I encounter a lot of new music via my drawing class, where the model chooses the music from the studio’s collection of over 1000 CDs. For two days solid, I have been singing to myself the bits I can remember from a folk opera of the Orpheus story, Hadestown, by the songwriter Anaïs Mitchell, with Greg Brown, Justin Vernon, and Ani DiFranco among the other singers (arranged by Michael Chorney). Since we usually change the music after each break, and the model takes a break every 20 minutes, I’ve heard the first half of a lot of albums, including this one. So I don’t know whether the end is as terrific as the beginning, but I will when the copy I’ve ordered arrives.
Hadestown puts me in mind of Neil Gaiman, which is always a compliment, as he’s one of my favorite writers. The connection is oblique: no explicit overlap, but a shared steeped-ness in mythology and Gaiman’s knack for moving fluidly between ancient myths and modern events, concerns, and language. Specifically, it’s reminding me of American Gods, even though the memorable underworld scenes there draw on Egyptian and Norse stories, and actually, of the dozens of gods Gaiman portrays and plays with in that brilliant novel, the Greek pantheon barely makes an appearance. But Greg Brown as Hades sounds like the kind of thing Gaiman would approve.
I am not a big fan of Mitchell’s voice, which can attain a level of cute-little-girlishness that makes Nanci Griffith sound gritty, but the opening lyrics were so arresting that I kept listening hard. That first song, “Wedding Song,” sounds like it must have grown over the centuries, as if Mitchell found it instead of writing it. It’s a dialogue:
Lover, tell me if you can
Who’s gonna buy the wedding bands?
Times being what they are
Hard and getting harder all the time
Lover, when I sing my song
All the rivers sing along
And they’re gonna break their banks for me
To lay their gold around my feet
All a-flashing in the pan, all to fashion for your hand
The river’s gonna give us the wedding bands
Lover, tell me, if you’re able
Who’s gonna lay the wedding table? etc.

Photo by Bob Tubbs, released into the public domain
The other song I can’t get out of my head is “Why We Build the Wall.” Mitchell has remembered that Hades, god of the underworld, is also god of money, and when I hear this song I think of all the walls we “haves” put between us and the “have-nots.” Literally walls–why else do I lock my front door, except to keep people with less property from making off with some of the stuff I’ve accumulated?–and then there’s the fence between the U.S. and Mexico, the wall between Israel and the territories it occupies, the Berlin Wall, the wall once outlining a stockade in New Amsterdam that probably gave its name to Wall Street, Robert Frost’s wall that his narrator keeps mending, though he would prefer to let it collapse. Figuratively, it’s about everything that these and other walls stand for: the way we shut others out and, in the same act, shut ourselves in; or shut others in, and in the same act, shut ourselves out.
This song is also in dialogue form: Hades catechizing a chorus that represents Cerberus. (Or as we Harry Potter fans call him, Fluffy.) (ETA: Now that I have the CD, I see that whatever website I pulled the lyrics from was wrong. There is a character Cerberus, but that’s not who is singing; it’s the chorus.)
HADES
Why do we build the wall?
My children, my children
Why do we build the wall?
CERBERUS
Why do we build the wall?
We build the wall to keep us free
That’s why we build the wall
We build the wall to keep us free
HADES
How does the wall keep us free?
My children, my children
How does the wall keep us free?
CERBERUS
How does the wall keep us free?
The wall keeps out the enemy
And we build the wall to keep us free
That’s why we build the wall
We build the wall to keep us free
HADES
Who do we call the enemy?
My children, my children
Who do we call the enemy?
CERBERUS
Who do we call the enemy?
The enemy is poverty
And the wall keeps out the enemy
And we build the wall to keep us free
That’s why we build the wall
We build the wall to keep us free
Just as the “War on Poverty” turned into a war against the poor, the enemy seems to be not poverty itself, but poorer people. Hades says we build the wall “Because we have and they have not!,” and when he asks, “What do we have that they should want?,” Cerberus replies with chilling circularity:
We have a wall to work upon!
We have work and they have none
And our work is never done
My children, my children
And the war is never won
The enemy is poverty
And the wall keeps out the enemy
And we build the wall to keep us free
That’s why we build the wall . . .
That same circularity is what keeps the poor always with us. Divide ourselves, conquer ourselves, and fight, not want, but those who want what we have got. That suits the powers that be (the powers that have the most) very well.
Mitchell evokes the irony of how, even while we cut ourselves off from each other and the vast possibilities on the other side of the wall, we’re often motivated by a desire “to keep us free.” The driven, chain-gang chanting of Cerberus makes it clear that it isn’t working.
Classism 400 years later
November 4, 2011 in social commentary | Leave a comment
The idea that the Earl of Oxford wrote the plays attributed to Shakespeare is so completely unsupported by any evidence that you have to wonder why anyone still takes it seriously. It might make a good movie (or not–haven’t seen Anonymous, but there are some terrific actors in it, so maybe it would be a hoot) but as a theory, it’s ludicrous.
For example, three major pl
ays of Shakespeare were produced after Oxford died (1604): King Lear (c. 1606), The Tempest, (c. 1611), and Macbeth (c. 1603, when Oxford was alive but dying of plague). Could they have sat in a cupboard after their author’s death? Well, The Tempest and King Lear make reference to real-life recent events that happened well after Oxford had shuffled off this mortal coil, as he himself did not write. Lear talks about “these late eclipses,” referring to solar and lunar eclipses that happened in quick succession in 1605, causing great consternation. The Tempest draws heavily on a 1610 report of a major shipwreck in Bermuda, as is clear from the parallels between the play’s text and the report. It’s harder to prove that Macbeth was written in 1603 or later, but scholars have long thought it was timed to respond to the Scottish King James VI’s ascension to the English throne that year, so that someone who spent the year dying of plague was probably not its author.
While a theory may be sound even if it has been proposed for unsound reasons, it’s worth looking at why and when the “Oxford was ‘Shakespeare'” myth got started. It began in the 19th century, when theories that “eminence” correlated to intelligence were popularized and given supposedly scientific backing by such psychologists as J. M. Cattell. Shakespeare gave the lie to such theories. How could a tradesman’s son (his father was a glover) be so brilliant? Surely the greatest poetry and drama in the English language must have been written by someone with wealth, advanced formal education, and status–someone (hm!) like the scientists themselves.
This idea, which of course was applied not just to Shakespeare but to all of us, got a new boost in the 20th century, when Catherine Cox, working with her mentor Lewis Terman (developer of the IQ test), engineered a neat piece of circular reasoning by using social class, the education level of one’s parents, one’s own amount of formal schooling, etc. as part of the formula for intelligence. As Stephen Jay Gould wrote in The Mismeasure of Man, “In one case, however, Cox couldn’t bear to record the unpleasant result that her methods dictated. Shakespeare, of humble origin and unknown childhood, would have scored below 100 [i.e., subnormal]. So Cox simply left him out, even though she included others with equally inadequate childhood records.” (217) So much for a scientific approach.
The same arguments about intelligence and class were rewarmed and served up again in 1994, with a similar disdain for scientific rigor, by Richard Herrnstein and Charles Murray in The Bell Curve, a book that got far too much serious attention. The belief that the achievement gap between rich and poor (where it exists) has to do with inherent differences rather than the socially constructed inequities of opportunity and privilege is alive and well. We are looking for talent at Harvard, where the biggest affirmative action program is legacy admissions (that is, you get into Harvard because your dad went to Harvard), when it is just as likely to be found in places the aristocrats don’t hang out. As Gould wrote elsewhere, “I am somehow less interested in the weight and convolutions of Einstein’s brain than in the near certainty that people of equal talent have lived and died in cotton fields and sweatshops.” If we don’t shake the myth that people who share Shakespeare’s background are inherently unlikely (that is, even more unlikely than wealthier others) to share his genius, that’s where they’ll stay.
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