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• W257557237 abstract "In Darkness Visible: A Memoir of Madness (NY: Random, 1990), William Styron relates his descent into depression and eventual recovery from despair. turning point in his condition takes place late one bitterly cold night, when, on verge of suicide, he watches tape of a movie. one point in film, he writes, the characters moved down hallway of a music conservatory, beyond walls of which, from unseen musicians, came a contralto voice, a sudden soaring passage from Brahms Alto (66). After sound prompts him to recall all joys house had known (66), he wakes his wife, telephone calls are made, and following day he enters a hospital to begin treatment for his illness (67; West, 440-41 [below] identifies movie as Bostonians and discusses it in detail). Brahms piece plays a brief but critical role in Styron's memoir. While Alto Rhapsody is sometimes mentioned in relation to Darkness Visible, its greater significance to memoir has largely been overlooked. In citing piece, Styron engages in an intertextual dialogue with Brahms and with Goethe, upon whose poem Alto Rhapsody is based. Brahms had secretly loved Julie Schumann, and in response to her September 1869 marriage to Count Vittorio Radicati de Marmorito, betrayed and devastated composer crafted his Alto Rhapsody, ostensibly as a bridal gift for her. He had reached a crucial turning point in his life, after which he apparently lost hope in consolation of love and instead devoted himself to his music (Jan Swafford, Johannes Brahms: A Biography [NY: Knopf, 1997]: 348-53). In his Alto Rhapsody, Brahms draws upon a fragment of Goethe's Harzreise im Winter (Winter Journey in Harz Mountains) to tell story of an alienated, depressed man lost in woods. alto voice of a woman questions who he is, this solitary figure being swallowed by waste wilderness. But off there to side--who is it? woman asks. The barren waste swallows him up. (Johannes Brahms, Alto Rhapsody; in Alto Rhapsody, Song of Destiny, Ndnie, and Song of Fates, in Full Score, trans. Stanley Appelbaum [Mineola, NY: Dover, 1995]: p.1, lines 1 and 6). This initial recitative is followed by an aria asking who can heal pain of solitary man who finds only hatred of mankind in his heart: Ah, who can heal pains Of a man for whom balm has become poison, Who imbibed hatred of mankind From abundance of love? (Brahms p. l, lines 7-10) At end, a chorus prays for God to help man see beauty around him and thus regain his connection to world: If in your psaltery, Father of Love, there is a tone Perceptible to his ear, his Open his clouded gaze To thousand fountains Alongside him as he thirsts In wilderness. (Brahms p. 1, lines 15-22) While fragment from Goethe's poem ends with bleakness of wanderer in wasteland, Brahms ends on a decidedly more hopeful note, with sustained repetition of Refresh his heart! pp. 16-21). situation in both Goethe's poem and Brahms's composition parallels that of Styron's persona in Darkness Visible. Like characters in Harzreise im Winter and Alto Rhapsody, Styron's suicidal persona finds himself in metaphoric dark wood of despair. Goethe's narrator prays that wanderer will wake to world around him and become one with it; Brahms's chorus emphatically repeats prayer; and Styron's persona, moved by song as if it were divine psaltery of Goethe and Brahms, gains a sense of connection to joys of life. Styron mentions Alto Rhapsody near end of his book, and a few pages later he quotes opening lines of Dante's Commedia to describe melancholia: In middle of journey of our life I found myself in a dark wood, For I had lost right path. …" @default.
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• W257557237 date "2009-03-01" @default.
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• W257557237 title "Goethe, Brahms, and William Styron's Darkness Visible" @default.
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