Feminist Fridays: “Dein blaues Auge” by Johannes Brahms
This post belongs to the series originally called “Frauenbild Fridays.” For the original post, click here.
I’m gearing up to begin a more extensive series, but I’ll do one more single song musing before I dive into our next cycle.
Dein blaues Auge, which translates to “Your blue eyes,” is an iconic art song by Johannes Brahms with poetry by Klaus Groth. I was first made aware of Brahms’ existence with this PSA advocating for arts education in schools:
GUTEN TAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAG!!
Shoutout to my high school choir director for that one.
Well, our guy Robert Schumann composed those pieces for his wife. If you think back to my introduction of Frauenliebe, I mentioned that he was married to a notoriously fabulous pianist, Clara Schumann. Of course, she never went on to have the prolific performing career and compositional recognition she deserved because she needed to pump out babies and be a good wife, as was the expectation for the time. We could’ve heard more of her compositions if she had only been born 200 years later, but she still managed to write some beautiful music.
It’s difficult to overstate Clara’s incredible contribution to classical music. She is regarded to this day as one of the best concert pianists of all time, with a career spanning over 60 years. Robert died 30 years before her, and she continued to raise eight children while performing. Most of her compositional output occurred before she had children, which appeared to be a conscious choice. Bogged down by gender conventions of the time, Clara was unsure of whether it would be appropriate for women to compose music, despite Robert’s encouragement. Clara didn’t receive the musical recognition she deserved until the last couple of decades when a desire to highlight female composers became more mainstream.
Clara Schumann (1819-1896) at the piano. Hulton Archive/Getty Images.
However, I’m not talking exclusively about Clara today– we’ll get to her songs soon enough. I’m talking about Johannes Brahms’ puppy dog love for his buddy’s wife, specifically, the song Dein blaues Auge.
The validity of the love triangle rumor is admittedly up in the air. Still, it remains common “knowledge” in the classical music community that Clara and Brahms were more than just friends. Despite Brahms’ apparent longing for Clara, their love was never meant to be, even though Robert died in 1856. They remained friends but not lovers. Brahms never married. A romantic type might guess this was because he spent his life pining for Clara, but perhaps he just enjoyed a bachelor’s lifestyle. We will never know.
Clara only writes that she loves Brahms in her correspondence once, whereas Brahms declares his love for Clara dozens of times. If I had to postulate, and you know I love to make wild guesses, she once truly loved the man she married, Robert Schumann. He was a brilliant young student of her father’s. However, he never respected her as an artist and intellectual the way Brahms did. After Robert’s death, she craved a relationship with a like-minded individual over a romantic affair.
I’m not a Schumann or Brahms scholar, and I will never know. I love smutty romance novels, though, so I think I’m on the right track.
Back to Dein blaues Auge. Did Clara Schumann have blue eyes?
After doing a bit of digging, or as conspiracy theorists might say, “my own research,” I can honestly say I’m not sure. In a painting of Clara from childhood, she appears to have bright blue eyes:
Image: Schumannfest.
However, in this painting of Clara in her adulthood, her eyes are more hazel or brown. Agh, the 1800s. I don’t know if Clara would’ve been a selfie gal if she lived today, but at least we’d have a few more photos from which we could deduce her eye color. Regardless, I’m choosing to believe this song is about Clara– either as an obvious nod to her eye color or an attempt to disguise the true recipient of Brahms’ ardor. It doesn’t matter if I’m right or not– isn’t that the beauty of art? There isn’t an answer.
Clara Schumann. (2023, January 23). In Wikipedia. Portrait by Franz von Lenbach, 1838.
Dein blaues Auge was published in 1873 as the eighth song in Brahms’ 8 Lieder und Gesänge, Op.59, No.8. This publication is not considered a song cycle, unlike Frauenliebe und –leben because there isn’t a compositional or poetic link between all eight of them. Unlike a song cycle, it’s acceptable and common to mix and match which songs are performed or recorded, although they can be programmed in full.
One of the queens of art song. Regine Crespin, Paris, 1972.I mostly did this translation on my own, but Google helped.
Even in English, the poetry paints such an illustrative portrait of a lover’s eyes, providing the viewer a window into her soul, or at least that’s what he sees. It makes me sad to think of Brahms as yearning for unrequited love, but I am fascinated by Clara’s rebuffing of his advances. She had better things to do than Brahms, I guess. What’s behind Clara’s eyes? Is it Johannes Brahms’ health restored?
I think not. Scholars have analyzed the Brahms/Clara letters to death, but ultimately, there wasn’t anything there. Brahms ardently pined for Clara’s love for decades through letters, and she only said she loved him once. She loved him like she would a son. There’s something about the romanticism of getting lost in someone’s eyes, but I am more interested in the stoicism of not caring. Clara had other things to worry about besides Brahms’ letters, like raising an army of kids, insulting Liszt, and playing the piano in whatever free time was left. I admire her.
What if men cared more about preventing unwanted pregnancies?
Our guy Franz. I see he escaped some facial deformities that often accompanied late-stage syphilis. Photo: Wikipedia, baby!
I know it’s a Sunday, but Feminist Fridays are BACK! We’re digging into one of my favorites today with Schubert’s Gretchen am Spinnrade (Gretchen at the Spinning Wheel), a wild ride worthy of aria status, using the famous Goethe text, Faust.
Let’s back up and talk about our guy Franz Schubert (1797-1828). He wrote around 600 vocal works, primarily lieder (art songs) in his short life, in addition to symphonies, sacred music, operas, and piano and chamber work. He famously died officially of typhoid fever in 1828, but many scholars postulate he died of syphilis. I’m not sure why this is so scandalous; many people died of syphilis back in the day. No, seriously. Everybody was dying of syphilis, and it was gnarly. Thank goodness for penicillin, am I right?
Schubert made the most of his short time on earth by becoming one of the most prolific German art song composers of all time. The sheer number of works he composed over a few years is truly astounding, and we can thank him in many ways for ushering in a new era of compositional style. Beethoven reportedly was impressed!
The agony!!! Gretchen at her spinning wheel. Artist: Frank Cadogan Cowper.
Gretchen am Spinnrade is perhaps Schubert’s most iconic piece for soprano. Although it is an art song, the intensity, storyline, and relationship between voice and piano evoke the dramatic sensibility of an operatic aria. He wrote the song at the tender age of 16, further proof of his compositional genius.
Ugh, one of the best. Enjoy the incredible vocalism of Kiri Te Kanawa.Google Translate meets my own poetic translation for clarity.
Let’s talk about the story of Faust for a minute. Although the character of Faust has been around since the 1500s, Johann Wolfgang von Goethe’s play is one of the most consequential and well-known interpretations. In two parts, Goethe tells the story of a medieval man who sells his soul to the devil.
But I don’t really care about Faust– I care about the beautiful young woman, Gretchen (or Margaret, the two names are used interchangeably), whom he seduces and impregnates.
She accidentally kills her mom with a sleeping potion meant to keep her unaware of Faust’s visit, her brother condemns Faust, who kills him with the devil’s help, and Gretchen drowns her baby. Gretchen is then imprisoned for murdering her child, and although Faust attempts to free her with the devil’s help, she refuses. Ultimately, she is pardoned by God as she dies.
Woof. Romanticism, man.
This song is set before all of the tragedy unfolds. Gretchen has met Faust, and his charms consume her. She sits restlessly at her spinning wheel, heard in the piano accompaniment, as she obsesses over her love for Faust. They haven’t had sex yet, but her longing for him builds in the vocal line as the piano accompaniment imitates her increasing inability to focus on her work.
Definitely turned some heads while reading this in Iowa.
Like many women before her, having sex with a man was the worst choice Gretchen could have ever made. The implication of this choice was unfairly 100% on her. I finished a fabulous book, Ejaculate Responsibly: A Whole New Way to Think About Abortion, by Gabrielle Blair, while sipping a delicious chai at a coffee shop in Ames, Iowa, last Sunday. It’s a short read but supremely validating and angering all at once.
Blair was able to clearly articulate a frustration of mine in the conversation surrounding unwanted pregnancy and abortion: 100% of unwanted pregnancies are caused by irresponsible ejaculation, and yet, women bear most or all of the responsibility of preventing unwanted pregnancies.
Through 28 straightforward arguments, Blair attempts to shift the abortion issue away from legislating women’s bodies and toward a focus on equalizing the playing field of responsibility in preventing unwanted pregnancies. Assuming both parties are fertile, women are fertile for approximately 24 hours per month, whereas men can impregnate a woman 24/7, 365 days per year. Despite this, women account for 90% of the birth control market and face stigmas surrounding prioritizing men’s comfort and pleasure over pregnancy prevention.
In Gounod’s opera, Faust, the devil had a hand in helping Faust seduce Gretchen, which could be a commentary on how tempting it is to sin, or it could be a way of absolving Gretchen of her actions. Regardless, love makes people do stupid things, like getting knocked up and accidentally killing their mom with a sleeping potion. Right?
In my mind, Gretchen resembles Ophelia– a tragic character swept up in the problems of and mistreatment by men, only to die, tortured, and alone. She fits nicely into a literary trope of helpless women who become victims at the hands of the men who were supposed to love them. At least Hamlet also dies– In Goethe’s version of Faust, the hero goes on to have an entire part two without mentioning how he ruined Gretchen’s life and caused her demise. At least she got to go to heaven. Yes?
My hope for a modern Gretchen is that she could fall in love and have sex with a man who understands that preventing unwanted pregnancies falls on both parties. By taking control of her sexuality, our modern Gretchen can restlessly daydream at her spinning wheel without worrying about a life-upending change. It makes for a far less dramatic story– distinctly less darkly romantic but much more empowering.
The devil can still condemn Faust to eternal damnation, though– he’s the worst.
This piece belongs to a series in which I analyze Taylor Swift’s albums through the feminist lens leading up to the Eras Tour. For the first essay in the series on “Speak Now,” click here.
Taylor Swift in 2015. Courtesy of Billboard and Dave Hogan/GI.
Greetings, fellow Swifties! The results of my Instagram poll are in: it’s time to take a deep dive into Taylor’s fifth studio album, 1989. Released in October 2014, this album, produced by Big Machine Records, marked Taylor Swift’s official move away from country music and complete immersion into the pop genre.
This album pulses with bangers, marked by six incredibly successful singles regularly played on the radio to this day. The album’s lead single, “Shake It Off” is considered to be her most successful single of all time. Although in the past I have written this single off as lyrically weak and irritating, upon closer examination, the maturity expressed in Swift’s takedown of her critics is far more nuanced than that of “Mean” in Speak Now. In essence, “Shake It Off” is the album’s crux: Taylor Swift announced to the world with 1989 that she was a grown-up pop icon and no one could take her down.
Numerous songs on 1989 are dripping with #girlboss energy. Now considered a derogatory term, “girl boss energy” rose to prominence in the mid-2010s and refers to women who are self-made, successful businesswomen acting as their own bosses. Often, critics chastise these women for chasing success at the expense of others, all while spitting out quips such as “Boss Babe!”, “Get it, girl!” or “Yassss queen!” As late as 2022, Taylor Swift is closely associated with the “girlboss” stereotype in “Gaslight, Gatekeep, Girlboss.”
A great example of Girl Boss Energy. Courtesy of Hot Beauty Health.
In my last album analysis, I concluded that although Speak Now embodied certain feminist ideals, criticism that she perpetuated negative feminine stereotypes, such as victimizing oneself and focusing only on boys, was well-founded. What I’m curious to unravel in 1989 is whether or not Taylor Swift warranted the dialogue surrounding her as a cringe-inducing “girlboss” during this time of grave unrest and turmoil in her public image.
Before we begin, let’s form a working definition of white feminism. Typically used as a derogatory term, white feminism refers to the stereotypical feminist movement that applies to cisgender, heterosexual, non-disabled, often beautiful women that neglects women of color, LGBTQ+ individuals, or those with disabilities. The media heavily criticized Swift during the mid-2010s for perpetuating this stereotype as conversations surrounding intersectionality in feminism became more prominent.
Backstage as Hedy LaRue in How to Succeed in Business Without Really Trying. College Light Opera Company, 2014.
1989 dropped during the fall of my senior year of college, just after I had spent a summer in Cape Cod, Massachusetts, performing with College Light Opera Company. I had just changed my major to vocal performance, and I still consider that one of my life’s most formative and enjoyable summers. Like Taylor, there was a boy I was into, but it wouldn’t work out for one reason or another. Transitioning back to academic life when I had spent all summer really “doing the thing” was incredibly difficult. I also didn’t know how to become a performer or what to do next, I didn’t feel seen or appreciated at school, and I felt a little lost. Fortunately, Taylor Swift’s fifth studio album came just in time to lift me out of my funk and make me feel “finally clean.” That’s the power of her songwriting and the best reason to embark on this morning’s journey.
For each song, I’ll provide my favorite lyrics, a short analysis through a feminist lens, and then give a feminism score. The rankings are simply by level of enjoyment.
16. You Are In Love
Favorite Lyric: “And you understand now why they lost their minds and fought the wars/And why I’ve spent my whole life tryin’ to put it into words”
There’s some carefully crafted lyricism in here. Still, overall it doesn’t give me anything I didn’t already get from “This Love” or “Wildest Dreams.”
Feminist Score: B because it paints a realistic romance rather than a fairytale for which Taylor had become known.
15. Shake It Off
Favorite Lyric: “It’s like I got this music in my mind/Sayin’ it’s gonna be alright”
Listen, I don’t like this song. Maybe I’m not a real Swiftie, but I’ve always found this song lyrically weak and pervasively irritating. However, upon analyzing her music through a feminist lens, this piece is critical in illustrating her transformation from a fragile young country star to a powerfully intelligent businesswoman.
Feminist Score: A. Sure, it’s a piece co-opted by girl bosses everywhere to justify rude behavior and hustle culture, but it’s an enormously transformative and inspiring piece to independent achievers everywhere.
14. How You Get The Girl
Favorite Lyric: “Remind her how it used to be, be/Yeah, with pictures in frames of kisses on cheeks, cheeks”
This song is perplexing. It’s the only song on the album I could criticize as “filler.” However, I’m about digging deep, so I’ll do my best. This song boils down to a nonsensical list of things to do to get a girl that overall feels manipulative and derivative. However, it’s a sick beat, as Taylor might say.
Feminist Score: F. Men, if you go through a breakup with a woman, the appropriate response is to not show up at her door unannounced and refuse to leave until she breaks down and gets back together with you. Major yikes.
David Krieger/Bauer-Griffin/GC Images via Billboard.
13. I Know Places
Favorite lyric: “Something happens when everybody finds out/See the vultures circling, dark clouds”
This piece is interesting because it forces the listener to empathize with two highly successful celebrities who just want to be typical together. Still, their relationship isn’t strong enough to withstand the constant media attention. It’s neither of their faults that their relationship crumbled (RIP Taylor and Harry) but rather the intense scrutiny and pressure they constantly find themselves under. And she manages to make something so sad, so boppy once again!
Feminist Score: B. She is taking control, and they appear equally unequipped to sail the waters of their tumultuous relationship, but there aren’t necessarily any themes of feminism outwardly portrayed here.
12. I Wish You Would
Favorite Lyric: “We’re a crooked love/In a straight line down”
A quick note on this lyric- I always thought this lyric was “we’re a crooked love in a street lying down,” which makes absolutely zero sense, but late at night at College Light Opera Company in 2014, my fellow young artists and I would walk down to the beach and lay in the road and look up at the stars since there were never any cars. It always makes me smile.
Ok, feminism. I mean…meh? Just once, I’d like Taylor to drive the dang car herself (maybe she caught on to this– “and he was tossing me the car keys, fuck the patriarchy, keychain on the ground,” anyone?), and it seems to be a metaphor for her not being in the driver’s seat of her relationships. This song is reminiscent of Speak Now themes from Taylor.
Feminist Score: C? I guess?
11. Wonderland
Favorite Lyric: “Didn’t you flash your green eyes at me?/Haven’t you heard what becomes of curious minds?”
I have a definite soft spot for this bonus track. Apparent allusions to Alice in Wonderland aside, this piece romanticizes a toxic relationship in which the narrator’s man behaves in a manipulative and demeaning way. Yikes.
Feminist Score: D, only because I might be overreacting. What do you think?
10. Style
Favorite Lyric: “’Cause you got that James Dean daydream look in your eye/And I got that red lip classic thing that you like”
Remember when Taylor Swift dated Harry Styles? It truly feels like a lifetime ago. We’re back in her “I’m sitting in the passenger’s seat, and you’re driving, and it’s hot. I’m pretty with my red lipstick on, isn’t this the American Dream” vibes of earlier albums but with a synth-pop beat.
Feminist Score: C. It’s neither empowering nor derogatory, and it’s a jam.
9. Blank Space
Favorite Lyric: “Boys only want love if it’s torture/Don’t say I didn’t, say I didn’t warn ya”
This song might as well be the #girlboss anthem. I’ll admit that I grew tired of this song after hearing it in every restaurant, mall, elevator, bar, and shop on the planet for years on end, but after revisiting it, nearly every line is a zinger. Like Shake It Off, Taylor playfully and confidently derides her critics, with every line encompassing a sick burn. The song embodies shallow feminism typical of the mid-2010s but is powerful nonetheless. If the media thinks Taylor Swift is a boy-crazy maneater who only dates men to later spit them out for material, then that’s what she’ll give them.
Feminist Score: A-, only because the #girlboss energy is a little intense and cringe, and I saw one too many women caption an Instagram post with “cause darling I’m a nightmare dressed like a daydream” in 2015.
Courtesy of PopCrush and Dimitrio Kambouris/Getty Images.
8. Welcome to New York
Favorite Lyric: “Walkin’ through a crowd, the village is aglow/Kaleidoscope of loud heartbeats under coats”
What an album opener. Close your eyes and imagine the first time you heard this song and how it made you feel. I once romanticized the idea of living in New York. Although that dream has passed me, the excitement of landing at LaGuardia Airport while blasting this song through my earbuds will never leave me. She is independent, lighthearted, and dancing. There is no boy in sight. This song always rang of individuality and confidence to me, and what is a #girlboss without exuberant enthusiasm?
Feminist Score: A. Why not? It makes me, a woman, feel unstoppable.
7. All You Had to Do Was Stay
Favorite lyric: “People like you always want back the love they gave away/And people like me wanna believe you when you say you’ve changed”
Well, she gave up her power here, but at the same time, she’s standing up for herself and saying hey no you left me good sir and I’m not just going to come running back to you. Either way, it is a complete jam and is overlooked as one of the best songs on the album.
Feminist Score: C+. Poor Taylor got broken up with again, but she’s not moping about it. Like a typical #girlboss, she’s an independent woman who doesn’t need a man!
6. This Love
Favorite Lyric: “Your smile, my ghost/I fell to my knees”
I can’t imagine a better sequel to “Last Kiss” than this incredible piece of raw emotional vulnerability. Folks are critical of Taylor’s lyrics that imply that she isn’t in control of her relationships and remains under the control of her partner. Although “currents swept you out again” could be considered such a lyric, the portrait of a relationship coming to a boiling point is effective and effervescent. She manages to evoke action alongside reminiscence, romanticizing the past while remaining concrete. Feminist? Not sure. Beautiful? Absolutely.
Feminist Score: C, I guess.
5. Out of the Woods
Favorite lyric: “Remember when we couldn’t take the heat?/I walked out, I said “I’m setting you free”
This song is such a vibe. The echoing, chaotic synthesizer evokes a sense of anxiety that Swift says defines the album. The lyrics honestly and openly paint the picture of a dissatisfying and crumbling relationship. For critics who claim Taylor consistently portrays herself as the victim, this song is a foray from her stereotype in which she shares in the blame for the dissolution of the relationship. Owning up to one’s shortcomings without submitting to one’s partner or allowing oneself to be gaslit is profoundly feminist.
Feminist Score: B. She’s waiting for the guy to potentially save or end the relationship, but the nuance of a more mature relationship sets this transformative album apart from previous ones.
4. Clean
Favorite Lyric: “The drought was the very worst/When the flowers that we’d grown together died of thirst”
This is an incredible and, to no surprise, cleansing song. Just a fabulous album closer. Taylor is standing on her own two feet; she’s no longer heartbroken and ready to take over the world as a newly minted pop icon. In girl boss speak (which is really just speech patterns co-opted from black and queer communities), that’s “Yas queen! Slay!”
Feminist Score: A. The arc of this album, from manipulative heartbreaker to healed icon, deserves a chef’s kiss.
Courtesy of ETONLINE.
3. Wildest Dreams
Favorite Lyric: “You’ll see me in hindsight/Tangled up with you all night/Burning it down”
Man, Taylor really couldn’t catch a break during this era- remember the colonialism controversy surrounding this music video? I’ll admit it to all of you– I ugly cried so many times thinking about a boy who had fully moved on from our brief relationship while listening to this song. If that’s not peak Taylor Swift, then I don’t know what is.
Maybe it’s the steady synth-pop beat or the assuredness in her demands, but this piece holds a quiet power in heartbreak that is different from her past breakup songs.It’s another “Last Kiss”style song of 1989, but she revels in its beauty instead of wallowing in her sadness. Also– is this the first time Taylor wrote overtly sexual lyrics? I’m into it. Own your sexuality!
Feminist Score: A- because for a breakup song, she handles herself pretty well and doesn’t seem to define herself by the end of this relationship.
2. Bad Blood
Favorite Lyric: “Band-aids don’t fix bullet holes/You say sorry just for show/If you live like that, you live with ghosts”
Best lyric on the WHOLE ALBUM RIGHT HERE! Wow. The music video for this piece sparked the white feminism conversation. Swift cast all her beautiful, white model friends in this music video aimed at a feud between Taylor and Katy Perry (they’ve since made up!). The sentiment of this piece is where girl boss feminism sours. In stepping on people to attain perceived success, girl boss sentiment allows for a vindictive, ruthless attitude wrapped in a hot pink feminist bow. You go, girl! Gaining power or success at the expense of other women or important relationships is not feminist. To me, this song represented the height of #girlboss energy and contributed to its fall. Regardless, it is a total bop, and I once blew out a speaker in my car listening to this song.
Feminist Score: B, because standing up for yourself is cool, but tearing down others is not.
1.New Romantics
Favorite Lyric: “We cry tears of mascara in the bathroom/Honey, life is just a classroom”
Those of you who have kept up with my rankings for years know this is in my top three favorite Taylor Swift songs, period. It is everything to me. I think of “cause baby, I could build a castle out of all the bricks they threw at me” every time I get a rejection email. Singers are constantly singing “heartbreak as our national anthem.” The pop beat is infectious, and the sentiment exudes the poppy, optimistic flavor fueling fans of this era through power and independence. Is it feminist? In the shallow, mid-2010s way, I think it fits the bill.
Feminist Score: A.
The specific strain of feminism portrayed in 1989 as an album and Taylor Swift’s life at large at the time of its release is a fascinating cultural phenomenon. Swift is such a massive star that her actions, attitudes, and music itself can shift the way an entire generation of fans view themselves and choose to behave.
John Shearer/LP5/Getty Images for TAS via Billboard.
When 1989 dropped in 2014, Taylor Swift skyrocketed to the world’s leading pop icon, leaving her country roots behind. She was as unstoppable and admirable as the girl boss movement she embodied. However, over a year and a record-breaking world tour, Taylor Swift fell from pop’s most prominent darling to a vile, manipulative monster vilified by the media. Similarly, women who embarked on a journey of self-made, peppy entrepreneurship quickly went from feminist icons to vapid, mockable frauds who bore the brunt of male-dominated criticism.
Is feminism worth it when it only makes space for women who are cisgender, heterosexual, white, and beautiful? With discussions surrounding intersectionality in feminism in recent years, the conclusion should be that feminism isn’t serving us as a culture unless it includes all female-identifying humans and includes discussions of race, sexuality, beauty standards, and disability.
I don’t blame Taylor Swift for getting caught up in this rhetoric. She has since changed her ways, and her music’s messages have evolved as culture’s discussion of feminism advances. In a vital way, her music serves as a marker for the advancement of social and cultural norms.
#Girlboss energy may be declining, but 1989 will live on as a prime example of the cultural movement and continue to deserve the label as one of the best pop albums of all time. With its release, Taylor Swift proved she was truly unstoppable.
Album Feminist Score: B. Female empowerment bogged down by the girl boss movement and the misfortune of embodying the stereotype of a white feminist.
Which album should I analyze next? Let me know in the comments!
Motherhood is no longer the all-consuming, defining feature of modern women.
This post belongs to a series formerly known as “Frauenbild Fridays”, where I analyze German art song through a contemporary feminist lens. Click here to see the original post.
I have a lot to say about An meinem Herzen, an meiner Brust, the seventh song in Frauenliebe und -leben, but before I do, I want to be cautious. I am not a mother, and I have never been pregnant. My feelings about having children and watching people I know give birth to babies are complicated by my views on womanhood and resisting the bonds with which biology and culture have chained us.
Listen, I love babies. See? Sheer joy.
Technically, this is the only song in Frauenliebe und -leben that isn’t about a man. It’s about the baby our protagonist produces with her man and how she hadn’t felt joy until she had a child. Honestly, I have heard that it’s an experience unlike any other from both mothers and fathers, so I’m not going to discount that, I swear.
Luckily, we live in a country and time where most women have the freedom to choose whatever path they like, regardless of whether or not having children is involved.
That being said, there is still a cultural stigma against being a childless woman.
Here’s a list of questions and comments young men are simply not receiving:
When are you getting married?
Are you going to start having kids soon?
What do you mean you don’t want kids? I’m sure that will change as you get older.
Don’t forget the judgments if you are pregnant:
You’re breastfeeding, right?
What type of birth are you doing?
You’re only supposed to gain a certain amount of weight.
Source: World Health Organization courtesy of Washington Post, 2015. Maternal death rate is currently on the rise in the US, so it’s actually higher than what this graph portrays.
It’s not all doom and gloom today– childbirth would have been much more dangerous for our dear Frauenbild in 1840. According to a study published by the National Institute of Health in London, between 1700 and 1935, approximately 5-29 per 1,000 women died in childbirth. This number was considerably higher in women unassisted by medical professionals. If we convert this back into our modern measurement, before the advent of modern healthcare, anywhere from 500 to 2900 women per 100,000 live births were dying in childbirth in London. Never mind that childrearing was the woman’s sole responsibility and birth control wasn’t an option– women just kept popping out babies until menopause or dying in childbirth. No thanks. Then, women had the heartbreaking experience of watching their kids die from a childhood illness. Thanks to vaccines, we no longer need to worry about this unless people keep neglecting to vaccinate their children.
Childbirth in developing nations continues to endanger women. According to the World Health Organization, “Women in less developed countries have, on average, many more pregnancies than women in developed countries, and their lifetime risk of death due to pregnancy is higher. A woman’s lifetime risk of maternal death is the probability that a 15-year-old woman will eventually die from a maternal cause. In high-income countries, this is 1 in 5400, versus 1 in 45 in low-income countries.”1
I applaud and respect women who choose to embark on the fabulous journey of motherhood and hope to be among you someday. However, we need to acknowledge that pregnancy is inherently complex and dangerous and should only be undertaken at the desire of the pregnant person in question.
I’m grateful that motherhood isn’t the all-consuming, defining feature of modern women. It is no longer a woman’s duty to birth babies, but rather a privilege and choice.
Some folks might think this tempo is a little frantic, but I think this piece is meant to be VIVACE! It’s just cuter this way. Deal with it. Barbara Bonney soprano | Vladimir Ashkenazy, piano.Translation courtesy of Google Translate.
The aspect I appreciate most about this piece is its sheer, unadulterated joy. What makes my eyes roll toward the back of my head is the sentiment that motherhood is the only feeling that elicits such joy in women. Maybe if a female poet had written the piece, I would feel differently, but the idea that men were doing women a favor by occupying them with children is an old-fashioned view that I am glad has mostly gone by the wayside.
I find intense happiness when I get a coveted gig for which I auditioned. Elation rushes over my body when I receive positive feedback regarding my writing. I experience a boost in serotonin when friends laugh at my jokes or when my boyfriend tells me how much he loves me. Adrenaline floods through me at the top of a roller coaster and during the high note of a showstopping aria onstage. Love radiates through me as I hold a difficult yoga pose or taste delicious flavors prepared just for me. Joy comes to me in all places and times if I allow it to enter my life.
Many of my friends have started having babies. Meanwhile, I struggle with the inherent unfairness of women who want satisfaction both in career and family because women still bear the brunt of domestic duty, even in the healthiest relationships. Like Liz Lemon, many contemporary women want to “have it all.”
Where are my 30 Rock fans?
I want to enjoy what I have without expectation. That’s my hope for our Frauenbild and all of us.
Joy is breaking out into song and bathing in the applause. It’s the delight of positive feedback and laughter from a joke. Joy comes to me at the top of a roller coaster, and when I’m alone with the person I love. Happiness is a baby’s laugh or a satisfying workout. It finds me when the smells of my cooking fill the kitchen and when I’m sipping a cup of coffee. Joy is everywhere, it is me, and it is you. I live in happiness as a woman without expectations.
The Shifting Soprano 