Saturday, November 22, 2008
Cambridge
For me, Cambridge is 'The Other Place', i.e. not Oxford. As my friend Annalisa says, "You can either be an Oxford Person or a Cambridge Person" and we are Oxford Persons! Still, having last been to Cambridge 22 years ago, on a brief day trip with some Oxford classmates, I warranted the town deserved another look. Besides, there was so little I remembered of it and, looking at the pictures I took then, I felt sorely tempted to revisit those parts of it upon which my youthful footsteps had once trod. So, when I discovered that National Express had a special funfare of just 3 pounds one way, I grabbed the opportunity and booked my ticket online.
It invariably happens that when I have to take a day trip some place, I do not sleep well the previous night--partly because I am terrified that I will oversleep and miss my bus (or 'coach' as they say here). So I tossed and turned all night, then fell asleep in the early hours and awoke, not at 6.30 am as I had intended but closer to seven. Tearing out of bed, I actually managed a shower (though not breakfast) and raced out of my building at 7.20 am--just five minutes behind schedule. I need not have worried. With everyone else curled up tightly in bed, the bus flew through the streets and dropped me off at Victoria Coach Station well in time for my coach.
I used the two hour journey to read up on the town and acquaint myself with its highlights so that I would use my day as productively as possible. Since I had a 7 pm return ticket, I would have about eight hours to spend in the town. While it was a bitterly cold day (it was 2 degrees--temperatures in Celsius always sound worse than the corresponding Fahrenheit figures), the sun shone bright and skies were clear and on the way into Cambridge, two things came to my mind: the nursery rhyme that goes "the sheep's in the meadow, the cow's in the corn (that's Little Boy Blue, I believe) for I saw little woolly dots speckle the stubbled fields and then my thoughts turned to Keats and his Ode to Autumn in which two lines go:
While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue...
Before long, we were pulling into Cambridge, the approach as nice as the town itself, lined with lovely Tudor cottages and stone churches. The coach parked by a large field and the driver pointed out to me the route I could take to get to the main shops. I consulted my map and decided to head first to the Fitzwilliam Museum which I hadn't seen before. This made a lot of sense since it was a frigid day, I was grateful to escape indoors, and most colleges open to visitors only after 1 pm anyway...leaving me with a few hours to see the collection.
Treasures of the Fitzwilliam:
Using the campus of Downing College as a short-cut, I arrived at the Fitzwilliam and gasped. Seriously, nothing had prepared me for the majesty of the building. I felt as if I were in Greece all over again. It is an impressive Neo-Classical building, complete with carved frieze on the pediment and Corinthian columns and it spreads itself out expansively across three blocks. But the exterior is only the least of it. Mount the main stairs, cross the grand threshold of the main entrance and you drop dead in your tracks. The foyer is straight out of a Robert Adam's mansion. It is opulent with stone statues, shell topped niches, gorgeous plasterwork and gilding, more molding than you imagine and marble everywhere. It reminded me very much of the Baroque interior of the Kunthistorisches Museum in Vienna and I simply couldn't tear myself away to see the collection. So right off, if one has to make a comparison between Oxford's Ashmolean Museum with which, of course, I am very familiar, I would, at the risk of sounding disloyal, say that Cambridge wins on the museum-front.
The Fitzwilliam might be small by international standards, but I realized by the time I saw the first gallery, that it is a stupendous collection and would take me much more than the 2-3 hours I allotted to see it. So, as usual, I decided to look at everything cursorily, but carefully only at its 'highlights'. The receptionist tried to turn me towards the 'special' exhibits, but I decided to see Hobbema's Wooded Landscape, Titian's Tarquin and Lucretia, Reuben's The Death of Hippolyta, Monet's Springtime, Renoir's La Place Clichy (delightful indeed), the finest collection of works by George Stubbs that I have seen anywhere, Will Lott's Stour-side farm seen from a different angle in a painting by Constable (as opposed to the famous one of it in The Haywain at the National), several stunners by Tintoretto including The Adoration of the Shepherds and some Picassos. I also feated my eyes upon Ford Madox Brown's circular painting The Last of England which Marina Versey considers one of a hundred Masterpieces of Art in her book of the same name. I also realized that by focusing on the paintings, I was completely ignoring the amazing collection of antiques in the form of furniture, urns, sculpture, carpets, etc. that adorned the rooms--but to see all those I'd have to spend days. Also, with my feet still weak, there is only so much I can do...so.
Apart from these Old Master paintings, the Fitzwilliam has a magnificent bookcase that supposedly belonged to Handel. These contain 20 large leather-bound volumes, his own original manuscripts. It was astounding! Asking around, I discovered that my favorite poem of all time, Keats' Ode to a Nightingale was not in its normal position, but tucked away in a room that contained manuscripts that had been acquired by Sidney Cockerell, the museum's most illustrious director. There it was, the piece of work that Keats' reportedly scribbled in the garden of his home in Hampstead upon hearing a nightingale sing its throat out on a tree by the backdoor. I have to admit that I teared up on looking at it and thinking of his short, sad, wasted life cut down in the prime of its youth and productivity by tuberculosis and his anguish and desire for the lovely Fanny Brawne next door, whom he would never wed. I had the same reaction while gazing upon this sepia-ed scrap of paper that I had seen at Keats' House in Hampstead, several years ago, when I had actually stood upon the spot where my beloved poem was composed.
Going in search of this treasure then brought me to another clutch of priceless works: a number of superbly illuminated medieval religious manuscripts--apart from the obvious Bibles and Psalters, there was Firdausi's Shahnama in Persian (I gazed at it in awe), and a number of letters and poems from other famous poets--the Pre-Raphaelites, for instance, were very well represented though most of them were at Oxford (William Morris and Dante Gabriel Rossetii and Edward Burne-Jones) and a number of original first-editions from Morris' reputed Kelmscott Press. And, then, of course, I was quite blown by the original manuscripts of Thomas Hardy's Jude the Obscure--imagine, his own hand-written work, then the first page proofs, with Hardy's notes in the margin and then the first edition of the book itself! How could I possibly leave these cases without drowning in emotion? Cockerell famously and justifiably declared, at the end of his tenure as Director, "I found it (the museum) a pigsty and turned it into a palace". It was just too much for me and, naturally, I spent far more time than I had intended in this magnificent place.
I did have a look at the Special exhibit on "The Gold of the Golden Fleece", an exhibit that displayed the gold jewelry and other artifacts that have been unearthed by the discovery of several graves on the shores of the Black Sea in modern-day Georgia, an area that Jason of the famous Greek epic, Jason and the Argonauts, is supposed to have reached in his quest for the Golden Fleece. Then, I was tired, very tired and hungry, and I found sustenance in the museum's cafetaria over a lovely pot of golden Darjeeling that cheered me up no end and allowed me time for some people-watching and eavesdropping. A lady at the next table, apparently a Cambridge don, was complaining to her companion about a truant student who had stopped attending her seminar!
Exploring the Colleges:
The universities of Oxford and Cambridge are unique in that they are composed of a number of colleges, each of which boasts its own 'campus', most consisting of the following: a quadrangle or "Quad" around which the college is built--this, in turn, usually consists of a Chapel, a Dining 'Hall', the Master's Lodge, narrow spiral stairways leading to the rooms occupied by the dons where tutorials are usually held (small very intimate intellectual exchanges between the professor and students) and students' rooms. Beyond this main quad, lie a number of smaller quads or gardens, such as the Fellows Garden, the Junior and Senior Common Rooms with their gardens, etc. Depending on the time in history when these colleges were built (usually under royal patronage), their architecture differs. Each one is a gem and visiting them is always a delight for me. Not only do I feel steeped in intellectualism which always stirs me, but being built around the medieval principles of the monastic life (most of the earliest scholars were, in fact, monks who were preparing to serve the church through a curriculum that focused on Latin and Theology), they fill me with a sentiment of deep religiosity.
At about 1 pm, my exploration of the colleges began as I walked along Trumpington Road, my feet having rested adequately. This brought me first to the small and very charming Peterhouse College whose most famous alumnus is the poet Thomas Gray (Elegy in a Country Churchyard). A few weeks ago, one of my Anglo-Indian interviewees, Randall Evans, had informed me that the church and graveyard of St. Giles in Stoke Poges which inspired the poem was not too far from Slough where he lived. The best part of my exploration of Peterhouse was getting to see the 13th century restored Hall where, because it was term time, lunch was still being served to a lone student who sat in the semi-darkness and munched. This Hall and the one belonging to Clare College are the only two I was able to visit and since it is a long time since I did see the inside of a medieval college hall with its medieval portraits painted on wood and inserted into pockets on the walls, High Table with its chairs all askew, and the marvelous timbered ceiling, I was taken back in time to my own meals at Exeter College Hall in Oxford where I had lingered over lunch in similar fashion. I also went out into the gardens to explore the extensive grounds that border the Fitzwilliam.
Across the street, I entered the quad of Pembroke College with its lovely landscaped gardens, Big Ben-like Tower and the adorable Christopher Wren Chapel where a rehearsal was on for a recital to be performed later that day. Wren's uncle, Matthew Wren, Bishop of Ely, had spent 18 years locked up in the Tower of London, courtesy of Oliver Cromwell, and had vowed that when released, he would build a chapel in his college. And build it his nephew did. Against the red-brick walls of a section of the college, the Baroque Chapel makes a fine architectural contrast.
Following my map, I then walked down Silver Lane, to arrive at the fabulous red brick gateway to Queens' College, founded by two medieval queens and named after them: Margaret of Anjou (wife of Henry VI) and Elizabeth of Woodville (wife of Edward IV) in 1448 and 1465 respectively. Their heads, carved in stone and painted, are found on one of the gateways that link the many quads of this lovely college which is most notably associated with the Dutch scholar and reformer Erasmus, who lived in a tower here from 1510 to 1514. This college in whose unusual cloistered quad, I rested for a long time, is remarkable for the Tudor facade of the President's (or Master's) Lodge and the fact that you can walk across the River Cam on one of the oldest bridges built across it--Mathematical Bridge--that was originally constructed without any nuts or bolts. Naturally, I walked across it, and for a moment, thought I was back in Venice. I caught my first glimpse of the Cam then, of course, flowing serenely on this brilliant morning, with a few punts gliding by, their passengers, well wrapped in red blankets. On the opposing bank, autumn with its gilded foliage, allowed me to see a medieval corner of England bathed in its golden beauty as coppered leaves burnished the landscape.
Then, I was out on the King's Parade following signs to the tourist office as I badly needed a better map. This took me past a fascinating clock embedded into the walls of Corpus Christi College which featured a colossal gold Pendulum, pushed along by a fierce-looking grasshopper. Entering that lane, I found myself in a warren of little streets and into Market Square where one of Cambridge's famous Christmas Arts and Crafts markets was being held. I resisted the temptation to browse as I knew that the colleges were open for three hours only and I still wanted to see King's and Trinity before the light faded following sunset.
King's College, built by Henry VIII and full of memorials recalling his stormy reign, is famous for its Chapel, the one with the extraordinary facade, which when viewed across the River Cam, provides one of the most easily recognized scenes in the world. The college quad is larger than most, but it is towards the Chapel that most visitors are drawn. I decided to look at it from the outside only as I intended to attend Evensong at 5. 30 pm. when I would be able to see the famed interior. So I strolled towards The Backs--that manicured strip of grass so-called because the backs of the colleges can be viewed from this perspective, to the banks of the Cam where, while I would have loved to have been punted along, I would have chosen a warmer day for such a special excursion.
I hastened out of Kings', past the impressive carved stone entrance to the Old Examination Hall and the back of Gonville and Caius (pronounced 'keys') College and eventually, I was at the entrance of Trinity College with the cheeky sculpture of Henry VIII adorning its main portal--cheeky because some former students took off the sword that he carried in his right hand and replaced it with the leg of a table which has, inexplicably, stayed there ever since! Once past the entrance, one can't help but gasp because the Quad, a whole two acres of it, is so gigantic and so crammed with interest that you know not where to look. I hurried across it, to the next quad hoping to enter the Wren Library which contains the original manuscript of A.A. Milne's Winnie The Pooh. Alas, the Wren Library is not open on weekends. I had to content myself with a picture of the front facade with its sculpture-crowned roof, and return to King's Parade.
I had not yet seen the Bridge of Sighs and with the light fading quickly, I wanted to catch a glimpse of it before it was too late. I hurried off to St. John's College and was enchanted by the mass of Tudor and Jacobean architecture that separates its various quads, each characterized by a towering red brick gatehouse. The clearly-marked 'Tourist Route' took me to the Chapel where another rehearsal was in progress, and then I was hurrying along to Kitchen Bridge which offers the best views of the Bridge of Sighs. I did shoot a few last pictures at the very same spot where I had posed 22 years ago and, of course, I was filled with nostalgia. By this point, my feet were sore again and I badly needed to rest and get out of the cold for a bit. A student directed me to a low modern building where I used a rest room and rested in a parlor and ate a few biscuits and then, to my delight, on leaving the College premises to make my way back to King's College Chapel for Evensong, I actually walked over the Bridge of Sighs! It was so wonderful to be able to do that and to straddle the Cam over this lovely covered bridge that links two parts of the college together.
Evensong at King's College Chapel:
Of course, though it wasn't quite 5 pm yet, night had fallen and the festive lights were switched on all over Cambridge turning the town into a fairy land. Tracing my steps back to King's College, I joined the line of visitors who were there early for the best seats. As always happens when I am in a queue, I got into conversation with the two ladies in front of me, visiting from Surrey and Australia respectively. They said they recognized me by the pompom on my hat from having taken my picture earlier near the Chapel!
Within ten minutes, on a night when the temperature went down to 2 degrees Celsius, we were inside the Chapel and, once again, I was struck speechless. There it was--the famous fan vaulting that Wren so admired. He is reputed to have said of King's College Chapel that he could have built it if someone had told him where to place the first stone! The high ceiling towers above the narrow nave. To approach the main altar, you pass through the wooden carved choir screen that was donated by Henry VIII to the chapel. This church was built by his grandfather Henry VI but was embellished by his father Henry VII and himself when he was still the Pope's Defender of the Faith and it remained a Catholic church until the Dissolution and its conversion to an Anglican chapel.
The chapel was lit only by candle light and its soft flickering glow gilded the stone walls. Inside, I was amazed to notice that each carved altar seat bore the signature of Henry VIII--HR--for Henry Rex, or in Latin, Henry the King. The altarpiece is famed for the painting The Adoration of the Magi by Peter Paul Reubens and I resolved to examine it closer at the end of the service.
I found a seat on a back bench, then had to pinch myself to believe that I was actually here in King's College, Cambridge, listening to its internationally-renowned choir sing a service in the great chapel itself. When he built the chapel, Henry VI stipulated that a choir consisting of 6 lay clerks and 16 boy choristers--educated at the college school--should sing daily at service. This custom continues at term time. Hence, I was lucky enough to catch one such service. Seating was done in an extremely orderly fashion and it was very easy to follow the service with the books placed at each pew. Then, the clergy and the choir streamed in and took their places and worship began through word and music and in that candle-bathed ambiance, there is only one word by which to describe it--magical! This is the same choir that sells tickets to its shows all over the world, that presents TV performances that everyone in England has seen, and here I was listening to them in an atmosphere that was transforming and intensely prayerful.
One of the things that struck, about the service were the two Readings from Scripture. I have never in my life heard anything read like this. The Lectors weren't reading, they were dramatizing. I thought they were on stage and I in an audience listening to an Elocution performance. Word by word, they presented the Scripture with such high drama and much modulation of voice and tone. As a Lector in my own parish church in the States, I have to say that this was over-the-top and certainly not something to which I am accustomed. But then perhaps the high dramatic space within which the Word was being read accounted for this elaborate manner of presentation.
At any rate, I was absolutely thrilled that I was able to crown what had been an extraordinary day with this extraordinary service and when it was over, and I filed out of the church (having taken a closer look at the altarpiece), I wished I could linger longer amidst the enchanted Christmassy world of Cambridge. There was one more thing I'd have liked to see: Magdalen (pronounced 'maudlin') College whose library contains the collection of 18th century diaries penned by Samuel Pepys, of whom I happen to be a latter-day disciple; but lack of time didn't allow for that. Besides, there is always one thing they say you should leave unfinished, to ensure that you will return.
So instead I paid a visit to the loo at the deluxe University Arms Hotel before crossing the Green and boarding the coach at 7 pm. that took me back to London. I hopped off at Stratford from where I decided to take Bus 25 home to Holborn, but had to wait for almost half an hour before a bus condescended to show up and then it took me 40 minutes on the bus. I had no idea how far away Stratford was from Central London, but this bus pass is allowing me to see and learn about parts of London into which I would never have ventured.
Despite a supremely busy day, surprisingly, I did not feel physically tired though my feet were very sore indeed. A good soak and a massage and a few exercises and a bit of Moov applied to them and, on a wing and a prayer, I got into bed, looking for an early night but chatting with Llew for a bit before I finally hit the sack.
The Other Place was a revelation and I realize that as I see places with the more mature eyes of my advanced years, I am appreciating and enjoying them far more than I ever did during my gawky youthful ones.
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