Prince of Persia? - William Beckford's "Vathek"

"The History of Caliph Vathek" 

by William Beckford

William Beckford wrote "The History of Caliph Vathek" in French in 1784, but it was first published in an English translation by Samuel Henley in 1786. Widely regarded as one of the seminal works of Gothic literature, this strange, unclassifiable novel recounts its eponymous protagonist's quest for esoteric knowledge and carnal pleasure, a quest which ultimately leads to his damnation. 

"Vathek" combines exotic descriptions of the Orient with passages of grotesque comedy and a dollop of supernatural derring-do. Indeed, one of the challenges for modern sensibilities (and possibly its original readers as well) is to determine which passages should be taken at face value and which ones are to be read as self-parody. Even allowing for the genre's excesses, episodes such as that of a wizard being turned into a ball and kicked around Vathek's kingdom are clearly intended as black comedy. But what about Vathek's damnation, described in language of poetic intensity? Is the moralistic ending to be taken at face value or is Beckford being ironic? The author's letters suggest the former to be the case - which is rather surprising considering the atmosphere of decadence which permeates the novel.

Vathek - Illustration by Violet Dale (1923)

If read purely for narrative pleasure, Vathek might disappoint. The plot is episodic, there are too many changes of gear, and the novel's ultimate message - if it does have one - is elusive and unclear. Yet, for anybody interested in early Romanticism, Orientalism, supernatural fiction or, for that matter, unusual literary fare, this is a must-read.

The Oxford World Classics text follows the 1816 English language version, prepared by Beckford himself. It includes an informative introduction by Roger Lonsdale which, interestingly, makes the case for *not* considering Vathek a Gothic novel. Also included are the erudite endnotes which Beckford included in the 1816 edition of Vathek (although first-time readers might prefer just enjoying it and then consulting the notes on subsequent readings).

Paperback, Oxford University Press, 170 pages

Published 1999 by Oxford University Press (first published 1786)

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Vathek - Woodcut illustration by Charles W Stewart

One of the musical forms which emerged during the Romantic period were the so-called “symphonic poems” or “tone poems”.  Pioneered by progressive composers such as Liszt and Berlioz, these were orchestral pieces with an extra-musical inspiration which were meant to illustrate or evoke literary or philosophical concepts.

There are at least two tone poems inspired by Beckford’s Vathek.  American composer Horatio Parker composed his Vathek in 1903.  Ten years later, Luis de Freitas Branco wrote another symphonic poem of the same name.   It is, in my view, significant that, more than a hundred years of its publication, right at the start of the 20^th Century, Vathek inspired musical works in the space of just a decade.  To the fin-de-siècle sensitivities, the Oriental(ist) and decadent elements of the novel must have appeared particularly attractive. Vathek had worn its years well.

American composer Horatio Parker (1863-1919) spent most of his career in Boston and New York and is generally considered a member of the Second New England School, which included his former teacher George Chadwick, Amy Beach and Edward Macdowell.  He wrote several choral works, generally following the Continental European model.  He famously taught Charles Ives, who was dismissive of what he considered his teacher’s conservatism. 

Listening to his Vathek, one can see Ives’s point.  The work is very much in the European Romantic tradition and far removed from the adventurous avant-garde paths which Ives would follow.  That, of course, does not make it any less enjoyable.  It’s an exhilarating, warm-blooded work with some great themes and brilliant orchestration.

Luís de Freitas Branco (1890-1955) was one of the leading Portuguese composers of the first half of the twentieth century.  His Vathek was written when he was just 23 years old but it is possibly his most revolutionary work, using a harmonic language well aheard of its time.  Subtitled “Symphonic Poem in the form of variations on an Oriental Theme”, it starts with an introduction followed by the Theme representing the Caliph.  After the Prologue, the composer takes the theme through five variations, each of which represents a different palace built by Vathek.  Particularly worthy of note is the third variation, a complex, ear-bending fugato in 59 voices.  The work was not performed until 1950 – with this particular variation omitted.  A complete performance would only take place in 1963.  Even then, some passages must have sounded fresh off the page.