"Terrible as the debacle at Liegnitz was, it had ultimately been
pointless--a Mongol effort to support a conquest that was suddenly abandoned,
leaving nothing but a wide swath of destruction and death as the Mongol legacy
in eastern and central Europe."
When the Second Great Khan died in 1241, the Mongols owned everything east of
the Danube and were poised to overrun all of Europe. Fortunately for Europe,
the Khan's death caused the Mongols to halt their advance as the princes and
khans returned east to elect the next Great Khan. After mounting the greatest
military campaign in world history, the Mongol action seems futile and absurd
to the western mind. And, of course, the medieval controversy over reason and
intellect seems absurd to us today, as I'm sure it did to Frederick II in 1241.
With
Big Top
, the album comes full circle, returning to the circus and the theme of
absurdity. The first three songs on the album,
Cirkus
,
Indoor Games
and
Happy Family
, all deal with absurd aspects of modern life, the latter two being specific
"cirkus" acts in the cosmic carnival. All of side two deals with
absurd aspects of medieval life. Thus, in
Lizard
, we see the same thematic division presented on the first album, side one
takes place in the present material world, side two in the past or metaphysical
realm.
Remember that
"Hermes teaches us that the worst evils can be transformed to good."
"In particular, he governs the transformation of a bad situation into a
good outcome."
On the earthly level what good came out of the Battle of Liegnitz? Some
historians believe the stand taken at Liegnitz discouraged further westward
action by the Mongols, thereby allowing Western Europe to advance into the
wonderland (carnival, circus) we call Western Civilization. One of those
historians was Ernst Kantorowicz, the biographer of Frederick II.
"Germany lay exposed to the onrush of the foe, but the sacrifice had not been
made in vain. In spite of their victory the Mongols were shaken, and could not
face another encounter with the forces of the King of Bohemia. They turned
sharply south, devastating the greater part of Moravia, and thrust forward as
far as Vienna, but then withdrew to Hungary."
- Frederick II
by Ernst Kantorowicz
(p. 553)
This, of course, is a distinctly Western European interpretation as those in
Eastern Europe who suffered and struggled for centuries under the Mongol yoke
are largely responsible for dissuading the Tartars from further westward
expansion.
Another common belief about the Mongol invasions is that it, more than any
other factor, compelled the warring factions of Russia to work together against
a common enemy, thereby creating a distinct Russian culture and nation.
And the Mongol advance did bring about, if only temporarily, a union of east
and west.
"The Mongols’ disconcerting habit
of
building columns constructed of human
skulls, and of annihilating entire population
centers, did much to reinforce their
Apocalyptic image in a fearful medieval
Europe, as well as within an Islamic
expansive empire already divided between
Sunni and Shiite factions. Yet Christianity
and
Islam, at the time at each other’s throats
in
the Crusades, actually allied in Palestine
for
awhile to arrest the Mongol advance in
Syria. Just as Jung had dreamt of an alliance
with a brown-skinned companion, so
Christianity and Islam had allied to arrest
the
advance of Apocalyptic Mongols who
were driving a chariot constructed of human
bones."
Alchemically, the Battle of Liegnitz represents the union of opposites. The
Mongol's coming from the farthest eastern reaches of the continent, were as
different, as opposite, from the Europeans as was humanly possible. Within the
context of the times, they may as well have landed in a space ship. As such,
the terrifying and mysterious Mongols represent the unknown, the monsters that
reside in the unconscious.
The Phoenix
This is the final stage of alchemical development. At its conclusion,
Big Top
seems to spiral off into outer space. This is the Phoenix taking flight:
"The Phoenix completes this process of soul development. The Phoenix bird
builds its nest which at the same time is its funeral pyre, and then setting it
alight cremates itself. But it arises anew from the ashes transformed. Here we
have captured the alchemists experience of spiritualisation, He has integrated
his being so much, that he is no longer dependent upon his physical body as a
foundation for his being. He now stands upon the sureness of the spiritual - he
has in this sense attained the Philosopher's Stone, the Spiritual core of his
being."
Lizard
is as intricately designed as the arabesque patterns of Islamic architecture,
and, individually, Fripp and Sinfield never again, that I know of, created
anything nearly as elaborate. I am intrigued as to the nature of the creative
process between the two. What, exactly, was Fripp's contribution? Did they both
come up with the overall concept and Sinfield write the lyrics? The Eric Tamm
book,
Robert Fripp- From Crimson King to Crafty Master
, gives us some indication of what transpired
"Furthermore, Sinfield had a
significant musical role as well, at least in theory: he was quoted as
saying, "It's got to the stage where nothing
on
Lizard
was passed without my approval." Fripp described to me the making of
Lizard
as a "power struggle"
between him and Sinfield."