AtDTDA 32: 'Pert's now questioned ascent

[robinlandseadel at comcast.net]

Before writing anything else concerning the "Fantasia", 
I suggest that you listen to this excellent version of 
the work seven or eight times at least, before posting 
any more opinions. 'Pert may or may not be saved, 
but there is always time for the rest of us:

http://www.youtube.com/watch?v=5y7nJL1hpUU

          Jill:
          I too had the feeling that there would be much 
          to-do about Ruperta's ascension, and the text 
          is drop dead gorgeous, but when I read it in 
          context to her actions, I also agree with Michael 
          (isn't there something about when you make a 
          big claim to have changed, or when you pray 
          loudly in the street, that sort of thing, like how 
          Bush is "born again" hey..) 

Good, good point. But note as well "Revelation was in 
progress all around her." 'Pert's is not an isolated 
incident in Against the Day, or have you noticed yet?

MIchael who in response to robinslands obs:

          robinlandseadel:
          In case you haven't noticed, 
          I'm searching for a unified field theory

          Michael:
          Ruperta levitates during the Tallis piece.

          If objective, this is a miracle.
          Even if subjective, given her nature as we've seen it,
          still something of a miracle.

. . . .and you can hold it right there, don't need to go no further.
She levitated, that's a miracle, don't need nuthin' else. Pynchon 
didn't call it a metaphorical ascent, he called it an ascent. 

30.

          She doesn't just resolve to change her ways; we're 
          told she does so (and yet, does her almost-next action, 
          setting up Dally with Crouchmas, meet this new 
          standard? It does seem less selfish - but setting
          her up with Naunt _before_ her epiphany was also disinterested...)

          The power of the Williams Tallis fantasia - does it lie in the words? 

          Jill Here:
          The lyrics are in the following posting I sent last week:
          http://tiny.cc/Orbjp 

          When rising from the bed of death,
          O’erwhelmed with guilt and fear,
          I see my Maker face to face,
          O how shall I appear?

          If yet, while pardon may be found,
          And mercy may be sought,
          My heart with inward horror shrinks,
          And trembles at the thought;

          When Thou, O Lord, shalt stand disclosed
          In majesty severe,
          And sit in judgment on my soul,
          O how shall I appear?

          But Thou hast told the troubled mind
          Who does her sins lament,
          The timely tribute of her tears
          Shall endless woe prevent.

          Then see the sorrow of my heart,
          Ere yet it be too late;
          And hear my Savior’s dying groans,
          To give those sorrows weight.

          For never shall my soul despair
          Her pardon to procure,
          Who knows Thine only Son has died
          To make her pardon sure.

Those words are not the words used in Tallis short anthem. 
I know, I've heard the little anthem many times. These are 
the actual lyrics used in the short piece that Tallis wrote, 
the piece that Vaughan-Williams uses as the underlying 
tune in the Fantasia.

"Why fum'th in fight the Gentiles spite, in fury raging stout?
Why tak'th in hand the people fond, vain things to bring about?
The Kings arise, the Lords devise, in counsels met thereto,
against the Lord with false accord, against His Christ they go."

The Tallis Scholars http://www.thetallisscholars.co.uk/ , a chamber 
choir specializing in music of the Renaissance, recorded these
short anthems that include the short work 'borrowed' by Vaughan-Williams.

http://www.amazon.com/Tallis-Complete-English-Anthems-Thomas/dp/B00005ATCV

I interviewed Peter Philips, director of the Tallis Scholars. 
I asked him to what extent did the religious patterns, all 
the fuss over the Protestant uprising, religious wars and 
the intensity of the Marian settings, how did this affect or 
influence Mr. Philips work? He said "We are not a 
religious organization." Peter Philips real concern is to 
create working editions of music that otherwise 
would/could not be heard. And that's enough.

But whoever writes these works is affected by 
'forces unseen', as are all creative musicians.
I think the message of the "Tallis Fantasia", 
the healing nature of the music [yes I just said 
that, no I'm not going to take that back, not under any 
circumstances.] and the confluence of a zillion little references
to modalities and song collection point to the number magic that
underlies Western Classical music. During the great era of 
nationalism, of cultural idenity with the "Homeland", 
"Motherland", Fatherland", much folk music was saved 
[or distorted beyond all recognition] by folklorist musicians 
such as Ralph Vaughan-Williams and Bartok. 

Without Bartok, there is no Yardbird or Monk.

Ah, but I digress. I think. . . .