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The Knot Garden: a Mirror of “Love” and “Relationships” in the Swinging 60'S Britain

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The Knot Garden: a Mirror of “Love” and “Relationships” in the Swinging 60'S Britain International Journal of Languages, Literature and Linguistics, Vol. 4, No. 4, December 2018 The Knot Garden: A Mirror of “Love” And “Relationships” in the Swinging 60's Britain Chih-Yuan Mai Abstract—The article intends to elaborate the idea that voyeuristic character namely, Mangus to assess and to Michael Tippett‟s The Knot Garden (1970) encapsulates the analyze the psychological interactions between the six spirit of the “swinging „60‟s”. War, violence, sex, individuals in the opera. Eric Walter White‟s study recalls the homoeroticism and social and interpersonal alienation are genesis of The Knot Garden, “[Tippett‟s] starting point was tightly packed within this two-hour opera. By unpacking each character‟s psychological interactions and its association with he wish to present a number of different contemporary the social trend of the period, the article will highlight several characters, all of whom were to be of more or less equal key historical movements throughout the „60‟s Britain, such as operatic importance. There would be no leading man or feminism, gay liberation, the rising importance of youth women, and no chorus. The action would explore the subculture and sexual liberation. The article will argue that by characters‟ relationship with each other, particularly as set depicting the characters‟ personal anxieties, sexual frustrations off by the presence of psychoanalyst [7].” With such degree and longing, Tippett hints the side effects of the optimistic social revolutions, which swiped across the western society during the of psychological interactions and voyeurism, The Knot 1960‟s. Garden has inadvertently revealed the social trend of the period. Index Terms—British history, Carl Jung, English libretto, These six characters represent different stages of falling in Michael Tippett. love. Flora, a teenage girl is at the brink of her emotional and sexual awaking. The character is searching for her first experience of falling in love. The married couple Faber and I. INTRODUCTION Thea, on the other hand, is at the crossroad of their The Knot Garden, which is written and composed by the relationship. Their marriage has clearly suffered from the English composer Michael Tippett, received its premiere at tedious routines and their sexual frustrations with each other. the Royal Opera House, Covent Garden on 2nd December The other couple, Mel and Dov is unfortunately at the 1970 at the height of the “swinging „60‟s [1]. The opera was twilight zone of their relationship and looking for a way out. inspired by the composer‟s intention to capture a wider range And as for Denise, she is hoping someone would ignore her of human experiences and to present the characteristics of a physical defects and provide her with warmth and adoration changing world of the period. War, violence, sex, for her harsh existence. homoeroticism and social and interpersonal alienation are tightly packed within this two hours theatrical presentation [2]. Although the backdrop of the opera is set in an affluent II. THE OPERA bourgeois household of the 60‟s, the audience will soon The Knot Garden heavily employs Jungian psychoanalysis encounter each character‟s emotional isolation and sexual to portray each character‟s emotional state. Set in an enclosed longing. Set in a metaphorical garden, Tippett‟s third opera garden, Tippett‟s work is designed to present a theatrical sets up to encompass a wider examination of interpersonal version of psychological connections between an artificial relationships. landscape and the characters in the opera [8]. The first act is Through a series of psychological interactions between subtitled “confrontation”; and in this act, the audience is characters, the audience is brought to the attention of love presented with a situation in which they witness the and marital union of the period [3]. The Knot Garden is emotional clashes among the characters. On making his structured around the main characters Faber and Thea, a entrance, Faber, the civil engineer, immediately reveals his married couple on the brink of marital breakdown [4]. marital problem and his sexual frustration that both he and his Around these two characters, the story line gradually spreads wife, Thea are experiencing: out to include their relatives, friends and passing How did we fall today acquaintances. These characters include: their adolescent Out of the mutual bed ward, Flora who has begun experiencing emotional and Apart? sexual maturity [5]; Denise, “the turbulent girl grown to a Today! Each day. woman” (as described by her sister Thea), who is a tortured The usual! Habitual! freedom campaigner; and Mel and Dov, who are a same-sex Till Thea withdraws into her garden [9]. couple facing the terminal stage of their relationship [6]. Faber‟s lines include the words; “usual” and “habitual” Like Don Alfonso in W. A. Mozart and L. da Ponte‟s Così which strongly indicate that both characters are seriously dissatisfied with their habitual marriage. Their dysfunctional fan tutte (1790), Tippett‟s third opera also includes a marriage is directly associated with their sexual and psychical imbalance, and that also leads Thea to retreat into Manuscript received September 25, 2018; revised December 5, 2018. the garden and gives rise to Faber‟s inexplicable (and Chih-Yuan Mai is with the San-Ming University, School of Foreign Languages, Fujian, China (email: [email protected]). unexamined) behavior towards Flora. doi: 10.18178/ijlll.2018.4.4.190 298 International Journal of Languages, Literature and Linguistics, Vol. 4, No. 4, December 2018 Thea‟s labyrinthine garden metaphorically indicates her obsessive or, better, possessive quality. Emotion, marital dissatisfaction and emotional bewilderment. The incidentally is not an activity of the individual but something garden also provides Thea with her personal space where she that happens to him. Affects occur usually where adaptation believes she belongs and where she feels at ease. To quote is weakest, and at the same time they reveal the reason for its Meirion Bowen‟s observation, “the title of the opera provides weakness, namely a certain degree of inferiority and the it with a presiding metaphor: the knot-garden is an allusion to existence of a lower level of personality [15].” Jung‟s the formalized garden of French origin, popular in observation reflects the reason behind the character‟s Elizabethan times, normally made of tiny box-hedges and scandalous behaviour. Faber‟s supressed homosexual drives low shrubs, and intended to relate the layout of the garden to has resurfaced from the shadow of his consciousness and the architecture it adjoined; on the other hand, it could be takes centre stage as his marriage with Thea is facing thought of as a maze, or as a rose-garden which „changes difficulty. with the inner situations‟; in the central act, it is primarily a Like Faber and Thea, the other couple in the opera, namely, maze [10].” Mel and Dov are also confronting a crisis in their relationship The failure of her marriage with Faber, has ultimately led [16]. Their estranged partnership can be highlighted by their Thea to find refuge within her garden, where she exhibits reactions, which can be seen during the rehearsals for a obvious obsessive behaviour: performance of The Tempest, and the struggles between Only I may prune this garden. Ariel/Dov and Caliban/Mel have finally intertwined both […] theatrically and personally. To quote David Matthews‟ study: Pruning is the crown. “Mel‟s and Dov‟s relationship is […] at breaking point, and […] their insecurity is evident from their appearance in fancy Where I touch the tap-root dress disguise as Caliban and Ariel, and their inability at first To my inward sap [11]. to speak except in caricature[17].” When the cast steps into Thea‟s predisposition for gardening can be read as the role-playing The Tempest, this is clearly meant to signal that character‟s emotional and psychological compensation for they are accessing the deeper tides of emotion evoked by her stressful and unsatisfactory marital and sexual life. The mythic structure. physical sensation and emotional fulfilment, which Thea Two of the characters, Denise and Thea, unfortunately achieves through working in her garden, is the character‟s have no corresponding roles in The Tempest and so have to method to regenerate her libido. According to Carl Gustav stand about like spare parts – whether or not that means they Jung‟s study on psychic energy, “the progression of libido get to participate in the mythic-Jungian healing is not made might therefore be said to consist in a continual satisfaction clear – if they do, it is not clear why the laborious of the demands of environment conditions. This is possible role-playing is at all necessary. Because of her possible role only by means of an attitude, which as such is necessarily as a victim of male sexual aggression Flora should be directed and therefore characterized by a certain sympathetic figure – but the uncertainty of touch means that one-sidedness [12].” Therefore, Thea‟s garden can be read as she is not so much an innocent Miranda as a retarded her disordered subconscious self; by constant “gardening” wild-child. her psychological shadow can still be suppressed and kept The sense of superimposition of symbolism in the opera under control, as a means of compensating for the sacrifice of also finds an example in the role of Mangus. As we finally her emotional needs. discover, the role is designed to parallel the character of Just as in the case of Thea, whose weakened ego has Prospero in The Tempest, but Tippett simply transposes literally been channelled into her over attentive care of her Prospero‟s thematic function to Mangus without making any garden, Faber finds solace through diverting his physical connection with the already sketchy plot. The function of drive into the exploration of other forms of sexuality.
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