The development of Phryne Fisher

Bort ifrån en stad nå'nstans i Sverige flyr en kvinna.  

Hon har flytt så många gånger förr  

Varje gång är det svårt

Varje gång hon blir bortdriven,

Stänger hon en inre dörr. 

Och där bakom dörren skapar hon sin egen himmel

Svarta silhuetter emot skyn

De är där, hennes folk

Det är vännerna som träder fram 

För hennes inre syn

Svarta silhuetter

Tusen och en nätter

Allt går om och om igen

Skuggorna är långa

Drömmarna så många

Långt ifrån och länge sen

(Away from a town somewhere in Sweden a woman runs. She has fled so many times before. Every time it is hard. Every time she gets driven away, she closes an inner door. And there behind the door she creates her own heaven, black silhouettes against the sky. They are there, her people. It is the friends who appear before her inner sight. Black silhouettes. One thousands and one nights. The shadows are long. The dreams are many. Far away and long ago.)

 ~ Svarta silhuetter, Hjälp sökes; 

Björn Ulvaeus & Benny Andersson

 

The lyrics above is an extract from the song Svarta silhuetter (Black Silhouettes - a link to Sofia Pekkari singing the song can be found here) from the musical Hjälp sökes (Help wanted) written by Swedish writer Kristina Lugn and with music by Björn Ulvaeus and Benny Andersson from ABBA. I had not heard about it until recently, but I will save that story for another entry. The second verse of Svarta silhuetter had me thinking about Phryne Fisher and I realised it is about time that I made an update of the entry I made about 14 months ago as sort of the start up to this blog. After that I have discussed her character a few times, not least in the entries about Blood and Circuses and now it is time to discuss her a little bit more. There are some differences between Phryne's book and television persona and this entry will focus entirely on the TV version. I have not finished all the books yet and TV-Phryne is therefore the one I know best.

A plotline created for the TV show is that Phryne has a little sister called Jane who got kidnapped and murdered by Murdoch Foyle when they were children. He has never confessed to the kidnapping and the only reason why he is in jail is because of a failed kidnapping attempt on another girl. The main reason why she returns to Melbourne is to prevent him from getting out of jail and this is the overarching plotline of the first season.

Jack: "That wouldn't have anything to do with you barging in there like a freight train, would it?"
Phryne: "I was a charming freight train."

~ Death by Miss Adventures

Phryne is not exactly open about her past, neither does she seem to reflect to much upon either that or the future. Her hedonistic, adventurous side makes her live in the here and now and also from time to time a little bit careless of other people's feelings. Especially Detective Inspector Jack Robinson's who calls her a freight train in Death by Miss Adventures. Phryne does not deny this either, just commenting on the fact that she is a charming one. This indicates that she has self-distance and do realise her flaws.

Phryne grew up in the poor neighbourhood of Collingwood in Melbourne, something that she actually seems pretty proud of. She knows where she is coming from and does not shy away from it. Instead she uses it as a strength both in her professional and personal life.

From what I gather, her father inherited money and a title pretty soon after Jane disappeared when Phryne was still a child. They moved to England and I think this is where Phryne's life "on the run" really started. The move both geographically and socially must have felt like a great relief, but I think Phryne also learned that the easiest way out of situations that demand deeper thoughts and feelings is to flee.

Someone I know's first reaction to Phryne was that she was a shallow female James Bond archetype which is a very common comparison, not least from the author Kerry Greenwood and the producers behind Miss Fisher's Murder Mysteries Every Cloud Productions. I have talked a lot about how I think this is a degradation of Phryne in previous entries (e.g. here) and also that I think the Astrid Lindgren girls (especially Madicken) is a far better comparison (e.g. here). I will not repeat that argument here (you have to read the linked entries if you want to see my thoughts on the subject), but I have for a while thought about if there is anything to the claim that Phryne is a shallow character.

To be honest, my first instinct was to yell a firm no, but the more I thought about it and also did some rewatches of the series, the more I realised that it is not really true, but there is something to it anyway. Phryne does appear shallow at first glance. From time to time she also seems to make herself appear shallow to get what she wants (mainly from men), which is evident for example in her first meeting with Jack.

In a way, I think the whole first season is about her maturing. I would not say that she grows up, because she is totally capable of taking care of herself like an adult. But the Phryne that steps off the ship in Melbourne in Cocaine Blues is not really a mature woman. This is especially evident in the scene from Murder on the Ballarat train when she hangs out from the end of the train. I cannot see her doing that in season 3.

"I haven't taken anything seriously since 1918"

 ~ Phryne Fisher, The Green Mill Murders

How she handles the war and her relationship with René Dubois also indicates her flighty lifestyle before she returns to Melbourne. I also get the feeling that while obviously meeting a lot of people during that time, she does not really form any deeper connections to those people. They more ressembles "black silhouettes". Of course she has her family and there is Elizabeth "Mac" Macmillan (I get a feeling that we have not really explored their backstory at all on the show really), but no one that she meets on a daily basis. There is another song from Hjälp sökes called Den jag ville vara (The one I wanted to be - sung again by Sofia Pekkari here).



Människan är skapt för att tänja ytterligheter
Bortesta gränsen 
Dömd att för evigt försöka flytta staketen
För existensen

Den jag ville vara
Hon som vågar språnget
Ut i själva livet
Hon som vet att inget är avgjort och givet
Henne ska jag bli
Någonstans i tiden 
Ska den andra kvinnan bli till
Hon är jag om jag vill
Stark och vig tar hon ett språng
Den jag ville vara
Ska jag bli en gång

(Humans are created to stretch the extreme. She who dares the leap out into life itself. She who knows that nothing is decided and given. She's the one I will become. Somewhere in time the other woman will be created. She is I if I want to. Strong and agile she takes a leap. The one I wanted to be, I will become once. )

 ~ Den jag ville vara, Hjälp sökes; 

Björn Ulvaeus & Benny Andersson

When she returns to Melbourne, she almost immediatelly meets pretty much all of the mis-matched group that will form her new family. She does not let them in easily, but she starts caring enough about them so she keeps them close.

Jack tells her at the end of Blood at the Wheel that he will never try to change her, but in a way he already does. I think that is one of the best signs for a healthy relationship of any kind (not just romantically). The people we attach ourselves to, (un)consiously starts to rub off on us. This so we can actually make room for them in our lives. Phryne is probably not used to this attachment. She contiunes to just move along like "a freight train", not realising that she can actually hurt people until she already has. This is especially true when it comes to Jack who, on the other hand, spend pretty much all of his time in reflective mood.

But it is not only the people in Melbourne who has Phryne stop unning. No, the main reason behind her return is because she is more or less forced to meet her past when Murdoch Foyle is about to be let out of prison.

Guido Lupinacci says in Murder and Mozzarella that there is no future in the past. I can see where he means, but as an archaeologist I cannot totally agree. In fact I would say there is lot of future in the past. Not least for Phryne. My motto is that you cannot move forward unless you look backwards. That is really the main reason why I dig downwards. (För att komma framåt måste man se bakåt. Det är därför jag gräver nedåt). This does not mean that you should live in the past. On the contrary, you always need to start from the present. I can go on and on about the the importance of the past for both the present and the future, but that is a topic for another entry.

Phryne's own actions during the first season of Miss Fisher's Murder Mysteries also go totally against Guido's quote. During the first season she needs not only to face Foyle and Jane's kidnapping/murder, but also René and she comes out of all of it stronger. I find the moment when Phryne reaches out her hand and Jack grabs it at the site where Jane's body has been buried a prof of how much she has evolved throughout the season in regards to having people around. She's not fleeing. She faces her past, present and future all at once. She lets people in. They are not only black silhouettes. They are there to catch her when she falls.

Swedish Midsummer

Since I blogged about the winter solstice in December, I thought I should talk a little about the summer solstice today. Not least since it is the second largest holiday in Sweden. This is the day when the normally so reserved Swedes really let loose.

I understand that midsummer must seem so unbelievably strange to an outsider. We days around a big phallos singing about frogs, rockets and walking around junipear trees doing our laundry. We eat herring and new potatoes and party all night. We also pick 7 flowers to put underneath our pillow so we should dream about the one we are going to marry.

The way we celebrate is a mix of older and newer traditions. The way we celebrate today mostly dates to the end of the 19th and early 20th century. However, the festivities are far older than that.

The midsummer celebration is mentioned already in the Icelandic Sagas from the 13th century and the midsummer pole (originally called may pole) can be traced back as far as the christianisation. It is decorated with leaves and flowers to celebrate all things that grow.

We do not really know for sure for how long we've celebrated midsummer in Sweden, but it is described in Historia om de nordiska folken (History of the Nordic people) which dates back to the 16th century. Back then it was celebrated on the day of John the baptist (23 June) every year. From 1953 however, it has always been celebrated on the Friday and this year it happens to be on that day.

I do not find it so surprising that our biggest holidays are Christmas and midsummer. Living here you really notice the contrasts between the seasons. The winters are dark and cold and the summers bright and warm. Of course we want to celebrate the turning towards a brighter existence in the darkest of winter and of course we want to celebrate the time when it is the brightest too. I love the fact that Norse mythology deals with these contrasts with the cold and dark and the light and warm. It was created in the special situation we have living up here and I think this is one of the reasons why Christianity has never really been able to claim the midsummer night. It still feel a bit magic.

The Sture costumes

The Sture costumes

I showed you this photo already in my entry about the Sture murders, but they are just so awsome that they deserve to be talked about on their own.

What is the Sture costumes? They are the clothes that were worn by Svante Sture and his two sons Nils and Erik on 24 May 1567. They are said to be the only completely preserved male costumes from the renaissance. I am not sure if this is true, but it is certainly rare to have clothes in general left from that time and even more rare to have them come complete with stabbing wounds and blood stains.

The chest Märta put the clothes in
Photo: Lennart Engström, Upplandsmuseet

After the murder Svante's widow and Nils and Erik's mother Märta Leijonhufvud took care of their clothes and put them in a chest that was placed on top of their grave in the Sture choir in Uppsala cathedral. The chest and some of the clothes can be seen at the exhibition in the Uppsala cathedral's museum in Uppsala. It once contained, among other things the clothes of Svante, Nils and Erik that is now in the museum and a hat that belonged to Svante's and Märta's son Sten who died in a sea battle two years prior to the murders. Two years after the murder, Märta also put down the release protocol for Svante, Nils and Erik.

Svante Sture

The clothes are influenced by Spanish as well as German contemporary fashion.

Svante's costume (the one to the left in the photo above) is of a little older model than the ones belonging to his sons. Based on the form of the clothes, he also seems to have been shorter and a bit more robust than both of his sons who, based on their clothes must have been quite tall and slender.

Svante's jacket is made of black velvet with greyish green decorations and the pluderhosen is of taffeta. Mainly on the right side of the jacket, you can see blood stains.

Nils Sture

Nils Sture's costume (in the middle in the photo above) is a  typical travelling outfit for noble men of the time. The jacket is made in chamois leather and traces show it was originally painted black. In a list of inventory from the Uppsala cathedral from 1780 it is noted that the jacket had 19 silver buttons. Of those, only one is still there today. The stab wounds are evident.

The pluderhosen he wore is of black woollen. The fact that Nils wears a travel costume is not really strange. He was emprisoned as soon as he returned from a trip to Alsace-Lorraine where he proposed to a princess on the Erik XIV's behalf. It is said that the king wanted him to fail so he would get a reason to affront him. In the portrait to the right, Nils wears an earring in his left ear. This might be something he picked up on his trip to England where he also was ordered by Erik XIV to propose to queen Elizabeth I.

Erik Sture

Erik Sture's costume (to the right in the photo above) seems to be the one he is wearing in the portrait to the left. The jacket is made of black velvet with thin yellow braids as ornament. The pluderhosen is in taffeta like his father's and they might have once been purple in colour and not brown like today. Purple was a colour only the royals and higher nobility were allowed to wear at the time. (Disney seems to taken this to their heart in Frozen. They let Elsa throw away her purple cloak in the Let it go sequence after all.)

I do love the Sture costumes. They are prof of what I discussed a little in my entry about the exhibition Göteborgs födelse at Göteborg City Museum. Materialities tend to overbridge time gap and make history and historical people get closer. They also evoke thoughts and feelings inside of us. Märta also seems to have understood how they could be used in general memory. She saved the clothes just to have people remember her husband and sons. Unfortunately, most Swedes have today.

The Sture costume is particularly thought provoking since they actually show you real physical evidence on what seem to be quite gruesome murders. Reconstructions have been made comparing the clothes's stab wounds to the account of the murders from the written sources and they seem to match up quite well. What got me to react the most in this case is that the blood stains have actually rusted. I knew very well that there is iron in blood, but I have never thought that blood stains could rust before.

References:
Rangström, Lena (ed) 2002. Modelejon. Manligt mode, 1500-tal, 1600-tal, 1700-tal

The Sture Murders

The Sture costumes in the cathedral museum in Uppsala.
From left: Svante, Nils and Erik

Allow me to introduce to you Swedish earl, Lord High Constable of Sweden (riksmarsk) and member of the Swedish counsil (riksråd) Svante Sture (1517-1567) and two of his sons Nils (1543-1567) and Erik (1546-1567). They were quite brutaly murdered on this day in 1567 by the Swedish king Erik XIV. But lets not get ahead of ourselves and start looking at what actually happened.

Erik XIV was the oldest son of Gustav Vasa and the only child of Gustav's first wife Katarina av Sachsen-Lauenburg. His mother died when he was only two years old and he got lots of half-siblings from Gustav's second marriage with Margareta Leijonhufvud. One of them was Cecilia Vasa another Duke Johan of Finland who Erik had imprisoned at Gripsholms castle. Margareta also died and Gustav remarried her niece (the daughter of Margareta's sister Brita) Katarina Stenbock. She came to play an important role in this particular event. Gustav died in 1560, leaving the throne to Erik.

Margareta also had another sister named Märta. She was married to Svante Sture. He was the son of Kristina Gyllenstierna and former regent of Sweden Sten Sture the Younger who both fought to get Sweden out of the Kalmar Union in the beginning of the 16th century (The latter part of the Kalmar Union era is in Sweden sometimes called The Sture era). In the end Kristina's nephew Gustav Vasa freed Sweden and took the crown for himself. However, the Vasas from time to time considered the Stures as a threat. Not least Erik XIV who had heard rumours about "Sturen på tronen" (The Sture on the throne) and after interrogating the noble man Gustav Ribbing who had served as a page at the Stures's home, he took Svante, Nils and Erik Sture to his special supreme court Höga nämnden together with a couple of other noble men, Abraham Stenbock, Ivar Liljeörn, Sten Leijonhufuvd and Sten Banér charged with conspiracy and treason. Höga nämnden found them guilty on 19 May and they were first imprisoned at Svartsjö castle on Färingsö in Mälaren outside of Stockholm and was later brought to Uppsala castle where Erik XIV had called for the parliament to gather. Nils Sture had been sent to Alsace-Lorraine to propose to a princess on Erik XIV's behalf and was not imprisoned until he returned home on 21 May.

What happened at Uppsala castle on 24 May 1567 is quite grusome. It started with Erik XIV visiting Svante Sture in his prison cell. He fell to his knees begging Svante to forgive him for what he had done to Nils a year prior when he had insulted him after mistakes made during the Northern-seven-years-war Sweden fought against Denmark. Svante seems to have forgiven him and the king leaves.

Erik XIV

What happened next is hard to understand in lights of this. Erik XIV brought his drabants to Nils's prison and stabbed him in the arm. Later on Märta Leijonhufvud claimed that he also pushed the knife into Nils's eye and up through his skull, but that has never been confirmed. Nils, on the other hand, is said to have pulled the knife out of his arm and apologised to the king, but in vane. Erik and his drabants stabbed Nils to death. On the way from Nils's prison, they met Erik's old teacher Dionysios Bureus. In some sources it is said that he tried to calm down the raging king, but this is not sure. What is sure is that he became the next victim of Erik and his mob of soldiers. They stabbed him to death before Erik ordered the soldiers to kill everyone except "Herr Sten" (Mr Sten). The king then ran out of the castle and was not to be found until three days later at Odensala a bit south of Uppsala.

The drabants followed the orders and Svante and Erik Sture as well as Abraham Stenbock and Ivar Liljeörn were all stabbed to death. And pretty nasty too. Lots of stabs and cuts and prolonged beatings until they died. The soldiers did spare Sten Leijonhufvud and Sten Banér though. But only because they did not know who the "Herr Sten" that the king wished to save was. For three days the castle is completely locked and no one gets in or out. The king had disapperad and no one really knew what had happened. Svante's wife Märta Leijonhufuvd worried. She tried to talk to the king's mistress Karin Månsdotter (who he later married and made queen) and his bastard daughter (by one of his other mistresses) Virginia who told her everything would be fine. Märta then sent up food and clean clothes to her husband and sons without knowing they all lay dead in the basement of the castle.

Katarina Stenbock

On the third day, Gustav Vasa's widow (and Erik XIV's stepmother) Katarina Stenbock had had enough. Together with noble man Per Brahe the older, she went to Uppsala castle demanding to be let in. Inside she found her brother (Abraham Stenbock), her uncle (Svante Sture), two of her cousins (Nils and Erik Sture) and Ivar Liljöhök killed. Their bodies had just been left were they had died three days earlier. (Poor old Dionysios was actually left for eight days until someone took care of him.) Despite of what must have been a pretty terrifying sight for the dowager queen, she decided resolutely that she needed to inform her aunt about what happened.

Both Katarina Stenbock and Märta Leijonhufvud deserve blog entries in my Historical Women and my Meet the Vasa Women series. Therefore I will not tell you all about them here. What I must say is that it seems like Katarina was the one who told Märta about the murders of her husband and sons. Märta was heartbroken and like she opens up about her worries in her correspondence with Karin Månsdotter, she does so in letters she sent in the years to come. Personally I do actually love when you get to read letters and other personal notes where historical characters has really opened up. Time differences from time to time can only give us a little insight into personal traits and emotions, but this really is a wife and mother who first worries immensely about her husband and sons and then is struk with grief when told about their murders. This over-bridge the time gap and make them more human and close.

Katarina returned to Stockholm to meet the newly found king. He fell to his knees before her, begging her to forgive him for what he has done. With one foot among the royals and one among the mobility, Katarina was seen as the ultimate mediator by both sides.

It has been speculated a lot about what happened to Erik XIV and why he went berserk that day in May 1567. What is obvious is that he had some form of mental collapse. He was not considered fit to rule for a few months afterwards. On 13 July he married Karin Månsdotter and made her queen. This together with the Sture murders led to his brothers Johan, Magnus and Karl together with the noble families (not least Märta) removed him from the Swedish throne in 1568. He was put in prison where Johan is said to have killed him in 1577, according to the legend by giving him pea soup spiced with arsenic.

Märta took her husband and sons's clothes (The ones you can see in the first photo.) and put them into a chest that was to rest upon their graves in the Sture choir in Uppsala cathedral, where hers and Svante's other son Sten was waiting after having died in a sea battle against the Danish navy two years prior. Two years later, she opened the chest to put down the document from the parliament, saying they were free from all accusations.

References:
Eriksson, Bo 2017. Sturarna. Makten, morden, missdåden
Eriksson, Bo & Harrison, Dick 2010. Sveriges historia 1350-1600
Larsson, Lars-Olof 2005. Arvet efter Gustav Vasa
Rangström, Lena (ed) 2002. Modelejon. Manligt mode, 1500-tal, 1600-tal, 1700-tal
Tegenborg-Falkdalen, Karin 2015. Vasadrottningen. En biografi över Katarina Stenbock 1535-1621

The pictures of Erik XIV and Katarina Stenbock was borrowed from Wikipedia. The photo of the Sture clothes was taken by me during a visit to the cathedral museum in Uppsala.

Göteborgs födelse - Göteborgs stadsmuseum

Poster of Göteborgs födelse

During my stay in Göteborg recently, I had time to visit Göteborgs stadsmuseum's (Gothenburg City Museum) new exhibition Göteborgs födelse (The Birth of Gothenburg) about life in the new town Göteborg during the 17th century.

Already when I first arrived by train, the day before my museum visit, I saw the poster (seen here to the left) and thought it looked interesting and cool. However, I was a bit sceptical since the museum could have put all the money into the marketing, but I decided to try it out anyway and I was not disappointed.

The symbol of the exhibition is a heart-shaped pendant made out of silver was found in a female grave dating to the first half of the 16th century in one of Göteborg's predecessors, Nya Lödöse. The town is situated in the district today known as Gamlestaden and has been the subject of a massive archaeological excavation in the last couple of years (The project has its own web site which can be found here. The site is in Swedish, but you can use Google translate in the upper left corner.). The excavation has revealed a lot of burials (many more than expected and what the written sources say should be there), but this one particular grave was excavated in 1916 and the skeleton reburied at Östra kyrkogården in Göteborg.

The exhibition catalogue

The heart-pendant has an interesting story which is told in the exhibition and also in the exhibition catalogue. It is decorated with symbols and letters and a coat of arms that might belong to a Dutch family. Inside it was a small packet of several layers of fabric wrapped around parts of plants. Pollen analyses showed that cornflowers and heather were at least part of the packet.

I just love it when museums really emphasizes one or more artefacts from their collections in their exhibitions. Yes, this might be because I am an archaeologist and my main focus is the material culture. We are most of the time unaware of how we are affected by materialities. How symbolical they can be, how we interact with other living beings (even they materialities mostly) through them and how we basically keep ourselves grounded in reality with the help of them. (This is really a subject that deserves its own entry some day, but I cannot help talking a little about it here as well.) Artefacts also often make history come alive in an extremely physical way. It can over-bridge time and both geographical and cultural space and can have us reflect on life both in the past, the present and the future. Emphasizing on one or more objects in an exhibition puts the focus on that particular object and it encourage you to reflect. This is really the case with the heart pendant in the Göteborgsfödelse exhibition.

The first thing that meets you when you walk into the exhibition is the sound of heart beats. It engages you and makes you curious. In the rest of the exhibition, I miss this engaging of other senses than sight. I really have nothing negative to say about the visual aspect of the exhibition. It really is great. The texts are mostly not too long and it is interesting when they tell stories about different inhabitants of the town.

The exhibition stands in stark contrast to the one about the 18th century. It is obvious that they have thought a little about making the material and information fun. Some attempts at interactivities have been made, but it really does not work nearly as well as the new exhibition. This is particularly sad because the material from 18th century Göteborg is just amazing. This was the time of the Swedish East India Trading Company and the museum is even lodged into its house so there are real potentials in the material of the time period. Did you know that the biggest collection of Chinese 18th century china that is known from outside of China is in Göteborg? I cannot find my notes from the lecture about it now, but there are tens of thousands only from the museum's courtyard and than from the East Indiaman Götheborg who sank as it ran aground in the Göteborg archipelago on its way home from its third journey to China 12 September 1745. Based on the knowledge of this and all the other amazing things the museum has in its collections, I do hope they make an exhibition just as amazing as Göteborgs födelse about that century too soon.

Salve. En medeltidssaga

About a week ago the twitter account Svensk Historia tweeted about the Nordic king Erik of Pomerania. I retweeted it saying it always makes me think about the Swedish children's show Salve from 1997. This was read by a host at the Swedish radio music show Klassisk morgon and we started talking about the show and its music. Later that day I was contacted by the producer and they wanted me on the show, so this morning I made my radio debute. It can be heard here but since it is in Swedish and since I have much more to say than I had time for on the show, I thought I would make a blog post about it as well. One of the characters, Katarina Örnfot, has her own post in my My Heroine series. It can be found here and I will try not to repeat myself too much.

I was 12 years old when Salve was first broadcasted and already a history nerd with a massive interest in knights. So this was really the perfect show for me and I started recording it on tape every morning already from the start. A year later, the show was cut down to an eleven episode long TV series which was then made into two VCRs and later on also to a DVD. (And of course I have both and yes, I do still watch the DVD from time to time.)

The plot revolves around Nils Svensson who normally is from 1997. He travels to the Swedish town Kalmar to celebrate the 600 jubliee of the union between all the Nordic countries set up by Danish queen Margaret that normally goes by the name The Kalmar Unionen. He tries to call his mother with his mobile phone, but the display just says 1397. He tries it anyway and gets transported to Kalmar 1397. There he befriends Katarina who is the daughter of a knight and works in the bathing house helping the elderly women Rodwy. Later on he becomes a squire to the rather clumsy knight Rosenstråle. The new 15 year old king, Erik (of Pomerania) is bored in the castle and runs away, out into town and becomes a friend of Nils and Katarina as well. At the end he is officially crowned king.

I cannot over-estimate how much this show has meant to me! It really is historical fiction at its best. It has an overarching frame that is the happenings in Kalmar in 1397 and there also seems to be a structure of what and how they wanted to convey facts. This makes the show take the facts seriously, but is not too serious in how they teach the children making it fun to learn. They had question times where children wrote in questions about the Middle Ages to the show, but most of it was told through the fictive plot. The fact was more showed (or played) into the viewers than taught into them.

Nils is the character through whom the viewers learn and just like me during the time I watched Salve, goes from a rather stereotypical image about knights, to learning a great deal about the period itself. What I find to be one of the best aspects about his character is the fact that he is never seen as stupid like is so often the case with characters the viewers are supposed to learn through in TV shows in general and children's shows in particular. Nils just does not know so much about the Middle Ages when he gets to 1397 because he is from 1997 (The scene before he time travels in the beginning of the first episode also has him imagining a rather stereotypical picture about how he, as a knight, saves a princess from a dragon.).

I have already talked about Katarina, but I cannot stress enough how great she is as a female character. She is not reduced to a steretypical medieval woman or a tomboy who gets to play knight. Neither is she overshadowed by the boys. She is independent, complex and colourful and certainly no damsel in distress.

Based on how popular the show was, I was sad to not see it getting more of a follow up than a shortened version in the autumn the year after. I think it would have been so perfect to make a winter holiday show (or a julkalender) so we could see how the people during the Middle Ages celebrated christmas and handled the colder climate of the season.

I rewatch the show from time to time and even though it is a bit childish from time to time and there are some plotholes, I can overlook its flaws because it is aimed at children and it shows how much fun you can have with real facts. It does still hold up extremely well, 20 years and a master's degree in archaeology later. It had me interested in the Middle Ages as a time period and I am still building on that knowledge in my work as an archaeologist today.

August Strindberg - Hemsöborna (Stockholms stadsteater)

Han kom som ett yrväder en aprilafton och hade ett Höganäskrus i en svångrem om halsen. (He arrived like a whirlwind an evening in April and had a Höganäs jug in a belt around his neck.)

~ August Strindberg, Hemsöborna

The quote above is probably one of the most famous of all introductory sentences in Swedish literature. It is taken from August Strindbergs book Hemsöborna which was first published as a novel in 1887. Strindberg spent a couple of summers at Kymmendö in the Stockholm archipelago. The inhabitants on that island took the novel personally and fobid Strindberg to return there because of it. I went to see a theatre version of the novel, directed by Stefan Metz at Stockholms stadsteater yesterday

The cast of Hemsöborna. Photo: Sören Vilks

The plot revolves around the inhabitant at a farm at the island Hemsö in the archipelago outside of Stockholm. The farm is run by the widow Flod (often called madam or moster [aunt]). Her son Gusten prefers to be out on the sea hunting and the farm decays, so she sends out for help and Carlsson is hired as a farmhand to help and he is the one arriving as a whirlwind an evening in April. 

Ann Petrén as Madam Flod.
Photo: Sören Vilks

Carlsson knows a lot about farming, but nothing about the sea, but with his help the farm prosper and everyone seems to like him quite well (in the case of Madam Flod a little too well...), but Gusten remains sceptical. Carlsson rents out one of the houses to summer guests. They have a maid he falls in love with, but after hearing Madam Flod proclaiming her love for him and realising he would get his own farm, he marries her.

The marriage, however, changes Carlsson and he goes from energetic farm to greedy entrepreneur. This theme is something it has in common with Chekhov's The Chery Orchard which I saw in Göteborg last week. Hemsöborna treats it far better though! The Cherry Orchard tried too hard to place the plot into a modern setting, it did not work because it felt too much like it was forcing political standpoints down in your throat and a classical play was added sort of like an afterthought. Hemsöborna, however, sticks quite well to the original plot and because it does, it manages to portray how power and money can corrupt a man.

The book

All the actors (even the often dancing extras) were very good. I am a big fan of Ann Petrén who played Madam Flod since long before this and she was really amazing here as well, but Claes Malmberg worked very well as Carlsson as well.

In The Cherry Orchard I was very confused by the scenery. With the actors coming out of boxes and trees in the background that was not even cherry trees and nothing about it really added up to what the characters were saying.

The scenography of Hemsöborna was very simple but extremely effective. It was all made up of corrugated fiberboards covering the entire stage, screen which showed what I think was Strindberg's own paintings and with sticks being used as waves, tree branches and fishing-rods. However the scenography also turned out to be extremely effective. The last scene is about Gusten and Carlsson together with the farmhands Rundqvist and Norman being out on the ice in a snow storm and the ice starts to break up into ice floes. The rest of the cast tore off those pieces of corrugated fiberboard pretty much piece by piece and it worked very well.

So to sum it all up: while the Göteborg theatre production of The Cherry Orchard (which was the one production I was looking forward to) was one of my probably worst theatre experiences ever, Hemsöborna (which was an unexpected christmas gift) turned out to be one of my best theatre experiences ever (Not the best. That is still Othello at Shakespeare's Globe Theatre in London.) and it restored my faith in the theatre that got torn a bit last weekend.





The photos, besides the first and the last ones, was borrowed from here. Photographer: Sören Vilks

Historical Women - Elsa Andersson

Today is the birthday of Elsa Andersson, the first Swedish aviatrix, so I thought I should talk about her in my series about Historical Women.

Elsa Teresia Andersson was born in Strövelstorp outside of Ängelholm in Skåne, the southernmost province of Sweden on 27 April 1897. She was the daughter of a farmer and her mother Alma died giving birth to her little sister Stina in 1903. Her elder brother Sture later emigrated to America and her other brother Harald became an electrician.

Not far from her home was Ljungbyhed where the military had been practicing since the 17th century (Skåne belonged to Denmark up until 1658 and I have no idea if the place was used before that and that the Swedish army just took over or if it started afterward.). Among other things practiced there was flying which might have woken Elsa's interest in flying. At Ljungbyhed was also Thulins flygarskola (Thulin's flying school) where Elsa was accepted. She graduated in 1920.

After graduation, she wanted to learn how to use a parachute, but the only teacher and expert in Sweden, Raoul Thörnblad, refused to teach her. Because of this, Elsa moved to Berlin in 1921.

Unfortunately, she died in january 1922 at the age of 25 when she had problems releasing her parachute during a jump at Askersund in Sweden. In 1926, Svenska aeroklubben (the Swedish Aero Club) erected a monument to her honour at the site where she died. She was buried at the cementery in Ströveltorp.

In 1996, Swedish writer Jacques Werup wrote the book Den ofullbordade himlen about her life and life was also depicted in the Swedish film Så vit som snö in 2001.





Pictures  were borrowed here and here.

Vere Gordon Childe - Phryne's archaeologist friend?

Today is the one year anniversary of this blog, my digital baby. And in what better way can I celebrate than write a post about two of my favourite subjects: Phryne Fisher and archaeology. The former was actually the subject of the first real blog post I wrote on this blog, a couple of days after the introductory one.

My view on Phryne has changed a little as I have had more time to think about her as a character, but since I started the books I have also started to gain new knowledge about her, so I think an update is needed. However, this post will not be so much about her character as it will be about a mentioning of a friend of hers in the book version of Blood and Circuses. We do not get to know much about this friend other than it is a man and he is an archaeologist who have been bitten by a lion.

Phryne had been told that the moment before the prey was seized by the predator, it went limp. It ceased to fear or care. An archaeologist friend had talked about the moment when a lion's teeth had closed on his shoulder. Dreamy he had said. The world had ceased to matter. The last mercy, he had said to creatures destined to be dinner was that they went down sweetly and gently to death, reconciled to their place on the menu.

~ Kerry Greenwood, Blood and Circuses

As an archaeologist myself, I have been wondering about her archaeologist friend and I think I have found a male archaeologist, contemporary with Phryne, that would fit quite well even if I have no clue if he was ever bitten by a lion.

V. Gordon Childe

His name is Vere Gordon Childe and he is viewed as one of the most prominent archaeologists of his generation. He was born in Sydney in Australia in 1892, but througout most of his career he lived in Great Britain.

Childe came to study classics at the University of Sydney, before moving to England to study Classical archaeology at the University of Oxford. During his time at Oxford he became a socialist, active in the campaign against the First World War which he saw as coerced by imperialists and which hurt the European workers.

In 1917, he returned to Australia, but due to his socialist engagement, he could not find work in academia and engaged himself in the Australian Labor Party. However, working for them, he became critical towards their politics and took another step to the left on the political scale and engaged himself in the left political movement called Industrial Workers of the World.

Childe emigrated to London again in 1921 where he got work as a librarian at the Royal Anthropological Institute and he also travelled the European continent and brought home the notion of culture from German archaeology to British archaeology. In his book The Danube in Prehistory from 1929, he defined it as:

We find certain types of remains - pots, implements, ornaments, burial rites and house forms - constantly recurring together. Such a complex of associated traits we shall call a "cultural group" or just a "culture". We assume that such a complex is the material expression of what today we would call "a people".

How the notion of culture has been used and is still used (both implicitly and explicitly) in archaeology is a subject I love to discuss and I do think Childe's definition still has more relevance for how archaeologists treat the concept today than contemporary archaeologists in general would like to admit. To express my thoughts on the subject would make up at least ten other posts. One thing about his archaeological influence do I need to clarify though.

There are three major theoretical paradigm that usually come up in archaeological publications and classes and Childe sort of has a foot in all three of them. I will here use a lot of -isms that might be tricky to understand if you are not used to an academic language. In those cases, I have linked to the Wikipedia articles about them. If you have any questions about it, please feel free to ask in a comment or on the link post for this entry.

• Chronologically, the first one is usually call Culture-historical Archaeology, Culture Archaeology or simply Traditional -archaeology. This paradigm has a less explicitly defined theoretical base than the later two, but in short the foundation can be found in evolutionism and diffusionism. The notion of culture (pretty much as it was defined by Childe in the quote above) was central to understand the archaeological material. Bruce G Trigger in his book A History of Archaeological Thought (2006) divides up this paradigm between one earlier he calls Evolutionary archaeology and the later Culture-historical archaeology, but most archaeologists do not seem to make the same distinction and the Culture-historical archaeology is very much based on evolutionism also.
• Because of the misuse of Culture-historical Archaeology in Nazi-Germany, archaeology went into a crisis after the Second World War and came out of it by combining a positivistic philosophical theory with a functionalistic view on society and culture into what is normally called Processual Archaeology or New Archaeology. American archaeologist Lewis Binford is normally considered to be the founder, but Childe actually did "experiment" with a functionalistic approach to archaeology before him.
• Postprocessual Archaeology is the newest of the three major theoretical paradigm in archaeology and does not only contain one single theoretical approach but many, for example structuralism, post-structuralism, hermeneutics, gender theory and marxism. The main thing they have in common is their critic of the rigid positivistic approach of New Archaeology and even here you can glimpse the influence from Childe. He turned to marxism to help him in his studies of European prehistory shortly after his first trip to the Soviet Union in 1935.

This is only a short account of Childe's contribution to archaeology. Describing it all would make this entry far too long, like I said above. Therefore I have decided to focus on his personal life.

In 1927, he became Abercromby Professor of Archaeology at the University of Edinburgh and took an interest in the Neolithic period on the Orkney Islands. He did some excavations there, the most famous one of the Neolithic village Skara Brae between 1928 and 1930. From 1947 to 1957 he also worked as director of the Institute of Archaeology, London and together with Stuart Piggott and Grahame Clarke he founded The Prehistoric Society.

Upon retiring, he moved home to his native Australia, where he settled down in Blue Mountains for awhile before commiting suicide there in 1957.

Kerry Greenwood uses real life aviator Herbert Hinkler in Ruddy Gore so she is not opposed to the idea of using real life people in a fictional setting. It is, however, very much unclear if Greenwood even knows about Childe (even though he is one of the more influential archaeologists, he might not be known outside of the field). Considering his nationality, where he was active and when, however, I think it is a possibiltiy that Phryne would actually know him.

As I have said before, I am not so found of the comparisson between Phryne and Indiana Jones and to be honest I think the annonced title of the upcoming Miss Fisher film, The Crypt of Tears to fit much better with the latter than the former (which worries me immensely, but I still hope my worries to be unjustified!), if you see Phryne's archaeologist friend as Childe, they do, in fact, have something in common. After all, I have long thought "Indy" might have read too much of Childe's work and he is mentioned by him in Indiana Jones and the Kingdom of the Crystal Skull from 2008.

Edit 27 April 2017: Someone on Facebook made me aware of the fact that the person who was bitten by lion that was referenced in Blood and Circuses was none other than David Livingstone ("I presume.") (1813-1873) and linked to this article about the incident. However, he was not really an archaeologists, mostly considered to be an explorer and missionary.





References

• Bjørnar Olsen 2003. Från ting till text. Teoretiska perspektiv i arkeologisk forskning. svensk översättning: Sven-Erik Torhell, Lund
• Bruce G. Trigger 2006. A History of Archaeological Thought, Cambridge
• https://en.wikipedia.org/wiki/V._Gordon_Childe 

Photo of Childe was borrowed from here.

Anton Chekhov - The Cherry Orchard (Göteborgs stadsteater)

Last Friday, I went to see Göteborgs stadsteater's production of Anton Chekhov's play The Cherry Orchard (Original title: Вишнёвый сад) directed by Anja Suša in Göteborg (Gothenburg). It tells the tale of the aristocratic Madame Lyubov Andreievna Ranevskaya who returns to the family estate that is about to be auctioned to pay the mortgage. She gets offers to help save it, but is not at all interested in them and it is sold to Jermolaj Aleksejevitj Lopachin who is the the son of one of the family's former serfs. He cuts down the cherry orchard as the family leaves the estate.

The play deals a lot with class issues with an aristocracy trying to remain its status and societal position in a changing society and a new upcoming bourgoisie class trying to trying to find its way in their new materialistic reality. It opened at Moscow Art Theatre on 17 January 1904 and I can see how it can work in a modern setting whre classes are changing and no one really knows how to deal with there new position in society.

However, the production at Göteborgs stadsteater did not adapt the play into a contemporary setting very well. Almost throughout the entire play it felt like the characters actions did not fit with what they said, making the production feel confusing. The political statement became quite exaggerated and too much in your face for my taste. They were also the best example of how the character's actions did not fit with their actions, making the statements feel very misplaced, even though some of them I can actually agree to some extent with.

In the original play, Ranevskaja's brother Leonid Andrejevitj Gajev likes to play billiard, which in Göteborgs stadsteater's production had been changed to table tennis for some unknown reason. According to the English Wikipedia page about the play the billiard obsession is a symbol of the aristocractic decadent life-style and incompetence to adapt to a new reality. Having Lopachin come in with a golden table tennis racquet trying to interupt Ranevskaja and Gajev's game, like he did, would therefore be quite a strong symbol, but it was all lost to me due to the confusion that I felt about the play already by then.

I must admit, I was mainly interested in seeing the play because Simon J Berger played Lopachin. He is my favourite Swedish actor and he and the others did a good job with it all. The only problem I had was with the character Dunjasja who is described as husa (maid), which was not at all clear. The girl sounded robotic and I sat through the entire play wondering if it was intentional or not. She also had a puppet, which seemed to be an older version of herself which made it even more confusing. The main reason why I think the robotic tone of her voice was intentional, was that she did not use it while speaking with the sort of changed voice through the puppet.

So to sum it all up, as I have now read about the play, I can understand a few of the choices that was made during the production, but I should not have to read about the play to understand what I saw on stage and a lot of it is still a great mystery to me...

Sports teams and Phryne Fisher's age - thoughts about Marked for Murder

"All is fair in love and football Miss Fisher."

~ Jack Robinson, Marked for Murder

 I have written all about my thoughts and feelings about the terrorist attack on Stockholm on 7th April 2017 here and here and this entry will not really be about that. More about thoughts I got from walking on Drottninggatan last week.

I talked about the Jersey barriers in the shape of lions in the latest of my entries about the Stockholm attack. They have become sort of symbols for the attack and almost every single one of them has at least one flower bouquet on its head or body and some of them are almost covered with flowers, flags, candles, teddy bears and text messages.

One of the most powerful things from my walk along Drottninggatan last Wednesday was three of the lions standing in a row just in front of the crosswalk to the departement store Åhléns that the truck hit. Each one of them was completely covered but their faces and on top of their head they had one scarf from one of the three major sports club in Stockholm: AIK, Djurgården and Hammarby. Some of the supporters of those three teams are not always the best of friends and it is not uncommon for matches to end in violence. This is why I find the three lions representing each one of those teams such a powerful tribute. They stand together in all the tragedy. (Unfortunately, due to the big crowd surrounding them, my photos did not turn out good. The lions you see here to the right are others.)

The scarfs and the unification in tragedy of the three sports club in Stockholm, made me think about the episode Marked for Murder in Miss Fisher's Murder Mysteries. The episode's major theme is Australian football and the plot involves the two teams Abbotsford and West Melbourne. As far as I have understood these two teams are fictional, but an Australian friend of mine tells me that Collingwood and Carlton which are mentioned by Phryne and Jack do exist.

 The sport is described as a mix between European football and rugby by Wikipedia and it was founded in Victoria (the state Melbourne is in) in 1858. To be honest I do find the sport a bit confusing just reading about it, but I am sure it all makes sense when you watch a game or play it. I did find a video explaining the rules on Youtube:

You can also read more about the Australian Football League (AFL) here and about the Swedish one (AFL Sweden) here. (I actually was surprised that there were quite a few Swedish teams. I have never heard about it over here. The first Swedish team was, according to Wikipedia Helsingborg Saints, founded in 1993.)

In Marked for Murder the games themselves play minor roles. It is not until the very end that we see the very beginning of a match between Abbotsford and West Melbourne. Instead the plot is all about intrigues behind the football field. Phryne is called in by Bert (an Abbotsford supporter) to investigate the theft of Abbotford's coach, Joe Maclean's lucky hat. When Phryne is there, the team's star Harry "the Hangman" Harper is found (fittingly enough) hanged with a West Melbourne scarf in Abbotsford's locker room. Phryne, of course, calls Jack and he and Hugh arrive to help Phryne investigates.

The episode is tied in with the overarching plotline about Jack's ex-wife Rosie and her family and there is some quite interesting use of foreshadowing. You can argue, that you already at the end of Murder Most Scandalous starts to see what man George Sanderson really is, but in this one he really shows his true self. As a West Melbourne fan, he oppose Jack bringing in the West Melbourne star Stan Baines and he does not hesitate using his personal knowledge of Jack being an Abbotsford supporter for personal gain.

Jack: "Rosie, I thought you'd returned to the West Melbourne fold"
Dot: "Yes, father would have loved that, but unfortunately for him, Sidney's a fervent Abbotsford man. Another one."

~ Miss Fisher's Murder Mysteries, Marked for Murder

I disussed how conservative Rosie is in my entry about her and Jack back in November 2016 and this is expressed again in what team she supports. Her father is a West Melbourne fan, but the quote above indicates that she changed alliances to Abbotsford while married to Jack and now she is back as an Abbotsford supporter because her new fiancé, Sidney Fletcher is. This, women changing loyalty to their husband's team is further developed by the discussion Bert and Dot are having later in the episode.

Bert: "Lucky I didn't tell him you're a West Melbourne girl. Until you hook up with Hugh Collins, that is."
Dot: "If Hugh marries me, I don't see why I should convert."
Bert: "No choice. He'll want to take his kids to the game."
Dot: "I'll divide them up. Just like my mum did. Girls for the West and boys for Abbotsford."
Bert: "It's people like you who bring footy clubs down, Dottie!" 

~ Miss Fisher's Murder Mysteries, Marked for Murder

This makes me think that women were not thought of as real sports fan but needed to be loyal to whatever sports team their fathers/husbands supported. When seeing Phryne at the entrance to the Abbotsford locker room, Jack also seems surprised ("A football ground Miss Fisher? The last place I'd expect to find you.") also indicating that sports are not really meant for women. Phryne then tells him that she has been a football fan since she was little, but that she is a lapsed Collingwood supporter since their game against Carlton 1910. This conversation and the addition to it at the end of the episode containing the explanation to why she is lapsed.

In the books Phryne is born 1900, and is therefore 28 at the time the books start. TV Phryne seems to be a bit older (Essie Davis is all beautiful and does look younger than her real age of 46-47, but I do not really think she can pass for 28...) and a lot of other plotlines indicates this as well. However in Marked for Murder she states that she was 10 years old at the time her mother forced her to leave her football interest when she tried smuggling Carlton's newest recruit a beer at their game against Collingwood in 1910. This is the most concrete example of Phryne's age we get in the show I think and it indicates that TV- and book-Phryne are the same age. However, I do not really care so much for it. I love the idea of Phryne being ageless. It makes her eternal, just like any superhero should be.