Hello Carl!
Thanks for your kind letter; it was surely one of those lovely things which we like to listen to every day, every minute, every moment.
You reminded me of my student days, of the Sixties!
From memory, I will tell you about Paul Robeson, and how we saw him.
During my "Golden Sixties" in Frankfurt, and our solidarity with the "Black Panther" Movement, we were all fascinated by Paul (Bustill) Robeson; we enjoyed his superb bass-baritone singing voice. We especially enjoyed his version of "Ol' Man River", where as "Joe", he shook Greenwich Village.
However, because I am a Shakespearean fan, one of my feudalist merry, ole, British traits, inherited as "aristocratic achievement" from my father, I specially was bewildered by his characterization of the title role in the Broadway "Othello" production. Already the original story which Shakespeare as playwright had adapted from an Italian model by Giambattista Giraldi (Cinthio) was one of my "juvenile" favourites. In the above version, with Paul in the central role, the theme is the folly which results from trusting to false appearances and allowing reason to be guided by blind passion.
To Love Not Wisely, But Too Well
Although the contents of this play is well known, for our members, I will just summarize the plot of the play "Othello", which gave Paul Robeson fame as a "Black" actor. Of course, it is a classical "love story" tragedy, born out of the "vice" jealousy, with even more social dynamite than "Romeo and Juliet".
General Othello, the heroic "Moor of Venice", deeply "loves" his wife, Desdemona. He himself is exemplary for moral and intellectual stature; he quells revolts just with the tone of his voice; all Venetians depend on his heroic valour.
The plot begins when he makes Cassio and not Iago as his chief lieutenant. Jealous of Othello's military success and envious of Cassio, Iago plots against Othello by falsely implicating Othello's wife, Desdemona, and Cassio in a love affair. With the help of a scoundrel, Roderigo, and of his own wife, Emilia, Iago carries out a heinous plan. In short, Desdemona cornered by Othello, can't produce a handkerchief which she once had received as a gift from him; this incriminating object was found later in Cassio's possession.
Infuriated and dying of jealousy, Othello kills Desdemona.
Too late, Othello learns that his wife Desdemona is blameless, he then asks to be remembered as one who "loved not wisely but too well," and committed suicide. Even as a murderer, Othello still fascinates the public, the mob; his contrition is agonizing enough to swing the sympathies of the audience back to him.
Of course, Othello is a Moor, a Blackamoor, and in "racist" North America of the Forties, for Paul, it was certainly a demanding revolutionary role; that it set an all-time record run for a Shakespearean play on Broadway, tells us more about Paul's artistic qualities.
However, what fascinated us more in those days was the development of Paul towards "socialism". As a product of his time, and as a result of the world crisis, he became politically aware; and in 1934 he visited the Soviet Union; thereafter his concerts, his music, his songs, and his artistic work in general became increasingly identified with "left-wing" commitments.
It did not take long, then, like all of us, critical of the world capitalist system, Paul was labelled as "communist" and "terrorist". Because he refused to sign an affidavit disclaiming membership in the Communist Party, the United States State Department simply withdrew his passport, and he was not allowed to travel abroad anymore. Until 1958, he was virtually ostracized for his political views; however, he was lucky, in 1958 the Supreme Court overturned the affidavit ruling.
But Paul remained tenacious and consequent in his political convictions. Perhaps, Carl, this must have been what fascinated you so much! Until 1963, when he had to return to the United States as a result of ill health, he simply preferred to live in Europe and travel in countries of the Soviet bloc. Of course, his political consciousness reflected the general trend of those days; he could not yet understand Stalinism, and its real social and political objectives, but like "Porgy", he was "On his Way, to the Promised Land!".
Carl, did you see a copy of his film "Song of Freedom" ?
And did you read his autobiography, "Here I stand" ?
I did not, but I would love to.
Tomorrow, I will begin answering your questions.
for today,
Warmest Regards,
Franz.