PRISONER OF FREE WILL
There are worse jobs: shielded by tree bark from harassment, she is free to be beautiful, intellectual and adorable forever. But is she happy?
Mortal anguish made exquisite through artistic metamorphosis: detail of Bernini's Apollo and Daphne, Marble, 1622 - 25, Galleria Borghese, Rome. |
The significant point about Ovid's Daphne is that she wants to be changed, though she has no say in how or to what. Bernini's Daphne, pursued by Apollo, is traumatized, less of a conflicted personality than a victim of attempted assault, caught in the moment of violent transition....
This second birth is not the release she wished for; punished for escapist fantasies, she is being re-begot of death. In the horrified expression of her face Bernini interprets her pain as coitus in a masterpiece of tension and illusory movement, uniting eroticism and pathos, speed and emotion, a work of more psychological sensitivity and stylistic restraint than some of his later sculptures.
Understandably, he is as interested in her young, slim body and limbs and the coils of her hair as in her feelings; the divine perfection of human physical beauty is central to the Daphne myth. The candour and immediacy of Bernini's interpretation is innovatory. In earlier representations, exploration of female passions and individuality are suppressed. In Pollaiuolo's decorative painting, Daphne, fully dressed in 1470s fashion, two branches sticking out of her shoulders like wings hired from a theatrical costumier, looks mildly surprised ("oh, do look - I'm a tree!") while Apollo, racing to catch up, hugs her in congratulation. While Bernini's Daphne is dying dying, prettily, in front of us, she is screaming to her leaf-sprouting fingertips. When we look at her, we are as shocked as Apollo, and, like him, we still desire her as much as we pity her.
I'm a tree!
Apollo and Daphne by Antonio del Pollaiuolo, 1470 -80,
tempera on wood, National Gallery, London. Image source: Web Gallery of Art.
In this decorative panel, Daphne
is passive, very much Apollo's elusive fantasy figure, strangely detached from
her fate. Other works by the same artist show he had genuine technical
ability in anatomy and expressions of masculine physical
effort; Daphne's feminine crisis evidently did not excite his sympathy,
only his sense of humour. She appears as a leafy trophy not displeased to be grabbed by a male high achiever.
"Some day my happy arms will hold you,
And some day I'll know that moment divine,
When all the things you are, are mine! "
And some day I'll know that moment divine,
When all the things you are, are mine! "
Oscar Hammerstein II