The Multifaceted Moon of Popular Culture

by Hana Marei

(BA) Art & Design Birmingham City University

Introduction

Our night sky is lit up by a bright glowing sphere which also happens to have been an inspiration to many creatives throughout history. In James Attlee’s (2011) article, Satellite of Love and Fear, he perfectly describes how malleable the moon is by stating, “At one moment the moon is a pure virgin, at the next a barren old maid; a beneficent, comforting presence, or a trigger for catastrophe; a harbinger of joy, of spiritual transcendence or deepest melancholy.” He highlights the many roles the moon has been fit into by creatives and how much the human race has shaped and changed this perception of what the moon represents. Although different interpretations of the moon and what is symbolizes take place, others are constant and are repurposed in different contexts, cultures, and time periods. In this essay, two very different pieces of work will be discussed and the use of the moon in each will be analyzed. One piece is William Shakespeare's play A Midsummer Night’s Dream, first performed in 1605, whereas the other is Pink Floyd’s conceptual album The Dark Side of the Moon, released in 1973. Aside from being two of the most famed and eminent creative pieces in the history of mankind, they provide evidence of the prominent influence the moon has had on popular culture and creatives.

A Midsummer Night’s Dream

A Midsummer Night’s Dream heavily and directly features the moon in a variety of roles. The play begins with Theseus, Duke of Athens, and Hippolyta, Queen of the Amazons, preparing for their marriage. During this, the moon is already mentioned three times in the opening. Theseus says, “Four happy days bring in / Another moon: but, O, methinks, how slow / This old moon wanes! she lingers my desires,” (Shakespeare, A Midsummer Night’s Dream, Lines 2-4) complaining to Hippolyta about his impatience. Personification is applied here when Theseus uses a female pronoun to talk about the moon and how he believes it is somehow conspiring against him, thus intentionally lengthening the nights to further extend the date of their wedding. Hippolyta responds to him saying that the days will quickly turn into nights, “And then the moon, like to a silver bow / New bent in heaven, shall behold the night / Of our solemnities.” (Shakespeare, A Midsummer Night’s Dream, Lines 9-11) We are immediately introduced to the moon as a means of measuring time, as well as an external force which is hindering Theseus’s desires. In Elizabethan popular culture, the moon is regularly associated with femininity as well as Diana, the Roman goddess of virginity. As it is also linked to sexual desire, it is then understandable that the first male character introduced speaks of the moon in such a way that is almost resentful of the moon, and as if the moon is plotting against him. (Frosch, 2007)

They are interrupted by Egeus, a man who seeks the Duke’s arbitration when his daughter, Hermia, refuses to wed Demetrius, the man he chose for her. Instead, she wants to marry Lysander, the man whom she loves. Egeus says “Thou hast by moonlight at her window sung / With feigning voice verses of feigning love, / And stol'n the impression of her
fantasy” (Shakespeare, A Midsummer Night’s Dream, Lines 30-32) accusing Lysander of faking love and entrancing his daughter. He purposefully mentioned the moonlight in describing the setting to emphasize the element of romance present when Lysander was interacting with his young and impressionable daughter. Not only is the moon associated with romance, but it is also related to madness or lunacy. In fact, the term “lunatic” is derived from the latin word “luna” which means “moon”. According to him, the moonlight was an instrument that Lysander used to manipulate Hermia into falling in love with him. Therefore, he implies that Hermia had lost her senses—in other words, she had gone mad, or is in a state of lunacy, and that is why she is entranced by Lysander. Egeus insists that if Hermia refuses to obey him, she should be sentenced to death as their law states. Theseus then reminds Hermia of her options. She could marry Demetrius, be sentenced to death, or finally, “You can endure the livery of a nun, / For aye to be in shady cloister mewed, / To live a barren sister all your life, / Chanting faint hymns to the cold, fruitless moon.” (Shakespeare, A Midsummer Night’s Dream, Lines ) Once again Theseus does not hide his bitter feelings towards the moon as he warns Hermia that living as a nun would entail being without a husband or children her entire life, and she would would be unhappy as she surrenders to the will of the cold moon, the goddess of virginity. He advises her to take time to consider her decision and inform them of it by the next new moon, and so it is once again used as a time reference.

As Hermia and Lysander are desperate, they decide to flee Athens so that this law will no longer apply to them. They confide in their friend Helena, who is actually in love with Demetrius. Lysander explains that they will escape “Tomorrow night when Phoebe doth behold / Her silver visage in the watery glass, / Decking with liquid pearl the beaded grass / (A time that lovers’ flight doth still conceal)”. (Shakespeare, A Midsummer Night’s Dream, Lines 209-212) Here, the moon is referred to as Phoebe, who is the goddess of brightness and radiance in Greek mythology, and was also later identified with the moon. (Frosch, 2007) As Lysander explains that the night is the perfect time to shield fleeing lovers, he describes the effect the moonlight has on the night scenery and its resulting nuances of beauty. In depicting those delicate details, he builds an image that sets the mood with an air of romance. Now we see a man who speaks of the moon fondly, gives it a kind name, and credits it with decorating their path to freedom. Unlike Theseus, he does not believe the moon is a hindrance, but is rather aiding him in his quest to romance, assigning the moon yet another role.

The moon is used as a method of measuring time (and even speed) in many more scenes throughout the rest of the play, however, what is more significant is its role in the relationship between Oberon and Titania, king and queen of the fairies. As they have quarrelled, he greets Titania by saying, “Ill met by moonlight, proud Titania.” (Shakespeare, A Midsummer Night’s Dream, Line 46) He is displeased to see her and so we once again witness a male character who uses the moon in relation to his negative emotions towards a subject, and towards a woman. It is worth mentioning that Titania is the name used in Ovid’s Metamorphoses to refer to the moon goddess Diana. (Frosch, 2007) That becomes even more relevant when Titania reveals that she swore not to sleep with him again, which repeats blaming the moon for standing in the way of sexual desire. We also learn that she and her fairies perform dances which are necessary to keeping the balance of nature, but that recent aggressions have prevented that. Due to that, there have been floods which caused damage to the farmers’ land, their crops, their animals, and chaos is everywhere. She says, “Therefore the moon, the governess of floods, / Pale in her anger, washes all the air, / That rheumatic diseases do abound.” (Shakespeare, A Midsummer Night’s Dream, Lines 88-90) It is proven intentional that Shakespeare used the name “Titania” for the purpose of that allusion to the moon, as it is the symbol of femininity, and ties Titania directly to the moon as a woman, but also specifically her character. Oberon responds to her saying “Do you amend it then. It lies in you.” (Shakespeare, A Midsummer Night’s Dream, Line 103) By doing so he erases any suspicion that she does have the power to fix it, and that confirms the intentional use of the name and its affiliation with the moon goddess Diana. Furthermore, Titania tells him she plans on staying away possibly until after Theseus’s wedding day, but she offers that he takes part in their moonlight celebrations if he wishes to join them. She states, “If you will patiently dance in our round / And see our moonlight revels, go with us.” (Shakespeare, A Midsummer Night’s Dream, Lines 125-126) Whether that was Shakespeare’s intention or not cannot be absolutely declared, but it can be taken as a sign that points towards the feminine energy potentially available to all people. When he dismisses her suggestion and she leaves, he speaks to his servant Puck and tells him about a time he saw Cupid aim his arrow at a beautiful virgin who sat on a throne in the by the west, “But I might see young Cupid’s fiery shaft / Quenched in the chaste beams of the watery moon, / And the imperial votaress passèd on, / In maiden meditation, fancy-free.” (Shakespeare, A Midsummer Night’s Dream, Lines 146-149) Here, Shakespeare clearly refers to Queen Elizabeth I who was known as the “Virgin Queen”. Although some interpreted that as a positive comment from Shakespeare which was meant to praise Queen Elizabeth’s evident ability to defy temptation, thus proving strong and suitable to serve as queen, it is not true to character for Oberon to have meant it positively. Oberon blames the moon for standing in the way of the queen’s thoughts of love. Imagery is used here to visualize the moon beams as a watery substance that put off the fiery form in which passion and love exist in. Oberon’s diction and choice of story to tell further proves his bitter- sweet emotions towards Titania at that moment. One can conclude that he did not wish for them to argue and stay away from each other. He holds resentment towards her for leaving, but only because he loves and wants her, and he blames her connection to the moon for this indifference she showed and ability to simply walk away.

The moon is then featured in many more ways throughout the rest of the play, however, the previously given examples will suffice for the purpose of this essay. The themes and symbols the moon take on in this Elizabethan-era play are mainly related to femininity, romance, desire, virginity, time, cycles, and going mad. The mythology references are prominent and it is overall a much more fantasy-filled approach. However, there is such a strange manipulation of the purpose the moon holds. The moon is either pushing for the maintenance of virginity or driving people to whimsical romance at a level of lunacy. It is used as a reliable reference of time, but also a target of blame for the slow passing of it, as if it controls it. It is either dangerous and manipulating, or it is beautiful and ambient. It is a source of power and affirmation to women, but it is for that reason also loathed by some of the male characters. It all depends on the context, and whether the speaker is male or female, but also depends on the level of toxic masculinity attached to the character. With the exception of Lysander who is softer and in love, and so perhaps more open to feminine energy, there is an obvious misogyny in the way most men in the play refer to the moon.

The Dark Side of the Moon

In contrast to the straightforward, abundant use of the moon in A Midsummer Night’s Dream, is Pink Floyd’s world renowned album The Dark Side of the Moon (1973) . Although the title might suggest a direct and obvious featuring of the moon in the album, it is in fact a lot more subtle. The moon here is not a character nor a repetitively mentioned element, but rather a blanket symbol and reference over the entire album. As this is a concept album, it tells a story less directly, and the songs flow and connect in favour of telling that story. In order to understand the significance of the moon in this album, it is essential to understand the content and context of the songs and the meanings behind them. For the purpose of this essay, only some of the songs will be covered. Moreover, although the band has given partial explanation to some of the songs on the album, the entire meaning of it was mostly left for interpretation. (Harris, 2016)

The album is introduced with the track Speak To Me which directly transitions to Breathe, and so they are often talked about as one. Speak To Me opens with a heartbeat, which symbolizes the start of life; then a ticking clock, which symbolizes the passing of time; and then a cash register with the sounds of coins which is money, a stress of daily life in today’s society. As the sounds get louder and are happening simultaneously, voices also begin to appear on the track. The first says, “I've been mad for fucking years, absolutely years, been over the edge for yonks, been working me buns off for bands .” The second says, “I’ve always been mad, I know I’ve been mad, like most of us have. Very hard to explain why you’re mad, even if you’re not mad.” A laughing which also suggests insanity begins to appear towards the end of the voices as they begin to fade. All of these sounds are all happening at once, creating an uncomfortable mood, and they are carried into Breathe where a screaming also takes place. There is a popular theory that the screaming is a pregnant woman giving birth, and another that the screaming belongs to a baby that had just been born. (Rose, 1995: 22-23) Both theories make sense considering it does seem to embody qualities of both possibilities, though belonging to a baby is what feels more probable. The screaming is suddenly interrupted by a lively stroke of instrumentals which then seem to adopt a quality that suggests a swaying effect, which could be the mother rocking her new born. The lyrics are then in the form of advice or instructions, as well as warnings about what life is like. The lyrics suggest an encouragement of living fearlessly, possibly from a mother to her child. It preaches not being afraid of wanting more out of life and leaving for better things, but then asks that they do not leave with no return. “Long you live and high you fly / And smiles you'll give and tears you'll cry / And all you touch and all you see / Is all your life will ever be” are lyrics that sum up that all life is measured by is experiences, and it is what we make of it. The next section talks about work and includes, “And when at last the work is done / Don’t sit down it's time to dig another one.” This suggests the tiresome work culture of a non-stop hustle. The final section uses the term “ride the tide” which refers to conformity of society’s expectations and requirements, and that one would be fine if they did so. Using the tide as a metaphor is an intentional and somewhat subtle reference to the moon as the tides are controlled by the moon. (Rose, 1995: 25) However, irony is created when the last line says, “You race towards an early grave.” When putting together all the lyrics, you realize that we are encouraged to live life in a meaningful, fulfilling way; but then reality hits and we are pressured by society to go in a completely different direction by forgetting what it is we truly want and to conform, which obliterates our happiness and wellbeing, both mentally and physically.

This album creates imagery and moods by using words that are heavy with meaning and symbolic references, but also with instrumental pieces that force the listener to feel a plethora of emotions. On the Run is one such song that is focused on instrumentals, sound effects, and very few voices. The track is very anxiety-inducing as it is fast, quite computerized, and mixes several uncomfortable sound elements. It features a recording of an airport announcement, as well as the recording of someone running and panting. Halfway through, there is a line saying “Live for today, gone tomorrow, that's me,” followed by an odd laugh. Closer to the end, it also features a similar strange laugh, what seems to sound like a plane taking off, and the same panting and running once again. It symbolizes the stresses and anxieties created by a fast paced life and attempting to get everything done the way one races to catch a flight that is about to depart. That is what life is like in the modern day. Life constantly feels like there is an important flight we are about to miss—that is going to leave without us. The feeling of madness in the laugh is once again present, and the line suggests an attitude that has adapted and given to this incredibly temporary and fleeting life—perhaps it is a bitter resignation to the reality of what is.

Quite appropriately, the next track is Time, which also begins with a focus on sound effects. It begins with a lot of bells and alarm clocks going off which sends a sense of panic, and they then die down to a sound that is like a heavier, low pitched ticking as well as a heart beat. This track perfectly captures the passing of time and it is the ideal track to follow On the Run, because anxiety, and the sensation of constantly hurrying and rushing trough life, is very often caused by feelings of time slipping from us. It is even possible that the transition from the alarm clocks and bells to a heart beat signifies that this anxiety, this stress, is the culprit to an. Early grave. The lyrics then talk about wasting time and life, as well as living without a purpose and without substance. It discusses how when one realizes they are older with nothing accomplished, they wonder how time has passed so quickly, and franticly attempt to catch up by trying to do so much. However, no matter how much we try to catch up, we cannot slow down time, and it will continue to pass by at the same rate it always has. To show acceptance of the inevitability of time, age, and ultimately death, the following track is Great Gig in the Sky. It is once again a mostly instrumental track with very strong female vocals as well as a few lines that are not lyrics, but merely statements that declare that acceptance of death and not being afraid of it, as well as acknowledging that “you've gotta go sometime”.  There is a grim submission to it all as an inevitability, as if it is unavoidable.

After the songs titled Money, Us and Them, and Any Color You Like; there is the song Brain Damage. This song directly addresses going insane, and uses repetition of the word “lunatics”. As previously discussed, that is derived from the Latin word “luna” which means the moon, so we finally see a much more direct reference to the moon in the album. In addition, Brain Damage directly quotes the title of the album twice. Once in saying, “And if your head explodes with dark forebodings too / I’ll see you on the dark side of the moon.” Then later, “And if the band you're in starts playing different tunes / I’ll see you on the dark side of the moon.” The song discusses being driven insane, and how life can be the cause of that. The lyrics describe how insanity results in dark thoughts and feeling isolated or out of place. Before further expanding on that, it is important to also note the transition from Brain Damage to Eclipse, the final song on the album. In a format that resembles lines from Breathe, a list is made that includes, “All that you touch / All that you see / All that you taste / All you feel.” This song goes on to list experiences and is meant to encompass the “everything-ness” of life. (Harris, 2016) The final lyrics go on to say, “and everything under the sun is in tune / but the sun is eclipsed by the moon.” Here, there is a moment of revelation where it is realized that behind the sorrows and anxieties, there is good and there is more to life than worrying about it. Everything that we are or do can be in the sun, and it is only eclipsed by the moon if we let it be. This is about perspective. Towards the end of Eclipse is the famed line, “There is no dark side of the moon, really. Matter of fact, it’s all dark.” Here, we finally understand what the title of the album (and the lyrics from Brain Damage) meant. The title is a metaphor. First, with all the gloomy topics of life being so negative, the “dark side” was translated to literally just that. Towards the end, there is enlightenment when this line reveals that the “dark side” is merely an illusion. There is no dark side, it is all dark. And with that is the suggestion that everyone also has that bit of darkness— everyone has anxieties, fears, stress, and deal with some level of insanity. Everyone ages, everyone is racing with time, everyone will die. It is all temporary. We must remember that we have a choice, and we control our thoughts, our attitudes, and our perspectives. It is also a significant fact that Pink Floyd almost called the album Dark Side, and feeling the need to include the moon in the title says something. The dark side of the moon is what creates that metaphor and illusion. The inclusion of the moon was vital to get that across. It was an essential instrument in creating this comparison to life and what it means. Finally, in the end is a heart beat once again which ends the track Eclipse as well as the album. The use of a heart beat to begin and end the album depicts a cycle. This is a symbol of time and continuation. It is the circle of life. It repeats and goes around just as the moon has its own cycles as it orbits the Earth.

Conclusion

In addressing both A Midsummer Night’s Dream and The Dark Side of the Moon, we can compare and contrast the use of the moon as a symbol to convey meaning. Both the play and album have used the moon to capture and measure time. The play uses it more regularly on a day-to-day basis like a calendar, whereas the album uses it as a general metaphor and reference to time, and the cycle of life. Lunacy was also a term used in both the pieces, which suggests the moon playing a role in causing madness. However, in A Midsummer Night’s Dream the madness is in relation to being in love, whereas The Dark Side of the Moon points at a much more sinister madness. It is the madness related to mental health, not mere infatuation, love, or fancy. In addition, The Dark Side of the Moon used the moon as a metaphor, whereas the characters in A Midsummer Night’s Dream were in a time and place where they believed there was a direct influence of the moon. This was shown through personification and the use of mythological connections and cultural references. And finally, both the play and album used the moon to set the tone, the mood, and create symbolism; despite the different effects each had. Today, we can still see moon and its cycles utilized and referenced in a plethora of circumstances. Examples include the Muslim calendar (which follows a lunar cycle), spiritual practices of manifestation and planning around lunar cycles, as well as in relation. To the feminine cycle. Perhaps this changed perception of the moon via popular culture throughout time could be a way to reflect life in each time period and what that encompasses, and we can appreciate the many lives the moon has led. Or perhaps the moon has always been multifaceted, and each facet was called upon when it was convenient, which is more likely the case.

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