Moonlit Reflections in Rapture: Isolates
“Please. Don’t leave me.”
“I will find you. I promise…Rey.”
“How did you know my name–” Rey jolts awakes in her bed in the AT-AT. She looks at the time and has time to go back to her dream, but she cannot sleep. She breathes deeply to sleep, but her desperation to return to the dream only causes her to lie awake. She tosses around, trying to remember her dream, but it decays from her mind. Frustration builds as her brow narrows. She cannot remember the images that she saw. The tastes. The touch. She cries and tastes her salty tears from the frustration of her loneliness. The place felt so real, so pleasurable and so happy. But it was a dream, she tells herself. Not real.
Death and the Maiden – String Quartet No. 14 in D minor by Franz Shubert (source).
1823 and 1824 were hard years for Schubert. For much of 1823 he was sick, some scholars believe with an outburst of tertiary stage syphilis, and in May had to be hospitalized.
For Schubert, who lived a life suspended between the lyrical, romantic, charming and the dramatic, chaotic, and depressive, the string quartet offered a medium “to reconcile his essentially lyric themes with his feeling for dramatic utterance within a form that provided the possibility of extreme color contrasts,” writes music historian Homer Ulrich.
The quartet takes its name from the lied “Der Tod und das Mädchen”, D 531, a setting of a poem of the same name by Matthias Claudius which Schubert wrote in 1817. The theme of the song forms the basis of the second movement of the quartet. The theme is a death knell that accompanies the song about the terror and comfort of death:
Oh! leave me! Prithee, leave me! thou grisly man of bone!For life is sweet, is pleasant.Go! leave me now alone!Go! leave me now alone!
Give me thy hand, oh! maiden fair to see,For I’m a friend, hath ne’er distress’d thee.Take courage now, and very soonWithin mine arms shalt softly rest thee!“
So strong is the association of death with the quartet that some analysts consider it to be programmatic, rather than absolute music. “The first movement of Schubert’s Death and the Maiden string quartet can be interpreted in a quasi-programmatic fashion, even though it is usually viewed as an abstract work,” writes Deborah Kessler.
Theologian Frank Ruppert sees the quartet as a musical expression of Judaeo-Christian religious myths. “This quartet, like so many of Schubert’s works, is a kind of para-liturgy,” he writes. Each movement is about a different episode in the mythic process of death and resurrection.
What’s your interpretation?
The First Order is a government based in socialism.