Essay about Autobiography of Charlie Chaplin
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I was born Charles Spencer Chaplin in Walworth, London on April 16, 1889. I have an older brother, Sydney, but he’s only my half brother- same mother, different father. I was named after my father, but he was a drunk. He died when he was thirty-seven. My mother, Hannah, was a music hall entertainer. Both her physical and mental health fluctuated during my youth. One night, when I was five years old, she became sick during a performance. I went out on stage and sang in her place. I knew then that I loved performing, and I loved it when the audience threw money at me.
It was difficult for my mother to make enough money to support me, Syd, and herself. Syd and I had to share a single pair of shoes, taking turns going from place to place. My…show more content…
From this outfit came my infamous character: The Tramp. “I had no idea of the character. But the moment I was dressed, the clothes and the make-up made me feel the person he was. I began to know him, and by the time I walked onto the stage he was fully born.”
After making numerous movies with Sennett, and being proclaimed an asset to Keystone Pictures, I decided that I wanted to run my own show; I wanted to direct, and have my own studio. Sennett often doubted me and became sick of me always wanting more. I went on to form United Artists in 1919, with my good friend, Douglas Fairbanks, his wife and “America’s Sweetheart”, Mary Pickford, and director, David Wark (D.W.) Griffith. I married Mildred Harris one year earlier. Our marriage was rather brief. I believe that being married to her debilitated my creative abilities. We divorced not long after our son, Norman’s birth, and death only three days later.
In 1921, I made a very dismal and depressing visit to London. On this trip I learned that Hetty had not only married another man, but she had also died of diphtheria during the war. Besides being overwhelmed by the news, I was overwhelmed by the deluge of attention that I received from the public. Some of the attention was negative-jealous men who were poor or unemployed. Yet I still felt greatly annoyed, and even somewhat depressed from the positive attention. I felt as though I had no home.
I returned home, and after a short while, “talkies”
Ink drawing, Watercolor. 16 November 2011.
Ink drawing, Watercolor + Digital Manipulation. 16 November 2011.
I was recently reunited with luggage lost 45 days ago.
Three items were missing: a bottle of Cinema Eau De Parfum by Yves Saint Laurent, a beloved collaged orange umbrella bought in Barcelona and a pair of Sketchers shoes. Go figure.
Immediately i set out to substitute my lost umbrella. As said in one Law and Order episode (I paraphrase): “Hardheaded Calabrese: the people there are very stubborn… once something is taken away from them, they don’t rest until …they get it back.”
My mind went back to the orange umbrella I bought for my mom in Milano last Christmas (probably with her money;)), from one of my favorite stores: Muji.
In my quest, I ran into this glorious essay on a particular shade of orange.
I have a box of orange objects in my house that I have been meaning to combine into a series.
Tomorrow seems like a good day for it, and orange thoughts are perfect for winter-short days and too much yin.
Before you read, keep this in mind:
Fire in Arabic is ‘Nar’.
by Michele Foyer
If we lived during the time of the Dutch West Indies Company, I would tell you that the color that so captured me was the child of paprika and chocolate. The world no longer swoons over spice willing to risk a sail beyond the end of the known. And yes, sadly rape and pillage in its desperate greed. I had only to pass the window of the Muji store in Manhattan’s Chelsea to discover this color in an umbrella.
What is it that grabbed me? Is it a vibration for which the color is only a foil? Or is it something about the color itself lodged between memory and desire? This redder orange infused with luxurious chocolate yielded a strangely jazzier yet muter tone than orange. But if we are mapping out its terrain inevitably the orange relation comes up.
My “Muji Orange” is a distant relative of the neon orange of warning, as well as a “tangerine streamlined baby” of sixties psychedelic abandon. Its crazy older paternal cousin might be the Tang of astronauts or maybe the impossible orange of orange Crush soda, or possibly even Blake’s Tyger burning bright, but its doting grandmother, is definitely — yes, most definitely — a bittersweet French marmalade.
There is some mystery to orange. Orange is the only color in the seven-color spectrum besides violet that originates as a noun, naming a particular thing. It refers to the berry fruit of the orange tree, something very concrete and specific and not as abstract as the other colors. Was the experience of the orange fruit so strong that it came to stand for the orange experience?
The Old English Dictionary (OED) states that in Medieval Latin “the forms ‘arangia’, ‘arantia’ (Du Cange) whence ‘aurantia’ have “popular association with ‘aurum’ gold from the colour.” Perhaps, the OED postulates, there is an etymological relationship between the Old French “orenge” for “arauge” after “or” gold. The OED traces the “loss of the initial ‘n‘ in French, English and Italian” as “ascribed to its absorption into the indefinite article” resulting in “narange” absorbing “une” and “narancia” absorbing ”una.”
Also from the OED we understand that the “native country of orange appears to have been the northern frontier of India, where wild oranges are still found and the name may have originated there.” In Late Sankrit the word for orange is “naranga;” in Hindi it is “narangi” (OED, p. 2001)
Is “orange” related to the color of the fruit and/or to gold and the word “ore” (OED, p. 2001)? Are both these not only things, but also perhaps experiences of light? More questions arise as we consider other correspondences that I call “rhymes and ricochets.”
In Persian the world for pomegranate is “nar” (OED, p.2001) which echoes the nar of narange. Is this coincidence or relationship? The OED states it is not certain. Was the “nar” / pomegranate the fateful fruit of the tree in the Garden of Eden myth? It is possible because the pomegranate rather than the apple was the indigenous fruit. If the pomegranate was the tree of knowledge, what was the knowledge that this golden ball embodied? Might it have reflected a relationship of light to dark?
Is there anything other than coincidence to the resonance of the pomegranate which also figures in the myth of Persephone who spends half her days in a descent into Hades when the earth experiences the dark of winter and the other half above ground when the earth experiences the light of spring – alternations or gradients of light and dark?
In one narrative color is dependent upon history and culture. The OED by definition is a history of the English language, tracing the history and values of the western world with its migrations and roots to the East. Today we think oranges are synonymous with the warm climates of Florida and California. We often believe they are indigenous to North America. However, they were planted by conquistador sailors who needed to create supplies of vitamin C to take with them to guard against scurvy on their long sea journeys.
What is orange in cultures outside of the European? In other cultures closed off to our own for so long by the migration and exchange of trade, say the Japanese or Chinese, what is the etymology of the word orange? In Cantonese Chinese (but not in Mandarin), the word for orange is related by sound to the word for gold. At New Year’s the Mandarin orange embodies good wishes for prosperity. Are “gold” and “orange” a conflation of all these color experiences of light?
What about other earlier societies? I wonder whether orange might “rhyme” with “fire.” Fire had the life-giving power that made a large difference to a culture. If gold wasn’t the commodity of value, it might make sense for the word for this experience to be “fire.” Might gold be in part only an imitation of the light of fire?
These richoceting ruminations about gold and fire are vital, because it is precisely the light of gold or fire that starts to go missing in “my” Muji Orange. It is that chocolate brown in addition to the red of the orange that makes the color “step back” toward the shade. Muji Orange recedes from the saturation and almost clear brilliance of an ordinary orange that lags just behind the brilliance of yellow—whether the origin is the light of sun, gold or fire.
Muji is a Japanese company and that perhaps contributes and infuses a measure of its aesthetic into that of the west. The store’s name is related to “mujo” which evokes “transience” in Japanese. I once heard about Japanese “killed colors.” These colors had a little bit of death in them, fading from their original brilliance and glory. I couldn’t find reference to them again but only to the rikuyu colors made from graying. In Muji Orange the quality of orange steps away from the brilliance of the sunny orange into the shade, holding a note of something that is darker. It is not a sinister dark to be avoided but one to be savored like a fine chocolate.
Is my “Muji Orange” so beautiful to me because it captures the life of light and its brilliance — and the life of dark and its recession? To me “Muji Orange” is a kumquat color par excellence. First like the sweet rind of the kumquat there is a “taste” of brilliance and then immediately, almost simultaneously, just as the fruit yields a sour taste, my Muji orange bursts with another very different moody, darker earthy “taste.” Does Muji Orange with its paprika jazzy zest want to dance the tarantula? Is it death or lack of light that gives my Muji color its kick?
I have questioned whether it was the vibration of the color that pulled me into the Chelsea store — the umbrella an extraneous element. But I wonder if the precise color of orange might also be a “rhyme” with the function of “umbrella”? Are the form and the vibration related in the poetry of memory?
Recently I recalled an earlier encounter with umbrellas. When I studied in Madrid in my 20s, I would often take the subway to go downtown to the Turner bookshop. I’d climb the stairs of the appropriately named Sol subway stop that spilled out onto Jose Antonio, emerging more often than not into a scorching sun.
On my way to the bookshop I would pass outside the window of a store that made confectionaries of violets sold in white and purple miniature hatboxes. But my favorite was the neighboring shop entirely devoted to umbrellas with a placard handwritten in a swirly old-fashioned cursive script in the window that read “Manana llovera.” Both its whimsy and its sales-minded craft were not lost in the English translation — “tomorrow it will rain.”
Last December, many years after my sunny Spanish sojourn, when to me it is now irrefutable that night and day, death and life are folded into one another and that Persephone must braid both dark and light — the Muji Orange color caught my eye. Manana llovera. Tomorrow it will rain. Dear Reader, I bought the umbrella.
Bibliographic Note The Compact Edition of the Oxford English Dictionary, Volume I, AO, (Oxford University Press, United States, 1982).
Copyright Michele Foyer. Web: http://michelefoyer.com/news.html
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