Showing posts with label folklore. Show all posts
Showing posts with label folklore. Show all posts

Sunday, February 2, 2020

Groundhog Day Part II—Wake Up! Murfin Verse


Most years I mark Groundhog Day with one of my usual in depth histories of the pagan origins in the Celtic festival of Imbolc or similar Norse observations and Christian cooption of those traditions as St. Brigid’s Day in Ireland or Candlemas in Britain and the adoption of folk customs into made up American pseudo holiday.  Or sometimes I rerun a favorite essay on the symbolism and philosophy of Groundhog Day, the movie like I did earlier today. 

But in 2017, just days after the inauguration of Donald Trump and as the scope of the disaster was unfolding faster than the gloomiest predictions, I was moved to commit poetry.

Since we wake up again in the same predicament, it still seems apt.



Wake Up!
Groundhog Day 2017
6:00 am

Wake Up!
It’s yesterday again!
It will always be yesterday again.

If you don’t 
get your ass out of bed right now
and do something
today will replace it
in the time loop.

Trust me.
You don’t want that.
Today is going to be a
Motherfucker.

Wake Up!

—Patrick Murfin

Friday, February 2, 2018

Groundhog Day De ja vu—Wake Up! Murfin Verse


I am writing and posting this in the wee small hours of the morning before Woodstock Willie gets yanked from his slumber at 7:07 this morning or the original Punxsutawney Phil back east in Pennsylvania will see their shadows or not.  It hardly matters.  It will be the coldest February 2 since the McHenry County town began celebrating annually in honor of the cult classic Bill Murray movie shot there with the temperature hovering around zero. Then we are expected to get 5-6 inches of snow over the weekend followed by about a week of more snow or flurries every other day.  No matter what, winter seems determined to stay.

Most years I mark Groundhog Day with one of my usual in depth histories of the pagan origins in the Celtic festival of Imbolc or similar Norse observations and Christian cooption of those traditions as St. Brigid’s Day in Ireland or Candlemas in Britain and the adoption of folk customs into made up American pseudo holiday.  Or sometimes I rerun a favorite essay on the symbolism and philosophy of Groundhog Day, the movie.   Once or twice I threw both together for an extra hearty read.
But last year, just days after the inauguration of Donald Trump and as the scope of the disaster was unfolding faster than the gloomiest predictions, I was moved to commit poetry.
Since we wake up again in the same predicament, it still seems apt.



Wake Up!
Groundhog Day 2017
6:00 am

Wake Up!
It’s not yesterday again!
It will never be yesterday again.

But if you don’t
get your ass out of bed right now
and do something
today will replace it
in the time loop.

Trust me.
You don’t want that.
Today is going to be a
Motherfucker.

Wake Up!

—Patrick Murfin

Tuesday, November 18, 2014

A Boy, and Apple, and a Bolt—Swiss Hero William Tell



Renaissance engraving of William Tell and the apple incident.



On November 18, 1307 Wilhelm Tell, who may or may not have existed, allegedly shot an apple off of the head of his trembling son with his trusty crossbow on the orders of a tyrannical local Austrian official or Bailiff who may, or may not, have existed.  Subsequently Tell may, or may not, have assassinated the villain and led a rebellion that led to the creation of the Old Swiss Confederacy.  Or so the story goes.
Known to the English speaking world as William Tell and Napoleonic Era European romantics as Guillaume Tell, he became a heroic symbol of Swiss independence, revolutionary resistance to oppression and tyranny, and a blank page various political ideologies claimed for their own.  Americans know him mostly as a motif in countless comedy sketches going back to vaudeville and animated cartoons, built around gags of the boy and the apple stripped of any context.  They also may remember the Overture of an opera by Gioachino Rossini became the theme song for another mythical hero—The Lone Ranger.
Most modern scholars believe Tell is a mythical figure, analogous to the English Robin Hood.  They can find no evidence her or his son ever existed or that Albrecht (sometimes Herman) Gessler ever oppressed the people of Altdorf in the Altdorf .  The Swiss tend not to take kindly to these scholars and have been known to burn them in effigy in the streets.  Some Swiss scholars still make a living producing tomes that make historical claims for the truth of at least a nugget of the folk tale.  And like Englishmen love and believe in a rebellious Saxon noble, the Swiss, no matter which of four languages they speak, swear by the reality of William Tell.
Here is the story in its most familiar form. 
Gessler arrive in Altdorf to assume his duties as Landvogt, a local tax collector/enforcer for an Austrian feudal prince—very analogous to the authority of the Sheriff of Nottingham in the Robin Hood tales—already drunk with his new power.  He erected a pole in the market place and demanded that the locals bow down to it.  He stationed troops to enforce the order and often sat watching the local grovel in fear.  Enter Tell and his ten year old son Walter.  Tell was by all accounts a large and powerful man—a hunter, mountain climber, and boatman in early accounts was a local gentleman of wide repute and respect and in later accounts a rustic peasant leader.  He happens to be carrying his cross bow.
Tell haughtily refuses to bow down to a hat and is seized by Gessler’s troops.  The cruel tyrant has already filled the jails and local dungeons and had recently blinded an elderly man for some trivial or imagined offense.  Gessler, aware of Tell’s reputation with his weapon, offers his prisoner a choice—immediate death or a reprieve if he can shoot an apple off of the head of his son’s head at several paces with a single shot.
Tell comforts his son and then with unerring calm splits the apple with a bolt from his crossbow.  Gessler notices that Tell had a second bolt.  He demands to know what he intended to do with it.  Tell demurs until he is assured that no matter his answer his pardon would be honored.  Then he tells Gessler that the second bolt was meant to kill him should the first have gone astray and wounded the boy.  Infuriated Gessler has Tell and his son seized.
Tells is put on a boat to transport them across Lake Lucerne to Küssnacht to a dungeon in Gessler’s new castle.  But a terrible storm erupts and the boat is nearly lost.  The oarsmen, in fear for their lives, unbind the powerful Tell who take the rudder and brings the boat to shore—where he leaps to safety on a rocky point now known as Tellsplatte.  He also somehow still has his famous crossbow and that second bolt. 
He runs cross country to Küssnacht where he lays in wait at a narrow point in the route he knows Gessler must take from Altdorf.  There from hiding he ambushes the official, assassinating Gessler with a single shot.
Escaping into the mountains Tell joins existing bands of rebels and/or raises a guerilla army to rise up against the Austrians.  The successful revolt that follows unites most of the Swiss Cantons into the Old Confederacy and thus begins the history of the Swiss as a nation. 
Tell was said to have died heroically 40 years later as an old man w/hen he tried to rescue a child from a raging river.
None of this is corroborated in contemporary annals.

1895 Heroic monument by Richard Kessling in Altdorf, Uri.
The first mention of Tell in relationship to the rebellion seems to be in the White Book of Sarnen by a country scribe named Hans Schreiber in 1475.  Shortly thereafter a song called the Tellenlied began to be sung.  Its first appearance in a manuscript was in 1501 although it was clearly already widely sung.  In neither of these accounts is Gessler named or is there mention of his assassination.  The Tellenlied calls Tell the “First Confederate.”
The first printed version of the story appeared in 1507 in Chronicle of the Swiss Confederation by Petermann Etterlin, a soldier/scholar who wrote in German but supported the French factions ruling Lucerne.  Around 1570 Aegidius Tschudi from Glarus compiled his monumental Chronicon Helveticum which in turn was the main source for Johannes von Müller’s History of the Swiss Confederation in 1780—written under the ideological influence of rising French radicalism—and for Friedrich Schiller’s play William Tell in1804.
In each of these versions the story of Tell becomes more elaborate with details filled in, names and dates supplied and a mantel of historical verisimilitude draped around it.  The story also adapts to more modern political developments—There really was a Gessler family, for instance, that administered a fiefdom of a Hapsburg prince around Zurich in the late 14th Century.  He became a stand-in for imperial Austrian designs on Switzerland three hundred years later.
Tell inspired The Three Tells—heroes of the 1653 Swiss Peasants’ War who dressed as Tell attempted to assassinate Ulrich Dullike, Schultheiss (Mayor) of Lucerne for the Hapsburgs in 1653.  In the writings of early 19th Century Romantics they became similar to certain Nordic myths and King Arthur in English folklore, sleeping under the mountains and waiting to be resurrected and come to the salvation of the nation in a time of peril. 

On the Helvetic Republic state seal.
During the French Revolution Tell was adopted as a model and hero for rebellion against authority.  He was re-cast as a peasant leader and his role as a revolutionary elevated over earlier versions which emphasized his individual defiance.  In the Napoleonic era Gessler becomes a tool of an unseen—and not even historically accurate—Austrian Emperor.  In the post-Napoleonic era Tell becomes the symbol to resistance against all oppression—including that inflicted in the false hope that Bonaparte   would be a liberating force in Europe. 
When Napoleon invaded western Switzerland and imposed the Helvetic Republic in 1798, the new central government sought legitimacy by making Tell and his son the central device in their official seal.  When the Republic was overthrown in 1803 and the Confederacy of Cantons restored in the period known in Swiss history as the Restoration, Tell became a symbol for resistance to all foreign meddling in Swiss affairs.  This is the Tell of Schiller’s play and Rossini’s opera.
Since then he has been schizophrenic simultaneously hailed as a hero of left populism and of right-wing Swiss nationalism.  He has been cited as the inspiration for Guy Fawkes and the Gunpowder Plotters in England in 1604, along with Brutus by John Wilkes Booth for his assassination of Abraham Lincoln, and by late 19th Century anarchist assassins and attempted assassins of European rulers.
Adolph Hitler in Mein Kampf praised Tell as the prototype of a Germanic hero and man of action.  He sang a different song after young Swiss Francophone patriot Maurice Bavaud—dubbed the “New William Tell” by his admirers—attempted to assassinate him in 1938.  He subsequently banned all performances of either Schiller’s play or the Rossini opera.  At a banquet in 1942 he complained, “Why did Schiller have to immortalize that Swiss sniper!”



Wednesday, March 14, 2012

The Most Famous Railroader Ever Did it the Hard Way


Casey Jones is a genuine American folk hero, up there with Paul Bunion, Pecos Bill, John Henry, and other characters famed for the work they did.  Most people are familiar with the most famous of more than a dozen songs about him, or can remember the Walt Disney cartoon of about the Brave Engineer.  Those of us of a certain age and keen memory can even remember an old TV show with Alan Hale, Jr.—that right the dude later to become famous as the Captain on Gilligan’s Island—as the man himself.  Unlike many of those other heroes, however, there was a very real Casey Jones who did die heroically in a crash saving the lives of his train crew and passengers in the process.

John Luther Jones was born in 1863 at Jackson, Tennessee.  He grew up in Cayce, Kentucky in the far western corner of the state near where the Ohio River emptied into the Mississippi.  

As a young man he went to work on the Mobile & Ohio Rail Road beginning with the most menial laboring jobs around the switching yards and on track maintenance.  An earnest young man and hard worker, he was quickly promoted to train crew as a brakeman on a Columbus, Kentucky, to Jackson, Tennessee route, and then to fireman on the Jackson to Mobile, Alabama run.  Like other railroaders with common names, he fellow workers took to calling him after his hometown.  He adopted the familiar spelling of Casey and went by that moniker the rest of his life.

During those years he charmed the daughter of his boarding house landlady. Janey Brady was an Irish Catholic and to please her family he converted to their faith.  The couple was famously devoted to one another and happily raised three children as Casey moved up the railroad career ladder.  He was modest, a fine story teller, and popular with all of the crews, even though he was the rarest of all breeds among working people—a sworn teetotaler.

In 1887 a yellow fever epidemic devastated train crews for the larger and more prestigious Illinois Central, and Casey moved to take a birth there as a fireman on the  Jackson and Water Valley, Mississippi leg.  Casey’s family settled in Jackson, the moved for a while to Water Valley.

In 1891 Jones finally achieved his dream of becoming an engineer.  He was soon one of the most highly regarded men on the system.  He was noted for being a hard charger and exceptionally dedicated to keeping to schedule, “come hell or high water.”  He sometimes took chances in his determination to “git ‘er there on time,” and was occasionally suspended for work rule violations.  But so were most other “aggressive” engineers and failure to keep schedule was far more damaging to a career.

His skill and prestige as an engineer was recognized by the IC in 1893 when they moved him to Chicago to work passenger shuttles to the World Columbian Exposition.   It was a great assignment and both he and his family enjoyed their time in the big city and at the fair.  The stint working passenger services whetted his appetite to regularly be assigned to passenger trains, where his thirst for punctuality would be exceptionally valued.

When the Fair ended Casey volunteered to take the railroad’s newest engine, No. 638, which had been an exhibit at the fair, back to Water Valley to be put into service.  He got the plum assignment of its regular engineer with his long time best friend and fireman John Wesley McKinnie.

In 1895 Casey got his first taste of more than local fame for a legendary rescue, which later became fodder of dime novels and silent movie adventures.  A relief engineer was at the controls one day when Casey climbed out of the cab to oil the relief valves and perform other maintenance.  He climbed on the pilot—the small two front wheels supporting the “cow catcher—in order to adjust a spark screen on the funnel.  After making a blind turn Casey spotted a group of children playing on the tracks.  He signaled to the engineer in the cab to blast the whistle in warning.  The children scattered except for one young girl who froze in terror on the tracks.  Yelling to the cab to reverse engine and throw on the brakes, Casey climbed to the very front of the pilot.  The train was slowing but could not stop.  Holding on with one hand reached out and scooped up the frightened child with the other arm.  Newspapers all over the South and Midwest picked up the story.

Casey was also unusual in that he seemed to have genuine respect and admiration for Black workers in the shops, yards, and on the train crews.  As far as he was able as a Southern White man of the period he struck up genuine friendships with many and the affection and esteem was returned.

When Casey finally got his shot at regular passenger service in February of 1890 out Memphis, Tennessee, for the run to Canton, Mississippi  at the controls of Old No. 384 his new fireman, Simeon T. Webb was a black man.  Casey regularly had run #2 of a four leg cannonball special between Chicago and New Orleans.

On April 29, 1900 Jones finished his regular run in Memphis.  Ordinarily he would have laid overnight there and returned south with his engine the next day.  But the engineer assigned to the next southbound run was ill and Casey was asked to take his place.

It was after midnight the next morning when Casey and Webb climbed into the cab of unfamiliar No. 382.  There was a steady rain and there would be patch fog along the route.  They pulled out of the station with a light eight car train an hour and a half behind schedule.  Casey told everyone that he could make up the time and pull into Canton on schedule at 4:05 am.

True to his word, Casey was rapidly making up time.  By the time he reached Durant, Mississippi he was almost on time.  He jokingly told his pal in the cab, “Sim, the old girl’s got her dancing slippers on tonight.”  He was in a euphoric mood.

But trouble lay ahead.  Two freight trains were pulled onto the siding at Vaughn to allow passenger service to pass.  But they were too long and four cars of one of the trains remained on the track.  Procedure was to execute a “saw.”  The lead train facing the oncoming passenger train would clear the track to let it pass.  A flagman would put out a torpedo (an explosive warning) on the track and physically flag the oncoming train to a stop after it cleared the switch so the trains on the siding could back off the mainline ahead.  A few moments earlier a local passenger train had successfully completed the maneuver.

Neither Jones nor his fireman ever heard a warning torpedo of saw a flagman.  When the engine emerged around a blind curve at 75 mile an hour, Webb finally spotted the obstruction on the track ahead through the rain.  He yelled to Jones, who realized he did not have time to come to a complete stop.  

Casey ordered Web to jump then he laid on the whistle to give warning while throwing the drivers into reverse and putting on the air brakes.  By staying at the controls Casey was able to reduce speed to about 35 miles per hour before slamming into the caboose of the freight ahead.  The engine plowed through the caboose and three cars.  But the whistle blast had given the freight crew time to jump free and the reduced speed confined the damage to the engine and cab.  Passenger in the rear felt a jarring bump, but their cars stayed on the track and none were injured.

Webb scrambled to the wreck and joined rescuers trying to get to Jones.  Reports were that he still had his hand on the brake lever and whistle cord.  Various causes of death were reported, but Webb swore that a splinter of wood driven into the engineer’s skull is what killed him.

Casey Jones was immediately hailed as a hero for straying at the controls and saving his passengers.  News paper widely reported the accident and the fate of the Brave Engineer.  Jones’s body was taken to Jackson where a funeral mass was held at the Catholic church where he and Janie had been married 14 years earlier.  In addition to railroaders on his last runs out of Memphis, 15 trainmen came the 115 miles from Water Valley to pay their last respect to their fallen comrade.

Despite all of the adulation, the Illinois Central officially blamed the wreck on Jones saying that he was running too fast for conditions and failed to heed the warning of the experienced flagman.  Most railroaders, however, believe the flagman was out of position because he did not believe that the cannonball on the mainline would make up enough time to come in close on the heels of the local.

Whatever the verdict of the railroad, in the eyes of his fellow trainmen and the public, Casey Jones was a true hero.

Within months a close friend, a black oil wiper from the Water Valley yards, Wallace Saunders, created the Ballad of Casey Jones with which we are familiar from childhood school songbooks.  It was the most popular song written about the engineer and the wreck but in the first years there were nearly a dozen others.  By 1915 the song was so well known that IWW song writer Joe Hill wrote a parody for the Little Red Songbook, Casey Jones the Union Scab.  Decades later the Grateful Dead would associate the straight arrow engineer with being “high on cocaine.”

Janey Jones lived on until 1956 when she died at the age of 96.  She never remarried and wore black mourning for her beloved husband the rest of her life.