Theater

For Christmas: ‘For the Time Being’

Posted on by Mark Aldrich

During World War II, the poet W.H. Auden wrote a book-length poem entitled “For the Time Being.” It is subtitled, “A Christmas Oratorio,” and it is a retelling of the Christmas story, but with a 20th Century sensibility. His Herod, for instance, is a technology-loving king who loves that he lives in an Age of Reason and is ever-perplexed by faith and irked that he must hunt down and exterminate the baby Jesus.

An oratorio is a type of composition that was popular in the Baroque period and in churches and has not had many comebacks as a poetic or theatrical form because it never had a period of dominance. It never went away but it was never the first choice of writing mode for many writers. (Paul McCartney produced a quite famous one, “A Liverpool Oratorio,” two decades ago.) Auden was a poet of structures and forms, though, and he produced an attempt at almost every style and poetic structure in his body of work (about 400 poems and several full-length verse plays).
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A Christmas Oratorio

Posted on by Mark Aldrich

During World War II, the poet W.H. Auden wrote a book-length poem entitled “For the Time Being.” It is subtitled, “A Christmas Oratorio,” and he desired that it be set to music; because it is fifty-two pages long as it is, without the addition of music or stage directions, he could have easily subtitled it, “The Longest Christmas Oratorio: Bring Snacks.” Benjamin Britten decided that composing music for the full work was too difficult so he set two sections to music.

“For the Time Being” was published in 1944. I will explore it a bit more tomorrow. It is found in Auden’s Collected Poems. Here is one section:
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I Leave Me No Choice

Posted on by Mark Aldrich

In Act 2, Scene 2, of Hamlet, the doomed Rosencrantz and Guildenstern are chatting with Prince Hamlet. They are his old college buddies, and King Claudius (Hamlet’s step-father) and Queen Gertrude (his mother) have sent for them to attempt to learn what is bothering the young man, who has been acting with an “antic disposition” and saying strange things, half to himself and half to, well, no one can figure out who.

Hamlet greets them and speaks in the same riddling manner that he has been using with the rest:

HAMLET: Let me question more in particular, my good friends, what you have done to deserve such fortune, that she sends you to prison hither?
GUILDENSTERN: Prison, my lord?
HAMLET: Denmark’s a prison.
ROSENCRANTZ: Then the world is one.
HAMLET: A goodly one; in which there are many confines, wards, and dungeons, Denmark being one o’ the worst.
ROSENCRANTZ: We don’t think so, my lord.
HAMLET: Why, then ’tis none to you; for there is nothing either good or bad but thinking makes it so. To me it is a prison.

Hamlet quickly determines that they are not merely dropping in to talk about sports and the weather or to compare Klout scores but are indeed spies. Ultimately, he manages to have them both killed.
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