tag:blogger.com,1999:blog-67144373347904466782024-03-05T00:37:46.876-06:00Logismoi'A Refuge for the Weary and the Oppressed, and a Treasury of Good Counsel and Wise Lore'Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.comBlogger756125tag:blogger.com,1999:blog-6714437334790446678.post-11956311281054892842020-01-26T16:33:00.001-06:002020-01-26T16:33:39.565-06:00Klu’Skap-O’Kom<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguzMeWGXif9_H7DQX3Jwsr0gYk2NyN93D_PP7u5-TaJUxHeUuFYckzSNm1lRAARrpmLZRyKG03JWh-Kd8DjJ_yZfMIsZfy3CWRZfBWhqHxFiZ9G9O3NdivsiblirVM8SfmBQ1SrI6OWgnU/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguzMeWGXif9_H7DQX3Jwsr0gYk2NyN93D_PP7u5-TaJUxHeUuFYckzSNm1lRAARrpmLZRyKG03JWh-Kd8DjJ_yZfMIsZfy3CWRZfBWhqHxFiZ9G9O3NdivsiblirVM8SfmBQ1SrI6OWgnU/s400/maxresdefault.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">In 1989, I
read a review of an album in <i style="mso-bidi-font-style: normal;">Thrasher</i>
magazine that would lead me to one of my favourite recordings—and rock bands—of
all time: the Quebecois progressive thrash metal band, Voivod, whose masterpiece, <i>Nothingface</i>, was released that year. I could wax
nostalgic about the band all day, but for the sake of this post they’re really
just the context for something else. Although I stopped following them actively
after several years, they recently released a music video that I came across on
YouTube. The song bore the strange title, ‘Kluskap O‘ Kom,’ and the animated
video created by drummer Michel Langevin featured a terrifying figure stalking
through the woods. I looked up the title, and discovered that it refers to a
figure out of Canadian First Nations legend. Eventually, I also came upon the
following poem.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">Klu’Skap-O’Kom*</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">By Rita Joe</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">I left a
message to nikmaqq+<br />
In the caves of stone<br />
My home.<br />
The message say I go away<br />
But someday return,<br />
And the sun will again shine<br />
Across the trails<br />
My people walk.<br />
<br />
*Klu’skap-o’kom—Klu’skap’s home.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">+Nikmaqq—My
friends or Micmac.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">In Cape
Breton, Nova Scotia, there are caves at a place, Kelly’s Mountain, where the
legend says that Klu’skap left and will return someday. The place is beautiful
in the rising and setting sun, hence the legend the Micmacs passed from
generation to generation. The $46 million quarry nearby may destroy the caves,
and the legend will only be a story of our past; as always this usually
happens.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">(Oct. 21,
1989) R.J.)</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">From <i style="mso-bidi-font-style: normal;">Canadian Literature</i> No. 124-125, Native
Writers & Canadian Writing (Spring/Summer), p. 122.</span></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-37474150882144675502020-01-02T07:39:00.000-06:002020-01-02T07:39:28.036-06:00Images of Childhood & the Christmas Mystery<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Aih8Ntpyi-dyXMvO2uD_XWukTX5CcewkUNjvFx3MWGByrHuyQeGAXeTTL6qytdBDpfjeDgCL37yNhcEKPkIBLltOpjOshCJIAzrakkU-dcp4-ri5AzOsbD0wZhT9YDvpXelR0qhBijKN/s1600/R-20110928-0011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1194" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Aih8Ntpyi-dyXMvO2uD_XWukTX5CcewkUNjvFx3MWGByrHuyQeGAXeTTL6qytdBDpfjeDgCL37yNhcEKPkIBLltOpjOshCJIAzrakkU-dcp4-ri5AzOsbD0wZhT9YDvpXelR0qhBijKN/s320/R-20110928-0011.jpg" width="238" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">This
morning’s Epistle and Gospel readings (for 19 December, in the 29<sup>th</sup>
week after Pentecost according to the Old Calendar) came from Hebrews 5:11-6:8
and Mark 10:11-16. Being wont to make connections between the two readings on
any given day, I would note the following. The Hebrews passage contains the
rebuke:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">For when for
the time ye ought to be teachers, ye have need that one teach you again which
be the first principles of the oracles of God; and are become such as have need
of milk, and not of strong meat. For every one that useth milk is unskillful in
the word of righteousness: for he is a babe. (Heb. 5:12-13)</span></div>
</blockquote>
<br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">Mark 10 on
the other hand contains the more positive reference to childhood in Our Lord’s
insistence, ‘Verily I say unto you, Whosoever shall not receive the kingdom of
God as a little child, he shall not enter therein’ (Mk. 10:15).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">But it is
still more interesting to note that the juxtaposition of these two references
to childhood was repeated for me almost immediately after. My one piece of
reading specific to the Nativity Fast is by an English Benedictine nun and
translator of St. Augustine—Maria Boulding’s <i style="mso-bidi-font-style: normal;">The Coming of God</i>. In the course of a meditation on the
implications of Our Lord’s childhood for our own ‘paschal rebirth’, Sr Maria
cites in tandem a Gospel and Epistle passage which quite closely parallel those
in the Eastern lectionary for today. She writes:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">Echoing in
our minds is the Lord’s warning, ‘Unless you change and become like little
children, you shall not enter the kingdom of heaven’ (cf. Matt. 18.3), yet St
Paul rebuked the Corinthians for childishness: ‘I could not address you as
spiritual men, but as men of the flesh, as babes in Christ. I fed you with
milk, not solid food; for you were not ready for it; and even yet you are not
ready, for you are still of the flesh’ (I Cor. 3.1-3). (58)</span></div>
</blockquote>
<br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">For Sr Maria,
this juxtaposition reveals the paradoxes involved in using the image of
childhood to convey, not only the mystery of Christmas, but (already present
within that mystery) an anticipatory ‘promise of our paschal rebirth in Christ’
(58). In His condescension, Our Lord too became a ‘babe’ who had need of milk
rather than strong meat. But in being born as a little child, He invites us to
participate in that self-emptying of becoming children once again so that we
may enter the Kingdom of Heaven.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">Maria
Boulding, OSB. <i style="mso-bidi-font-style: normal;">The Coming of God</i>. London:
SPCK, 1982.</span></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-2049067829460591282019-07-14T17:35:00.000-05:002019-07-14T17:35:09.124-05:00Vigils in the Qur'an<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU9kQzHthzUyBbH7LX4ZrWqivweBlDGtnuRunm3C2oWW0upiNc2i-THbxQ2kTegi_aNxZWqrf5Mphufr3YOtnLjv6Jqe_tO-xEe8lFpiQpYUylFOh_QXaqiCMnKa00b-bzGAC7sL42hytE/s1600/ramadan-dua-3461512_900.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="900" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU9kQzHthzUyBbH7LX4ZrWqivweBlDGtnuRunm3C2oWW0upiNc2i-THbxQ2kTegi_aNxZWqrf5Mphufr3YOtnLjv6Jqe_tO-xEe8lFpiQpYUylFOh_QXaqiCMnKa00b-bzGAC7sL42hytE/s320/ramadan-dua-3461512_900.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">I came across
an interesting reference this week to the practice of vigils in <i>The Hundred
Letters</i> of the 13<sup>th</sup>- to 14<sup>th</sup>-century Indian Sufi, Makhdum
al-Mulk Sharafuddin b. Yahya Maneri. In Letter 28, Sharafuddin outlines what
should be the sufi’s daily routine of prayer, and having prescribed the
necessary prayers before the night’s sleep, he writes:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br /></span></div>
<br />
<blockquote class="tr_bq">
<div style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">If he is
diligent, he can perform all these prayers; and he may also impose an added
religious duty on himself: ‘They forsake their beds, calling upon their Lord in
fear and in hope’ (Q32:16) rightly refers to those who are awake and watchful
between sunset and the first watch of the night….Also, to prevent sleep from
gaining mastery over him, let him rise at the end of the night’s rest, before
dawn breaks, and begin his work afresh—that is the time to beg for pardon, and
prayer is more profitable at this time than at night! If at the end of the
night he engages himself in the prayer throughout the night, he should seek God’s
pardon and recite the Quran. [1]</span></div>
<span style="font-family: "Book Antiqua",serif;"></span></blockquote>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">The quote
from Sura 32 caught my attention in particular, and it reminded me that there
was actually a very positive reference to Christian ascetics in the Qur’an (5:82-3)—</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br /></span></div>
<br />
<div style="text-align: justify;">
<blockquote class="tr_bq">
<span style="font-family: "Book Antiqua",serif;">You are sure
to find that the most hostile to the believers are the Jews and those who
associate other deities with God; you are sure to find that the closest in
affection towards the believers are those who say, ‘We are Christians,’ for
there are among them people devoted to learning and ascetics. These people are
not given to arrogance, and when they listen to what has been sent down to the
Messenger, you will see their eyes overflowing with tears because they
recognize the Truth [in it]. [2]</span></blockquote>
</div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br />But following
the reference to Sura 32 in <i>The Study Quran</i>, I found something even more
interesting. In context, the full statement covers ayat 15 and 16 and reads: ‘Truly
they believe in Our signs who when reminded of them fall prostrate and hymn the
praise of their Lord and do not wax arrogant, whose sides shun [their] beds,
calling upon their Lord out of fear and hope, and who spend from that which We
have provided for them.’ [3] Here is some of the comment appended to aya 16:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br /></span></div>
<br />
<div style="text-align: justify;">
<blockquote class="tr_bq">
<span style="font-family: "Book Antiqua",serif;">This verse
was reportedly revealed with regard to some Companions of the Prophet who would
stand in prayer from after the sunset prayer (<i>maghrib</i>) until the time of the
night prayer (‘<i>isha</i>’; W), while others say it refers to those who pray the
night vigil (<i>tahajjud</i>; W). Given that they shun [their] beds], the second
interpretation is more plausible….Al-Maybudi writes, ‘Sleeplessness and
wakefulness at night are the cause of nearness to the Truth and evidence of the
perfection of love, for the first degree of love is seeking conformity, and the
attribute of the Truth is that <i>neither slumber overtakes Him nor sleep</i> [2:255}.’
In this vein, the Prophet is reported to have said, ‘My eyes sleep, but my
heart waketh.’ (My). [4]</span></blockquote>
</div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br />The reference
‘My’ is to the 11<sup>th</sup>- to 12<sup>th</sup>-century commentator, Rash</span><span style="font-family: "Book Antiqua",serif; mso-bidi-font-family: "Book Antiqua";">ī</span><span style="font-family: "Book Antiqua",serif;">d al-D</span><span style="font-family: "Book Antiqua",serif; mso-bidi-font-family: "Book Antiqua";">ī</span><span style="font-family: "Book Antiqua",serif;">n al-Maybud</span><span style="font-family: "Book Antiqua",serif; mso-bidi-font-family: "Book Antiqua";">ī</span><span style="font-family: "Book Antiqua",serif;">. He cites Q2:255, which closely
echoes Psalm 120:4 (LXX): ‘Behold, He shall not slumber nor shall He sleep, He
that keepeth Israel.’ But no source is provided beyond al-Maybud</span><span style="font-family: "Book Antiqua",serif; mso-bidi-font-family: "Book Antiqua";">ī
for </span><span style="font-family: "Book Antiqua",serif;">the final quote attributed
to Muhammed. It is obviously closely akin to Song of Songs 5:2: ‘I sleep, but
my heart waketh.’</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br />Coincidentally,
I came across another reference to what appears to be exactly the same saying
in one of Raficq Abdulla’s translations of Rumi. In Mathnavi II, 3547, the
speaker says:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br /></span></div>
<blockquote class="tr_bq">
<span style="font-family: "Book Antiqua",serif;">The Prophet
said: ‘My eyes are sleeping but oh</span><br /><span style="font-family: "Book Antiqua",serif;">
My heart is alight with the Lord of us all.’</span><br /><span style="font-family: "Book Antiqua",serif;">
Your eyes may be open but your heart is sleeping,</span><br /><span style="font-family: "Book Antiqua",serif;">
My eyes are closed, but my waking heart stands erect</span><br /><span style="font-family: "Book Antiqua",serif;">
Dawn-fresh before the threshold with its own wakefulness. [5]</span></blockquote>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">[1]
Sharafuddin Maneri, <i>The Hundred Letters</i>, trans. Paul Jackson, SJ, The Classics
of Western Spirituality (NY: Paulist, 1980), p. 113.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br />[2] <i>The Qur’an</i>,
trans. M.A.S. Abedel Haleem (Oxford: Oxford U, 2010), pp. 75-6.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br />[3] <i>The Study
Quran: A New Translation and Commentary</i>, ed. Seyyed Hossein Nasr et al. (NY:
HarperOne, 2015), p. 1013.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br />[4] <i>Ibid</i>., p.
1013, n. 16.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;"><br />[5] <i>Words of
Paradise: Selected Poems of Rumi, New Interpretations by Raficq Abdulla</i> (NY:
Barnes & Noble, 2006), p. 49.</span></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com1tag:blogger.com,1999:blog-6714437334790446678.post-12812472396372603842019-06-08T09:41:00.001-05:002019-06-08T09:41:59.893-05:00Hereditary: Horror & Greek Tragedy
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOgrEy9pFk1OHm7lkPr8MSMVZMbGmaYzhm7gHoKKj3iIBVtEpV322jKvBtfSjLv61WZjMnGDZ8HE7sHUoqndZOIpJ3XZBDUnVLH6xT1cscsANQ7JUSvWcz516GxW-9iSRe9g9Dvmd73KqX/s1600/1d004bc44f7f701a11b5423b0b0b4b3a.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="756" data-original-width="540" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOgrEy9pFk1OHm7lkPr8MSMVZMbGmaYzhm7gHoKKj3iIBVtEpV322jKvBtfSjLv61WZjMnGDZ8HE7sHUoqndZOIpJ3XZBDUnVLH6xT1cscsANQ7JUSvWcz516GxW-9iSRe9g9Dvmd73KqX/s320/1d004bc44f7f701a11b5423b0b0b4b3a.jpg" width="228" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">Motivated
by a friend’s patently absurd claim that she didn’t need to read tragedies
because she ‘had enough tragedy in her life’, I recently set myself the project
of reading <i style="mso-bidi-font-style: normal;">all</i> of the surviving Greek
tragedies. Of the many plays of Euripides still extant, I have only read <i style="mso-bidi-font-style: normal;">Medea</i>, <i style="mso-bidi-font-style: normal;">Electra</i>, and <i style="mso-bidi-font-style: normal;">The Bacchae</i>,
but I have read all of the much shorter corpus by Aeschylus and have just
recently completed that by Sophocles.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">I had of
course read the Oedipus trilogy long before, as well as <i style="mso-bidi-font-style: normal;">Electra</i>, but despite a fascination with the madness and shame of
Ajax I only read that play on 23 May. [1] The next day I completed the final
one, <i style="mso-bidi-font-style: normal;">Trachiniae</i>, or ‘The Women of
Trachis’. Though I didn’t realize it till I began, this tells the story of the
death of Heracles at the unwitting hands of his wife, Deianeira. It was a
subject freshly on my mind, since on the 23<sup>rd</sup> I saw for the second
time the striking horror film, <i style="mso-bidi-font-style: normal;">Hereditary</i>,
in which there is a seemingly incidental discussion of Sophocles and the
‘tragic flaw’ of Heracles. (At this point, I should note that this post will
contain spoilers of the film.) During the first of several scenes inside the
character Peter’s classroom, we get the following exchange:</span></div>
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<br /></div>
<blockquote class="tr_bq">
<div class="rz6fp9-10" style="text-align: justify;">
<strong><span style="font-size: 11.0pt;">Teacher</span></strong><span style="font-size: 11.0pt;">: So if we go by the rule that the hero is undone by
his fatal flaw, what is Heracles’ flaw?</span></div>
<div class="rz6fp9-10" style="text-align: justify;">
<br /></div>
<div class="rz6fp9-10" style="text-align: justify;">
<strong><span style="font-size: 11.0pt;">Bridget</span></strong><span style="font-size: 11.0pt;">: Arrogance.</span></div>
<div class="rz6fp9-10" style="text-align: justify;">
<br /></div>
<div class="rz6fp9-10" style="text-align: justify;">
<strong><span style="font-size: 11.0pt;">Teacher</span></strong><span style="font-size: 11.0pt;">: Okay, why?</span></div>
<div class="rz6fp9-10" style="text-align: justify;">
<br /></div>
<div class="rz6fp9-10" style="text-align: justify;">
<strong><span style="font-size: 11.0pt;">Bridget</span></strong><span style="font-size: 11.0pt;">: Because he literally refuses to look at all the
signs that are being literally handed to him the entire play.</span></div>
<div class="rz6fp9-10" style="text-align: justify;">
<br /></div>
<div class="rz6fp9-10" style="text-align: justify;">
<strong><span style="font-size: 11.0pt;">Teacher</span></strong><span style="font-size: 11.0pt;">: Okay, interesting! So he thinks he has control. But
let's all remember: Sophocles wrote the oracle so that it was unconditional.
Meaning Heracles never had any choice. Right? So, does this make it more tragic
or less tragic than if he did have a choice?</span></div>
<div class="rz6fp9-10" style="text-align: justify;">
<br /></div>
<div class="rz6fp9-10" style="text-align: justify;">
<strong><span style="font-size: 11.0pt;">Student</span></strong><span style="font-size: 11.0pt;">: Less!</span></div>
<div class="rz6fp9-10" style="text-align: justify;">
<br /></div>
<div class="rz6fp9-10" style="text-align: justify;">
<strong><span style="font-size: 11.0pt;">Teacher</span></strong><span style="font-size: 11.0pt;">: Okay, why?</span></div>
<div class="rz6fp9-10" style="text-align: justify;">
<br /></div>
<div class="rz6fp9-10" style="text-align: justify;">
<strong><span style="font-size: 11.0pt;">Student</span></strong><span style="font-size: 11.0pt;">: Because!</span></div>
<div class="rz6fp9-10" style="text-align: justify;">
<br /></div>
<div class="rz6fp9-10" style="text-align: justify;">
<strong><span style="font-size: 11.0pt;">Teacher</span></strong><span style="font-size: 11.0pt;">: Care to weigh in, Peter?</span></div>
<div class="rz6fp9-10" style="text-align: justify;">
<br /></div>
<div class="rz6fp9-10" style="text-align: justify;">
<strong><span style="font-size: 11.0pt;">Peter</span></strong><span style="font-size: 11.0pt;">: Um … about which part?</span></div>
<div class="rz6fp9-10" style="text-align: justify;">
<br /></div>
<div class="rz6fp9-10" style="text-align: justify;">
<strong><span style="font-size: 11.0pt;">Student</span></strong><span style="font-size: 11.0pt;">: I think it's more tragic because if it’s all just
inevitable, then that means that the characters had no hope, they never had
hope, because they’re just like pawns in this horrible, hopeless machine. [2]</span></div>
</blockquote>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">The
discussion is of course beautifully germane to the plot of the film. Indeed,
Peter’s failure to pay attention in class is itself an example of refusing ‘to
look at all the signs that are being literally handed to him the entire play’. Heracles’s
tragic end—to which T.S. Eliot famously refers as ‘The intolerable shirt of
flame/Which human power cannot remove’ [3]—seems paralleled to some extent in
the immolation of the family ‘patriarch,’ Steve Graham. (Steve suffers rather
than acts throughout the film. The true agent is a matriarch—his mother-in-law,
Ellen Taper Leigh.) The suffering of the Graham family too raises the question
of the degree to which free will on the one hand or powerful forces beyond
their control on the other have determined their fate at the end.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">On the other
hand, <i style="mso-bidi-font-style: normal;">Trachiniae</i> shows us very little
of Heracles himself, instead focusing almost wholly on the figure of Deianeira.
The student’s claim that the hero is given signs at which he refuses to look is
largely the script-writer’s inference. The teacher’s statement about the oracle
however is clearly borne out by the play. As stated by Deianeira near the
beginning, the ‘sure oracles’—though disjunctive—are certainly unconditional:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">That
either he shall meet his death, or, having achieved this task [of subjugating
Euboea], shall have rest thenceforth, for all his days to come. [4]</span></div>
</blockquote>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">Indeed,
while Heracles’s own account of the oracle at the end seems to reflect the original
wording more closely, it is equally unconditional:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">It was
foreshown to me by my Sire of old that I should perish by no creature that had
the breath of life, but by one that had passed to dwell with Hades. So I have
been slain by this savage Centaur, the living by the dead, even as the divine
will had been foretold.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">And I will
show thee how later oracles tally therewith, confirming the old prophecy. I
wrote them down in the grove of the Selli, dwellers on the hills, whose couch
is on the ground; they were given by my Father’s oak of many tongues; which
said that, at the time which liveth and now is, my release from the toils laid
upon me should be accomplished. And I looked for prosperous days; but the
meaning, it seems, was only that I should die; for toil comes no more to the
dead. [5]</span></div>
</blockquote>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">Furthermore,
it may be that the screenwriter of <i style="mso-bidi-font-style: normal;">Hereditary</i>
had in mind this very statement of Heracles concerning his self-deception at
the meaning of the oracles, since the grandmother of the film dies before
attaining the material wealth she had hoped for from the demon, Paimon.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman",serif;">Trachiniae</span></i><span style="font-family: "Times New Roman",serif;"> is not the only tragedy referenced
in the film though. In the final classroom scene, the teacher stands before a
chalkboard that reads, ‘Punishment brings wisdom’, and we hear him say clearly,
‘Iphigeneia’s murder was commanded by the gods,’ and some seconds later, ‘Clytemnestra
was driven by revenge.’ The motto on the chalkboard seems to be an epitome of
the final lines of Sophocles’s <i style="mso-bidi-font-style: normal;">Antigone</i>:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">Great
words of prideful men are ever punished with great blows, and, in old age, teach
the chastened to be wise. [6]</span></div>
</blockquote>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">While the
doomed family of the film suffer a good deal of punishment, however, there are
no ‘chastened’ left at the end to have learned any wisdom from it, and it’s
hard for me to see any parallels in the film to Clytemnestra or a revenge
motive. But the reference to the sacrifice of Agamemnon’s daughter, Iphigeneia,
may well remind us of what we come to realise was a sacrifice of the Grahams’
daughter, Charlie.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">That said,
the most interesting thing to me in this particular classroom scene is the
homework that can also be read on the chalkboard:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><u><span style="font-family: "Times New Roman",serif;"><br /></span></u></i></div>
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><u><span style="font-family: "Times New Roman",serif;">Proteus</span></u></i><span style="font-family: "Times New Roman",serif;"> must be read and <u>considered</u>
by <u>Friday</u></span></div>
</blockquote>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">As far as
I know, no one else has noticed this assignment. The beautiful thing about this
little reference is that while there was a real play by Aeschylus called <i style="mso-bidi-font-style: normal;">Proteus</i>—it was the satyr play that
originally followed the <i style="mso-bidi-font-style: normal;">Oresteia</i>—it is
no longer extant. Only a fragment (Fragment 119) has survived, preserved by the
2<sup>nd</sup>- to 3<sup>rd</sup>-century Greek rhetorician and grammarian,
Athenaeus of Naucratis, in his <i style="mso-bidi-font-style: normal;">Deipnosophists</i>
ix.50. Herbert Weir Smyth renders it as follows:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">A wretched
piteous dove, in quest of food, dashed amid the winnowing-fans, its breast
broken in twain [7]</span></div>
</blockquote>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman",serif;">Proteus</span></i><span style="font-family: "Times New Roman",serif;"> is known to have detailed Menelaus’s
forced detour to Egypt on his way back from Troy in a divinely sent storm that
came at night and, according to the Herald’s speech in Aeschylus’s <i style="mso-bidi-font-style: normal;">Agamemnon</i>, ‘when the sun came up again
to light the dawn,’ discovered ‘the Aegean Sea blossoming with dead men.’ [8]</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">Upon
tracking down this subtle reference, a viewer of <i style="mso-bidi-font-style: normal;">Hereditary</i> will be reminded of two things. First, the ‘wretched
piteous’ bird puts one in immediate mind of the bird dashed against Charlie’s
classroom window in an early scene. Charlie’s decapitation of the bird,
however, is of course a foreshadowing of her own decapitation, and her use of
the bird’s head to crown an artificially crafted figurine anticipates the use
in the final scene of her own decapitated head to crown the idol of Paimon.
Thus, the wreckage at night described in <i style="mso-bidi-font-style: normal;">Agamemnon</i>
is paralleled by Charlie’s decapitation during the manic night drive, after
which the first sunlit scene shows a very graphic view of the bloody head lying
in the road where Peter left it.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">It should
be obvious from all of this that what we think of as a ‘horror film’ in this
case has many parallels and resonances with classical Greek tragedy,
culminating in the very notion of the grandmother’s evil visiting her children
and grandchildren and the question of the family’s free will versus their
manipulation by a demonic conspiracy. One is reminded of Hyllus’s indictment of
Zeus and the gods at the end of <i style="mso-bidi-font-style: normal;">Trachiniae</i>:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">…And grant
me full forgiveness for this; but mark the great cruelty of the gods in the
deeds that are being done. They beget children, they are hailed as fathers, and
yet they can look upon such sufferings.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">No man foresees
the future; but the present is fraught with mourning for us, and with shame for
the powers above, and verily with anguish beyond compare for him who endures
this doom.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">Maidens,
come ye also, nor linger at the house; ye who have lately seen a dread death
with sorrows manifold and strange: and in all this there is nought but Zeus. [9]</span></div>
</blockquote>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">Thus Zeus,
who is himself the Sire of which Heracles had spoken, is ‘hailed’ as father
just as Paimon is literally ‘hailed’ by his followers. But it is his own cruelty
and will—like that of the old witch in the film, grandma Ellen—that has wrought
all the suffering Zeus’s son, daughter-in-law, and grandson have endured.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">Still,
there is one important difference between our film and a Greek tragedy, even
with all the latter’s admitted gore. Unlike the great tragedies, the
conventions of the modern horror genre take little to no consideration of
Horace’s famous rules about the depiction of horror on stage:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">But you
will not bring on to the stage anything that ought properly to be taking place
behind the scenes, and you will keep out of sight many episodes that are to be
described later by the eloquent tongue of a narrator. Medea must not butcher
her children in the presence of the audience, nor the monstrous Atreus cook his
dish of human flesh within public view, nor Procne be metamorphosed into a
bird, nor Cadmus into a snake. I shall turn in disgust from anything of this
kind that you show me. [10]</span></div>
</blockquote>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">I feel
certain that many cinema-goers did just this at the trauma of Charlie’s head
colliding with the telephone pole in <i style="mso-bidi-font-style: normal;">Hereditary</i>.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">[1] It was
Rosemary Suttcliff’s <i style="mso-bidi-font-style: normal;">Black Ships Before
Troy</i> that sparked my interest in Ajax.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">[2] I
found the transcription <a href="https://www.reddit.com/r/Hereditary/comments/9k97wr/1978s_halloweens_classroom_scene_talking_about/">here</a>.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">[3] T.S.
Eliot, ‘Little Gidding’ IV, <i style="mso-bidi-font-style: normal;">The Complete
Poems & Plays</i> (London: Faber, 1969), p. 196.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">[4]
Sophocles, <i style="mso-bidi-font-style: normal;">Trachiniae</i>, tr. Richard C.
Jebb, Vol. 4 of <i style="mso-bidi-font-style: normal;">Britannica Great Books</i>
(Chicago: Encyclopædia Britannica, 1952), p. 170.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">[5] <i style="mso-bidi-font-style: normal;">Ibid.</i>, p. 180.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">[6]
Sophocles, <i style="mso-bidi-font-style: normal;">The Antigone</i>, Part 3 of <i style="mso-bidi-font-style: normal;">The Plays & Fragments with Critical
Notes, Commentary, & Translation in English Prose</i>, by Richard Jebb
(Amsterdam: Adolf M. Hakkert, 1971), pp. 237, 239, ll. 1350-3.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">[7] Accessed
<a href="https://www.theoi.com/Text/AeschylusFragments2.html#Proteus">here</a>.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">[8]
Aeschylus, <i style="mso-bidi-font-style: normal;">Oresteia: Agamemnon, The
Libation Bearers, The Eumenides</i>, tr. Richmond Lattimore, <i style="mso-bidi-font-style: normal;">Aeschylus I</i> of <i style="mso-bidi-font-style: normal;">The Complete Greek Tragedies</i>, ed. David Grene & Richmond
Lattimore (Chicago: U of Chicago, 1953), p. 55, ll. 658-9.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">[9]
Sophocles, p. 181. Sophocles’s lines seem to me to echo the famous opening
sentence of the <i>Iliad</i>:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;"> </span><span style="font-family: "Times New Roman",serif;"> </span></div>
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">Rage—Goddess,
sing the rage of Peleus’ son Achilles,<br />murderous, doomed, that cost the Achaeans countless losses,<br />
hurling down to the House of Death so many sturdy souls,<br />
great fighters’ souls, but made their bodies carrion,<br />
feasts for the dogs and birds,<br />
and the will of Zeus was moving toward its end.</span></div>
</blockquote>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">From Homer,
<i style="mso-bidi-font-style: normal;">The Iliad</i>, tr. Robert Fagles (NY:
Penguin, 1990), p. 77.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">[10]
Horace, <i style="mso-bidi-font-style: normal;">On the Art of Poetry</i>, in <i style="mso-bidi-font-style: normal;">Classical Literary Criticism</i>, tr. T.S.
Dorsch (London: Penguin, 1965), p. 85.</span></div>
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<![endif]-->Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com1tag:blogger.com,1999:blog-6714437334790446678.post-78546320555324276492019-05-06T16:37:00.002-05:002019-05-06T16:37:28.414-05:00My Review of St Gregory Palamas's Homilies<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYz93lQSuj_ktlTZu4JZP143Uz-0ZmnqeJyyffY8H5b5o-3fM0-e9MFWDiCaiJo-n3nQKgFnCSHcheahR6fnDE8cc1A8ZELyrMBtd_DTlJviC4yeHbTpF0DAjidSRGZ87ffIdWB9LvoBs1/s1600/hsgp__95397.1405476597.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="800" data-original-width="519" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYz93lQSuj_ktlTZu4JZP143Uz-0ZmnqeJyyffY8H5b5o-3fM0-e9MFWDiCaiJo-n3nQKgFnCSHcheahR6fnDE8cc1A8ZELyrMBtd_DTlJviC4yeHbTpF0DAjidSRGZ87ffIdWB9LvoBs1/s320/hsgp__95397.1405476597.JPG" width="207" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<i><span style="font-family: "Times New Roman",serif;">Owing to
popular demand—okay, two people—I have decided to post my 2011 review of the
English translation of St Gregory Palamas’s homilies from </span></i><span style="font-family: "Times New Roman",serif;"><span style="mso-bidi-font-style: normal;">Orthodox Life</span></span><i><span style="font-family: "Times New Roman",serif;">. So this is that.</span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">St Gregory
Palamas, <i style="mso-bidi-font-style: normal;">The Homilies</i>, ed. and trans.
Christopher Veniamin with the assistance of The Monastery of St John the
Baptist (Waymart, PA: Mount Thabor Publishing, 2009). ISBN 978-0977498345.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">The last
fifty years or so have seen a growing interest in St Gregory Palamas in the
English-speaking world. But because professional theologians and patristic
scholars have led that interest, much of it has focused on St Gregory’s
polemical and theological works, and these works have been the primary object
of translation efforts into English. Such translations are undoubtedly
important: they have led to marked Western reevaluations of St Gregory’s
teaching and have become a source of theological enrichment for Anglophone
Orthodox readers.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">But a
translation of St Gregory’s extant homilies has been long overdue, and Mount
Thabor Publishing it to be roundly applauded for producing this beautifully
bound, hardcover edition of all sixty-three of them. Devoted to the Great
Feasts and Sunday Gospel readings of the Church year, the homilies have the
potential to serve as a real aid to the spiritual life. It is here that we see
St Gregory Palamas as the great pastor of the Church that he was, and it is
here that Orthodoxy laymen of the English-speaking world, especially converts,
will find a proper point of contact with the saint’s teaching. These homilies
were given to provide spiritual nourishment to Orthodox Christians living in
the world, who did not necessarily grasp the Aristotelian subtleties of
theological polemic and whose experience of the spiritual life had not yet
risen to the heights attained by monastic hesychasts. These homilies feed the
souls of working men and women. In them we see St Gregory ‘rightly dividing the
word of truth’.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">That is
clearly not to say, however, that this translation will hold no interest for
the scholar or theologian. The homilies are, as one would expect, models of
theological oratory and patristic exegesis, and afford a fascinating glimpse
into the religious life at the height of the Palaiologan Renaissance. To aid
the scholarly reader, this edition contains extensive endnotes (continuously
numbered) that often provide lavish quotations from the Greek, besides offering
deeper insights into St Gregory’s theology. There are also indexes of
Scriptural references, of names and subjects, and of Greek words, all of which
greatly increase the book’s value as a reference tool.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">The initial
labour of this translation was undertaken at the Monastery of St John the
Baptist in Essex, England, by Sister Pelagia (Selfe) under the direction of
Archimandrite Zacharias (Zacharou), being finally revised and furnished with
notes by Christopher Veniamin of St Tikhon’s Orthodox Theological Seminary in
South Canaan, PA. Sr Pelagia and Dr Veniamin should be commended for their very
readable and elegant rendering. The cover price may seem a bit steep, but it is
well worth it for a treasure of this magnitude. Perhaps my only complaint is
the editor’s decision to use the Masoretic names and numbering for Scriptural
citations. But such a quibble should hinder no one from acquiring this
important volume. Let us, as St Gregory says, open our ‘ears to the Spirit’s
teaching and be persuaded by what we preach and put forward to you for the good
of all’ (Homily 56.3).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman",serif;">(<i style="mso-bidi-font-style: normal;">Orthodox Life</i> Vol. 62, No. 3 [May-June
2011], pp. 53-5)</span></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-77400410672590110852018-12-28T11:29:00.001-06:002018-12-28T11:37:15.794-06:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY9FXpbO-RddZjsvg7eSYVge_pNybTqPM8QadBEOdooAjbDnJO0XD3VMwQhtNY2_wBx_W_jZhqxhVdr9Dwfj5gy7ym50vsWcwJSq6AhmZ5m-7mq-HskMovd7XE6ueVPcDYmvnGPhPxQKa9/s1600/chagall_isaiah_1968-e1531522394702.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="371" data-original-width="474" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY9FXpbO-RddZjsvg7eSYVge_pNybTqPM8QadBEOdooAjbDnJO0XD3VMwQhtNY2_wBx_W_jZhqxhVdr9Dwfj5gy7ym50vsWcwJSq6AhmZ5m-7mq-HskMovd7XE6ueVPcDYmvnGPhPxQKa9/s320/chagall_isaiah_1968-e1531522394702.jpg" width="320" /></a></div>
<br />
<div style="text-align: justify;">
I was recently skimming over an <a href="https://www.marquette.edu/maqom/Corrective.html">article</a> by Archbishop Alexander Golitzin
that I first read somewhere around 2001 or 2002, and I noticed something
interesting in a passage he cites from the Dionysian 'Celestial
Hierarchy' (13.4; 304c). Describing the role of the angelus interpres in
the prophet's vision in Isaiah 6, the text states, 'Under the
illuminating guidance of this angel he was raised up to such a sacred
contemplation...' [1] Vladyka Alexander gives in brackets the Greek word
translated as 'guidance' here as χειραγωγία. Within seconds of closing
the article, I realised that this is an exact Greek equivalent of the
Latin <i>manuductio</i> that looms so large in the study of medieval theology
by Peter Candler that I was just reading<span style="font-family: "book antiqua" , serif; font-size: 11.0pt; line-height: 107%;">—</span><!--[if gte mso 9]><xml>
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<![endif]--><i>Theology, Rhetoric,
Manuduction</i>!</div>
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<br /></div>
<div style="text-align: justify;">
[1] <i>Pseudo-Dionysius: The Complete Works</i>, tr. Colm Luibheid (NY: Paulist, 1987), p. 179.</div>
<br />Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com2tag:blogger.com,1999:blog-6714437334790446678.post-42976913106719709962018-11-22T11:14:00.002-06:002018-11-22T11:14:57.270-06:00Common vs. Private Good in Plymouth Colony<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRRyo3yqdDGLBCVllLtes8IygHQJYvivdk55y8ce_mvbhH-ucUpDfzv-BCFnC2nQ-IRGZCdCcmeuifO_huNo8pCCFdnf3op5rmhlB_eELy1Sl23_lW4Z9rOr9xY7Qy63dsuYJvig4rwp6k/s1600/George_Cole_-_Harvest_Rest.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="807" data-original-width="1200" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRRyo3yqdDGLBCVllLtes8IygHQJYvivdk55y8ce_mvbhH-ucUpDfzv-BCFnC2nQ-IRGZCdCcmeuifO_huNo8pCCFdnf3op5rmhlB_eELy1Sl23_lW4Z9rOr9xY7Qy63dsuYJvig4rwp6k/s320/George_Cole_-_Harvest_Rest.jpg" width="320" /></a></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In a piece adapted for
the <i style="mso-bidi-font-style: normal;">Hoover Digest</i> some time ago, Tom
Bethell seized on a rather unlikely source for ammo in the conservative battle
against “collectivism” in all its forms—William Bradford’s history of the
Plymouth Colony, <i style="mso-bidi-font-style: normal;">Of Plymouth Plantation</i>
(1651). Bethell’s essay bore the cute title, “How Private Property Saved the
Pilgrims.” Not to be outdone, Jerry Bowyer played up the connection with the
modern Pilgrim-oriented holiday in an article for Forbes.com much inferior to
Bethell’s called “Lessons from a Capitalist Thanksgiving.” </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">These two are in ample
company. For some time now, conservatives and libertarians seem to have very
nearly plagiarized one another in making the most of what seems at first glance
to be the ideal historical evidence against everything from full-blown
socialism to the most basic welfare system.<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[1]</span></span></span></span></a> Although it is tempting to
pick apart the above examples,<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[2]</span></span></span></span></a> I make no pretence of
answering their objections to more or less leftist political ideals in this
article. I do, however, wish to encourage a more careful reading of Bradford,
whose chronicle, while often tedious and uninspired as it details the colonists’
failures and successes in the beaver-pelt trade,<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[3]</span></span></span></span></a> is nevertheless full of
fascinating glimpses of the Pilgrims’ thought and personalities. Bradford’s
rejection of “collectivism,” despite its understandable appeal to those of a
libertarian bent, is by no means as simple as it at first appears. Indeed, far
more valuable than its supposed refutation of socialism is its stark reminders
of the moral foundation required to check the darker tendencies of private
ownership.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Scarcely four months
after the landing of the <i style="mso-bidi-font-style: normal;">Mayflower</i> at
Plymouth, Massachusetts, the governor of the new colony passed away suddenly.
His successor was a fellow Puritan Separatist from Yorkshire named William
Bradford, and he went on to govern Plymouth Colony for over 30 years. Thanks to
Bradford, many of the details of life for the Pilgrims in the New World are
intimately known to us. Near the end of his life, Bradford wrote an elaborate
account of the history of the colony that has come to be known as <i style="mso-bidi-font-style: normal;">Of Plymouth Colony</i>. There he not only recorded
extensive information about the logistics of transplanting a bunch of English
Puritans to an unsettled wilderness, but he also attempted to use his knowledge
of the Bible and Puritan theology to show the hand of divine providence at work
in the earliest history of our nation.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Naturally, the experience
of the Pilgrims raises numerous questions that have influenced a good deal of
subsequent American history, many of which remain relevant today. Although the <i style="mso-bidi-font-style: normal;">Mayflower </i>voyage was motivated by a
desire to remain faithful to their interpretation of a very old ideal, and it
was natural for them to draw analogies between themselves and biblical history,
what they were doing was in many ways quite new. A naturally conservative
people, the venture necessarily involved the Pilgrims in a degree of social
experimentation.</span></div>
<div style="background: white; line-height: 200%;">
In particular, the original
charter drawn up by the Massachusetts Bay Company’s investors before anyone
even boarded the ship specified that the “adventurers and planters” were to
have “all provissions out of the comon stock & goods of the said colonie,”
a stock which was itself to be supplied by common labor. This provision may
seem to have been inspired by the New Testament ideal expressed in Acts
2:44-45: “<span class="text"><span style="color: black;">And all that believed,
were in one place, and had all things common. And they sold their possessions
and goods, and parted them to all men, as every one had need” (Geneva Bible). But
it is true that the the would-be Pilgrims themselves were uneasy about the
arrangement, and </span></span>Bradford later ascribes the origins of such a
scheme to the philosophy of Plato “and other ancients.”<span class="text"><span style="color: black;"> Nevertheless, the English Separatists had written to Sir
Edwin Sandys back in 1617: “We are knite togeather as a body in a most stricte
& sacred bond and covenante of the Lord,...by vertue wherof we doe hould
our selves straitly tied to all care of each others good, and of the whole by
every one and so mutually.”</span></span></div>
<div style="background: white; line-height: 200%;">
<span class="text"><span style="color: black;">At any rate, the noble experiment had certainly failed by
1623. The sturdy colonists were beginning to grumble against one another, and
found that the peace of the colony was greatly improved by apportioning the
common land to each family to farm for its own private needs. In a key passage,
Bradford famously writes:</span></span></div>
<div style="background: white; line-height: 200%;">
<span class="text"><span style="color: black;">“The experience that was had in the comone course and
condition, tried sundrie years, and that amongst godly and sober men, may well
evince the vanitie of that conceite of Platos & other ancients, applauded
by some of later times;—that the taking away of propertie, and bringing in
comunitie into a comone wealth, would make them happy and florishing; as if
they were wiser then God. For this comunitie (so farr as it was) was found to
breed much confusion & discontent, and retard much imployment that would
have been to their benefite and comforte. For the yong-men that were most able
and fitte for labour & service did repine that they should spend their time
& streingth to worke for other mens wives and children, with out any
recompense. </span></span><span style="background: white; color: black;">The
strong, or man of parts, had no more in devission of victails & cloaths, then
he that was weake and not able to doe a quarter the other could; this was
thought injuestice. The aged and graver men to be ranked and equalised in
labours, and victails, cloaths, &c., with the meaner & yonger sorte,
thought it some indignite & disrespect unto them. And for mens wives to be
commanded to doe servise for other men, as dresing their meate, washing their
cloaths, &c., they deemd it a kind of slaverie, neither could many husbands
well brooke it. Upon the poynte all being to have alike, and all to doe alike,
they thought themselves in the like condition, and one as good as another; and
so, if it did not cut of those relations that God hath set amongest men, yet it
did at least much diminish and take of the mutuall respects that should be
preserved amongst them. And would have bene worse if they had been men of
another condition. Let none objecte this is men’s corruption, and nothing to
the course it selfe. I answer, seeing all men have this corruption in them, God
in His wisdome saw another course fiter for them.”</span></div>
<div style="background: white; line-height: 200%;">
<span style="background: white; color: black;">This seems a decisive blow against any “collectivist” vision
of society. Indeed, Bradford appears almost to suggest that any kind of “common
good” can only be attained by individuals, or at least families, seeking after
their own private good. Practically speaking, the attempt to hold “all things
in common” and distribute them “</span><span class="text"><span style="color: black;">as every one had need” had resulted in the inability of the small
community to support itself. Psychologically or morally speaking, it had led to
laziness on the one hand and mutual resentment on the other.</span></span></div>
<div style="background: white; line-height: 200%;">
<span class="text"><span style="color: black;">As I noted in my introductory remarks, the parallels with
contemporary arguments about taxation and social services are obvious to many
conservatives. If people with a strong disposition towards hard work were
“corrupted” by equal distribution, what chance do modern Americans have? I am
by no means convinced that the American Left has an adequate response to this
line of thinking. Before we draw the unqualified conclusion that William
Bradford stands with “the 1%,” however, it is worth noting that an ingrained
propensity towards hard work was certainly not the only difference between the seventeenth-century
Pilgrims and their modern heirs.</span></span></div>
<div style="background: white; line-height: 200%;">
<span class="text"><span style="color: black;">But first, the claim that Pilgrims had experimented with
some form of “socialism” which was later replaced by private property and <i style="mso-bidi-font-style: normal;">laissez-faire</i> capitalism has itself not
gone unanswered on the Left.</span></span><a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="color: black;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[4]</span></span></span></span></span></a><span class="text"><span style="color: black;"> The obvious point is that the entire venture of the
colonists was fundamentally capitalist in its inception, and that it was the
Massachusetts Bay Company, a sort of seventeenth-century equivalent of a modern
corporation, that had imposed the original charter on the colonists,
essentially making them “wage slaves” of the company.</span></span><a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="color: black;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[5]</span></span></span></span></span></a><span class="text"><span style="color: black;"> As Karen Ordahl Kupperman is quoted in
the <i style="mso-bidi-font-style: normal;">NYT</i> article on the subject, “To
call it socialism is wildly inaccurate...It was a contracted company, and
everybody worked for the company. I mean, is Halliburton a socialist scheme?” Indeed,
the decision of the colonists to retain the products of their own labor might
well be seen as a rejection of capitalism properly so called.</span></span></div>
<div style="background: white; line-height: 200%;">
<span class="text"><span style="color: black;">Furthermore, let’s return to my point about the Pilgrims’
differences from their modern co-opters. I have already quoted from the
Separatists’ strong early statement to Sandys of their sense of collective
identity. Though bitter experience in the American wilderness may have taught
them that even “godly and sober men” were capable of laziness and resentment,
and that the ordering of their society must needs reflect that reality, it hardly
disabused them of the notion of a “sacred bond and covenant.” This notion lay
at the very heart of Puritan faith, and it was “by virtue” of this covenant
that they held themselves “straitly tied to all care of each other’s good, and
of the whole by every one and so mutually.”</span></span></div>
<div style="background: white; line-height: 200%;">
<span class="text"><span style="color: black;">In addition, the Pilgrims had preserved as a kind of
spiritual charter a letter from their revered old pastor, John Robinson, who
was unable to make the journey with them. The letter, which Bradford includes
in his book in its entirety, is full of sage advice for the difficulties they
will encounter ahead. Among other nuggets of wisdom, Robinson writes:</span></span></div>
<div style="background: white; line-height: 200%;">
<span style="background: white;">“A 4.
thing ther is carfully to be provided for, to witte, that with your comone imployments
you joyne comone affections truly bente upon the generall good, avoyding as a
deadly plague<span class="apple-converted-space"> of </span>your both comone
& spetiall comfort all retirednes<span class="apple-converted-space"> of
</span>minde for proper [that is, “one’s own”] advantage, and all singularly
affected any maner<span class="apple-converted-space"> of </span>way; let
every man represe in him selfe & the whol body in each person, as so many
rebels against th<span class="gstxtsup">e</span><span class="apple-converted-space"> </span>comone good, all private respects<span class="apple-converted-space"> of </span>mens selves, not sorting with the
generall conveniencie.”<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="background: white; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[6]</span></span></span></span></a></span></div>
<div style="background: white; line-height: 200%;">
<span style="background: white;">In
other words, whatever the Pilgrims concluded about the wisdom or practicality
of a particular economic arrangement, they had from their very inception a
strong sense of the common good, and a suspicion of any attempt by individuals
to further their own advantage while neglecting the needs of the community.
This forms a stark contrast to much of the rhetoric coming from the more
libertarian elements on the Right. While the claim might be made that modern
libertarians, like the Pilgrims, often in practice find a tendency toward
extreme individualism checked by religious commitments, it’s hard to imagine
even the most “ecclesial” of them uttering anything like Robinson’s words in a
modern political context. Robert Bellah <i style="mso-bidi-font-style: normal;">et
al.</i> in Habits of the Heart note that for the early American Puritans, the
“fundamental criterion of success was not material wealth but the creation of a
community in which a genuinely ethical and spiritual life could be lived.” They
go on to write:</span></div>
<div style="background: white; line-height: 200%;">
<span style="background: white;">“For
[Massachusetts governor, John] Winthrop, success was much more explicitly tied
to the creation of a certain kind of ethical community than it is for most
Americans today. His idea of freedom differs from ours in a similar way. He
decried what he called ‘natural liberty,’ which is the freedom to do whatever
one wants, evil as well as good. True freedom—what he called ‘moral’ freedom,
‘in reference to the covenant between God and man’—is a liberty ‘to that only
which is good, just and honest.’”</span></div>
<div style="background: white; line-height: 200%;">
<span style="background: white;">Moreover,
while Bellah <i style="mso-bidi-font-style: normal;">et al.</i> remark on the
“unfortunate” truth that the Puritans had a well-known tendncy to regard
material prosperity “as a sign of God’s approval,” even after the distribution
of private plots of land, Bradford himself makes some very relevant
observations about how the Pilgrims viewed their newly acquired “private
property:”</span></div>
<div class="gtxtbody" style="background: white; line-height: 200%; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
“And before I come<span style="color: #333333;"> </span>to other things I must speak a word<span class="apple-converted-space"> of </span>their planting this year; they having
found th<span class="gstxtsup">e </span>benefite of their last years harvest, and
setting corne for their particuler, having therby with a great deale of
patience overcome hunger & famine. Which maks me remember a saing of Senecas,
<i>Epis.</i><span style="mso-bidi-font-style: italic;">:<span class="apple-converted-space"><i> </i></span></span>123. <i>That<span class="apple-converted-space"> </span>a<span class="apple-converted-space"> </span>great<span class="apple-converted-space"> </span>parte<span class="apple-converted-space"> of libertie </span>is<span class="apple-converted-space"> </span>a<span class="apple-converted-space"> </span>well
governed belly,<span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span>to be<span class="apple-converted-space"> </span>patiente in <span class="apple-converted-space"> </span>all<span class="apple-converted-space"> </span>wants.</i><span style="mso-bidi-font-style: italic;">”</span></div>
<div class="gtxtbody" style="background: white; line-height: 200%; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="mso-bidi-font-style: italic;">In other words, in recalling the Pilgrims’ decision to abandon communal
farming, and their subsequent prosperity, Bradford recalls the Stoic
philosopher Seneca and his moral exhortations against the evils of gluttony.
Even in a time of abundance, restraint and even austerity is called for.
Bradford goes on to write:</span></div>
<div class="gtxtbody" style="background: white; line-height: 200%; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
“They begane now highly to
prise corne as more pretious then silver, and those that had some to spare
begane to trade one with another for smale things, by the quarte, potle, &
peck, &c.; for money they had none, and if any had, corne was prefered
before it. That they might therefore encrease their tillage to better
advantage, they made suite to the Governor to have some portion<span class="apple-converted-space"> of </span><span style="mso-spacerun: yes;"> </span>land given them for continuance....And to
every person was given only one acrre<span class="apple-converted-space"> of
l</span>and, to them & theirs, as nere th<span class="gstxtsup">e</span><span class="apple-converted-space"> </span>town as might be, and they had no more
till the 7 years [of the charter] were expired. The reason was, that they might
be kept close together both for more saftie and defence, and the better
improvement<span class="apple-converted-space"> of th</span>e generall imployments.
Which condition<span class="apple-converted-space"> of </span>theirs did
make me often thinke,<span class="apple-converted-space"> of </span>what I
had read in Plinie of th<span class="gstxtsup">e</span><span class="apple-converted-space"> </span>Romans’ first beginings in Romulus
time. <i>How<span class="apple-converted-space"> </span>every<span class="apple-converted-space"> </span>man<span class="apple-converted-space"> </span>contented<span class="apple-converted-space"> </span>him selfe<span class="apple-converted-space"> </span>with<span class="apple-converted-space"> 2.
A</span>cres of land, and had no more assigned them. And how it was thought a
great reward, to receive at the hands of the people of Rome a pinte of
corn....And he was not counted a good, but a dangerous man, that would not
contente him selfe with 7. Acres of land.</i><span style="mso-bidi-font-style: italic;">”</span></div>
<div class="gtxtbody" style="background: white; line-height: 200%; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="mso-bidi-font-style: italic;">Here, Bradford cites the Roman historian, Pliny the Elder (23-79 AD),
in order to emphasize the resemblance of the Pilgrims to the ancient Romans in
their simplicity of life and in their desire for modest agricultural rather
than lavish monetary wealth.<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-style: italic; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[7]</span></span></span></span></a> Bradford
further underlines the importance of community for “safety and defence, and the
better improvement of the general employments.” It’s difficult to imagine
modern libertarians holding up Roman simplicity and austerity as an ideal. The
contentment that Bradford thinks so admirable would seem more like economic
foolishness to the same writers who quote the Puritan governor as a champion of
private property and capitalism.</span></div>
<div class="gtxtbody" style="background: white; line-height: 200%; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="mso-bidi-font-style: italic;">Finally, it should be noted that whatever wealth the colonists may have
acquired under their new arrangement was—in theory at least—held very lightly.
In a passage that Kenneth Murdock lauds as Bradford’s characteristic use of “a
moral aphorism for climax,” the Plymouth governor concludes, “A right emblime,
it may be, of the uncertine things of this world; that when men have toyld them
selves for them, they vanish into smoke.” Prosperity may be misinterpreted as a
sign of God’s blessings, but the Puritans seemed to have been just as prepared
to see those blessings taken away, and to regard their pursuit as dangerously
tending towards vanity.</span><span style="background: white;"></span></div>
<div style="background: white; line-height: 200%; margin-bottom: 12.0pt;">
Taken
together, the observations we can gather about the Pilgrims’ religious sense of
a “common good” and their conscious affinity for the early Roman ideals of austerity
and simplicity of life form a powerful check to the capitalist pursuit of
property, and one with which Orthodox Christians can easily sympathize. Looking
back as they did to both a biblical and a Greco-Roman tradition, the Plymouth
colonists can hardly be held up as poster children for <i style="mso-bidi-font-style: normal;">laissez-faire</i> capitalism. Certainly, they underscore the need for a
true moral foundation and a robust understanding of the common good for any
kind of personal pursuit of property to be just. But the Pilgrims are a
uniquely seventeenth-century phenomenon in their devotion to such ideals. As
attractive as it may be in some ways (and most of us can recall easily the less
attractive parts of Puritanism), emulating them in our own day may be
difficult, not to say impossible.</div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a> An
important, because especially popular, telling of this tale is that of Rush
Limbaugh in his book, <i style="mso-bidi-font-style: normal;">See, I Told You So</i>
(Pocket Books, 1994), which he reads on his radio show each year the Wednesday
before Thanksgiving. See the transcript from 2007 <span class="MsoHyperlink"><a href="http://www.rushlimbaugh.com/daily/2007/11/21/the_real_story_of_thanksgiving">here</a></span>.</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
Bowyer’s Thanksgiving connection is particularly shaky, and his reference to
the exploitative schemes of the Massachusetts Bay Company’s bourgeois merchants
as “the current opinion [i.e., political philosophy] of the aristocratic class”
just begs for comment, as does Bethell’s reference to the company’s share of
the colonists’ labor as a “tax burden.” Are we dealing with aristocrats, the
state, or a private company of bourgeois capitalists?</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
Kenneth Murdock’s judgement, that “No other seventeenth-century American
historian can be read today with so much pleasure,” tends to dispel any desire
I might have had to read other seventeenth-century American historians. See
Kenneth B. Murdock, <i style="mso-bidi-font-style: normal;">Literature and
Theology in Colonial New England</i> (NY: Harper, 1963), 83.</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
See, for example, Kate Zernike, “The Pilgrims Were...Socialists?”, in <i style="mso-bidi-font-style: normal;">The New York Times</i> November 20, 2010, <span class="MsoHyperlink"><a href="http://www.nytimes.com/2010/11/21/weekinreview/21zernike.html?pagewanted=all">here</a></span>,
or Stephen Budiansky’s take, “Commies and cranberries,” <span class="MsoHyperlink"><a href="http://budiansky.blogspot.com/2010/11/commies-and-cranberries.html">here</a></span>.</div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
Tom Bethell naturally gives the capitalist’s classic defence: “But of course
they came voluntarily.” Bradford’s account, on the other hand, makes it quite clear
that the would-be Pilgrims felt they had no other choice but to accede to the
company’s conditions.</div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a> Compare
the words of a later governor, John Winthrop, in his 1630 sermon “A Model of
Christian Charity:” We must delight in each other, make others conditions our
own, rejoyce together, mourn together, labor and suffer together, always having
before our eyes our community as members of the same body.” Qtd. in Robert N.
Bellah, Richard Madsen, William M. Sullivan, Ann Swidler, and Steven M. Tipton,
<i style="mso-bidi-font-style: normal;">Habits of the Heart: Individualism and
Commitment in American Life</i> (U of California, 1985), 28.</div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=6714437334790446678#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a>
Murdock notes, “The Puritans in New England liked especially the moralistic
tone of some of the Greeks and Romans” (68).</div>
</div>
</div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com2tag:blogger.com,1999:blog-6714437334790446678.post-24607406757748619282017-09-06T13:31:00.000-05:002017-09-11T05:47:35.510-05:00Pieper & Borges on Missing the Forest<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju6y3YC3a9c0cXA0bgvM9GrkuaNdkC4AR36M0xhZl-eCzA-llnpkZI5zX28aYvumsBR-gOCLPPFav3Y_7Q-dQhlGxUnE7X2kIgGbE9R-pXbV4_YsIjaTHBbRKAsKcVWBqkkNJdAL457POq/s1600/1+dominic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="368" data-original-width="600" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju6y3YC3a9c0cXA0bgvM9GrkuaNdkC4AR36M0xhZl-eCzA-llnpkZI5zX28aYvumsBR-gOCLPPFav3Y_7Q-dQhlGxUnE7X2kIgGbE9R-pXbV4_YsIjaTHBbRKAsKcVWBqkkNJdAL457POq/s400/1+dominic.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">Much like, I
suppose, most avid readers, I can never read just one book at a time. For me,
this problem may well be exacerbated by a deficient attention span, but I
usually have at least 6 or 7 books going at once. Most of the time these cover
something of the range of my interests, but as has been my habit here at
Logismoi, I still come across intertextual connections with surprising
frequency.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">For the last
week or so, I have been reading—among others—Josef Pieper’s illuminating
introduction to Scholastic philosophy, <i style="mso-bidi-font-style: normal;">Scholasticism:
Personalities and Problems of Medieval Philosophy</i>, as well as Jorge Luis
Borges’s delightful Norton Lectures, <i style="mso-bidi-font-style: normal;">This
Craft of Verse</i> (for more on my love for Borges, see this post). One might
think that these volumes constituted two fairly unrelated conversations, but
one would be wrong.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">Just this
morning, I was reading Pieper’s chapter on Aquinas’s polemics with ‘conservative’
Augustinian-Platonists like John Peckham on the one hand, and ‘radical’
Averroists like Siger of Brabant on the other, when I came across the
following perspicacious comments on the latter. Allow me to quote at some
length:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">A word
remains to be said about one peculiarity of this new rationalism which at first
sight appears strange and positively irrational. F. van Steenberghen speaks of
the ‘curious fact’ [<i>chose curieuse</i>] that ‘these bold and revolutionary spirits
who did not hesitate to shatter the ideas they had received from their
Christian environment should simultaneously have subscribed to a veritable cult
of philosophical tradition’, so that philosophizing meant to them above all ‘to
investigate what the philosophers thought about any particular question.’ As
may easily be seen, this is something which we might call highly contemporary,
for this sort of purely historical examination of philosophical questions is
much the fashion nowadays. However, to my mind there is nothing curious about
it; it is what one would naturally expect to happen. For the very moment anyone
engaged in philosophizing abandons the guidance of sacred tradition, two things
happen to him. The first is that he loses sight of his true subject, the real
world and its structure of meaning, and finds himself instead talking about
something entirely different: philosophy and philosophers. The second is that
he forfeits his legitimate hold on the solely binding tradition, and must
therefore illegitimately and—it must be said—vainly seek support in the mere
facts handed down to him, in whatever historical ‘material’ happens to be at
his disposal, following the ‘great thinkers’ whom he has encountered more or
less by chance, or occupying himself industriously with the opinions of other
people.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">Here we must
recall to mind the dictum of St Thomas, concerning this very matter, addressed
in 1271-72 to Siger of Brabant, and since cited many times: ‘The purpose of the
study of philosophy is not to learn what others have thought, but to learn how
the truth of things stands.’ [1]</span></div>
</blockquote>
<br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">So Pieper
accuses the Averroists of missing the point of philosophy because of their too
keen interest in the history of the subject. They have become more interested
in going over Aristotle with a fine-toothed comb than in wisdom itself.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">Surprisingly,
Borges says something very similar about poetry and literature in the lecture
that I read from his book almost immediately after putting down my copy of
Pieper. He writes:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">I think
perhaps we may be led astray by one of the studies I value most: the study of
the history of literature. I wonder (and I hope this is not blasphemy) if we
are not too aware of history. Being aware of the history of literature—or of
any other art, for that matter—is really a form of unbelieving, a form of
skepticism. If I say to myself, for example, that Wordsworth and Verlaine were
very good nineteenth-century poets, then I may fall into the danger of thinking
that time has somehow destroyed them, that they are not as good now as they
were. I think the ancient idea—that we might allow perfection to art without
taking into account the dates—was a braver one.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">I have read
several histories of Indian philosophy. The authors (Englishmen, Germans,
Frenchmen, Americans, and so on) always wonder at the fact that in India people
have no historical sense—that they treat all thinkers as if they were
contemporary. They translate the words of ancient philosophy into the modern
jargon of today’s philosophy. But this stands for something brave. This stands
for the idea that one <i>believes </i>in philosophy or that one <i>believes </i>in poetry—that
things beautiful once can go on being beautiful still. [2]</span></div>
</blockquote>
<br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">Notice that
Borges seems to suggest that the awareness of literary history has had an
opposite effect to the medieval awareness of philosophical history. Whereas the
Averroists valued ‘the Philosopher’ more highly than the wisdom he sought, the
modern literary man—on Borges’s estimation—seems rather to dismiss his writers,
to miss their importance, because of his exaggerated awareness of their
historical situatedness, and in the process to lose both the mediaevals’ ‘cult
of tradition’ as well as their appreciation of the true, the good, and the
beautiful. They end up valuing neither Wordsworth nor beauty.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[1] Josef
Pieper, <i style="mso-bidi-font-style: normal;">Scholasticism: Personalities
& Problems of Medieval Philosophy</i>, tr. Richard & Clara Winston
(South Bend, IN: St Augustine’s, 2001), pp. 125-6.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[2] Jorge
Luis Borges, <i style="mso-bidi-font-style: normal;">This Craft of Verse</i>, ed.
C</span><span style="font-family: "book antiqua" , serif; mso-bidi-font-family: "Book Antiqua";">ă</span><span style="font-family: "book antiqua" , serif;">lin-Andrei
Mih</span><span style="font-family: "book antiqua" , serif; mso-bidi-font-family: "Book Antiqua";">ă</span><span style="font-family: "book antiqua" , serif;">ilescu
(Cambridge, MA: Harvard, 2000), pp. 114-5.</span></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com2tag:blogger.com,1999:blog-6714437334790446678.post-16015719434257144722016-07-02T13:17:00.000-05:002016-07-02T13:41:06.305-05:00Discoveries Among Benedictine Books<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR0ez01gmMBZeX0kZAtoMu7sCWnjoDMoVNy6SOuqaxSJRSf8uINlXJZnBSkIOZGCLWHfGWHzYMh1tnGwur-a1S15WvCoPZV9VRqcHTJqPz8QVJOzK8NolBEDaE418Lfw1Z3S0btxFDpQew/s1600/dom+cuthbert+butler.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR0ez01gmMBZeX0kZAtoMu7sCWnjoDMoVNy6SOuqaxSJRSf8uINlXJZnBSkIOZGCLWHfGWHzYMh1tnGwur-a1S15WvCoPZV9VRqcHTJqPz8QVJOzK8NolBEDaE418Lfw1Z3S0btxFDpQew/s320/dom+cuthbert+butler.jpg" width="186" /></a><span style="font-family: "book antiqua" , serif;">In the last
few weeks I’ve made a happy series of discoveries about connections between
some of my books. I’ll begin with the series of histories of English
monasticism and religious orders by Dom David Knowles, which my dear friend,
the old Ochlophobist, sent to me a few weeks ago. I began slowly reading the
first of these upon receipt—<i>The Monastic Order in England: A History of Its
Development from the Times of St Dunstan to the Fourth Lateran Council,
943-1216</i> (Cambridge: Cambridge U, 1950)—and there are still three more to go:
<i>The Religious Orders in England</i>, Vols. 1-3.</span></div>
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<span style="font-family: "book antiqua" , serif;">A footnote at
the bottom of the first page of <i>The Monastic Order in England</i> made an
intriguing reference to a work I had been rather mildly interested in for some
years: ‘For a general view of Benedictine history, polity and life Abbot
[Cuthbert] Butler’s <i>Benedictine Monachism</i> (1919; 2 ed. 1927) stands in a class
by itself.’ [1] Thus it was that during my solitary sojourn on the campus of
the University of Oklahoma a few weeks ago, I was excited to discover a copy of
the second edition of Abbot Butler’s work in the old stacks of the Bizzell
Library. This copy was a later reprint featuring a foreword by Dom David
Knowles, and it was this forward that determined me on acquiring the book for
myself. Knowles writes of <i>Benedictine Monachism</i>: ‘It was accepted at once as
being, what it still remains, the best historical and analytical survey of
Benedictine life in the English language, or indeed in any language, even if we
may go to others for a fuller historical account or for a more adequate
definition of the monastic spiritual ideal.’ [2]</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">Having
received a copy in the mail earlier this week, I have begun reading it for
myself. It is in this way that I made two more fun discoveries.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">First, I
learned from the second footnote of chapter II that Abbot Butler is responsible
for the article on monasticism (and, according to a footnote on p. 16, an
article on ‘Basilian monks’ as well!) in the 11<sup>th</sup> edition of the
<i>Encyclopaedia Britannica</i> (1911), which rests on the shelf just a few feet away
from me. I have not yet read these articles, but I now intend to.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">But second,
at the bottom of the very same page where Butler references his own <i>EB</i> 11 article,
he also writes:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">If it be
desired to control what is here set forth by reference to historians of
monasticism who stand outside the movement and criticize it from an independent
standpoint, no better books in English can be recommended than those of Hannay
and Workman, mentioned in the List of Works. [3]</span></div>
</blockquote>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">Upon turning
to the List of Works, which immediately precedes the beginning of chapter I, I
found this:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">It will be of
interest to name also two writers who view monasticism from outside with a
critical though not unfriendly eye; they both write with wide and accurate
knowledge of the literature, old and new, and with sympathetic understanding:
James O. Hannay (clergyman of the Church of Ireland), The Spirit and Origin of
Christian Monasticism (1903); Herbert B. Workman, Principal of the Westminster
Training College (Wesleyan), The Evolution of the Monastic Ideal (1913). Both
books are frequently referred to in these pages. [4]</span></div>
</blockquote>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">Although I
had never heard of Hannay’s work, I immediately realised that although I had
not recognised his surname, Workman’s <i>Evolution of the Monastic Ideal</i> was
familiar to me as a book I had purchased in paperback reprint several years ago
for just a few dollars (and which, embarrassingly, I have also not yet read!).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">But the final
discovery really brought a smile. The forward to my reprint of <i>The Evolution of
the Monastic Ideal</i> was written by none other than Dom David Knowles, OSB! [5]</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[1] Dom David
Knowles, <i>The Monastic Order in England: A History of Its Development from the
Times of St Dunstan to the Fourth Lateran Council, 943-1216</i> (Cambridge:
Cambridge U, 1950), p. 3, n. 1.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[2] Dom David
Knowles, Foreword, <i>Benedictine Monachism: Studies in Benedictine Life &
Rule</i>, by Dom Cuthbert Butler (NY: Barnes & Noble, 1961), no page number.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[3] Dom
Cuthbert Butler, <i>Benedictine Monachism: Studies in Benedictine Life & Rule</i>,
by Dom Cuthbert Butler (NY: Barnes & Noble, 1961), p. 11.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[4] <i>Ibid</i>., no
page number.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[5] Dom David
Knowles, Foreword, <i>The Evolution of the Monastic Ideal from the Earliest Times
Down to the Coming of the Friars: A Second Chapter in the History of Christian
Renunciation</i>, by Herbert B. Workman (Boston: Beacon Press, 1962), 13 pages,
unnumbered.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com2tag:blogger.com,1999:blog-6714437334790446678.post-82436783494718444252016-06-29T13:58:00.001-05:002016-09-01T12:11:28.063-05:00Imago Dei--The Anthropomorphite Controversy & St Gregory the Great<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lOf5Hl3lcERTh4o9yC8cFnVxdfCII6D7LLWnlQgs3tZaVBBAZuROhwtimya7L-kf4TUUJnB_8CGumj180JwBqAFIMuBSyygHJxsAGqp0IoMa6PH1WsCSFw1jsjziPNSAR3bkM2uA-67k/s1600/1+St+Gregory.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lOf5Hl3lcERTh4o9yC8cFnVxdfCII6D7LLWnlQgs3tZaVBBAZuROhwtimya7L-kf4TUUJnB_8CGumj180JwBqAFIMuBSyygHJxsAGqp0IoMa6PH1WsCSFw1jsjziPNSAR3bkM2uA-67k/s320/1+St+Gregory.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
<span style="font-family: "book antiqua" , serif;">In large part
because of my great devotion to St John Cassian and his writings, I have long
taken a keen interest in the 4<sup>th</sup>- to 5<sup>th</sup>-century ‘Anthropomorphite-Origenist’
controversy in Egypt, and for the same reason I have for the most part tended
to identify heavily with the ‘Origenist’ side of the controversy. St Cassian’s
points in <i style="mso-bidi-font-style: normal;">Conference</i> 10 in fact seem
fairly uncontroversial, and the ‘anthropomorphite’ position seems fairly
indefensible from an Orthodox perspective.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">This view was
beautifully complicated for me by Bishop Alexander’s contribution to the <i style="mso-bidi-font-style: normal;">festschrift</i> for Metropolitan Kallistos
(Ware)—‘The Vision of God & the Form of Glory: More Reflections on the
Anthropomorphite Controversy of AD 399’ (see an earlier contribution by His
Grace to the subject <a href="http://www.marquette.edu/maqom/morphe.html">here</a>). While I definitely appreciated His Grace’s ‘final
word’ attempting to ‘make up a little for the injustices I may have done a
Cassian, an Origen, or an Evagrius in the course of making my argument’ [1], I
also appreciated in a different sense his main argument that the simplistic ‘Serapion’
of <i style="mso-bidi-font-style: normal;">Conference</i> 10 may not be entirely
representative of the anthropomorphites themselves or of their position.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">Well, today I
was finally getting round to reading Tim Vivian’s introduction to his little
volume for the SVS Popular Patristic Series—<i style="mso-bidi-font-style: normal;">Four
Desert Fathers: Pambo, Evagrius, Macarius of Egypt & Macarius of Alexandria</i>.
Vivian—in his discussion of Evagrius’s emphasis on imageless prayer and its
possible role</span><span style="font-family: "book antiqua" , serif; mso-bidi-font-family: "Book Antiqua";"> in the controversy—</span><span style="font-family: "book antiqua" , serif;">seems
to hold a nuanced understanding of the controversy very similar to that of Bishop
Alexander and informed by some of the same sources. Among others, he also
refers to an essay by Fr Georges Florovsky that I don’t believe I have yet read
myself entitled ‘Theophilus of Alexandria and Apa Aphou of Pemdje’. Vivian
quotes Fr Georges’s explanation of the position of one of the ‘anthropomorphites’:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">The sting of
his argument was directed against the denial of God’s image <i>in man</i>, and there
was no word whatever about any ‘human form’ <i>in God</i>. Aphou only contended that
man, even in his present condition and in spite of all his misery and
destitution, had to be regarded still as being created in the image of God, and
must be, for that reason, respected. Aphou was primarily concerned with man’s
dignity and honor. Theophilus, on the other hand, was embarrassed by man’s
misery and depravity. [2]</span></div>
</blockquote>
<br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">I found this
connection between the anthropomorphites’ emphasis on the <i style="mso-bidi-font-style: normal;">imago Dei</i> in man and the Origenists’ rejection of an <i style="mso-bidi-font-style: normal;">imago hominis</i> in God particularly
interesting in light of something I had just read this morning in an author
rather far removed in time and place from the controversy: St Gregory the
Great. In his Homilies on Ezekiel, St Gregory links the human soul and God
Himself in the process of mystical ascent, describing a kind of likeness
between the two, but specifically rejecting the conception of not only the
latter but of the former in terms of images. I shall quote this passage at
length:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">For we often
wish to ponder the invisible nature of Almighty God but by no means avail, and
the soul, wearied by the very difficulties, withdraws into herself and makes
for herself and from herself the steps of her ascent, so that she first
considers herself, if she can, and then examines insofar as she can that nature
which is above her. But our mind, if spread out in carnal images, by no means
suffices to consider itself or the nature of the soul because it is led by as
many thoughts as it is, so to speak, blinded by obstacles. [3]</span></div>
</blockquote>
<br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">It is then
that St Gregory begins to discuss precisely how God and the soul are connected
and why they must both be approached without images. In the next passage the
ellipses indicate where I have attempted to shorten the quote without, I hope,
obscuring the argument.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">9. Then the
first step is to compose oneself, the second to see the like of this composure,
the third to rise above oneself and by intention submit to the contemplation of
the invisible Creator. But one by no means composes himself unless he has first
learned to curb the apparitions of earthly and heavenly images from his mind’s
eye and cast out and tread down whatever of sight, hearing, smell, touch and
taste occurs to his bodily thought, in order that he may inwardly seek such as
is free thereof….Then all things are to be driven away by the hand of
discernment from the mind’s eye so that the soul may regard herself as she was
created, above the body but below God, so that being quickened by her superior
she may quicken the inferior which she administers….And when she performs such
different actions through the senses she arranges them not by a diversity, but
by that one reason in which she was created. When therefore the soul thinks of
herself without bodily images she has already entered the first door. But this
door leads on to the other in order that something from the nature of Almighty
God may be contemplated. So the soul in the body is the life of the flesh, but
God Who quickens all is the life of souls. Then if the quickened life is of
such magnitude that it cannot be comprehended, who avails to comprehend with
his understanding how great is the majesty of the Life which quickens? But the
very consideration and discernment thereof is already to enter to some extent,
because from her appraisement the soul gathers what she perceives of the uncircumscribed
Spirit which incomprehensibly rules those things which He incomprehensibly
created. [4]</span></div>
</blockquote>
<br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">Now, this is
a very difficult passage, in part because St Gregory seems to be speaking of a
lofty mystical experience which most of us have not shared. But I note that
even in speaking of what one might call the contemplation of one’s own soul, he
teaches that images must be driven out. The necessity of imageless
contemplation of God, then, is even greater, for if the creature is
incomprehensible, how much more the Creator?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">What’s
interesting to me about this is that it clearly appears to belong to the
Origenists’ tradition (I’d be interested to see research on what St Gregory
knew of Origen and Evagrius), and yet it does not—as one might expect from the
quoted passage from Fr Georges’s essay—deny the <i style="mso-bidi-font-style: normal;">imago Dei</i> in man. Indeed, St Gregory seems to make much indeed of the
divine image in the human soul—ascribing to it the very incomprehensibility
that for the Origenists required the cultivation of total imagelessness in
prayer to its divine Prototype.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[1] Bishop
Alexander (Golitzin), ‘The Vision of God & the Form of Glory: More
Reflections on the Anthropomorphite Controversy of AD 399’, <i style="mso-bidi-font-style: normal;">Abba—The Tradition of Orthodoxy in the West:
Festschrift for Bishop Kallistos Ware</i>, ed. Fr John Behr, Fr Andrew Louth,
& Dimitri Conomos (Crestwood, NY: SVS, 2003), p. 295.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[2] Fr
Georges Florovsky, ‘Theophilus of Alexandria and Apa Aphou of Pemdje’, <i style="mso-bidi-font-style: normal;">Aspects of Church History</i>, Vol. 4 of <i style="mso-bidi-font-style: normal;">Collected Works</i> (Belmont, MA: Nordland,
1975), p. 119; qtd. in Tim Vivian, Introduction, <i style="mso-bidi-font-style: normal;">Four Desert Fathers: Pambo, Evagrius, Macarius of Egypt & Macarius
of Alexandria</i> (Crestwood, NY: 2004), p. 45.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[3] St
Gregory the Great, <i style="mso-bidi-font-style: normal;">The Homilies of St
Gregory the Great On the Book of the Prophet Ezekiel</i>, tr. Theodosia Gray,
ed. Presbytera Juliana Cownie (Etna, CA: CTOS, 1990), p. 209.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[4] <i style="mso-bidi-font-style: normal;">Ibid.</i>, pp. 209-10.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com2tag:blogger.com,1999:blog-6714437334790446678.post-39981656057631792122016-05-28T10:48:00.000-05:002016-05-28T10:48:01.522-05:00'Seeing With Tears'--Shaping Students' Affections<div style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKVzldniPY6spNRFSu4gBtFFHoFPIMlDpVxMOF30cXcJ-y-Hu7vs8wS-aNr5IdUDtNmPXe44gMk5KiauwPVMU41nrziuU8pEI5sY2tbvXHN2zpcynwOnoqfzzYNEXdmXQ4QK4Ub5NkEhgj/s1600/la-processione-mistica.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="118" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKVzldniPY6spNRFSu4gBtFFHoFPIMlDpVxMOF30cXcJ-y-Hu7vs8wS-aNr5IdUDtNmPXe44gMk5KiauwPVMU41nrziuU8pEI5sY2tbvXHN2zpcynwOnoqfzzYNEXdmXQ4QK4Ub5NkEhgj/s400/la-processione-mistica.jpg" width="400" /></a></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<i>This is from an article I wrote for our school newsletter, </i>the Epiphaneia<i>, Spring 2016. I have left the formatting as it appears in the newsletter:</i></div>
<div style="text-align: justify;">
<br /></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">In his
award-winning book, <i style="mso-bidi-font-style: normal;">Dante the Maker</i>,
William Anderson relates Dante’s poetic techniques and achievement to fairly
modern psychological theories. In one passage, he writes:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">If the
dominant hemisphere [of the brain] is concerned with what Michael Polanyi calls
“explicit knowledge,” then the other hemisphere enfolds what he has pointed out
as our much greater reserve of information, our “tacit knowledge.”…The voices,
music, and mental visions of the <i style="mso-bidi-font-style: normal;">Purgatorio</i>
[the second cantica of the <i style="mso-bidi-font-style: normal;">Divine Comedy</i>]
are examples of the working of this non-dominant hemisphere, revealing how its
function, rightly understood and used, seems to lead inward to the repose of
contemplation.</span></div>
</blockquote>
<br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">It is a complex
idea, and the potential ramifications are no doubt endless. But to my mind
there is a direct connection between the “voices, music, and mental visions” of
the <i style="mso-bidi-font-style: normal;">Purgatorio</i>—along with all of its
other essentially educational techniques, running the gamut from didactic
speech to the reliefs carved by the hand of God into the side of the
mountain—and our desire to practice “shaping students’ affections for Truth,
Goodness, and Beauty.” For if students’ affections are to be shaped, and it
must be admitted this is a daring proposition, then it will surely be less by
explicit than by tacit knowledge. Indeed, I can’t help but think such a shaping
will take place through something very like the Liturgy.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">This is the
basic intuition behind Reformed philosopher James K.A. Smith’s notion of
liturgies “as pedagogies of (ultimate desire).” Of course, neither is it
entirely unknown to the Protestant tradition before him. The great English
reformer, Richard Hooker, famously observed:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">Now men are
edified, when either their understanding is taught somewhat whereof in such
actions it behoveth all men to consider, or when their hearts are moved with
any affection suitable thereunto….Because therefore unto this purpose not only
speech but sundry sensible means besides have always been thought necessary,
and especially those means which being object to the eye, the liveliest and
most apprehensive sense of all other, have in that respect seemed the fittest
to make a deep and a strong impression….</span></div>
</blockquote>
<br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">All of this
is, of course, a commonplace among the Fathers. St. Gregory of Nyssa speaks of
the “harmonious life” that “singing [the Psalms] seems to me to offer through
symbols,” and St. John Damascene writes movingly of the effect upon him of
liturgical art: “I have often seen images of this tender scene [the Sacrifice
of Isaac] in pictures and I have not been able to pass from seeing it without
tears, so skillfully does the artist bring this story to my sight.”</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">These men are
obviously speaking primarily of the great tradition of the Church’s worship and
liturgical arts. But the question remains, <i>what does this shaping of the
affections look like in the classroom?</i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">I suggest it
begins in two places: the material (or curriculum) and the teacher. The
material, naturally, must be the best. We read the greatest, the most
beautiful, the most true and morally good, but also in some cases simply the
most important works of all time. They work in myriad ways upon students’
affections—through their language, their images, their stories, and often just
in the spirit (or Spirit!) behind them, for “Christ plays in ten thousand
places.” If this does not teach love of that which deserves it, I fear little
else can.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Book Antiqua",serif;">In regard to
the teacher, that giant of education, John Henry Cardinal Newman, has written:
‘The general principles of any study you may learn by books at home; but the
detail, the colour, the tone, the air, the life which makes it live in us, you
must catch all these from those in whom it lives already.” Any teacher must be
aware of his or her frequent failure to live up to this responsibility, but I
daresay we can accomplish much here, in direct proportion, I believe, to our
own love of the material itself. If the students sense how much we ourselves
stand in adoration before the truths and beauties that we teach, then I think
they must at least sense too the call of these upon their own hearts.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com2tag:blogger.com,1999:blog-6714437334790446678.post-42913219425927800252016-05-25T09:29:00.000-05:002016-05-25T09:42:04.515-05:00'The eyes of the Lord' - Scripture, Rule, Florilegium<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-SgLGD6iEyoDmYkEDRE7JssxCKt-ts2HNNXvOIRCm-_oKhrhATBqsz_J0fxh1EGfcqJejFbj83mPpK8gQhKJo1GmoxNI3pTfiX94AXr_4qEPUXWd5jlKGXGSr7KXPETzpuUknTQwkyP2D/s1600/Monk+on+stairs.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-SgLGD6iEyoDmYkEDRE7JssxCKt-ts2HNNXvOIRCm-_oKhrhATBqsz_J0fxh1EGfcqJejFbj83mPpK8gQhKJo1GmoxNI3pTfiX94AXr_4qEPUXWd5jlKGXGSr7KXPETzpuUknTQwkyP2D/s320/Monk+on+stairs.jpg" width="227" /></a></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">I
had an interesting confluence of readings Saturday morning (21/8 May). My Old
Testament reading (from the Authorised Version) was II Chronicles 13-16. As I
read it early in the morning by candlelight, I was struck by the words of
Hanani the seer to Asa king of Judah: ‘For the eyes of the Lord run to and fro
throughout the whole earth, to shew himself strong in the behalf of them whose
heart is perfect toward him’ (II Chron. 16:9).</span></div>
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<span style="font-family: "book antiqua" , serif;">But then, <span style="font-family: "book antiqua" , serif;">the same </span>day’s reading from the <i>Rule</i> of St Benedict, from Chapter 4, <i>Quae sunt
instrumenta bonroum operum</i>, included the oft-repeated Benedictine maxim, <i>In
omni loco Deum se respicere, pro certo scire</i> (Prov. V. 21), ‘To know for
certain that God sees one everywhere’ [1]. As Dom Paul Delatte says of this
passage, ‘This advice must be very important since St Benedict is constantly
repeating it’ [2] He goes on to write:</span></div>
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<span style="font-family: "book antiqua" , serif;">For us this
is no fiction of the imagination, but a living reality; nor have we a mere
witness, but a Being who is at once spectator and actor, no man but God. And we
Christians say: <i>Nemo peccat videns Deum</i>, ‘No one seeing God sins.’ The
impeccability of the elect is due to their being for ever rooted in good by the
uninterrupted contemplation of beauty. Now we by faith may share in this
privilege of vision, and the ‘exercise of the presence of God’ may become
something assiduous and constant, like our consciousness of ourselves. [3]</span></div>
</blockquote>
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<br /></div>
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<span style="font-family: "book antiqua" , serif;">So while the
words of Hanani and those of St Benedict serve different purposes—the one
emphasizing God’s solicitude on our behalf, the other His watchfulness over our
actions—the starting point of God as Witness of human acts is the same.</span></div>
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<span style="font-family: "book antiqua" , serif;">Finally,
however, I turned to <span style="font-family: "book antiqua" , serif;">that </span>day’s reading in a florilegium I’m reading through for
the year: <i>Day by Day with the Early Church Fathers</i>. Each day pairs a Scriptural
verse with a short passage from one of the Fathers, and the verse for <span style="font-family: "book antiqua" , serif;">that </span>day was
precisely II Chronicles 16:9! While the accompanying patristic passage, from
Tertullian (not actually a ‘Father’ in the Orthodox sense, I know), does not
explicitly refer to or comment on it, his words could be seen as an application
of the second part of the verse to a specific kind of situation—that of
persecution. Thus, he writes, ‘If suffering is completely in God’s hands, don’t
we just leave it up to His will?...Why, when witnessing, don’t you be
consistent, trust God, and say, “I will do my part. I won’t run away. God, if
He chooses, will be my Protector”?’ [4] Placing Tertullian’s words in proximity
to those of Hanani makes the latter relevant to Christians in the same way that
King David’s Psalms often are. Furthermore, both Hanani and Tertullian find a
complimentary development of the idea of God’s watchfulness in St Benedict and
his commentator, Dom Paul Delatte.</span></div>
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<span style="font-family: "book antiqua" , serif;">[1] <i style="mso-bidi-font-style: normal;">The Rule of Saint Benedict in English and
Latin</i>, tr. & ed. Abbot Justin McCann, OSB (Fort Collins, CO: Roman
Catholic Books, N.D.), p. 29.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[2] Dom Paul
Delatte, OSB, <i>A Commentary on the Holy Rule of St Benedict</i>, tr. & ed. Dom
Justin McCann, OSB (Latrobe, PA: The Archabbey Press, 1959),p. 75. Dom Paul
points out, ‘He gives it in the Prologue, in the first and last degrees of
humility, in the chapter “Of the discipline of saying the Divine Office”’
(ibid., p. 75).</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[3] <i>Ibid</i>., p.
75.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "book antiqua" , serif;">[4] Christopher
D. Hudson, J. Alan Sharrer, & Lindsay Vanker, comp. & ed., <i>Day by Day
with the Early Church Fathers</i> (Peabody, MA: Hendrickson, 2000), p. 129.</span></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-70190145529728145122015-12-24T12:43:00.003-06:002015-12-24T12:45:03.765-06:00Acedia Revisited<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU4jaDuiGaAYMsUcyF9j8xwC8UY218hk3mxOsCqQyC_GJtlYap6FGHr4ha20vjJcQDJXKBUikQ2jEFfDd__EFqV70IG8wUPLO_CfAFf8kruQq-S0smgC90D8xmm75q4UIsxT1Klm_q4-ED/s1600/Accidia_bosch_unynie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU4jaDuiGaAYMsUcyF9j8xwC8UY218hk3mxOsCqQyC_GJtlYap6FGHr4ha20vjJcQDJXKBUikQ2jEFfDd__EFqV70IG8wUPLO_CfAFf8kruQq-S0smgC90D8xmm75q4UIsxT1Klm_q4-ED/s320/Accidia_bosch_unynie.jpg" width="320" /></a></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Five and a half years ago I wrote a <a href="http://logismoitouaaron.blogspot.com/2010/03/demon-of-noondayst-cassian-evagrius-on.html">post</a> on the 'deadly sin' of <i>acedia</i>, traditionally identified with the 'noonday demon' of Psalm 90:6 (LXX) and later translated as 'sloth' but expressing something much more complex than what we typically mean by that English term. In that post I primarily quoted some descriptive passages on the symptoms of acedia from Evagrius of Pontus and his disciple, St John Cassian. In the end, despite Helen Waddell's identification of the vice with what Thomas Gray refers to as a 'white melancholy', as well as with 'the sullen lethargy that is the sterile curse of the scholar and the artist', [1] I ventured the opinion that there was something particularly spiritual or religious about acedia that distinguished it from the scholar's lethargy on the one hand or from the largely medical problem of depression on the other. Although I did not say so at the time, I was tempted to regard acedia as something typical of desert monastics and probably not too relevant to modern men and women living in the world.</div>
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I have since had a major change of opinion. I think my former beliefs stemmed in part at least from a failure to realize the true nature of the ailment of which the Fathers wrote so eloquently about the symptoms, and thus a failure to recognize how those symptoms might translate in a more than superficial way to the life of a non-monastic who lives in a city rather than a desert. The book that helped me with this more than any other was Hieromonk Gabriel (Bunge)'s slim volume, <i>Despondency: The Spiritual Teaching of Evagrius Ponticus on Acedia</i>. Fr Gabriel ventures 'despondency' as a better translation of the Greek term than 'sloth', though he insists as well that 'repulsion, boredom, inertia, indolence, lassitude, dislike, [and] dejection' be retained as other possible shades of meaning. [2]</div>
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But more importantly, Fr Gabriel offers an Evagrian pathology of the vice which I did not recall having encountered previously. Two passages in particular struck me, one from Evagrius's commentary on the Psalms, and the other from his twenty-seventh epistle, neither of which to my knowledge has yet appeared in English translation. I shall quote both of them:</div>
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<blockquote class="tr_bq">
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Acedia is a simultaneous, long-lasting movement of anger and desire, whereby the former is angry with what is at hand, while the latter yearns for what is not present. [3]</div>
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<div style="text-align: justify;">
Alone among the thoughts this one is an 'interwoven' one, since it results from hatred and desire. A despondent person hates precisely what is available, and desires what is not available. [4]</div>
</blockquote>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Although the English terms 'anger' and 'desire' may at first appear deceptively simple, in Greek they are in fact technical terms with a long and venerable philosophical history. [5] Evagrius is describing acedia in terms of the traditional Platonic tripartite soul, made up of the <i>logos</i>, or intelligent aspect, the <i>thymos</i>, or irascible, incensive aspect, and the <i>epithymia</i>, the appetitive or desiring aspect--which C.S. Lewis simply calls the head, the chest, and the belly. [6] The chest begins to resent 'what is at hand', which is always of course that which has been given us for our salvation, and to wish for 'what is not present' or available. The resentment of the former produces the torpor or boredom, while the desire for the latter produces the restlessness of the traditional descriptions. This was the key, I realized, to explaining what seemed like contradictory symptoms--the lethargy and inertia on the one hand, and the restlessness and inability to stay put on the other.</div>
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It also helped me to see at last the relevance of acedia to life outside of 4th-century desert monasticism. It is perhaps more apparent to a teacher with a three-month summer vacation than to most. One sits at home, knowing that there is reading and lesson preparation that needs to be done to prepare for school, but one simply cannot do it. One scrolls through Facebook, occasionally refreshing it, but this is done in the most listless spirit and fails to give any real enjoyment. The only prospects that appeal at all are leaving the house, hanging out with friends, or watching movies or television. If none of these are pursued the likeliest result is falling asleep.</div>
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<br /></div>
<div style="text-align: justify;">
But then it becomes more apparent how pervasive this two-fold ailment is in our lives. We avoid the things we need to do, and seek out distractions among things we don't need. Kathleen Norris helped here. The noonday demon lurks in all of the quotidian tasks left undone, and all of the pointless ones pursued or dreamt of. Norris writes:</div>
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<br /></div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
One of the first symptoms of both acedia and depression is the inability to address the body's basic daily needs. It is also a refusal of repetition. Showering, shampooing, brushing the teeth, taking a multi-vitamin, going for a daily walk, as unremarkable as they seem, are acts of self-respect. They enhance the ability to take pleasure in oneself, and in the world. But the notion of pleasure is alien to acedia, and one becomes weary thinking about doing anything at all. It is too much to ask, one decides, sinking back on the sofa. This indolence exacts a high price. [7]</div>
</blockquote>
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<br /></div>
<div style="text-align: justify;">
I shall stop there for now. I plan to post more on this subject, particularly on the question of the relationship of acedia to depression, on its distortion of the true functions of the tripartite soul, and on its remedies, both patristic and more modern. In the meantime I suggest having a look at the descriptions in this post.</div>
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<div style="text-align: justify;">
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<div style="text-align: justify;">
[1] Helen Waddell, <i>The Desert Fathers</i> (NY: Vintage, 1998), p. 163.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
[2] Hieromonk Gabriel (Bunge), <i>Despondency: The Spiritual Teaching of Evagrius Ponticus on Acedia</i>, tr. Anthony P. Gylthiel (NY: SVS, 2012), p. 46.</div>
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[3] <i>Ibid</i>., p. 54.</div>
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[4] <i>Ibid.</i>, p. 57.</div>
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[5] They appear memorably in <i>Republic </i>436a-b when Socrates asks, 'Do we do these things with the same part of ourselves, or do we do them with three different parts? Do we learn with one part, get angry with another, and with some third part desire the pleasures of food, drink, sex, and the others that are closely akin to them' (Plato, <i>Complete Works</i>, ed. John M. Cooper with D.S. Hutchinson [Indianapolis: Hackett, 1997], p. 1067)? Furthermore, I think they can safely be identified with the charioteer and the two horses of the soul in <i>Phaedrus </i>246a (<i>ibid.</i>, p. 524).</div>
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It seems like a strange oversight that in her book <i>Deadly Vices </i>Gabrielle Taylor completely misses this connection of acedia by definition to the tripartite soul. I would argue that it leads her to overemphasise the effect of acedia on the chest at the expense of the belly. It is identified too closely with mere sloth or indolence, and not at the same time with the longing for something else. Taylor also seems to see the traditional teaching on acedia too largely in terms of behaviours, right or wrong actions, rather than of disordered thoughts or states of the soul, an identification she then feels compelled to try to correct or deepen. (Gabrielle Taylor, <i>Deadly Vices</i> [Oxford: Clarendon, 2008], pp. 16-20)</div>
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[6] C.S. Lewis, <i>The Abolition of Man </i>(NY: HarperOne, 2001), p. 24.</div>
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[7] Kathleen Norris, <i>Acedia & Me: A Marriage, Monks, and A Writer's Life</i> (NY: Riverhead, 2008), p. 14.</div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com6tag:blogger.com,1999:blog-6714437334790446678.post-91571040600358815752015-12-20T21:47:00.000-06:002015-12-20T21:47:51.236-06:00St Augustine on Unceasing Prayer<div class="separator" style="clear: both; text-align: center;">
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This is not really a proper post, but I'd like to leave a quotation here. </div>
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'Whatever else you may be doing, if you but fix your desire on God's sabbath rest, your prayer will be ceaseless.'</div>
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<i><span><span data-ft="{"tn":"K"}"><span class="UFICommentBody"><span>Quidquid aliud agas, si desideras illud sabbatum, non intermittis orare.</span></span></span></span></i></div>
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—St Augustine, <span><span data-ft="{"tn":"K"}"><span class="UFICommentBody"><span><i>Enarrationes in Psalmos</i>, Ps. 37, n. 14:</span></span></span></span></div>
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Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-3092656904954695752015-08-01T08:36:00.000-05:002015-08-01T08:36:44.161-05:00Rachel & Leah in Purgatory<div style="text-align: justify;">
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From the beginning to the end of last school year, I met with a group once a week to discuss Dante's <em>Purgatorio</em> canto by canto. We had some very learned and insightful readers participating in that group, and there was a lot of really challenging discussion. At one point, we paused in some perplexity over a passage in Canto 27. While resting and admiring the stars, Dante tells us:</div>
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<em>Thus ruminating, as I gazed at these,</em></div>
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<em>sleep overtook me, sleep which many a time</em></div>
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<em>brings tidings of a thing before it sees</em></div>
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<em>The light; for in that hour when Venus shines</em></div>
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<em>upon the mountainside her orient gleam,</em></div>
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<em>ever enkindled by the fire of love,</em></div>
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<em>A young and lovely lady in a dream</em></div>
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<em>appeared to me upon the meadowland,</em></div>
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<em>gathering flowers, and she said in song,</em></div>
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<em>'Let anyone who may demand my name</em></div>
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<em>know that I am Leah, and I go to make</em></div>
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<em>myself a garland by my lovely hands.</em></div>
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<em>Here I adorn myself for the delight</em></div>
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<em>I will enjoy when looking in my glass.</em></div>
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<em>My sister Rachel never leaves that sight</em></div>
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<em>But gazes in her glass the whole day through.</em></div>
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<em>She for her lovely eyes, I for my hands--</em></div>
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<em>her yearning is to see, and mine to do.'</em> (ll. 91-108) [1]</div>
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The allusion here is to Genesis 29:17 (LXX): 'And the eyes of Lea were weak. But Rachel was beautiful in appearance, and exceedingly fair in countenance.' But what was the significance of this verse to Dante?</div>
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Anthony Esolen's endnote on this passage says: 'Medieval exegetes saw in Rachel and Leah an allegory of the contemplative and the active life, inferring from the weakness of Leah's eyes a keenness of vision in Rachel, and inferring from Leah's fecundity a propensity for the practical virtues.' [2] Unfortunately, Esolen doesn't cite any examples of these exegetes. But while glancing through Richard Gamble's anthology of readings in education, <em>The Great Tradition</em>, I came across just such a reading in an excerpt from St Gregory the Great's homilies on Ezekiel. [3] I cite the original source, translated by Theodosia Gray and published by the Center for Traditionalist Orthodox Studies:</div>
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10. These two ways of life were, as was also said before us, symbolized by Blessed Jacob's two wives, viz. Leah and Rachel. For Leah is interpreted as meaning laborious and Rachel truly as a sheep, or a manifest beginning. Then the active life is laborious because it is fatiguing in work, but the simple contemplative strives also to see its beginning, viz. Him Who said: 'I am the beginning, for which reason I speak to you' (Jh. 8:25). Then Blessed Jacob had indeed desired Rachel but in the night accepted Leah because all who are turned to the Lord have desired the contemplative life and seek the quiet of the Eternal Kingdom, but must first in the night of this present life perform the works which they can, sweat with effort, i.e. accept Leah in order that they afterward rest in the arms of Rachel, in order to see the beginning. Then Rachel was a seer, and sterile, Leah truly purblind, but fertile, Rachel beautiful and barren, because the contemplative life is splendid in the spirit but, whereas it seeks to rest in silence, it does not produce sons from preaching. It sees and does not bring forth, because in zeal for its quiet it is less kindled in the collection of others, and does not suffice to reveal to others by preaching how much it inwardly perceives. Leah truly is purblind and fertile because the active life, while it is engaged in labor, sees less but when, now by word now by example, it kindles its neighbors to follow suit, it produces many sons in the good work. And if it does not avail to stretch its mind in contemplation yet it is able to beget followers from that which it does outwardly. [4]</div>
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All of this, of course, very easily explains the contrasts in lines 107-8--'She for her lovely eyes, I for my hands-- / her yearning is to see, and mine to do'--where eyes/seeing correspond to the contemplative gaze, and hands/doing to the works of the active life.</div>
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But what of the reference to a mirror? For one thing, if the gaze is associated with contemplation and therefore Rachel, why does Leah speak to Dante of eventually 'looking in my glass' (l. 104)? For that matter, why is even Leah gazing at 'her glass the whole day through' (l. 106)? At least one of our Dante Club members thought it suggestive of vanity. Esolen at least had nothing to say about it.</div>
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My guess was stimulated by the memory of a talk I once heard Fr Justin Sinaites give, and about which I once blogged here. Fr Justin made reference to something he'd read in Fr Andrew Louth's work about the Fathers' understanding of mirrors, and I made the effort to try to track down the passage to which he was likely alluding. I found it in <em>The Origins of the Christian Mystical Tradition: From Plato to Denys</em>:</div>
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[In Contra Gentes, St Athanasius the Great] speaks of the soul 'being a mirror in which it can see the image of the Father' (CG 8). And later in the same work he says: 'So when the soul has put off every stain of sin with which it is tinged, and keeps pure only what is in the image, then when this shines forth it can truly contemplate as in a mirror the Word, the image of the Father, and in him meditate on the Father, of whom the Savior is the image' (CG 34). This idea of the soul as a mirror which, when pure can reflect the image of God seems to be original to Athanasius. (There are faint hints of it in Theophilus and Plotinus, but nothing as clear and definitive as we find in Athanasius.)</div>
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...[W]hen the Fathers spoke of the soul reflecting the image of God like a mirror they were using an analogy to explain how the soul is the image of God. SO self-knowledge involves knowledge of God, because God has made the soul to reflect His image. The idea of the soul as a mirror reflecting God is thus for the Fathers...a metaphor that sees the soul as a real, though dependent, image of God and also suggests that this image of God in the soul is perceived in self-knowledge.</div>
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So Athanasius' metaphor of the soul as a mirror in which God is reflected suggests that there is a real similarity between the soul and God, and preserves the notion that self-knowledge is itself a way of knowing God. But it does this without suggesting that there is a natural kinship between the soul and God. There is no ontological continuity between the image in the mirror and that of which it is the image; so, in the case of the soul reflecting the image of God, this similarity discloses a much deeper dissimilarity at the level of substance. On this understanding, theopoiesis, divinization, will not mean the rediscovery of any kinship between the soul and God, but rather that, as it is purified, the soul more accurately reflects the image of God, or becomes more truly that image. [5]</div>
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I don't know whether Dante would have been familiar with some translation of St Athanasius's text, or whether he might have taken this image from some later Father, but it strikes me that this is precisely what is going on in Purgatorio 27. Recall again lines 103-6:
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<em>Here I adorn myself for the delight</em></div>
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<em>I will enjoy when looking in my glass.</em></div>
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<em>My sister Rachel never leaves that sight</em></div>
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<em>But gazes in her glass the whole day through.</em></div>
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I believe that Leah is adorning herself by purifying her soul or heart through the practice of the virtues so that she can behold God, whereas Rachel has already begun the contemplation of His image by means of her 'lovely eyes'.</div>
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[1] Dante Alighieri, <em>Purgatory</em>, tr. Anthony Esolen (NY: Modern Library, 2004), p. 295.</div>
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[2] <em>Ibid</em>., p. 481.</div>
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[3] The passage is found in Richard E. Gamble, ed., <em>The Great Tradition: Classic Readings On What It Means to Be an Educated Human Being</em> (Wilmington, DE: ISI, 2008), p. 239.</div>
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[4] Theodosia Gray, tr., <em>The Homilies of Saint Gregory the Great On the Book of the Prophet Ezekiel</em>, ed. Presbytera Juliana Cownie (Etna, CA: CTOS, 1990), pp. 175-6.</div>
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[5] Fr Andrew Louth, <em>The Origins of the Christian Mystical Tradition: From Plato to Denys</em> (Oxford: Clarendon, 1981), pp. 79-80.</div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com2tag:blogger.com,1999:blog-6714437334790446678.post-38272544393482227622015-07-31T09:09:00.002-05:002015-07-31T09:11:01.970-05:00Labour in Ecclesiasticus<div class="separator" style="clear: both; text-align: center;">
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A few years ago, I found myself in the position of having to teach a couple of very gifted 9th-graders a book I'd never read before: Edmund Burke's <em>Reflections on the Revolution in France.</em> At the time I was on the cusp of rethinking at least a few of my conservative beliefs, but that story is for another time. From my own perspective, the current topic actually only ends up being political in a roundabout way.</div>
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At one point Burke is responding to a statement by the chancellor of France, Jean-Sylvain Bailly, to the effect 'that all occupations are honourable'. Burke responds:</div>
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If he meant only, that no honest employment was disgraceful, he would not have gone beyond the truth. But in asserting, that any thing is honourable, we imply some distinction in its favour. The occupation of an hair-dresser, or of a working tallow-chandler, cannot be a matter of honour to any person--to say nothing of a number of other more servile employments. Such descriptions of men ought not to suffer oppression from the state; but the state suffers oppression, if such as they, either individually or collectively, are permitted to rule. In this you think you are combating prejudice, but we are at war with nature. [1]</div>
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Now the interesting thing here to me was not Burke's sentiment, as striking as we may now find it, but a footnote that he apparently meant to support his statements. There, he quotes the Authorised Version translation of 'Ecclesiasticus, chap. xxxviii', verse 24, 25, and 27:</div>
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'The wisdom of a learned man cometh by opportunity of leisure: and he that hath little business shall become wise.' -- 'How can he get wisdom that holdeth the plough, and that glorieth in the goad; that driveth oxen; and is occupied in their labours; and whose talk is of bullocks?'</div>
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'So every carpenter and work-master that laboureth night and day.' &c. [2]</blockquote>
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Unfortunately, while I had dipped into 'Ecclesiasticus', also known as the Wisdom of Sirach, or just Sirach, on occasion, I had never read the whole thing through and had certainly never come across this passage. But the subject of learning, work, and leisure was one that interested me and continues to do so, and I really had to go look up the whole passage. As beautiful as the KJV is, I shall quote from my chief reading translation of the Deutero-canonical books, that of Edgar J. Goodspeed, beginning at 38:24 and continuing through the rest of the chapter.</div>
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A scribe attains wisdom through the opportunities of leisure [<em>scholes</em>],</div>
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And the man who has little business to do can become wise.</div>
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How can the man who holds the plow become wise,</div>
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Who glories in handling the ox-goad?</div>
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Who drives oxen, and guides them at their work,</div>
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And whose discourse is with the sons of bulls?</div>
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He sets his mind on turning his furrows,</div>
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And his anxiety is about fodder for heifers.</div>
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It is so with every craftsman and builder,</div>
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Who keeps at work at night as well as by day.</div>
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Some cut carved seals,</div>
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And elaborate variety of design;</div>
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Another puts his mind on painting a likeness,</div>
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And is anxious to complete his work.</div>
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It is so with the smith sitting by his anvil,</div>
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And expert in working in iron;</div>
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The smoke of the fire reduces his flesh,</div>
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And he exerts himself in the heat of the furnace.</div>
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He bends his ear to the sound of the hammer,</div>
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And his eyes are on the pattern of the implement.</div>
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He puts his mind on completing his work,</div>
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And he is anxious to finish preparing it.</div>
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It is so with the potter, as he sits at his work,</div>
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And turns the wheel with his foot;</div>
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He is constantly careful about his work,</div>
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And all his manufacture is by measure;</div>
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He will shape the clay with his arm,</div>
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And bend its strength with his feet;</div>
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He puts his mind on finishing the glazing,</div>
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And he is anxious to make his furnace clean.</div>
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All these rely on their hands;</div>
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And each one is skilful in his own work;</div>
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Without them, no city can be inhabited,</div>
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And men will not live in one or go about in it.</div>
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But they are not sought for to advise the people,</div>
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And in the public assembly they do not excel.</div>
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They do not sit on the judge's seat,</div>
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And they do not think about the decision of lawsuits;</div>
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They do not utter instruction or judgment,</div>
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And they are not found using proverbs.</div>
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Yet they support the fabric of the world [<em>alla ktisma aionos sterisousin</em>],</div>
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And their prayer is in the practice of their trade</div>
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[<em>he deesis auton en ergasia technes</em>]. [3]</div>
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While Sirach certainly seems to support Burke's belief that manual labourers, craftsmen, and tradesmen lack the leisure to attain the necessary learning to be of value in public affairs and decisions, the most striking aspect of the passage to me was not the elabourate underscoring of this point. Instead, two things caught my attention.</div>
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First, the emphasis Sirach places on the attention and care with which these men do their work. The very thing that to his mind, and Burke's, prevents them devoting care to wisdom, learning, and public affairs, is their intense devotion to their labours. One does not get the sense that these men are naturally or constitutionally incapable of doing the work of the learned, rather, they apply themselves to other work with the same rapt attention that a scribe gives to instruction, judgment, and proverbs. Indeed, it is the same attention that Simone Weil--surely in agreement with the Fathers--has called the chief characteristic of prayer: 'The key to a Christian conception of studies is the realization that prayer consists of attention. It is the orientation of all the attention of which the soul is capable toward God. The quality of the attention counts for much in the quality of the prayer.' [4]</div>
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Second, just as the workers themselves are depicted with surprising sympathy, so their work is not denigrated either. The importance of such work is not given the same emphasis as the devotion of the workers, but we see it in two verses, thirty-two and thirty-four:</div>
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Without them, no city can be inhabited,</div>
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And men will not live in one or go about in it.</div>
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Yet they support the fabric of the world</div>
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And their prayer is in the practice of their trade.</div>
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In the words of Fr Patrick Henry Reardon, 'Even as he contrasts the varying labors of the scribe and craftsman, however, we don't find in Sirach the signs of disrespect and disparagement obvious in other authors who elaborated the same contrast....Sirach's respectful tone is closer to Hesiod's <em>Works & Days</em>.' [5] In his introduction to the Deutero-canonical books, David deSilva agrees:</div>
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[The Egyptian wisdom book] Satire on the Trades, earlier attributed to Duauf but more recently ascribed to Kheti (Pritchard, ed., 1950: 432), was probably used in some form (or, at least, a work that included essentially the same content) by Ben Sira as a resource for 38:24-39:11. Both speak of the importance of leisure for learning the scribal arts, the arduousness of a variety of occupations involving manual labor, and the greater honor that comes to the scribe. Ben Sira's descriptions of the crafts of the farmer, smith, and potter include many specifics found in the older, Egyptian text, which, however, includes many more occupations in its litany and is much more negative about the value of these people and the quality of their life. Ben Sira exhibits here a considerably greater degree of respect for manual laborers and artisans than does his source (see 38:32, 34). [6]</div>
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Indeed, I would argue that 'respect' is too weak a word for these two statements, as terse as they may be. Sirach has in fact told us that the man who works with his hands is fundamental to human civilisation and culture, and furthermore, that his work is his prayer (deesis, or 'supplication'). [7] The significance of verse 32 is that the scribe (who is ultimately the theologian), whose work Sirach goes on to praise as being higher, cannot do what he does without the labourer, whose toil furnishes the leisure that the scribe requires (v. 24). The same observation can of course be applied to all those whose vocation is in the 'liberal arts'.</div>
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But as important as this insight is, particularly for practitioners of the liberal arts who may have a tendency to look down their noses at the so-called servile arts, it still may leave the labourer himself a bit in the cold. One thinks perhaps of the milkman, Tevye, who longs to be able to study Scripture and discuss it with the learned men. It seems to me that however much we may need to recall the utility of work, its service of some end that lies outside itself, we find in verse 34 an affirmation of work that joins it directly to the chief end of man, thus giving it its fullest possible meaning.</div>
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Ultimately, however, the deesis of the hands must be joined to the deesis of the mind. Work is sanctified most fully when it is joined with the prayer of the heart. As St Basil the Great writes:</div>
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For prayer and psalmody, however, as also, indeed for some other duties, every hour is suitable, that, while our hands are busy at their tasks, we may praise God sometimes with the tongue (when this is possible or, rather, when it is conducive to edification); or, if not, with the heart, at least, in psalms, hymns and spiritual canticles, as it is written [Col. 3:16]. Thus, in the midst of our work can we fulfill the duty of prayer, giving thanks to Him who has granted strength to our hands for performing our tasks and cleverness to our minds for acquiring knowledge, and for having provided the materials, both that which is in the instruments we use and that which forms the matter of the arts in which we may be engaged, praying that the work of our hands may be directed toward its goal, the good pleasure of God.</div>
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Thus we acquire a recollected spirit--when in every action we beg from God the success of our labors and satisfy our debt of gratitude to Him who gave us the power to do the work, and when, as has been said, we keep before our minds the aim of pleasing Him. If this is not the case, how can there be consistency in the words of the Apostle bidding us to 'pray without ceasing' [I Thess. 5:17], with those others, 'we worked night and day' [2 Thess. 3:8]. [8]</div>
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[1] Edmund Burke, <em>Reflections on the Revolution in France & On the Proceedings in Certain Societies in London Relative to that Event</em>, ed. Conor Cruise O'Brien (London: Penguin, 2004), p. 138.</div>
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[2] <em>Ibid</em>., p. 138.</div>
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[3] <em>The Apocrypha: An American Translation</em>, tr. Edgar J. Goodspeed (NY: Vintage, 1989), pp. 297-8.</div>
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[4] Simone Weil, 'Reflections on the Right Use of School Studies with a View to the Love of God', <em>The Great Tradition: Classic Readings on What It Means to Be an Educated Human Being</em>, ed. Richard M. Gamble (Wilmington, DE: ISI, 2008), p. 589.</div>
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[5] Fr Patrick Henry Reardon, <em>Wise Lives: Orthodox Christian Reflections on 'The Wisdom of Sirach'</em> (Ben Lomond, CA: Conciliar, 2009), p. 130.</div>
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[6] David A. deSilva, <em>Introducing the Apocrypha: Message, Context, & Significance</em> (Grand Rapids, MI: Baker, 2002), p. 168.</div>
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[7] The Authorised Version of course appears to miss completely the significance of <em>deesis</em> in this verse, rendering the line rather misleadingly as 'all their desire is in the work of their craft'.<br />
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[8] St Basil the Great, <em>Ascetic Works</em>, Vol. 9 of <em>The Fathers of the Church: A New Translation</em>, tr. Sr M. Monica Wagner, CSC [NY: Fathers of the Church, 1950], p. 308.Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-972672865917106992015-07-16T12:43:00.001-05:002015-07-21T12:55:59.488-05:00Marginalia, No. 3<br />
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'If the heart of one friend is open to another, the truth glows between them, the good enfolds them, and each becomes a mainstay to his companion, a helpmate in his endeavor, and a potent factor in his attaining his wish. There is nothing surprising in this: souls ignite one another, minds fertilize one another, tongues exchange confidences; and the mysteries of this human being, a microcosm in this macrocosm, abound and spread.' [1]</div>
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That is the 10th-century Islamic philosopher Abu Sulayman al-Sijistani--who, like Socrates, 'wrote little or nothing himself' [2]--speaking to his disciples in the <em>Muqabasat</em>, or 'Borrowings', of Abu'l-Hayyan al-Tawhidi, quoted from an excerpt of Joel L. Kraemer's <em>Humanism in the Renaissance of Islam</em> found in <em>Night & Horses & the Desert: An Anthology of Classical Arabic Literature</em>, edited by Robert Irwin.</div>
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It's a powerful classical conception of friendship, on which of course there is a tradition of philosophy beginning with the ancient Greeks, particularly Aristotle, and running through Cicero, and finding beautiful Christian treatments in St John Cassian's <em>Conferences</em> and Aelred of Rievaulx's <em>Spiritual Friendship</em>. Since this is only a marginalium and not a proper post, I won't go to the trouble of walking downstairs and finding my new volume on Islamic philosophy to see if there are any comments on these figures in there. But I will note that Irwin writes: 'Tawhidi and his teachers and friends were interested in Greek philosophy and Sufism, and in reconciling Sufism with Neoplatonism.' [175] I suppose then that it is at least very likely that Abu Sulayman would have been familiar with Aristotle's thoughts on the subject of friendship, whatever else he may have read.</div>
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The image above is from a manuscript of the <em>Rasa'il Ikhwan al-Safa</em> dating from 1287 AD (Suleimaniye Library, Istanbul).</div>
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[1] Robert Irwin, ed., <em>Night & Horses & the Desert: An Anthology of Classical Arabic Literature</em> (NY: Anchor, 2001), p. 177.</div>
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[2] <em>Ibid</em>., p. 174.</div>
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[3] <em>Ibid</em>., p. 175.</div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-33046929581732406632015-07-10T15:17:00.000-05:002015-07-10T15:17:24.629-05:00Marginalia, No. 2<br />
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Engagement in the church's practices puts us in a position where we may recognize and participate in the work of God's grace in the world.</div>
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[Practices] become arenas in which something is done to us, in us, and through us that we could not of ourselves do, that is beyond what we do.</div>
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The practices of Christian faith turn out in the end not primarily to be practices, efforts. They turn out to be places in the contours of our personal and communal lives where a habitation of the Spirit is able to occur. And it is this that is the source of their power and meaning. [1]</div>
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This is Craig Dykstra, in <em>Growing in the Life of Faith: Education and Christian Practices</em>, quoted by Glenn E. Sanders of Oklahoma Baptist University in 'How Christian Practices Help to Engage Students Morally and Spiritually: Testimony from a Western Civilization Course', his contribution to <em>Teaching and Christian Practices: Reshaping Faith & Learning</em>, edited by David I. Smith and James K.A. Smith.</div>
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It strikes me as a good, evangelical-friendly way to explain the effect of 'good works' that avoids the opprobrium that term acquires for those who are quick to smell 'works righteousness'. In fact, it also seems to apply well to the 'practice' of the Mysteries or Sacraments. This may be significant for evangelicals too, since I was baffled several years ago to hear one of them object to the idea that Baptism had any importance to salvation since it was a 'work' that <em>we</em> did rather than an act of God. In Dykstra's terms, the Mysteries may be something that <em>we</em> practice, but they are nevertheless 'done to us, in us, and through us', they are something 'we could not of ourselves do, that is beyond what we do'.</div>
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[1] Qtd. in Glenn E. Sanders, 'How Christian Practices Help to Engage Students Morally & Spiritually: Testimony from a Western Civilization Course', Teaching & Christian Practices: Reshaping Faith & Learning, ed. David I. Smith & James K.A. Smith (Grand Rapids, MI: Eerdmans, 2011), p. 161.</div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-51993581993528470552015-07-09T20:09:00.000-05:002015-07-09T20:13:38.875-05:00Marginalia, No. 1<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Times, "Times New Roman", serif;"><span style="font-size: large;">I had toyed some time ago with the idea of doing some shorter posts featuring quotations from my reading, with less commentary and original input than has always been typical at Logismoi. It would be something, in fact, rather like the '</span><a href="https://newpsalmanazar.wordpress.com/regarding-the-marginalia-series/"><span style="font-size: large;">Marginalia</span></a><span style="font-size: large;">' I have long admired over at </span><a href="https://newpsalmanazar.wordpress.com/"><span style="font-size: large;">The New Psalmanazar</span></a><span style="font-size: large;">. I have been less than satisfied with simply posting quotations on Facebook, and partly to make some fun use of my new computer, I have decided that now is the time to begin. I hope I won't be reproached for being entirely unoriginal and also referring to these posts as 'Marginalia'. I mean, the Bible says there's 'nothing new under the sun' anyway.</span></span></div>
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<span style="font-family: Times; font-size: large;">So, to kick things off:</span></div>
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<span style="font-family: Times; font-size: large;">Ibn al-Alkami The last vizier of Baghdad, who owned one of the largest libraries of that city. The library, which contained 10,000 books, was destroyed during the sack of Baghdad by the Mongols in 1258, when every one of Baghdad's thirty-six libraries also perished. [1]</span></blockquote>
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<span style="font-family: Times; font-size: large;">This is one of the entries in 'An Annotated Guide to the Historical and Literary References in <em>The Name of the Rose</em>' (which novel I am rereading so as to discuss it with students this Autumn), located in <em>The Key to 'The Name of the Rose', Including Translations of All Non-English Passages</em> by Adele J. Haft, Jane G. White, and Robert J. White. [2]</span></div>
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<span style="font-family: Times; font-size: large;">I am somewhat embarrassed to admit it, as I always have been about those things that most fire my imagination, but I've recently been quite taken by the 'Orientalist' bug. I won't go into the details (although I think it coincided with reading some of the stories of Borges), but it has given me a new interest in Arab references everywhere, including those in Eco's novel.</span></div>
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<span style="font-family: Times; font-size: large;">But obviously it didn't take Orientalism to get me to sit up and take notice of this. The destruction of thirty-six mediaeval libraries, including at least one holding 10,000 books, was enough to do it. It reminds me of an anecdote I read last year in Jaroslav Pelikan's <em>The Idea of the University: A Reexamination</em>:</span></div>
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<span style="font-size: large;">When the armies of the German Empire invaded Belgium in August 1914, one of their first victims was the University of Louvain, established by a papal charter of 9 December 1425. The burning of the university library cost the world of scholarship three hundred thousand books and more than a thousand original manuscripts (including the university's charter from 1425), and it has ever since symbolized the triumph of the irrational over the rational. As one historian has told the story, 'In Brussels the Rector of the University, Monseigneur de Becker, whose rescue was arranged by the Americans, described the burning of the Library. Nothing was left of it; all was in ashes. When he came to the word "library"--<em>biblioth<span style="font-family: Times New Roman;">è</span>que</em>--he could not say it. He stopped, tried again, uttered the first syllable, "<em>La bib</em>--" and unable to go on, bowed his head on the table and wept.' [15-6]</span></blockquote>
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<span style="font-family: Times; font-size: large;">The image above shows scholars at an Abbasid library, and was made in Baghdad in 1237, twenty-two years before the destruction.</span></div>
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<span style="font-family: Times; font-size: large;">[1] Adele J. Haft, Jane G. White, & Robert J. White, <em>The Key to 'The Name of the Rose', Including Translations of All Non-English Passages</em> (Ann Arbor: U of Michigan, 1999), p. 67.</span></div>
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<span style="font-family: Times; font-size: large;">[2] Unfortunately, I'm not sure where the reference to Ibn al-Alkami is in Eco's text.</span></div>
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<span style="font-family: Times; font-size: large;">[3] Jaroslav Pelikan, <em>The Idea of the University: A Reexamination </em>(New Haven, CT: Yale, 1992), pp. 15-6.</span></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-68170625876230486312015-05-29T20:16:00.000-05:002015-05-29T20:22:28.436-05:00My Journey to Borges<div class="separator" style="clear: both; text-align: center;">
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I think I can confidently say that I first encountered Borges through William Poundstone’s delightful book, <i>Labyrinths of Reason: Paradox, Puzzles & the Frailty of Knowledge</i>. Knowing of my youthful interest in math and the logic puzzles of Lewis Caroll, my dad introduced me to <i>Labyrinths of Reason</i> when I was probably 12 or 13. Although for some reason I never followed it up until years later, I never forgot Poundstone’s description of Borges’s ‘Tlön, Uqbar, Orbis Tertius’: </div>
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The best paradoxes raise questions about what kinds of contradictions can occur--what species of impossibilities are possible. Argentine writer Jorge Luis Borges (1899-1986), whose work appeals to all lovers of paradox, explored many such questions in his short stories. In ‘Tlön, Uqbar, Orbis Tertius’, he describes an encyclopedia, supposedly from another world, created as an elaborate hoax by a group of scholars. Borges’s scholars can even imagine the paradoxes of their fictitious world; so alien is the thinking of ‘Tlön’ that their paradoxes are commonplaces to us. [1] </blockquote>
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Poundstone goes on to quote the Tlönian paradox of the ‘nine copper coins’. I will not reproduce it here, but of course the whole story is worth reading. Poundstone comes back to it in Chapter 10, ‘Meaning: Twin Earth’, where he discusses the mysterious Voynich Manuscript. There he observes: </div>
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The Voynich manuscript is reminiscent of (and conceivably inspired) Borges’s short story ‘Tlön, Uqbar, Orbis Tertius’. In the story an eccentric millionaire financed a conspiracy of scholars to write an encyclopedia of the imaginary world ‘Tlön’. The first drafts were in English, but the plan was to translate the encyclopedia into Tlön’s (equally imaginary) language and calligraphy, creating a wholly inscrutable work. [2]
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There are other references to Borges in Poundstone--the essay ‘The Analytical Language of John Wilkins’ on pp. 44-5; another essay, ‘Avatars of the Tortoise’, on p. 135; the story ‘The Garden of Forking Paths’ on pp. 160-1; and, with Adolfo Bioy Casares, <i>Extraordinary Tales</i> on pp. 258-9. But I am less certain I actually read these parts as a youth. </div>
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My next encounter with Borges was my freshman year of college. I had my first bookstore job at a tiny little used shop run by a late friend of mine, Bob Cowden, and while I can’t pin it down, at some point during my stint at that shop I read and fell in love with Umberto Eco’s magnificent The Name of the Rose. Of course, nothing about the reference to Borges in Poundstone, even as well as I remembered it, came to me when reading of the blind librarian, Jorge da Burgos, zealous to prevent anyone from reading Aristotle’s lost work on comedy. But when I reached Eco’s ‘Postscript’, printed at the back of the trade paperback translation I read, I found this (spoiler alert): </div>
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The constructed world will then tell us how the story must proceed. Everyone asks me why my Jorge, with his name, suggests Borges, and why Borges is so wicked. But I cannot say. I wanted a blind man who guarded a library (it seemed a good narrative idea to me), and library plus blind man can only equal Borges, also because debts must be paid. And, further, it was through Spanish commentaries and illumination that the Apocalypse influenced the entire Middle Ages. But when I put Jorge in the library I did not yet know he was the murderer. He acted on his own, so to speak. [3] </blockquote>
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I suppose it is possible that it had only been five years since I’d first learned of this Borges from Poundstone, but when I found him in Eco I definitely knew him already as the Argentine author of ‘Tlön’, about an encyclopedia. </div>
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Maybe this was why I found him memorable. I had been a lover of encyclopedias since I could first read. Maybe even longer. I had grown up with 1940s or 50s editions of the <i>World Book Encyclopedias</i>--which I used to pore over exhaustively, following the suggestions for additional articles on a given topic--at the homes of both sets of grandparents. My own parents had a <i>Funk & Wagnalls</i>, which, incidentally, was the first source I consulted to learn about the Orthodox Church (that edition had a fine article by the late Fr John Meyendorff). One of my most treasured possessions now is an eleventh edition <i>Encyclopaedia Britannica</i>--an encyclopedia that Jaroslav Pelikan once called ‘easy...to romanticize’. [4] I can’t help but think that this connection of Borges, not just with libraries, but with an ‘imaginary encyclopedia’, is part of what caused him to stick in my mind. </div>
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I nearly forget to mention that within 6 or 7 years of reading Eco, in Thessaloniki, I became very dear friends with a Greek-Italian-American graduate of St John’s College Santa Fe named Philip Navarro (you’ll find him credited in one way or another in a number of English-language Orthodox publications). Sadly, I have found that dear Philip is a difficult person to stay in touch with, but the years that we spent either in the same city or at least talking frequently on the phone were sufficient for the fellow to acquire his own real estate in my mind. Anyway, this is relevant because Philip was a huge fan of Borges, and made reference to him every once in a while. I sheepishly admitted that I had not actually read him, but I knew that the day must come eventually. </div>
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Nevertheless, it could only have been within about the last 10 years that I finally got round to purchasing something of Borges’s--a Book-of-the-Month Club edition of <i>Labyrinths: Selected Stories & Other Writings</i>. And it was probably a few more years after the purchase that I finally read my first actual Borges story, ‘Deutsches Requiem’ (a powerful piece vividly depicting the psychology of an educated Nazi prison camp guard--read it while listening to Brahms’s <i>Ein Deutsches Requiem</i> and try not to weep). It was a few years more before I read any further into <i>Labyrinths</i>. </div>
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In the end it was the brief little pieces, not quite fiction, not quite essays, that Borges calls ‘parables’ that really drew me in. As an example, I shall post perhaps the briefest one in <i>Labyrinths</i>, ‘Parable of Cervantes & the <i>Quixote</i>’: </div>
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Tired of his Spanish land, an old soldier of the king sought solace in the vast geographies of Ariosto, in that valley of the moon where the time wasted by dreams is contained and in the golden idol of Mohammed stolen by Montalbán.<br />
In gentle mockery of himself, he imagined a credulous man who, perturbed by his reading of marvels, decided to seek prowess and enchantment in prosaic places called El Toboso or Montiel.<br />
Vanquished by reality, by Spain, Don Quixote died in his native village in the year 1614. He was survived but a short time by Miguel de Cervantes.<br />
For both of them, for the dreamer and the dreamed one, the whole scheme of the work consisted in the opposition of two worlds: the unreal world of the books of chivalry, the ordinary everyday world of the seventeenth century.<br />
They did not suspect that the years would finally smooth away that discord, they did not suspect that La Mancha and Montiel and the knight’s lean figure would be, for posterity, no less poetic than the episodes of Sinbad or the vast geographies of Ariosto.<br />
For in the beginning of literature is the myth, and in the end as well. [5] </blockquote>
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Obviously, this is quite simple. It is the briefest observation about Cervantes. It might perhaps even have been stated by someone else in a much less interesting way--in Cervantes’s day, his own time and place were not terribly romantic, whereas 400 years later they are practically the stuff of legend. But in Borges’s hands, it becomes something that awakens the imagination, enchanting the world itself and the books that tell us of it. </div>
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Just a few weeks ago I finally purchased Borges’s <i>Collected Fictions</i>--as I understand it, his complete fiction--and I’ve begun working on it. I did finally read ‘Tlön’ as well as another one, which I think Philip must have told me about, called ‘Pierre Menard, Author of the <i>Quixote</i>’. I’ve read nearly all of the short pieces originally published in the 1960 volume, The <i>Maker</i>. I just completed Borges’s homage to H.P. Lovecraft, ‘There Are More Things’. I’ve read a wonderful essay of Borges on Dante, ‘The Divine Comedy’, [6] as well as two lectures by Eco on Borges: ‘Between La Mancha & Babel’ and ‘Borges & My Anxiety of Influence’, both in <i>On Literature</i>. [7] </div>
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I realise all of this is kind of superficial, and not likely to be of much interest to anyone who doesn’t know me. I plan to do a second Borges post wherein I will explore a couple of short pieces in a little more depth. </div>
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[1] William Poundstone, <i>Labyrinths of Reason: Paradox, Puzzles & the Frailty of Knowledge</i> (NY: Anchor, 1988), p. 19. </div>
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[2] Ibid., p. 195. </div>
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[3] Umberto Eco, <i>The Name of the Rose, Including the Author’s</i> Postscript, tr. William Weaver (San Diego: Harcourt, 1994), p. 515. </div>
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[4] Jaroslav Pelikan, <i>The Vindication of Tradition</i> (New Haven, CT: Yale, 1984), p. 4. </div>
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[5] Jorge Luis Borges, <i>Labyrinths: Selected Stories & Other Writings</i>, ed. Donald A. Yates & James E. Irby (NY: Book-of-the-Month Club, 1996), p. 242. </div>
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[6] Jorge Luis Borges, ‘The Divine Comedy’, tr. Eliot Weinberger, <i>The Poet’s Dante: Twentieth-Century Responses</i>, ed. Peter S. Hawkins & Rachel Jacoff (NY: Farrar, Straus & Giroux, 2001), pp. 118-35.
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[7] Umberto Eco, <i>On Literature</i>, tr. Martin McLaughlin (Orlando, FL: Harcourt, 2004), pp. 104-17, 118-35.</div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-44997339393003428902015-05-25T13:24:00.000-05:002015-05-25T13:29:52.083-05:00'Abd al-Rahmān's Palm Tree: An Andalusian Poem<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNjaBjtgYQVT48hf0FMSTpSjZy3NGUZikAByCLaLHzZWX4cIModnYVBYKjhbUjAg4LNwYnPtUzR5sR78Ar_VDf7U9965C1qzp0z1-j54QBpdHzrjwa3fqVFWYu4TD368UaUmHejGdS6R_/s1600/Abd+al-Rahman+I.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNjaBjtgYQVT48hf0FMSTpSjZy3NGUZikAByCLaLHzZWX4cIModnYVBYKjhbUjAg4LNwYnPtUzR5sR78Ar_VDf7U9965C1qzp0z1-j54QBpdHzrjwa3fqVFWYu4TD368UaUmHejGdS6R_/s320/Abd+al-Rahman+I.jpg" width="217" /></a></div>
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<span style="font-family: Times, Times New Roman, serif;"><br />In Jorge Luis Borges's enchanting little story, 'Averroës' Search', about the mediaeval Arab philosopher, I came across the following passage a couple of weeks ago:</span></div>
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<span style="font-family: Times, Times New Roman, serif;">'...Time widens the circle of the verses, and I myself know some verses that are, like music, all things to all men. Thus it was that many years ago, in Marrakesh, tortured by memories of Córdoba, I soothed myself by repeating the apostrophe which 'Abd-al-Rahm</span><span style="font-family: Times, 'Times New Roman', serif;">ān spoke in the gardens of al-Rusayfah to an African palm:</span> </blockquote>
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<span style="font-family: Times, 'Times New Roman', serif;">Thou too art, oh palm!,</span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">On this foreign soil... </span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">'A remarkable gift, the gift bestowed by poetry--words written by a king homesick for the Orient served to comfort me when I was far away in Africa, homesick for Spain.' [1]</span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">Then, last Saturday morning, I awoke with the Doors' song 'Spanish Caravan'--with its lyric, 'Andalusia with fields full of grain'--stuck in my head, and I had to read a bit about Spanish geography. Finally, a grabbed a copy of a book I bought several years ago, <i>Night & Horses & the Desert: An Anthology of Classical Arabic Literature</i>, edited by Robert Irwin, the 6th chapter of which is entitled 'The Lost Kingdoms of the Arabs: Andalusia'. On the second page of that chapter, I read the following, and immediately recalled Borges:</span><span style="font-family: Times, 'Times New Roman', serif;"><br /></span><br />
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<span style="font-family: Times, 'Times New Roman', serif;">'Abd al-Rahman I (reigned 756-88) made Cordova the capital of the territory of Andalusia. (The Arabic toponym 'Al-Andalus', which probably originally meant 'Of the Vandals', subsequently came to refer to Muslim Spain.)</span> </blockquote>
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<span style="font-family: Times, Times New Roman, serif;">'Abd al-Rahman I was himself a poet. The poem which follows was written at Rusafa, his Spanish palace, which he had named after one of the Umayyad palaces in Syria where he had grown up.</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;">A palm tree I beheld in Ar-Rusafa</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;">Far in the West, far from the palm-tree land:</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;">I said: You, like myself, are far away, in a strange land;</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;">How long have I been far away from my people!</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;">You grew up in a land where you are a stranger,</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;">And like myself, are living in the farthest corner of the earth:</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;">May the morning clouds refresh you at this distance,</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;">And may abundant rains comfort you forever!</span></blockquote>
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<span style="font-family: Times, 'Times New Roman', serif;">Nykl, </span><i style="font-family: Times, 'Times New Roman', serif;">Hispano-Arabic Poetry and its Relations with the Old Provençal Troubadors</i><span style="font-family: Times, 'Times New Roman', serif;">, p. 18</span></blockquote>
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<span style="font-family: Times, 'Times New Roman', serif;">'Abd al-Rahman's poem about exile and longing was to set a precedent for the many backward- and eastward-looking laments which form a leading theme in Andalusian literature. [2]</span></blockquote>
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<span style="font-family: Times, 'Times New Roman', serif;">[1] Jorge Luis Borges, <i>Collected Fictions</i>, tr. Andrew Hurley (NY: Penguin, 1998), p. </span><span style="font-family: Times, 'Times New Roman', serif;">240.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">[2] Robert Irwin, ed., <i>Night & Horses & the Desert: An Anthology of Classical Arabic Literature</i> (NY: Anchor, 2001), p. </span><span style="font-family: Times, 'Times New Roman', serif;">245.</span></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-48477916092087029272015-05-20T16:04:00.000-05:002015-05-20T16:28:56.556-05:00The Faithful City of Isaiah's Vision<div dir="ltr" style="margin-bottom: 0pt; margin-top: 0pt;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35B2lZ_drIQvdS5RUQF16hrGjUeBsL9LBrG2tMioghXk9ATAvl2xQBKi89oz5RahBEqSYFfbvm8KJ0muQ0W1n5cgpgExc8H_VwY7_Cal8u4Bja070dUL0mcKnTSWdl8brHeMlgYql6G79/s1600/La_nouvelle_J%25C3%25A9rusalem.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35B2lZ_drIQvdS5RUQF16hrGjUeBsL9LBrG2tMioghXk9ATAvl2xQBKi89oz5RahBEqSYFfbvm8KJ0muQ0W1n5cgpgExc8H_VwY7_Cal8u4Bja070dUL0mcKnTSWdl8brHeMlgYql6G79/s400/La_nouvelle_J%25C3%25A9rusalem.jpg" width="400" /></a></div>
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<span style="font-size: 15px; line-height: 1.38; white-space: pre-wrap;"><i>This is a homily I preached at our school chapel last Advent. The text is one I chose, though I don't really remember what led me to it.</i></span></div>
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<span style="font-size: 15px; line-height: 1.38; white-space: pre-wrap;">‘Afterward thou shalt be called “the city of righteousness, the faithful city”. Zion shall be redeemed by justice, and her converts with righteousness.’</span></div>
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<span style="font-size: 15px; line-height: 1.38; white-space: pre-wrap;">In the name of the Father and of the Son and of the Holy Spirit. Amen.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">It is fitting as we begin the period of Advent, patiently, or sometimes impatiently, expecting the </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">adventus </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">or coming of our Lord Jesus Christ, that we look back to the prophecies of the Old Testament that foretell the mighty works He came and will come again to perform. Today’s reading from the prophet may seem to strike a dark note at first, for it concerns the unfaithfulness of the holy city of Zion--Jerusalem. The Prophet Isaiah says the city has become a harlot or adulteress, that she is greedy and without charity or justice. It’s easy to read this and think smugly to ourselves, ‘Wow, those people were bad.’ But we miss the point entirely if we read this prophecy merely as a history of some place in the Middle East thousands of years ago.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">For ‘the city’ is us, human beings. This is the Lord’s way of giving us a picture, because we all have some idea of what a city is like, though most of our modern cities are rather poor things. But it is a deeply significant picture. It means human beings are not just individual people, totally separate from each other, but people made for each other. St Chrysostom says, ‘Do you see how many bonds of love God has created? He’s done so as forces of nature lodged in us to be pledges of our peace with one another. We are of the same substance….God made us to need one another...’ [1] Even the great hermit, St Anthony, who spent 30 years in prayer with God alone, says ironically, ‘Our life and our death is with our neighbour’, [2] and because of this teaching, as St Athanasius writes, even ‘the desert was made a city’. [3] We must begin by realising that human beings are all neighbours, we are a family. In a famous book based on this image of ‘the city’, St Augustine writes:</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">‘And human nature has nothing more appropriate, either for the prevention of discord, or for the healing of it, where it exists, than the remembrance of that first parent of us all, whom God was pleased to create alone, that all men might be derived from one, and that they might thus be admonished to preserve unity among their whole multitude.’ [4]</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Thus our first mother Eve was taken out of the side of our father Adam, and the two were given to each other to help one another. But the sin of the Fall has split this familial unity that St Augustine speaks of, and we have become the broken family that St Augustine calls ‘the city of man’. For ‘the founder of the earthly city was a fratricide’--Cain, the murderer of ‘his own brother, a citizen of the eternal city, and a sojourner on earth’. [5]</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">And thus, as the Prophet says, the city of man has become full of murderers now (1:21)--for Christ says we are all guilty of murder whenever we become angry with our brother or insult him.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Prophet says the city’s ‘silver is become dross’ (1:22)--which as Matthew Henry says means that moral corruption and injustice in the powerful among society is worse than economic decline. [6]</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: 15px; line-height: 1.38; white-space: pre-wrap;">The Prophet says that the princes--our leaders--have become rebellious against God--the companions of thieves--defrauding the poor--greedy for profits and bribes--allowing the oppression and exploitation of the powerless--calling the orphans and the widows and the homeless lazy, dishonest, thieves, and drunkards, when it is really the powerful who are all these things. (1:23)</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.38; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="line-height: 1.38;">It is this city of which Socrates prophetically warned his pupil Alicibiades, ‘I know the city, and I fear that it shall get the better of both of us’ [7]--of the pupil, because it would seduce him to a life of sin, and of the teacher, because it would put him to death unjustly.</span></span></div>
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<span style="font-size: 15px; line-height: 1.38; white-space: pre-wrap;">So God says He will ‘avenge’ Him ‘of His enemies’ (1:24). He will say: </span><span style="font-size: 15px; line-height: 1.38; vertical-align: baseline; white-space: pre-wrap;">‘</span><span style="background-color: transparent; color: black; font-family: 'Time New Roman'; font-size: 15px; line-height: 1.38; vertical-align: baseline; white-space: pre-wrap;">Depart from me, ye cursed, into everlasting fire, prepared for the devil and his angels: for I was an hungred, and ye gave me no meat: I was thirsty, and ye gave me no drink: I was a stranger, and ye took me not in: naked, and ye clothed me not: sick, and in prison, and ye visited me not.’ (Matt. 25:41-3)</span></div>
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.38; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This is the fate of what St Augustine calls ‘the city of man’, and it is depicted well in Dante’s </span><span style="background-color: white; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Inferno</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, where Dante beholds ‘the city they call Dis, / with its great hosts, with its grave citizens’. [8]</span></div>
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<span style="background-color: transparent; font-size: 15px; line-height: 1.38; white-space: pre-wrap;">But thanks be to God, there is another City, which St Augustine calls ‘the City of God’--because as St John says, when he sees it ‘coming down from God out of heaven, prepared as a bride adorned for her husband’ (‘in the purity and virtue of the saints’), it ‘has the glory of God in it’ lightening it more brilliantly than even the sun could do (Rev. 21:2, 11, 23). It is a city of the converts, of the repentant, restored to beauty and order--and love--by the Lord, and thus as St Andrew of Crete writes, ‘This city, which has Christ as its cornerstone, is composed of the saints concerning whom it is written: They shall be as the stones of a crown, lifted up as an ensign upon His land (Zech. 9:16)’ [9].</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In the last paragraph of the Apostles’ Creed the City is defined. ‘I believe in the Holy Ghost’ is its first clause and primal condition….Simultaneously all its citizens derive from all. ‘The Holy Catholic Church’ is its name here, allowing for all proper implications of whatever kind....But the other four clauses are, as it were, the four walls of the description [of St John] in the Apocalypse; or, if the metaphor divides them too much, say they are the four qualities of that life: ‘the Communion of Saints, the Forgiveness of Sins, the Resurrection of the Body, and the Life everlasting’. They are the qualities of the renewed perfection of union--interchange, interchange redeeming even the denial of itself...The almost incredible nature of things is that there is no fact which is not His glory. This is the great inclusion which makes the City. If, to use terms of space, we ascend towards it, it is still that which descends out of heaven, and is the cause and course of our ascent. The language of it is in the great interchange of fiery tongues by which the Spirit manifested at the beginning. [10]</span></blockquote>
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<span style="background-color: transparent; font-size: 15px; line-height: 1.38; white-space: pre-wrap;">But we mustn’t forget that all of this does not simply happen magically. As the Lord says through His prophet, ‘I will turn my hand against you and will smelt away your dross as with lye and remove all your alloy’ (Is 1:25). We must be purged of our sins and passions, and begin to practice the commandments of Christ if we are to become the City of God. So as we embark upon this journey that will lead us to the little city of Bethlehem, and to worship the great King whose birth is proclaimed with the words ‘Glory to God in the highest, and on earth peace towards men of good will’, let us remember to do our part in symphony with His grace to live with justice, to show love towards all in our earthly city here and now, and to comfort the outcasts and afflicted in the streets, so that we may one day behold the heavenly City, where ‘God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away’ (Rev 21:4).</span></div>
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</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.38; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.38; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="line-height: 1.38;">For the city of the great King is well planted on the mountains of Sion, with the joy of the whole earth, on the sides of the north. God is known in her palaces, when he undertakes to help her. (Ps 47:2-3 LXX)</span></span></blockquote>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[1] Homily 34.6; St John Chrysostom, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Love Chapter: The Meaning of First Corinthians 13</span><span style="background-color: white; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (Brewster, MA: Paraclete, 2010), pp. </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">78-9.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[2] </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Apopophegmata Patrum</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, Anthony 9; Benedicta Ward, SLG, tr., </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Sayings of the Desert Fathers: The Alphabetical Collection</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, rev. ed. (Kalamazoo, MI: Cistercian, 1984), p. 3.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[3] </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Vita Antonii</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> 14; St Athanasius, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Life of Antony & the Letter to Marcellinus</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, tr. Robert C. Gregg (Mahwah, NJ: Paulist, 1980), pp. 42-3.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[4] </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">De Civitate Dei </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">12.27; St Augustine, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The City of God</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, tr. Marcus Dods (NY: Modern Library, 1950), p. 410.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[5] </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">De Civitate Dei </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> 15.5; St Augustine, p. 482.</span></div>
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[6] </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Matthew Henry, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Commentary on the Whole Bible: New One Volume Edition</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, ed. Leslie F. Church (Grand Rapids, MI: Zondervan, 1966), p.</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">828.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[7] </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Alcibiades </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">135e; Plato, ‘Alcibiades’, tr. D.S. Hutchinson, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Complete Works</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, ed. John M. Cooper & D.S. Hutchinson (Indianapolis: Hackett, 1997), p.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[8] </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Inferno </span><span style="background-color: white; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">8.68-9; Dante Alighieri, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Inferno</span><span style="background-color: white; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, tr. Anthony Esolen (NY: Modern Library, 2003), p. 81.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[9] In Archbishop Averky, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Apocalypse in the Teachings of Ancient Christianity</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, tr. & ed. Hieromonk Seraphim (Rose) (Platina, CA: St Herman of Alaska Brotherhood, 1998), p. 268.</span></div>
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<span style="background-color: transparent; font-size: 15px; vertical-align: baseline; white-space: pre-wrap;"><span style="vertical-align: baseline;">[10] Charles Williams, </span><span style="font-style: italic; vertical-align: baseline;">The Image of the City & Other Essays</span><span style="vertical-align: baseline;">, ed. Anne Ridler (London: Oxford U, 1970), p. 110.</span></span></div>
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</span>Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-45277875801884709152015-05-19T10:59:00.001-05:002015-05-19T11:00:31.353-05:00Donald Sheehan & Edith Wyschogrod on Shakespeare & Henry James<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2ahVz2BGB-pmcwue139NO685VNte5H9gBYmELRuOAF4jhkkfJTw4nMUy_iwc3E8WOmFAKtSTtEAkN50auRihXaVV4ZT2oJCNjX1vWYEpaS9zmBmPgx0dR09HQXbR1VJoSwMoj8Grdxsti/s1600/Winter%2527s+Tale+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2ahVz2BGB-pmcwue139NO685VNte5H9gBYmELRuOAF4jhkkfJTw4nMUy_iwc3E8WOmFAKtSTtEAkN50auRihXaVV4ZT2oJCNjX1vWYEpaS9zmBmPgx0dR09HQXbR1VJoSwMoj8Grdxsti/s400/Winter%2527s+Tale+1.jpg" width="400" /></a></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This will likely be a short post, largely because I don’t have that much to say on the subject right now, but I’d still like to get it out there for my own benefit at least.</span></div>
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<b id="docs-internal-guid-e6104af8-90e7-35b8-f1d8-e93543f54e5b" style="font-weight: normal;"><br /></b></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Recently, Xenia Sheehan very kindly had Paraclete Press send me a review copy of </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Grace of Incorruption: The Selected Essays of Donald Sheehan on Orthodox Faith & Poetics</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, a collection of essays by her late husband, Donald, a former professor of English at Dartmouth and director of The Frost Place in New Hampshire. I was thrilled to receive it, having already perused the contents in a pdf she e-mailed me a few months back, but felt a little uncertain of what order I wanted to read it in. To make a long story short, I found myself very soon going to Part One, chapter 6, ‘The Way of Beauty & Stillness: Shakespeare’s </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Winter’s Tale</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">’. [1] It is a truly enlightening essay throughout, and I was excited by Sheehan’s handling, signalled in the title itself, of Archimandrite Vasileios’s lovely </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">bibliaki</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Beauty & Hesychia in Athonite Life</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, as well as the reading of the Bard’s play that is the essay’s </span><span style="background-color: transparent; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i style="font-family: 'Times New Roman'; font-size: 16px;">raison d’</i><span style="background-color: white; line-height: 18.2000007629395px; white-space: normal;"><i><span style="font-family: Times, Times New Roman, serif;">ê</span></i></span><i style="font-family: 'Times New Roman'; font-size: 16px;">tre</i></span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">What I wanted to focus on here, however, is a very specific aspect of Sheehan’s perceptive mediation of a dialogue between </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Winter’s Tale</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> and J.D. Salinger’s </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Franny & Zooey</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. He describes the plot of </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">WT</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> in some detail, focusing intently on Paulina’s revelation of the living Hermione to her husband, Leontes, who has believed her dead for 16 years. Sheehan notes that this revelation is a response to, but also, by cultivating a spirit of stillness through beauty, further productive of Leontes’s repentance for his destructive jealousy. He then suggests that the image of ‘the Fat Lady’ that their older brother Seymour has inculcated in Franny and Zooey has taught Franny a similar wisdom born of beauty and stillness:</span></div>
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<blockquote class="tr_bq" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;">
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This wisdom is above all </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">iconic</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, for it reveals to the beholder--both to Franny and to Leontes--the way of beauty and stillness.</span></blockquote>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.38; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br />
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.38; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="line-height: 1.38; vertical-align: baseline;">In both Salinger and Shakespeare, this way opens through death: the [feigned] death of Hermione and the [actual] death of Seymour. For in both, death becomes the way in which both Hermione and Seymour can become iconic, and in so doing, they can become for Leontes and Franny the transforming experience of the boundary, that place between the worlds that simultaneously separates and reconciles. As Father Vasileios puts it: ‘To die, to be buried, to depart’ so as ‘to give another the ability to love life’ (</span><span style="font-style: italic; line-height: 1.38; vertical-align: baseline;">Beauty</span><span style="line-height: 1.38; vertical-align: baseline;">, 9). Here is the light of beauty and stillness that shines in late Shakespeare and Salinger. [2]</span></span></div>
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.38; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This passage immediately recalled for me a book I spent a bit of time with in college--Edith Wyschogrod’s </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Saints & Postmodernism: Revisioning Moral Philosophy</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (which I have already blogged about briefly <a href="http://logismoitouaaron.blogspot.com/2010/04/literature-moral-philosophyhenry-james.html">here</a>). In chapter two, ‘Saintly Influence’, ‘Henry James’s novel </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Wings of the Dove</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is treated as hagiographic fiction that illustrates the influence of altruistic action on moral self-interpretation and practice.’ [3] The ‘saint’ of the piece, on Wyschogrod’s reading, [4] is Millie Theale, a young American heiress suffering from a terminal illness who discovers that the poor Englishman (Merton Densher) she loves is secretly engaged to someone else (Kate Croy) and is only pursuing her in the hopes of getting her money after she dies. Although this plan is conceived by Kate, Densher is induced to persist in the courtship of Millie until his conscience drives him to confess. Already Millie’s kindness and innocence have been operating upon him, and she selflessly encourages him to pursue his true love, Kate. But when she dies, Millie leaves the scheming couple a large bequest to help them get married, despite knowing full well how they had tried to deceive her. While remaining firm in her intent to accept the money, Kate astutely observes, ‘She gave up her life that you might understand her’, and ‘She died for you that you might understand her. From that hour you </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">did</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">.’ [5] </span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In Wyschogrod’s words, it is here, ‘when the interplay of cynical reason and saintly generosity becomes transparent’, that ‘Densher’s transfiguration occurs’. [6] He renounces the bequest and refuses to marry his calculating fiancee unless she renounces it too. ‘...Millie’s moral practice is now (somehow) repeated in Densher’s life. He has learned a new moral gesture.’ [7] One is tempted to say that whereas for Kate, the ‘wings of the dove’ were Millie’s bequest itself, enabling her and Densher to ‘fly and be at rest’ in their worldly life, for Densher the ‘wings’ were her forgiveness and generosity made manifest in her death by the request, which enable his soul to fly from the mercenary ends he has pursued and ‘be at rest’ inwardly. To use Sheehan’s words, Millie becomes iconic, thereby opening to Densher the way of beauty and stillness. Fr Vasileios’s words, quoted by Sheehan, certainly seem to apply to Millie’s decision:</span></div>
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<blockquote class="tr_bq" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;">
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">To die, to be buried, to depart. . . . And yet to have lived and died in such a way that your presence, discretely and from a distance as if a fragrance from someone absent, can give others the possibility to breathe divine fragrance! To grant someone else the possibility of living, of being invigorated, of having the nausea dispelled; to give another the ability to love life, to acquire self-confidence and stand on his own two feet, so that from within him there arises spontaneously a ‘Glory to Thee, O God!’. [8]</span></blockquote>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Never having read </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Wings of the Dove</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, or </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Franny & Zooey</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> for that matter, I can’t develop the connections much further without ending up on thin ice, but even this much looks to me like an interesting parallel.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[1] Donald Sheehan, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Grace of Incorruption: The Selected Essays of Donald Sheehan on Orthodox Faith & Poetics</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, ed. Xenia Sheehan (Brewster, MA: Paraclete, 2015), pp. 75-86.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[2] </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Ibid.</i></span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, p. 85.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[3] Edith Wyschogrod, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Saints & Postmodernism: Revisioning Moral Philosophy</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (Chicago: U of Chicago, 1990), p. 33.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[4] It should be noted that Wyschogrod is well aware that her ‘saint’ is not a traditional one. One reason she notes </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">inter alia</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">: ‘In Jewish and Christian saintly narratives, power ultimately derives from transcendence and is channeled through saintly practice. By contrast, in a novel reflecting its nineteenth-century capitalist provenance, power is derived from wealth’ (</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>ibid</i></span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">., p. 45).</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[5] Qtd. in </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>ibid</i></span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">., pp. 46 & 48.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[6] </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Ibid</i></span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">., p. 46.</span></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[7] </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Ibid</i></span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">., p. 48.</span></div>
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<span style="font-size: 16px; vertical-align: baseline; white-space: pre-wrap;"><span style="vertical-align: baseline;">[8] Archimandrite Vaseileios, </span><span style="font-style: italic; vertical-align: baseline;">Beauty & Hesychia in Athonite Life</span><span style="vertical-align: baseline;">, tr. Constantine Kokenes (Montreal: Alexander, 1996), p. 11.</span></span></div>
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</span>Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com0tag:blogger.com,1999:blog-6714437334790446678.post-35384665342088715282015-01-28T21:17:00.001-06:002015-01-29T09:26:33.781-06:00'In the beginning was the Act' - Goethe's Faust<div class="separator" style="clear: both; text-align: center;">
<a href="http://uploads3.wikiart.org/images/rembrandt/faust.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://uploads3.wikiart.org/images/rembrandt/faust.jpg" height="400" width="306" /></a></div>
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<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I’m not sure when I first learned of Johann Wolfgang von Goethe’s dramatic masterpiece, </span><span style="background-color: transparent; color: black; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Faust</span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, although it was probably around 11 or 12. I’m fairly certain I already knew of it when I saw a copy depicted as part of a small </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>bibliothèque infernale</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> on a poster for the horror-punk band, The Misfits. I think I must have purchased my copy of Walter Kaufmann’s bilingual edition some time during my stint at Barnes & Noble, likely in 1998 or 1999. What finally made up my mind to read it some day, however, was Jaroslav Pelikan’s statement in his brief ‘Personal Memoir: Fragments of a Scholar’s Autobiography’ (<a href="http://www.onbeing.org/program/need-creeds/feature/personal-memoir-fragments-scholars-autobiography/1292">here</a>) that he had begun the habit in his teens of reading the whole thing through in German once a year without fail.</span></span></div>
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<b id="docs-internal-guid-6f99ff21-57a4-635e-a340-d765d0cdc9b6" style="font-weight: normal;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></b></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">By the time I came across that fascinating fact, I already knew of Pelikan’s appreciation for the German Romantic, having heard him refer to Goethe</span><span style="background-color: transparent; color: black; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> at a lecture at the University of Oklahoma in 1999 (I think) as well as having read his quote from </span><span style="background-color: transparent; color: black; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Faust</span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> at the beginning and end of his delightful Jefferson Lectures, </span><span style="background-color: transparent; color: black; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Vindication of Tradition</span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">:</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: 15px; line-height: 1.15; white-space: pre-wrap;">An older contemporary of Emerson’s, whom Emerson rightly regarded as the wisest and most universal mind of the century (except, Emerson felt obliged to add, for ‘the velvet life he lived!’), Johann Wolfgang von Goethe, saw it all more deeply and said it all more clearly:</span><span style="font-size: 15px; line-height: 17.25px; white-space: pre-wrap;"><br /></span></span></blockquote>
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<span style="font-family: Times, Times New Roman, serif; line-height: 1.15;">What you have as heritage,</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif; line-height: 1.15;">Take now as task;</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif; line-height: 1.15;">For thus you will make it your own! [1]</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Nevertheless, despite this long awareness of the book and the inducements of Pelikan’s esteem for it, I only very recently began to read it for myself. When I did, I was very quickly reminded of the treatment of </span><span style="background-color: transparent; color: black; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Faust</span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> in David Lyle Jeffery’s </span><span style="background-color: transparent; color: black; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">People of the Book: Christian Identity & Literary Culture</span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, which I finished earlier this summer, so I went back and reread much of that chapter before proceeding further in Goethe.</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: 15px; vertical-align: baseline; white-space: pre-wrap;">Jeffrey draws some fascinating connections between Goethe’s depiction of Faust in his study and what DLJ calls ‘the symbolism of the faithful reader’ in the Christian artistic tradition. In this connection, I was particularly fascinated by Jeffrey’s references to the famous engravings of St Jerome by Albrecht Dürer (on which I have blogged a bit <a href="http://logismoitouaaron.blogspot.com/2009/06/ignorance-of-scripture-is-ignorance-of.html">here</a>). [2] Indeed, I would love to do some thinking through, or read someone else thinking through, the implications of Yates’s analysis of Dürer for an analysis of </span><span style="font-size: 15px; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Faust</span><span style="font-size: 15px; vertical-align: baseline; white-space: pre-wrap;">.</span></span></div>
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<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.15; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="line-height: 1.15; vertical-align: baseline;">The passage that carried me a little further outside </span><span style="font-style: italic; line-height: 1.15; vertical-align: baseline;">Faust</span><span style="line-height: 1.15; vertical-align: baseline;"> itself, however, was Jeffrey’s section on ‘Logos and Lector’, where he focuses on </span><span style="font-style: italic; line-height: 1.15; vertical-align: baseline;">Faust</span><span style="line-height: 1.15; vertical-align: baseline;"> 1224-37. I will quote in full Kaufmann’s translation of this passage, including in brackets the German for a few key terms:</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; vertical-align: baseline;"><span style="font-size: 15px; line-height: 17.25px; white-space: pre-wrap;"><br /></span></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.15; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="line-height: 1.15;">(He opens a tome [of the New Testament] and begins.)</span><span style="font-size: 15px; line-height: 1.15; white-space: pre-wrap;"><br />It says: ‘In the beginning was the Word [Wort].’</span><span style="line-height: 1.15;"><br />Already I am stopped. It seems absurd.</span><span style="line-height: 1.15;"><br />The Word does not deserve the highest prize,</span><span style="line-height: 1.15;">I must translate it otherwise</span><span style="line-height: 1.15;"><br />If I am well inspired and not blind.</span><span style="line-height: 1.15;"><br />It says: In the beginning was the Mind [Sinn].</span><span style="line-height: 1.15;"><br />Ponder that first line, wait and see,</span><span style="line-height: 1.15;"><br />Lest you should write too hastily.</span><span style="line-height: 1.15;"><br />Is mind the all-creating source?</span><span style="line-height: 1.15;">It ought to say: In the beginning there was Force [Kraft].</span><span style="line-height: 1.15;"><br />Yet something warns me as I grasp the pen,</span><span style="line-height: 1.15;"><br />That my translation must be changed again.</span><span style="line-height: 1.15;"><br />The spirit helps me. Now it is exact.</span><span style="line-height: 1.15;"><br />I write: In the beginning was the Act [Tat]. [3]</span></span></span></blockquote>
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.15; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">
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<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Now I admit that the import of all of this is most unclear to me. Why can Faust not accept the first verse of St John’s Gospel? Because all of this follows on his reference to attempting to translate the NT into German, I’m a little tempted to wonder if it’s more the German word </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Wort</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> he’s objecting to, and not the Λόγος of the Gospel. But I admit that the successive attempts give me the chills, carrying as I’m afraid they can no longer help but do the crushing weight of German fascist association. [4] For his part, Jeffrey finds, ‘Faust rejects in this formulation the source of all Christian symbol, “the Law of the Lord”, but most specifically the Logos, the doctrine of the incarnate Word.’ [5]</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">My readiness to accept this reading, as undeveloped as it was, predisposed me to be a little shocked when I turned to another reference to this passage from </span><span style="background-color: transparent; color: black; font-size: 15px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Faust</span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">: the epigraph to Chapter Two, ‘Answerability & Ethics: Toward a Philosophy of Action’, in Alexandar Mihailovic’s remarkable monograph, </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Corporeal Words: Mikhail Bakhtin’s Theology of Discourse</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. It had been some time since I’d looked at this book, and I only went back to it on a hunch (since Johannine logology was such an important part of Mihailovic’s analysis). Sure enough, at the heading of Chapter 2, we see:</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: 15px; line-height: 1.15; white-space: pre-wrap;">Im Anfang war die Tat.</span></span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 1.15;">--Goethe, Faust.</span></span></blockquote>
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<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Now, this was intriguing enough by itself, but it was followed immediately by a second epigraph:</span></div>
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<blockquote class="tr_bq" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Formalists are imprinted with the seal of overripe clericalism. They are Johannites. For them ‘in the beginning was the Word.’ But for us in the beginning was the act: the word appeared only after [the act], like a shadow made of sound.</span></blockquote>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">
</span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">--Leo Trotsky, Literature & Revolution (1924) [6]</span></span></blockquote>
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<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">At this point, of course, I was fully engaged. Unfortunately, a quick skim through the chapter failed to turn up any further references to Goethe or Trotsky until the very end. There we read: ‘In a very real sense, Bakhtin inverts the Johannine conception of the conception of the word: for him, as for Trotsky--and this is the only area in which the critic and the revolutionary would agree--the act comes first, the word proceeding from it as its concretized efflorescence.’ [7]</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Of course, I am hardly inclined to take this at face value. First, note that ‘word’ is not capitalised, either in Trotsky’s statement about its appearance after the act, or at all in Mihailovic’s statement about Bakhtin. Indeed, Mihailovic’s whole point seems to be that Bakhtin’s use of theological language almost invariably replaces the theological content of that language with discursive content. He takes what Christians say about ‘the Word’, and applies it to what we say about ‘the word’, i.e., discourse. [8] Second, Mihailovic himself states that for Bakhtin it is precisely ‘Incarnational theology [that] provides a framework for understanding the formal and material dimensions of the human community; according to Bakhtin, it unites that which has been separated by contemporary approaches to ethics.’ [9] If the rejection of </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Wort</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> for </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Tat</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is a rejection of ‘the doctrine of the Incarnate Word’, as I’m inclined to believe it is for Faust, for Bakhtin it must mean that he cannot follow Faust as easily as Mihailovic seems to suggest.</span></span></div>
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<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Since writing that last paragraph, I have read very carefully through an interesting article by a Goethe specialist all about the passage I’ve been considering. I can’t say I have perfectly understood all of Erik Eisel’s ‘“In the Beginning Was the Word...”: The Question of the Origin of Language in Goethe’s Faust’ (<a href="http://www.anthropoetics.ucla.edu/ap0501/eisel.htm">here</a>). The gist of Eisel’s argument is that Goethe is making his own contribution to the question of the origin of language, a question memorably essayed by Johann Herder, whose contribution to the subject directly influenced Goethe. I admit I struggled a bit with this aspect of the paper, but I fancy I’ve detected one or two things that dovetail with some of my reflections here.</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: 15px; line-height: 1.15; white-space: pre-wrap;">First, Eisel strikes a note of what Harold Bloom might call ‘anxiety of influence’ in Faust. He asks, ‘Will the appropriation of this primal sentence [i.e., John 1:1] into his own primal writing scene establish a pattern of continued undifferentiation? Or a hoped-for self-differentiation?’ Comparing Faust’s efforts to translate Scripture into ‘<i>mein geliebtes Deutsch</i>’ to those of his historical contemporary, Martin Luther, Eisel notes, ‘Unlike Luther, he cannot decide whether his translation of “word” into “act” establishes a pattern for the emergence of culture that differentiates him from tradition--or from the former self that he wants to escape.’ Later on, he makes two more comments along these lines. First, he observes, ‘Instead of employing a technique of free translation, Goethe depicts Faust using the literary technique of appropriation in order to transform the “original text”(<i>Grundtext</i>) of the Bible into a personal response to the question of language origin.’ Second, Eisel notes that ‘Goethe prefaces the scene...by emphasizing that translation results from a “personal desire” (<i>mich draengt’s</i>) to make something one’s own, “<i>in mein geliebtes Deutsch ze uebertragen</i>”...’</span></div>
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<span style="font-size: 15px; line-height: 1.15; white-space: pre-wrap;"><span style="font-family: Times, Times New Roman, serif;">The last comment reminds me disturbingly of Pelikan’s favourite quotation, from earlier in the poem--‘What you have as heritage, / Take now as task; / For thus you will make it your own!’ Is Faust’s translation attempt a perversion of this charge, or a fulfillment of it? Hoping to get some feel for an answer to this question, I paid very close attention to precisely what it was Eisel was alleging as the object of Faust’s anxiety. In other words, what precisely is the ‘tradition’ that he associates with his ‘former self’ and which he hopes to escape?</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; vertical-align: baseline;"><span style="font-size: 15px; line-height: 1.15; white-space: pre-wrap;">I remain slightly unclear on this point. In one place, Eisel writes, ‘For Goethe, translation is the preferred method of creating a literary space where his literary creation, Faust, rebels against the Kantian universe with which he is familiar.’ Okay, so despite the obvious anachronism from an historical perspective, perhaps Kantianism is what Goethe is making his character escape from? But delving into Friedrich Kittler’s ‘wide-ranging work, Discourse Networks 1800/1900’, Eisel suggests an answer that may or may not be connected with Kantianism:</span></span></span></div>
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</span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.15; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">
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<blockquote class="tr_bq" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">An ‘untimely meditation’ if there ever was one, the melancholic sigh in the opening monologue of Goethe’s play is an expression of Faust’s obvious disgust with the uncomfortable, high-vaulted Gothic den where he lives and works. It is, moreover, an indictment of the circulation of words and books being endlessly renewed with the Republic of Scholars and the Four Faculties. According to Kittler, the beginning of German literature is the dismantling of this obsolete discourse network and the self-generation of a narrative newly oriented towards the reader’s bodily experience of the text and of language.</span></blockquote>
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<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">To me this suggests something generally anti-intellectual, the equation of scholarship and the study of texts with dry, inactive, or ineffectual preoccupations, with a negation of vitality. It suggests that it is the whole tradition of Christian culture--represented first by the Gothic den of St Jerome and second by the traditional connotations of St John’s Prologue--that Faust wishes to distance himself from or escape. I certainly don’t think this tradition is in any way Kantian, though perhaps Goethe is suggesting Kant is a kind of logical conclusion of the tradition?</span></div>
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<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">At any rate, it is in particular the way that Eisel describes Faust setting out to effect this distanciation that is in my opinion closest to some of my considerations above.</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: 15px; line-height: 1.15; white-space: pre-wrap;">[<i>At this point I had to leave off working on this post for a while, and returning to Eisel’s somewhat difficult essay, I found I had completely lost my train of thought! What follows is a much later and necessarily truncated attempt to reconstruct the direction I think I was taking with this post. I hope it makes sense in light of the above reflections.</i>]</span></div>
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<span style="font-size: 15px; line-height: 1.15; white-space: pre-wrap;"><span style="font-family: Times, Times New Roman, serif;">Eisel draws on a notion he finds in Kittler of ‘the theatricality of performance’ to delineate Faust’s self-distanciation from all the connotations of the Gothic den. At this point I will quote at some length:</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.15; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="line-height: 1.15;">It is not Faust’s proverbial thirst for knowledge that makes him an interesting case study for his diagnosis of a European ‘discourse network’, but his love of spectacle and of the physical effect of astonishment. Upon discovering the magic sign of the Macrocosm, Faust shouts out, ‘What play! Yet but a play, however vast!’ [10] Despite reservations about the superficial character of spectacle, he wants more of it, since it commands a sublimity not to be found in the drabness of his Gothic library. In Kittler’s opinion, this appetite for the sublime is something conditioned by the cultural media of the Enlightenment. Faust’s preference for theatrical gesture over linguistic expression grows out of a person ‘resentment’ against the word (Kittler 13). Accordingly, Kittler interprets the crisis of conventionality in the late Enlightenment as provoking the efforts of a new generation of Romantic writers to initiate a ‘paradigm shift’ within the traditional pedagogical scene that Faust describes in the opening lines of his monologue.</span></span></span></blockquote>
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</span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.15; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></span>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; line-height: 1.15; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="line-height: 1.15;">Perhaps it’s simply a conversation that I’m coming to far too late, but to me this passage is very obscure. That said, it strikes me that there are a couple of ways to read it. One is that Eisel and Kittler are discerning at work merely the desire for movement and action typical of youth, a desire writ large in the aspirations and fervency of the Romantic movement. But the other is perhaps more interesting. To my mind it may be that these two scholars are talking about an idea with which I have become increasingly preoccupied lately--the idea of poetic knowledge, and its cousin, that of ‘suffering’ or ‘experiencing’ rather than ‘learning about’ divine things (see <a href="http://logismoitouaaron.blogspot.com/2012/07/maritain-st-dionysius-on-poetic.html">this post</a>). Although Eisel notes ‘the superficial character of spectacle’, in the enactment of drama (I’m thinking particularly of classical tragedy), we have a discourse that is in some ways akin to liturgy, where the mystery of knowledge is no longer confined to the ‘scientific’ learning of the text, but is entered into by experience with the senses and acted out. Is it possible that it is something not so far from liturgy that Faust is drawn to in his ‘preference for theatrical gesture’?<br /></span></span></span></div>
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<span style="font-size: 15px; line-height: 1.15; white-space: pre-wrap;">Either way, I hesitate to make too much of the Bakhtinian inversion of supposedly Johannine ‘word’ that Mihailovic believes he has discovered. If ‘word’ is to be equated with verbal discourse only, then it is natural that it lose its ontological priority, and we could perhaps do much worse than replace it with ‘act’ in the sense of enacting the mystery in which we participate. ‘Word’ can only be restored to primacy of place if it becomes again that Λόγος that dwelt in silence with God in the beginning, already full of the love that would act by creating everything.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[1] Qtd. in Jaroslav Pelikan, </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>The Vindication of Tradition</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (New Haven, CT: Yale, 1984), p. 82; see also the epigraph on the dedication page, p. v. The lines are 682-3, and are found on pp. 114 & 115 of Kaufmann’s edition, where they are rendered, ‘What from your fathers you received as heir, / Acquire if you would possess it’ (Johann Wolfgang von Goethe, </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Faust</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, tr. Walter Kaufmann [NY: Anchor, 1990], pp. 114-5).</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[2] David Lyle Jeffrey, </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>People of the Book: Christian Identity & Literary Culture</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (Grand Rapids, MI: Eerdmans, 1996), pp. 214-5.</span></span></div>
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<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[3] Goethe, p. 153.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[4] My </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Webster’s New World German Dictionary</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> supports Kaufmann’s renderings of the German terms, though it also gives other possible meanings. The first definition given for </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Sinn</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is ‘sense’, followed by ‘mind’, ‘feeling’, ‘spirit’, and ‘point’ (</span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Webster’s New World German Dictionary</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, Concise edition, ed. Peter Terrell & Horst Kopleck [Indianapolis: Wiley, 1987], p. 389) Under definition (a), </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Kraft</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is translated ‘strength’, ‘power, force’, or ‘energy’, and under (b) as ‘power’ or ‘force’ (it is compared to </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Macht</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">) (</span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>ibid</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">., p. 258).</span></span></div>
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<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">At any rate, as Erik Eisel points out, Hitler himself praised Goethe ‘for giving such prominence to “deeds” over “words”’.</span></div>
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<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[5] Jeffrey, p. 258.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[6] Alexandar Mihailovic, </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Corporeal Words: Mikhail Bakhtin’s Theology of Discourse</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (Evanston, IL: Northwestern U, 1997), p. 51. I have posted at some length on Bakhtin and the Formalists <a href="http://logismoitouaaron.blogspot.com/2010/07/nihilism-of-victor-shklovsky-bakhtin.html">here</a>, in a post which somehow earned me the accusation that I ‘hate literature’.</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[7] </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Ibid</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">., p. 85.</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[8] In their useful, if flawed, intellectual biography of Bakhtin, Katerina Clark and Michael Holquist quote Kenneth Burke in order to explain their assumptions about Bakhtin’s project: ‘As Kenneth Burke remarked, “statements that great theologians made about the nature of ‘God’ might be adapted mutatis mutandis for use as purely secular observations on the nature of words…”’ (Katerina Clark & Michael Holquist, </span><span style="background-color: transparent; color: black; font-size: 15px; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i>Mikhail Bakhtin</i></span><span style="background-color: transparent; color: black; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> [Cambridge, MA: Harvard, 1984], p. 83).</span></span></div>
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<span style="background-color: transparent; color: black; font-family: Times, Times New Roman, serif; font-size: 15px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">[9] Mihailovic, p. 78.
[10] Goethe, p. 99.</span></div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com2tag:blogger.com,1999:blog-6714437334790446678.post-30882677303113891892014-06-06T11:28:00.001-05:002017-01-02T18:09:30.562-06:00'All Things That Are Done on Earth' -- Cicero's Somnium Scipionis<div class="separator" style="clear: both; text-align: center;">
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Although I still can’t recall what sparked the conversation in the first place, or what precisely got said on the subject in the second, a few weeks ago during #porchtime at my house some reference was made to Cicero’s now little-known ‘Dream of Scipio’, for centuries nearly the sole-surviving portion of a larger work, <i>De Republica</i>. [1] A very brief description was given for the benefit of those who had not read or heard of it, and a friend of mine who works as a curator of mediaeval manuscripts mentioned that her only familiarity with Cicero’s text was through the famed Late Antique commentator, Macrobius, whose commentary on Scipio helped to preserve the latter text throughout the Middle Ages as well as to insure its influence on the mediaeval worldview.</div>
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One of the more interesting questions to me with regard to Macrobius’s commentary on Cicero is the former’s interpretation of a single, at first quite plain passage in the original text. Having appeared in a dream to his adopted grandson, Scipio Africanus the younger, Scipio Africanus the elder tells him:</div>
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Every man who has preserved or helped his country, or has made its greatness even greater, is reserved a special place in heaven, where he may enjoy an eternal life of happiness. For of all things that are done on earth nothing is more acceptable to the Supreme God, who rules the whole universe, than those gatherings and assemblages of men who are bound together by law, the communities which are known as states. [2]</blockquote>
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...omnibus qui patriam conservaverint, adiuverint, auxerint, certum esse in caelo definitum locum, ubi beati aevo sempiterno fruantur; nihil est enim illi principi deo qui omnem mundum regit, quod quidem in terris fiat, acceptius quam concilia coetusque hominum iure sociati, quae civitates appellantur;... [3]</blockquote>
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To the casual reader, it appears of course that Cicero is glorifying the political life of civil service, that of all human activities it is that which is highest and most pleasing to God. This is not of course the Christian view, but we do not expect Cicero to exhibit Christian views. Neither, however, is it the view of Late Antique pagans like Macrobius or the so-called ‘Neoplatonists’ (I shall leave aside for the moment the question of whether it is the view of earlier pagan philosophers before Cicero). For both Christians and Late Antique pagans, however they may differ on the details of what it might mean, the highest human activity is the contemplative, and the most divine life is the ‘philosophical’ one. [4] But Macrobius reveres Cicero [5] and holds him to be in essential agreement with himself and the later Platonic tradition, so he has to figure out what Cicero means here. Here is Macrobius’s conclusion:</div>
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Now if the function and office of the virtues is to bless, and, moreover, if it is agreed that political virtues do exist, then political virtues do make men blessed. And so Cicero is right in claiming for the rulers of commonwealths a place where they may enjoy a blessed existence forever. In order to show that some men become blessed by the exercise of virtues at leisure and others by virtues exercised in active careers, he did not say with finality that nothing is more gratifying to that supreme God than commonwealths, but added a qualification, nothing that occurs on earth is more gratifying. His purpose was to distinguish those who are primarily concerned with divine matters from the rulers of commonwealths, whose earthly achievements prepare their way to the sky. [6] </blockquote>
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In other words, of ‘the things that are done on earth’, nothing of course is more pleasing to God than politics, but the contemplative, philosophical life is not really something ‘done on earth’. Since it lifts the mind and soul to God, it is a heavenly activity, not an earthly one. Macrobius refers to philosophers as ‘those who are primarily concerned with divine matters’, reminding us of the definition of philosophy of St Cyril the Apostle-to-the-Slavs: ‘Knowledge of things divine and human, as much as man is able to approach God, for it teaches man by deeds to be in the image and after the likeness of the One who created him.’ [7] Here is William Harris Stahl’s take on Macrobius’s interpretation: </div>
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Cicero implies in Scipio’s Dream that the efforts of statesmen and military leaders are most gratifying to the Ruler of the universe. Macrobius cites Plotinus’ treatise On the Virtues--although he is probably more dependent upon Porphyry--and points out that Plotinus admitted political virtues into his scheme. Political virtues have their rightful place, although they are not on as high a plane as the contemplative virtues. Hereupon it is revealed that this truth was apparent to the profoundly wise Cicero, for in his statement that ‘nothing that occurs on earth is more gratifying to that supreme God than the establishment of commonwealths’ the words on earth allude to the practical virtues and at the same time intimate that there are other types of virtues. [8] </blockquote>
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C.S. Lewis says something very similar in his treatment of Macrobius in <i>The Discarded Image</i>: </div>
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What Cicero meant by his parenthetical reservation [quod quidem in terris fiat] I am not sure; probably he was distinguishing earthly affairs from the motions of the heavenly bodies, which God would undoubtedly prize more highly. But Macrobius (I, viii) regards this saving clause as Cicero’s way of leaving room for a whole system of ethics which Cicero might have strongly repudiated: a system which is religious, not secular; individual, not social; occupied not with the outer but with the inner life. [9] </blockquote>
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Indeed, earlier in this section, Lewis had written, ‘Cicero, as we have seen, devised a heaven for statesmen. He looks no higher than public life and the virtues which that life demands.’ [10] But is this really quite fair? I’m no expert on Cicero, but recall that previously I left open the question of whether earlier philosophy had prized the active, political life quite as much as the Roman statesman appears to do here. I think I can confidently answer that in the negative. Plato certainly insists that the philosopher imitate the divine (<i>Theaetetus</i> 176 AB), and Aristotle finds that the ‘intellect’ is the highest and most divine faculty, and therefore that ‘contemplation’ is ‘the highest form of activity’ (<i>Nicomachean Ethics</i> 1177a). [11] We know that Cicero looked to the Greeks for his philosophical learning, and although the Roman mind is always noted for its practicality in comparison to the Greeks, it seems unlikely that Cicero would have directly reversed the judgement of the two greatest of the Hellenes. Is it possible Macrobius’s reading of Cicero is not so very far-fetched? </div>
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[1] Michael Grant points out that about a third of the original work was discovered by Cardinal Mai at the Vatican in 1820 (Michael Grant, tr., <i>On the Good Life</i>, by Cicero [Harmondsworth, UK: Penguin, 1971], p. 337). </div>
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[2] <i>Ibid</i>., p. 344. </div>
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[3] Cicero, <i>Tusculan Disputations, I and Scipio’s Dream</i>, ed. by Frank Ernest Rockwood (Norman, OK: U of Oklahoma, 1970), p. 6. </div>
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[4] In a passage I like to quote often from C.S. Lewis’s <i>The Discarded Image: An Introduction to Medieval & Renaissance Literature</i> (Cambridge: Cambridge U, 2002), he writes:
A world-renouncing, ascetic, and mystical character then marked the most eminent Pagans no less than their Christian opponents. It was the spirit of the age. Everywhere, on both sides, men were turning away from the civic virtues and the sensual pleasures to seek an inner purgation and a supernatural goal. (47) </div>
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[5] Indeed, William Harris Stahl notes, ‘To Macrobius, Cicero is incapable of error; his wisdom, often concealed in subtle language, will be discovered upon careful examination of his words (or through the assistance of the commentator)’ (Macrobius, <i>Commentary on the Dream of Scipio</i>, tr. William Harris Stahl [NY: Columbia U, 1966], p. 14). </div>
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[6] <i>Ibid</i>., pp. 123-4. </div>
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[7] Ihor Ševčenko, ‘The Definition of Philosophy in the Life of Saint Constantine’, <i>For Roman Jakobson: Essays on the Occasion of His Sixtieth Birthday, 11 October 1956</i> (The Hague: 1966), p. 450. </div>
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[8] Macrobius, p. 14. </div>
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[9] Lewis, p. 68. </div>
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[10] <i>Ibid</i>., p. 65. </div>
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[11] Aristotle, <i>Ethics</i>, tr. J.A.K. Thomson, rev. Hugh Tredennick (Harmondsworth, UK: Penguin, 1977), p. 328.</div>
Aaron Taylorhttp://www.blogger.com/profile/17775589009145031773noreply@blogger.com1