomenon is apparent in the name of the bill with
which Parliament, in 1572, sought to impose order: An Act for Punish-
ment of Vagabonds. Now licenses could be granted only by nobles or
two 'judicial dignitaries of the realm.” In due course the lord chamber-
lain was made responsible for approving dramatic works-—which meant
banning any play of which he disapproved—and the stationers’ guild for
preventing the printing of banned works.
None of this even dented the popularity of the theaters. Audiences
continued to grow, and venues grew with them. Impresarios stopped
renting space and began to build theaters instead; these were ram-
shackle affairs at first but soon were more substantial, and by the 15805
the largest could hold three thousand people. Admission was a penny in
the large roofless amphitheaters, twopence if you wanted a place to sit,
while more exclusive indoor performances might charge as much as six-
pence per seat—a sum beyond the means of most people. The revenues
thus generated were more than sufficient to encourage the construction
of increasingly impressive theaters. The frequency with which many
people went to the theater created a voracious market for new material,
and the licensing restrictions tended to concentrate. the best talent in a
small number of companies. For many such reasons London's theatrical
world not only expanded but grew more accomplished at an extraordi-
nary pace. Its leading figures became almost respectable. Queen Eliza-
beth herself became patron of a company in 1583, and in 1594 the lord
chamberlain was authorized to select two companies to perform within
London itself. By then young Shakespeare had been on the scene for five
years, having come up to the city from Warwickshire in the hope of mak-
ing his way as a writer. The hunger for talent was so strong, and the re-
wards for exceptional talent so great, that when the grand Globe Theatre
was built on the south bank of the Thames in 1598, Shakespeare would
be one of its five principal shareholders.


The Awful, Awful Tudors

William Warham by Hans Holbein
IT SEEMS AN EXCEEDlNGLY STRANGE COINCIDENCE THAT
the greatest turning point in the history of the church in England, the cri-
sis after which nothing would ever be the same, occurred at almost pre-
cisely the same time that the religious life of central Europe was also
being violently transformed. What is strange is that these two simultane-
ous revolutions happened independently of each other, rose out of radi-
cally different circumstances and causes, and ultimately unfolded in
distinctly different ways.
Certainly at some deep level having to do with the spirit of the age,
this wasn't a coincidence at all. Be that as it may, when Martin Luther
fastened his ninety-five theses to the door of Wittenberg Cathedral in
1517 he set off a powder keg of a kind that simply did not exist in En-
gland. His revolt was neither the cause of nor the inspiration for the up-
heaval that Henry Vlll put in motion a decade and a half later. Henry in
fact loathed what he knew of Luther, and loathed many of the defining
ideas of Luther's theology. Long before declaring war on the pope, Henry
made himself the avowed enemy of Friar Luther and his war on the
pope. For the book in which he responded to Luther's heresies (he had
help in writing it, especially from Thomas More and John Fisher), he was
rewarded with the title Defender of the Faith by—it would become the
ultimate irony—the pope in Rome himself. .
Luther'repaid the king in full. First he declared in a book of his own
that Henry was a villain and fool and tool of the Antichrist, a ”damnable
rottenness and worm.” Later he denied that Henry had any right to di-
vorce Catherine of Aragon, suggesting instead that he commit bigamy.
And yet, though both would have been pained to think so, Henry and
Luther were intimately linked. Such intellectual support as Henry found
for his revolution came largely from Englishmen whose thinking had
been strongly influenced by Luther's. And Luther's impact could never
have been as widespread as it finally proved to be if not for the resources
that Henry's revolt made available to the Protestant cause.
There is irony in all this. From the beginning of his reign to the end,
Henry thought of himself as not only a good Catholic but literally the
best and most orthodox of Catholics—better than the pope, in the end,
because better connected to God. Hence his revulsion toward the
books, written in Latin mainly and reproduced in great numbers thanks
to the recent invention of movable type, that Luther was turning out with,
dazzling speed and spreading to every corner of Europe as his dispute
with the papacy escalated into schism. His beliefs as they matured—that
man is so corrupted by original sin as to be incapable of acting freely,
that therefore he can do nothing to merit salvation, that therefore faith
alone can "justify" him or free him from the consequences of sin, and fi-
nally that acts of charity and self-denial and prayers for the dead must all
be without effect—added up to a blunt repudiation of Henry’s very
Catholic views. Luther insisted that the Bible is the sole source of truth,
that baptism and the Eucharist are the only valid sacraments and priests
have no more power than any layman, that people are predestined to
salvation or damnation and can do nothing to alter their fate—ideas no
less offensive to the English king than to Rome. They were no more con-
sistent with Henry's expanding view of his own role than with the most
ambitious assertions of the popes.
Luther's first moves onto radical theological ground were viewed with
enthusiasm, even with excitement, in a Germany where many people
had long regarded Rome as an alien force, remote, exploitive, and cor-
rupt. The accusations that he leveled against the institutional church re-
ceived so much support and encouragement, even from powerful nobles
and influential members of the clergy, that Luther himself must have
been taken by surprise. Certainly he was emboldened to carry his attack
further. When the emperor Charles tried and failed to silence him and
even had him outlawed without effect, Luther found himself free to fol-
low his ideas wherever they led. What he found, in developing them,
was release from agonies experienced during years of struggle with an
intense sense of his own sinfulness. The resolution at which he arrived,
the conviction that neither he nor anyone could do anything to merit sal-
vation but salvation was possible all the same as an undeserved gift from
God, persuaded him that his struggle had always been not only futile but
unnecessary. He thereby brought that struggle to an end. But this answer
also reduced to futility his monastic vocation, which he had always pur-
sued so rigorously, so self-punishingly, that his Augustinian superiors had
warned him against excessive scruples. In fact it rendered the church it-
self futile—-left no place for the church as it then existed. Thus it left no
place for a pope. The gulf that opened between Luther and Henry VIII
never narrowed even as Henry changed from one of the pope's most
dutiful sons into one of his most implacable enemies. Luther, having
crossed swords with Rome and emerged not only unharmed but a Ger-
man national hero, became contemptuous of the very idea of ecclesias-
tical hierarchy. He decided that the papacy must be the shadowy enemy
of Christ that the New Testament's Book of Revelation calls the Whore of
Babylon. This took him down paths where the king of England had no in-
tention of following.
One trait that Henry and Luther shared was a conviction that the
whole world should agree with them, reinforced by an expectation that
it would. The resistance that both encountered should not have surprised
them but did. What was worst for Luther, what enraged him because it
made a mockery of his determination to construct a new religious unity
on the ruins of the old, was the way the reform movement itself began
to fragment and fragment again as men who had begun by rejecting
Catholic doctrine went on to reject Lutheran doctrine as well.
The first aberration was the most dangerous, and the most horrible in
its consequences. By 1524, only seven years after Luther had first chal-
lenged Rome's practice of selling ”indulgences” (which were rather like
get-out-of-Purgatory-free cards), common people across Germany were
inspired by his example to mount challenges of their own not only to the
ecclesiastical authorities (hated in Germany to a degree unimaginable in
England), but to the secular rulers as well. The result was the Peasants’
War, as large an uprising by an underclass as Europe had ever seen. The
aims of the rebellion were more secular than religious—an end to enclo-
sures of farmland long held in common, for example, and a restoration
of the feudal rights of the peasantry—but the rebels looked to Luther as
their natural leader. This put him in a severely awkward position. The
peasants were doing what he himself had done: not only questioning but
defying traditional authority. But if he endorsed their rebellion he would
alienate the many princes who, by separating their domains from Rome
and confiscating church lands, had helped to make his revolt a world-
changing event. He took the safer course, condemning the rebels in the
most hateful terms imaginable and urging their rulers not only to sup-
press but to exterminate them. What followed was the butchering of an
estimated one hundred thousand people, many of them armed only,
where they were armed at all, with farm implements. The idea that Chris-
tians owe unqualified obedience to the state became at that point deeply
implanted in Lutheranism and therefore in the psyche of Protestant
northern Germany. What was implanted in southern and western Ger-
many and Austria, where the rebellion had been most widespread and
the reprisals most savage, was a deep popular antipathy for the whole
Lutheran phenomenon. In Switzerland, too, where the reformist leader
Huldrych Zwingli had supported the rebels, the Peasants’ War opened
up new divisions.
Zwingli would have been lost to Luther in any case, because in
Luther’s eyes he went too far in his rejection of established dogma and
practice. Luther believed, in almost the same way as Catholics, that the
living Jesus really was present in the Eucharist, holy communion;
Zwingli believed that the Eucharist was merely symbolic. Luther be-
lieved that religious art—paintings, statues, crucifixes, stained-glass win-
dows—fostered piety and should be encouraged; to Zwingli such things
were idolatrous. Zwingli separated himself from Luther on the question
of free will, arguing that with the help of God people are capable of
choosing to live in accordance with the commandments. Luther be-
lieved no such thing: in his view, Scripture offers its admonitions to do
good and avoid evil only to impress upon believers how impossible it is
for them to do either, so that they will put all their faith in God's unde-
served mercy and attach no value to the actions of their unworthy selves.
Thus did reform separate first into two main branches, German
Lutheranism and a more austere, puritanical Swiss variant, and then,
after surprisingly few years, into a multitude of sects. The most notorious
were the Anabaptists, so named because they rejected the ancient prac-
tice, which Luther had retained, of infant baptism. Some of the Anabap-
tists were radical to the point of lunacy. In 1534 they seized control of
the German city of Munster from the Lutherans who had recently ex-
pelled the local Catholic bishop. Under the leadership of a man named -
Jan Beuckelson, who declared himself king of the new Jerusalem and
said he was following the example of the Old Testament patriarchs in
taking sixteen wives, they announced that the second coming of Jesus
was imminent and that it was the duty of believers to make war on their
oppressors. They were considered such a threat that Catholics and
Lutherans joined forces to take Munster back from them, after which
Anabaptists everywhere were ferociously suppressed. Those who fled to
England were rounded up and jailed, and those who refused to recant,
Henry had burned.
As it broke into divergent and even warring factions, the evangelical
movement—a name signifying elevation of the Bible over other author-
ity—lost the momentum of its rapid early growth. The violent rise and
fall of the Munster Anabaptists worsened the fear of innovation to which
the Peasants’ War had given rise. Even in England, as early as 1531, a
king already at loggerheads with Rome was putting evangelicals to
death. Thomas Bilney, a popular young preacher who attached more im-
portance to Scripture than Henry found acceptable, was burned at the
stake at Smithfield. John Frith, another young evangelical with many ad-
mirers, met the same fate for his Zwinglian views on the Eucharist.
Luther and his followers had long entertained hopes of winning over
Europe's leading humanist and scriptural scholar, Erasmus of Rotterdam.
They had reason to do so: like Luther a disaffected Augustinian friar,
Erasmus was for years a vocal and influential critic of a church that he
saw as badly in need of reform. But he had not left the church, and for
years he did not respond to appeals from evangelicals and traditionalists
alike that he enter the fray on their side. When he finally did so, it was in
a way that gave Luther fresh cause to be furious. In an austerely scholarly
treatise, carefully limiting himself to only one of the issues separating
Luther from Rome and to evidence taken from Scripture because he
knew that Luther would accept no other authority, Erasmus argued that
the father of the Reformation was wrong- that man does have free will.
It was a restrained testament to say the least, but it put an end to any
thought that the greatest humanist of the age would be joining forces
with the greatest reformer. Protestantism continued to split into so many
factions over so many issues that it seemed, in- Luther's words, to have
"nearly as many sects as there are heads.”
As for England, from where Luther sat it must have been a very hard
place to understand. The church of HenryVlll was not evangelical and it
was not Roman Catholic. No one in either camp could have imagined 
that in the next three decades it would become first the former, then the
latter and finally go off in a third direction of its own devising-

from The Tudors by G.J Meyer

also:
WHEN EDWARD VI BECAME KING, MARTIN LUTHER HAD
been dead for thirteen months and the Lutheran part of the Reformation
had largely run its course. After changing the world, the former Friar
Martin had withdrawn into a relatively quiet life as the father of a grow-
ing family and a writer of biblical commentaries. In the last decade of his
life he was tortured by constipation, hemorrhoids, and kidney stones,
plagued by the scandal that had erupted when he endorsed bigamy, and
increasingly consumed by a virulent anti-Semitism. (Three days before
his death he preached a sermon urging the expulsion of the Jews from
Germany.) His theology, having conquered half of Germany and all of
‘Scandinavia, had been overtaken on the cutting edge of the religious
revolution by newer varieties of Protestant belief.
Edward became king, therefore, at the point where a second genera-
tion of evangelical thinkers, based in Switzerland rather than Germany,
was making itself heard. Its increasingly dominant member was a
Frenchman living in Switzerland, John Calvin, one of history's most
paradoxical figures. In assuming the leadership of a revolt against the
authority of the Roman church, Calvin came to claim for himself more
power than any Renaissance pope had ever dared to do. He not only de-
clared himself to be something very like the infallible head of a one true
church of his own devising——any lunatic might have done that, and one
or two of the sixteenth century’s more interesting lunatics did—-but
through willpower, sheer force of intellect, and unshakable integrity he
largely made good on that claim. In the little city of Geneva, a place not
particularly friendly to reform, he constructed a regime that came about
as close as anything in Europe ever had to an enduring totalitarian theoc-
racy. In laying down the rules by which the people of Geneva (and, by
implication, the whole Christian world) were to live, and more impor-
tant by articulating a rationale for the validity of those rules, he made
mote from his home base as Scotland (where his disciples transformed
not only the church but the culture) and England (where his teachings
triggered the Puritan movement), it was Calvin more than Luther who
defined what it was to be Protestant. The reach of his ideas is evident
in the fact that from 1550 to 1650, a century that encompassed the ca-
reers of Shakespeare and other writers of gigantic stature, Calvin was En-
gland’s most published author. This happened although Calvin never set
foot in England, rarely showed more than passing interest in its affairs,
and was reviled by an Anglican church that persecuted his followers and
attempted to suppress his teachings.
Both in background and in temperament, Calvin was profoundly dif-
ferent from Luther. He was trained in the law rather than in theology, and
much of his impact was rooted in a lawyerly impulse to systematize, to
impose order on what can sometimes seem the disorder, the emotional
excess, of Luther’s attacks first on the abuses of the church and then on
some of its doctrines. Born in 1509 (the family name was Cauvin, Latin-
ized as ”Calvinus” when young Jean began putting his ideas in writing),
he was raised by a devoutly Catholic mother but came of age in a France
that was being shaken apart by the disputes that Luther had ignited. He
was drawn to the cause of reform while still a student in Paris, where he
began acquiring the mastery of Latin, Greek, and Hebrew that woyld
make him one of Europe’s most formidable Scripture scholars. The be-
liefs that he adopted at this early stage were, not surprisingly, almost
identical to what Luther was then preaching. Thus he agreed with
Luther’s view that original sin had so damaged the human soul as to
make it impossible for anyone to merit salvation and that man was there-
fore entirely dependent upon a divine grace that cannot be earned. Like
Luther, he repudiated most of the traditional sacraments (all, in fact,
except baptism and the Eucharist) along with the practices (celibacy,
fasting, pilgrimages, and indulgences, for example) that the Catholic
Church had long offered as ways of winning divine favor. Throughout hiS
public life Calvin displayed a hatred of Rome at least as intense as
Luther’s, but he never descended to the kind of childishly scatological
rhetoric with which the German reformer defaced so much of his own
writing. (Thomas More and others, to their own everlasting shame, an-
swered him in kind)
Theologically, Calvin soon went beyond Luther. He is best known for
making explicit something that had remained implicit in Luther: the con-
clusion that, because fallen man has no free will and can do nothing to
win salvation or escape damnation, some are predestined to be saved
while others are predestined for hell. The saved are the elect, in Calvin’s
system. Though they can be recognized by their acceptance of divine
truth, their love of the Eucharist, and their upright conduct, these are not
the means by which they achieve salvation but rather a sign of election.
Calvin’s notion of "double predestination”—of some being marked for
damnation just as surely as others are fated for salvation—has too often
been regarded as the centerpiece of his theology. It is said to have made
his God a kind of insanely cruel monster and to explain the severity of
the regimen that Calvin imposed upon Geneva. ln fact, however, Calvin
regarded predestination as logically inescapable but otherwise beyond
human understanding and in practical terms not of great importance. It
was his followers who, after his death, moved predestination closer to
the center of ”Calvinist” belief. Calvin’s own view was that the idea of
predestination should make it possible for believers to set aside their
anxieties about earning salvation and put their trust in the mercy of a
gentle, compassionate divine father (who was also, Calvin suggested, a
loving mother). Calvin was generally disinclined to take a passionate in-
terest in theological questions that consumed many of his contempo-
raries but seemed to him to have little practical value in addressing the
needs of the elect. He finessed one of the most contentious of issues, for
example, by declaring that Christ was really present in the Eucharist but
only in a “spiritual” sense, and letting it go at that. He regarded the heart
as more important than the intellect in establishing a right relationship
with God.
What separated Calvin from the Lutherans most radically, at least in
terms of practical consequences, was his approach to the governance of
the church as well as—church and state being inextricably connected in
his system—the civil society. Luther, in renouncing the traditional
Church, had discarded Catholic belief in a priesthood endowed with
special authority and unique sacramental faculties. In its place he of-
fered a ”priesthood of all believers,” and while acknowledging the
Church as a legitimately distinct element of society, he emphatically sub-
ordinated it (especially after the Peasants’ War) to civil authority For
Calvin, by contrast, the church and its clergy retained a unique author-
ity, with not only the right but the duty to reshape the world in such a
way as to make it a fit habitation for the elect. Hence one of the defining
characteristics of Calvinism (and the Puritanism to which it gave rise in
England): a zealous commitment to making the world a fully realized
part of Christ's kingdom. Curiously, people who believed they could do
nothing to alter their eternal destinies nevertheless dedicated themselves
to making everyone in the world conduct themselves in a holy manner
as Calvin defined holiness. This was a matter of duty, and its aim was not
to save souls but to protect the elect from the doomed.
Calvin’s whole career was an expression of commitment to a Chris-
tian reordering of society. He came early to be certain not only that
Catholicism was a gross perversion of the gospel- his contempt for the
old religion appears at times to border on the pathological- but that he
himself, by reading Scripture correctly, had found in it truths that Euro-
pean Christianity had either intentionally suppressed or, more charita-
bly, remained blind to for more than a thousand years. Among his
recovered truths were highly specific instructions as to how the church
and the community of believers should be organized and managed. It
was of course extraordinary, his conviction that virtually all of Christen-
dom had been grievously in error almost from the beginning and that he
alone was free of error. On its face it was outlandish. But in the theolog-
ical confusion of the sixteenth century, Calvin’s impregnable self:
confidence and the clarity of his ideas brought him an eager audience.
Most of his core ideas were already in place when, in 1536, Calvin
happened to make an overnight stop in Geneva and was persuaded to
' remain there and join the embattled local forces of reform. He quickly
showed himselfto be the most unhesitating and uncompromising of cru-
saders, answering disagreement with scorn and demanding that every-
one in the city either assent to his beliefs or face excommunication and
expulsion. During his first months in Geneva he published the first edi-
tion of his Institutes of the Christian Religion, which as it evolved would
become arguably the most important single work in the history of Protes-
tantism. When after two years he insisted that the city council submit t0
the authority of the clergy—to his authority, in effect-—he found that he
had overreached. Now it was he who was sent into exile.
c Geneva remained a religious cockpit, however, and the most ambi-
Background - CALVIN 361
tious of its reformers soon were yearning once again for strong leader-
ship. In 1541 Calvin was invited to return. He did so on very nearly his
own terms, demanding that the council enact and enforce his Ecclesias-
tical Ordinances, and from that point until the end of his life twenty-three
years later he outmaneuvered one after another of his adversaries until
Geneva became the Sparta of Protestant Europe. His rules were not only
given the force of law but declared "holy doctrine”—infallible, or some-
thing not easily distinguished from it. The regime that he imposed was
democratic in the sense that church members chose their pastors, but
once chosen, those pastors, working with and through lay elders, were
able to rule virtually unchallenged. Eventually Calvin’s consistory, an ec-
clesiastical court presided over by the pastors, was empowered to inves-
tigate and discipline anyone in the city. Not only drunkenness, gambling,
and sexual promiscuity but dancing, singing outside church, swearing,
and failing to attend sermons became crimes. Catholic practice, of
course, was absolutely forbidden. Punishments ranged from reprimands
and public confession to beatings, banishment, even execution. In a five-
year period toward the end of Calvin’s career, fifty-eight Genevans were
sentenced to death, seventy-six exiled.
 Calvin became a major force in England’s religious evolution without
really trying to do so. Many of the evangelicals who could not accept
Henry VIII's quasi Catholic church had taken up exile in Geneva, where
Calvin's mind and personality powerfully affected their beliefs. When
they flooded back into England after Edward VI's accession, they carried
a white-hot Calvinist fervor with them. They formed the nucleus of what 
would become a potent new element in English national life. They
sparked a movement that knew what it wanted, knew that it was right,
knew that its opposition was damnably wrong in the most literal sense,
and was not inclined to compromise.



Thursday, March 20, 2014

Peter O'Toole, Richard Burton, Richard Harris and Oliver Reed (and Lee Marvin)

Peter O’Toole’s own battle with booze had for a long time been won. ‘I drank
because I enjoyed it, not to solve a problem or because I needed a crutch. It
was easy to give up.’ He ‘missed, though, the simple pleasure of boozing and
still frequented pubs, careful to order nothing stronger than lemonade. ‘I like
being around men with jars in their hands. Sober people, they’re not for me
Such abstinence reminded him of the example he would have loved to have
followed himself, that of the old comedian Max Miller who was told by his
doctor to cut all his activities by half. Miller duly sat on his yacht for six months
doing nothing. Then he returned.to six months of working the clubs, eating
and drinking heavily and honking like mad. ‘What a perfect division,’ thought
O’Toole.
Smoking was now the only act of defiance left to the actor. His prefer
ence was for Gauloise cigarettes that he chain-smoked in a long, black holder
equipped with a filter as a concession to health. ‘I give up smoking from
time to time,’ he said, "but, as a kid, I always had what Dylan Thomas called
a “conscious woodbine” hanging out of my gob.’ Such was his devotion
the habit that a friend once complained, ‘Peter, you smell like a French train"
****
John Boorman won’t forget his experience of working with Marvin
either on Point Blank, shot in LA. He and some friends went to dinner with
Marvin at a sea front restaurant. When it was time to leave Boorman could
see that Marvin was in no fit state to drive home and told him so. ‘Fuck
you,’ said Marvin as he missed with a punch at the directors head. Boorman
grabbed the keys to Marvin’s own Chrysler station wagon and got in. Like
a wild animal Marvin prowled around the vehicle, bashing it occasionally,
until finally climbing onto the bonnet and up onto the roof rack. Everyone
pleaded for him to come down but he refused. Carefully Boorman drove
along the harbour front hoping some of the sea air might sober Marvin
up. It didn’t, he just snarled and refused to budge. The streets looked pretty
deserted so Boorman decided to take a chance and drive down the Pacific
Coast Highway towards Malibu. just minutes later he saw flashing
lights in his rear view mirror. He pulled over. The patrolman walked
purposefully to the car, looked up, looked at Boorman and said, ‘Do you
know you have Lee Marvin on your roof ?’
To give you some idea of the terror Marvin could inflict on a produc-
tion, this is what Joshua Logan said about him after directing the star in
Paint Your Wagon in 1969. ‘Not since Attila the Hun swept across Europe
has there been a man like Lee Marvin.’

On the wrestling scene in Women in Love:
 It was all a question of ego, each
was afraid his manhood would be outdone by the other’s. But in the event
Ollie cheated: before every take he disappeared behind a screen and gave
nature a helping hand. In a way they made history.’
On the morning of the shoot Reed had knocked up the landlord of his
local pub and got him to sell him two bottles of vodka which he then
took to Bates’s caravan where the actor sat looking deathly pale. ‘Drink
some of this,’ said Reed and they polished ofif a bottle each. The scene
took three days to complete, during which time the continuity girl, sitting
on a low stool, had a bird’s eye view of Reed’s cock. Giving it a towel
down between takes, ‘Trying to get a semi on so that it would look more
purposeful and stop all my girlfriends saying “why bother” and deserting
me,’ Reed noticed the continuity girl watching him with mounting interest.
She broke out in embarrassment when Reed returned her gaze and went
even redder when he suggested she go fetch a ruler to measure it." Just
for continuity, of course,’ he joked.
It’s difficult today to appreciate just what impact that scene had on audi
ences. Now of course it’s terribly tame, quaint even. Russell described how
a friend of his went to see the film again at a revival screening a few years
ago in a small town. He was the only person in the auditorium save for
two old dears in front of him. W'hen Reed and Bates stripped off and
started throwing each other round the room one of the pensioners said
to the other, ‘Nice carpet.’ 

This Sporting Life opened to widespread critical acclaim and Harris was
labelled ‘Britain’s Brando’. In America too critics favourably compared him
to the method eccentric. Awards followed — an Oscar nomination and best
actor at the Cannes Film Festival. Harris attended the ceremony, pissed as
a newt, and when he heard his name called out as winner bounced onto
the stage. But when actress Jeanne Moreau handed him his award, inthe
shape of a plain box, Harris barked, ‘What’s this?’ Momentarily stunned
Jeanne composed herself. ‘Cufflinks,’ she said. ‘That’s what the best actor
gets.’ Harris clearly thought, fuck that, so he grabbed the biggest trophy
he could see, said thank you and darted off stage. Two gendarmes
attempted to retrieve the statue but Harris barged them asunder and
escaped into the night. The festival committee demanded the return of
the statue, which was inscribed for best animation film, and Harris finally
relented. The cufflinks were duly mailed to him. He kept them for years
but the incident still pissed'him oif. ‘Who gives cufflinks to an Olympic
medallist,-’ he moaned.

Sunday, March 16, 2014

Jesse James

With Tyrone Power. Henry Hull:
"Lawyers are messing up the whole world. Ten years ago we had no lawyers in Liberty. We got along fine. Man kills somebody, and somebody kills him, then the marshal shoots 'em all, and that was the end of it. But look at it today. here in Liberty we gots hundreds of lawyers, thousands of 'em, lawyers as far as the eye can see... nothing but lawyers" To which Cobb's daughter replies; "There are only two lawyers in Liberty" Cobb retorts: "then they run around too much".

At Freddie's

During Freddie's silent victory over the National junior
Stage School — and who these days ever refers to that project
or even remembers it? — during the actual week, indeed, of
the letters to The Times - King John opened at the Nonesuch.
The raddled old theatre, which had seen so many glorious
and disastrous nights, and where a Victorian manager had
once cut his throat in Box A, unnoticed until the blood
dripped down into the orchestra pit, pulled itself together as
it had done time and again, to turn its gilded and painted
face towards one more audience.
The publicity manager had decided to refer to Ed Voysey
as ‘dedicated’. What other word would be safe to describe a
director who, at the last minute, had changed the lighting
plot? Being at a delicate stage of over-rehearsal, where the
slightest impulse was enough to drive him off course, and
having been most unfortunately shown some Sickert
drawings of the Old Bedford Music Hall, Ed was over-
whelmed by a quite new way of seeing; he’d give the true
Edwardian note, yes, truly Edwardian, this, by introducing
real footlights. None of the cast, of course, had ever worked
with them and the younger ones had never even seen any.
Urgent signals were sent out without result until Voysey, his
wits crazed to unnatural clarity, remembered having seen a
set crammed into a storeroom under the stage at the Pier
Theatre, Eastbourne. Retrieved and repaired, they had to
be connected with the nearest gas supply; this was in a kind
of cubbyhole, where the wig mistress sometimes boiled up
kettles. E . -
Franks, the chief electrician at the Nonesuch, had his own
ideas about the whole improvised apparatus and about the
dedication of Voysey. All his own lights would have to be
lowered, so as not to kill the gaslight from the front. It was
the first time, he pointed out, that he had been asked to take
responsibility for a show which would be almost entirely
invisible. His relish for disaster was only intensified by the
director's enthusiasm. ‘But it will be soft, Frankie, soft
glowing reflections from the flesh, deep shadows below the
chin and the eyebags, as in the old prints and photographs,
the old photos, Frankie, the lost magic . . . with a gesture of
total despair he advances down to the footlights . . . it’s going to
take them back sixty years as soon as the house lights go
down.’ On the whole, however, the innovation was a good
thing because Ed became obsessed with the problems of
raising and dimming the gas and this prevented him from
rehearsing the whole show into the ground.
Meanwhile the small part actors were suffering from
nerves, but they had also begun to act the part of actors
having nerves, and the delicious falseness drew them
together more than the last run-throughs had managed to
do. William Beardless also trembled. ‘You’ll carry me in Act
3, won’t you,’ he implored Boney. ‘I’m not usually like this.
God yes I’m always like this.’ But after the final rehearsal for
light cues he had handed out even more notes than usual to
the rest of the cast, and in particular one to Boney himself,
not referring in any way to his performance but giving him a
number of useful tips on Cutting Down; today, have your first
drink ten minutes later than usual, tomorrow, twenty minutes later,
and so on. Every day will be a little easier. Boney, hoarse and
beery at this stage as a down-the-bill comic, had folded the
note into a very small paper pellet.
‘He just flicked it, Miss Wentworth,’ Mattie brightly
reported to Freddie. ‘I don’t know whether he meant to hit
me or not.’
‘I daresay you’re a fairly good judge of that,’ Freddie
replied. ‘Now come on, try it just once again.’
She meant the line This ship-boy’s semblance hath disguised me
quite, which had given Mattie, in common with everyone else
who has ever had to speak it, a great deal of trouble.
‘Thisshipboyshemblance,’ Mattie began confidently.‘Mr
Voysey told me to practise it quietly by myself.’
‘Ship boy’s, dear. Pause after “ship”.’
‘They gave me a pause after “semblance” yesterday,’ said
Mattie, with his bright leer.
‘Try it again.’
‘Thishibboyshemblance . . . ’
‘Keep it clean, dear.’
‘It's not my fault, Miss Wentworth. Shakespeare bug-
gered it up.’
It was too late for anything but Fate’s protection, and
Freddie kissed him and wished him luck. The Temple
children all dreaded this embrace, the odour of Mothaks,
unmade beds, sandalwood and old woman that issued
cloudily from blouse and cardigan, and with it often the
painful scrape of the great brooches - and Freddie knew
very well what they felt — but not one of them would have
wanted to open in a new show without it. _

More....
hurrying off from work, bolting their macaroni cheese
(Freddie’s heart was always with the cheaper seats) and
braving the struggle back into the city, to concentrate on
what was said and done in a lighted frame, which, when it
went dark, would make them cry to dream again. They were
ors in their own right, each performance coming to
if it ever did, between the actors and the audience, and
that lost for eternity. The extravagance of that loss was
its charm.
At the school itself, most of the children were in autumn
work. They had calls for suburban pantomimes. Dombey and
Son continued to run, and it was given out that King] ohn was
coming on at the Nonesuch. This play Freddie considered,
in justice, to be her own property. The faded and flaking
NAUGHT SHALL MAKE US RUE on the office wall
seemed to give her a hereditary right to it. The part she
coveted was that of little Prince Arthur. With a tear-raising
scene begging mercy from his gaoler, who has orders to
blind him with red hot irons, and, in Act 4, a spectacular
death on stage, Arthur must be one of the most nauseatingly
sentimental and theatrically effective parts that Shake-
speare ever wrote. Considering how much he seems to have
disliked children, it does him great credit. And really he
might have been pleased to see the ferocity with which
Freddie chased the part, to make sure of it for her own.

and...
If I’d been able to choose my sin, Hannah,’ he said, ‘I
wouldn’t have chosen jealousy.’
She watched the kettle, anxious that it shouldn’t start
whistling when he was speaking seriously.
‘Well, I don’t know if our seven deadly sins are the same as
yours, but I don’t think jealousy was one of them.’
‘They call it envy, but it’s all the same.’
‘And you wouldn’t have chosen it?’
"No "
‘Which one, then?’
‘I think sloth. I have an elder brother who still lives at
home with my mother and stays in bed every day till noon.
‘What does he do for a living?’
‘just that, but he enjoys it. He lies there wrapped in his
blankets dinner is brought up to him with the newspaper,
and as I say he evidently enjoys himself. The jealous are
wretched. The slothful are happy. And I'm not sure that my
brother is sinning in any case. He once told me a saying of
James Joyce’ that the most reprehensible moment of,
human delight, in as much as it has given pleasure to a
human being, is good in the sight of God. Now, jealousy
gives pleasure to no one.’
 She remembered that James
Joyce had been a lazy fellow apart from the writing, and was
supposed to have declared that every room should have a
bed in it.

Saturday, March 15, 2014

Christopher Isherwood and Arthur C. Clarke


Reading Christopher Isherwood's diaries and "Down There on a Visit", from which one gets the impression, even greater than in Proust, of transposed genders. Less explicable is the extraordinarily dislikable nature of all the past acquaintances thinly disguised and included in these reminiscences. From the "Paul" section:
"Our friendship was of the sort which naturally evolves its own private jargon; ours was made up chiefly of misapplications of Augustus's favorite phrases. If we were late for a date with Augustus- who was particular about punctuality- Pual might exclaim, "Boy we'd better get over there with appalling instantaneity!" Hunting for the can opener in the kitchen, I would tell him, "I'm so near the thing which is so far from me."
and
"What shall I wear?" Paul wailed. We hesitated a long time between a sweater and jeans and a dark, formal suit with a tactful tie. If Paul wore the sweater and jeans he'd be putting himself on the level of all the underprivileged who couldn't afford to dress well and are therefore treated with prejudice, as likely criminals, from the start of the trial. Wouldn't this be the honorable thing to do? No, I argued- reminding him what Augustus had taught us, that you must never provoke anyone to commit an injustice against you. To wear the sweater and jeans would be lacking in charity to the judge."

Also was trying to defy what I thought might be an unfair prejudice, exploring science fiction with Arthur C. Clarke's Childhood's End 
The only quotable part of Childhood's End "Nothing in Athens was done without a committee, that ultimate hallmark of the democratic method. Indeed someone had once defined the colony as a system of interlocking committees."