Posts

Showing posts with the label DIVINE COMEDY

LOTR appendices

I mentioned I’d been reading them, daily, in small doses. The drudgery paid off this weekend when I got to Appendices C and D.

Appendix D is about the Hobbits’ calendar. Each month has thirty days. A given date always falls on the same day of the week, year after year.

But some of our months have more than thirty days, you might complain. Do the Hobbits just ignore certain days? Or do the heavens over Middle Earth have very tidy properties? Is Tolkien another Dante?

Extra days are included in the Hobbits’ calendar; but, sensibly, they aren’t grouped with any month or week. Consider this 61-day sequence: 30 month-days (the “Forelithe” month); a non-month, non-week holiday (“Midyear’s Day,” a.k.a. “Overlithe”); and then 30 more month-days (the “Afterlithe” month).

Tolkien comments:
It will be noted if one glances at a Shire Calendar, that the only weekday on which no month began was Friday. It thus became a jesting idiom in the Shire to speak of “on Friday the first” when referring to a day that did not exist, or to a day on which very unlikely events such as the flying of pigs or (in the Shire) the walking of trees might occur.
Appendix C, “Family Trees,” is even funnier. A single Hobbit name is faintly amusing. Dozens laid out together are hilarious: Tolkien at his pedantic best.

I also like it that Tolkien underlines the names of those present at the Long-Expected Party, i.e. the beneficiaries of Bilbo’s practical joke.

You can browse the appendices here. Click on links in the table of contents.

April’s poem

Here is Thriftbooks.com’s list of the most popular books in each state in 2021.

A few good books, a lot of “meh” ones, and some stinkers.

I am a little surprised that so many people are reading about birds, plants, and rocks. (See: Maine, Michigan, Montana, Oregon, Virginia, and Wisconsin.)

♦ ♦ ♦ ♦ ♦

This month’s poetry is from the Purgatorio, canto XI. It modifies the Paternoster. The proud recite it while doing their penance.

They circle around, bearing burdens that make them stoop; and they look at sculptures of the humble.

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯
Our Father in Heaven, not by Heaven bounded
but there indwelling for the greater love
Thou bears’t Thy first works in the realm first-founded,

hallowed be Thy name, hallowed Thy Power
by every creature as its nature grants it
to praise Thy quickening breath in its brief hour.

Let come to us the sweet peace of Thy reign,
for if it come not we cannot ourselves
attain to it however much we strain.

And as Thine Angels kneeling at the throne
offer their wills to Thee, singing Hosannah,
so teach all men to offer up their own.

Give us this day Thy manna, Lord we pray,
for if he have it not, though man most strive
through these harsh wastes, his speed is his delay.

As we forgive our trespassers the ill
we have endured, do Thou forgive, not weighing
our merits, but the mercy of Thy will.

Our strength is as a reed bent to the ground:
do not Thou test us with the Adversary,
but deliver us from him who sets us round.

This last petition, Lord, with grateful mind,
we pray not for ourselves who have no need,
but for the souls of those we left behind.
⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

(Translator: John Ciardi)

Ecuador 1, Argentina 1

In Guayaquil, Argentina had us under control; and then, at the 89th minute, the VAR awarded us a penalty kick. It was blocked, but the taker, Enner Valencia, put in the rebound. I think we are not very good, compared to Argentina.

I looked at Qatar on Google Maps. No two World Cup stadia are separated by more than an hour’s drive, or a thirteen-hour walk.

Example 1.

Example 2.

Here is a stadium built of shipping containers.

♦ ♦ ♦ ♦ ♦

I am so behind on my reading, I’ll have to finish nine books next month to meet my quota. (I begin counting titles each May and conclude the following April.)

I’ve again taken up the Commedia. The end of Purgatory is near. Some passages – e.g., the one with the Siren – are stunningly good; others are tedious; some are kinda weird; and some, like these lines from canto XXI, are shocking:

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯
In the days when good Titus, with the aid
of the Almighty King, avenged the wounds
that poured the blood Iscariot betrayed …
⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

(Translator: John Ciardi)

Um, which “good” Titus is this? Surely not …
Roman Emperor, A.D. 79–81. In A.D. 70 in the reign of his father Vespasian, Titus besieged and took Jerusalem. Thus, with God’s help, Rome avenged the death (the wounds) of Christ. So Dante, within his inevitable parochialism, chose to take that passage of history. The Jews, one may be sure, found less cause for rejoicing in the goodness of Titus.
[Translator’s note]
Within my own “inevitable parochialism,” I am a little horrified.

Dante is a master, and I’m just a guy. But … my goodness. On the one hand, he’s very careful about the position of the sun over Mt. Purgatory. On the other, he seems very casual with his name-dropping. Sometimes, he saddles a penitent soul with the sins of two historical people with the same name.

My favorite character is the first-century poet Statius, who has a celebrity-crush on Virgil. As Dante tells it, Statius clandestinely converted to Christianity. There is no evidence that he really did so; his role in the poem is to personify Christianity’s appropriation of the best aspects of pagan Rome. Dante is so proud of Rome, he reminds me of a “God and Founding Fathers” evangelical.

I’m woefully ignorant of the history of sola scriptura. I wonder, were the Reformers (non-Italians) driven to it because they were fed up with this sort of thing?

Midlife

As I watch the gentle, rather silly new crime drama McDonald & Dodds, several of the actors seem middle-aged; but when I look them up on IMDb, I learn they are much younger than I am.

What is more disturbing, the actor who plays Detective Sergeant Dodds – the show’s “doddering old man” – is only fifteen years older than I am.

♦ ♦ ♦ ♦ ♦

I didn’t intend to, but I seem to have begun a “philosophy of the stages of life” binge: not only Kieran Setiya’s Midlife, but also Susan Neiman’s Why Grow Up? Subversive Thoughts for an Infantile Age and John Martin Fischer’s & Benjamin Mitchell-Yellin’s Near-Death Experiences.

Perhaps Dante is my subconscious inspiration.

Perhaps it’s just that these books are written for a popular audience, and reading them has been an easy way to meet my daily quota of philosophy.

♦ ♦ ♦ ♦ ♦

I actually think the “stages of life” approach is overblown. Life is less like a journey, more like a series of Peanuts strips, in which each character plays out endless variations of a core individuality. Even the extremes of the natural lifespan – the beginning and the end – are more like waking up and going to sleep, or growing and shrinking, than like starting and ceasing to be. I was in a class in which the teacher surveyed what each philosopher thought happens when you die. What about Leibniz, someone asked. The teacher said, Leibniz thinks that when you die, you get very small. And then, of course, you grow again (Leibniz believed in resurrection). The “oscillating universe” theory of cosmology may not be fashionable these days – I wouldn’t know, I stopped paying attention after Carl Sagan – but an “oscillating self” theory seems plausible to me (until it doesn’t, until it does).

October’s poem

Chinua Achebe, “NON-commitment” (1970):

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯
Hurrah! to them who do nothing
see nothing feel nothing whose
hearts are fitted with prudence
like a diaphragm across
womb’s beckoning doorway to bar
the scandal of seminal rage. I’m
told the owl too wears wisdom
in a ring of defense round
each vulnerable eye securing it fast
against the darts of sight. Long ago
in the Middle East Pontius Pilate
openly washed involvement off his
white hands and became famous. (Of all
the Roman officials before him and after
who else is talked about
every Sunday in the Apostles’ Creed?) And
talking of apostles that other fellow
Judas wasn’t such a fool
either; though much maligned by
succeeding generations the fact remains
he alone in that motley crowd
had sense enough to tell a doomed
movement when he saw one
and get out quick, a nice little
packet bulging his coat pocket
into the bargain – sensible fellow.
⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

Dante puts Judas near the bottom of Hell, with the traitors. Pilate is not brought down so low: he is with the self-centered opportunists (that is, if lines 55–57 of canto III refer to Pilate, which is controversial).

So: is “noncommitment” more like malicious treachery? Or is it more like opportunistic indifference to the good?

Or is “noncommitment” not a single and genuine kind of sin but an artificial, gerrymandered sin?

Or does Achebe (or Dante) simply get the exemplars wrong and accuse Judas, or Pilate, or both of them, of the wrong kind of sin?

I wish I could say these sorts of philosophical questions are slowing down my reading of the Inferno, but, the truth is, I’m mostly ignoring them and plowing on ahead.

♦ ♦ ♦ ♦ ♦

In a recent interview, Michael Huemer says:
In the first day of one history class in elementary school, I thought that I liked history, but I later learned that I’d been tricked. The teacher (Mrs. Denison) had started a discussion of the question, “Who discovered America?” It was traditionally said that Columbus discovered it. But wait, there were already Indians (that’s what people called the Native Americans then!) living in America when Columbus arrived. Also, there was evidence that Leif Erikson had traveled to America hundreds of years before Columbus. Etc. I thought this was a great discussion. But as I was later to learn, that wasn’t typical of history classes, that was really more like a philosophy discussion, and I actually hated what history classes were normally like.

In another elementary school class, the teacher read a story in which a king had promised some big prize to any hero who could save his daughter from, well, something bad that had taken her captive. I don’t remember the details, except that basically three people wound up all contributing to saving the princess. Each one (as I would now describe it) provided a causally necessary but insufficient condition on the rescue. We then had a discussion of the question: Who gets the prize? Again, I thought that was a great discussion. As I much later recognized, that was also a philosophical discussion.

And it continued like that throughout all my years of schooling. All the really good classes that I ever had were discussions about questions that I would later recognize as philosophical questions, or at least philosophy-adjacent. But there was never enough of it. Not until college, when I could have whole classes on philosophy.
I’ve spent a lot of time wondering what the point is of studying literature and history apart from mining ideas (philosophy) from them. It’s a hard question. My inability to answer it was one big reason why I ended up just studying philosophy.

♦ ♦ ♦ ♦ ♦

C.S. Lewis suggests that the point of reading literature, at least, is to mine experiences:
Those of us who have been true readers all our life seldom realise the enormous extension of our being which we owe to authors. We realise it best when we talk with an unliterary friend. He may be full of goodness and good sense but he inhabits a tiny world. In it, we should be suffocated. The man who is contented to be only himself, and therefore less a self, is in prison. My own eyes are not enough for me, therefore I will see through those of others. Reality, even seen through the eyes of many, is not enough. I will see what others have invented. Even the eyes of all humanity are not enough. I regret that the brutes cannot write books. …
Historians, though, tend to eschew this sort of justification of their craft. I’ve heard them talk of “locating” the self in a larger temporal context (or of “busting myths” that misplace the self in some false context – the historian’s version of Lewis’s quip that “good philosophy must exist, if for no other reason, because bad philosophy needs to be answered”). I’ve not heard them talk much of “enlarging” the self through partaking in the experiences of others. This sort of aspiration, they regard as suspect. Whereas Lewis says, “My own eyes are not enough for me,” historians say, “I insist on setting the evidence in front of my own eyes” (which, in practice, amounts to setting just a few links of an unavoidably long and complex evidentiary chain in front of their own eyes).

But perhaps historians don’t generally say this. Perhaps I have been listening to unrepresentative historians. But I doubt it.

1996, the best year in movie history, pt. 43: Escape from L.A.

These movies came to mind while I was watching Escape from L.A.:
  • the Rambo series
  • Independence Day and The Rock (both from 1996)
  • The Day After Tomorrow
  • Children of Men
  • and, weirdly, Labyrinth
I guess this movie is a kind of a Labyrinth for grownups. But better than Labyrinth.

Kurt Russell reprises his role as “Snake” Plissken, from Escape from New York (1981). Like Ed Harris in The Rock, he’s a war hero who has gone rogue; and like Sean Connery in The Rock, he is captured by the U.S. government and forced to go up against a rebel group that is threatening the nation’s security. I doubt that either movie plagiarized from the other, but I wouldn’t be surprised if they both took these elements from Escape from New York.

As in The Rock, the hero must travel to an island. The island is Los Angeles. It has been cut off from the mainland by earthquakes and tsunamis, and now it is used as a deportation site for misfits who have been stripped of their citizenship by the ultra-moralistic U.S. President. Gangsters rule the island. (The joke is that the dystopia is not so unlike certain common ideas of the real Los Angeles.) The main gangster is “Cuervo” Jones, a “Che” Guevara figure from Peru’s Shining Path. “Snake” Plissken must track “Cuervo” down and retrieve the doomsday device that he has stolen.

“Snake” has a series of bizarre encounters with the inhabitants of L.A. This is what the movie is really about, and the reason it reminds me of Labyrinth – and, for that matter, the Inferno (which I continue to read). A lot of the people “Snake” meets are depicted by classic oddball actors. One of my favorite characters, played by Peter Fonda, is an old surfer who rides the tsunamis; another is played by the haunted-looking, scene-stealing Valeria Golino. She is a beacon of warmth in a mostly cynical movie.

There are chase scenes and fight scenes. “Snake” likes to shoot first and ask questions later. Sometimes, I’d feel a little sorry for the gangsters.

In the following still picture, Golino and Russell are tied up so that their features can be harvested for plastic surgery. (You know: L.A., and all that.)


The visuals are slick, except when they’re obviously meant to be goofy. There are some good laughs. I had a good time.

Still ill

Saturday

Blades of grass I mowed: zero. I’ve been feeling lousy.

COVID test results: negative (Karin’s and mine).

Karin & I went to our new house and cleaned for several hours. I was holding up all right until I swept the very dusty basement stairs and window ledges; afterward, it felt like a gallon of glue was in my nose. I took pills and felt OK. Then I felt lousy again. I took more pills. This illness should continue for a week.

Our neighbor who mows lawns mowed ours without having been asked to. Then he came over and hung around until we paid him.

It won’t be like this after we’ve moved in.

When we left, after dark, our little street was jam-packed with cars. These neighbors party. This will be a change from Mishawaka.

Sunday

Feeling worse. We stayed home from church and watched the service online. Samuel was grumpy all day; finally, I took him out in his stroller, about fifty minutes. He slept the last twenty and woke up as soon as we came home.

He recites passages from his books:
Kite oom
Kite moon
Kite boon
Kite kittens
I have been keeping up with the Dante reading, which is not strenuous, though some nights I don’t finish my canto until it’s time to sleep.

Self-care

Well, here I am out on the porch at five in the morning. This is another of my routines. I’ve been waking two hours earlier than Karin and Samuel: it’s the only quiet time guaranteed to me.

I alternate days of exercise and days of rest; on the days of rest, I sit out on the porch, in the dark. The porch bulb doesn’t work.

I daren’t remain inside the house – I daren’t make noise or inspire the kitties to make noise – I daren’t wake the boy.

The sun rises pretty late (we’re near the time zone’s western edge). Even though it’s dark, I take plenty of reading material with me. Today I have four volumes, and a printout of a philosophy article. I won’t be able to see any of it until fifteen minutes before Karin and Samuel wake up.

I hardly ever watch TV at this hour. All I do, besides pray, is type on the computer, drink tea, and listen to insects and trains.

It’s lovely. No wonder it has become a habit.

♦ ♦ ♦ ♦ ♦

100 Days of Dante (hat tip: Mr. Quiring) – a schedule for those who like to read the same thing as many other people. One hundred days, one hundred cantos.

The philosopher Eleonore Stump has taught a two-semester sequence pairing Dante with Aquinas (fall and spring). That schedule, also, is an intriguing possibility. It is not all bad to be out of collegiate work; I can read whatever I choose.

Now, if only I could change that porch bulb. …

The fall, pt. 2

So far today, I’ve walked five miles: to the doctor, to the bank, to my job, etc., etc. All the time, it’s been cold and rainy. And to think that I used to routinely do this sort of thing.

A householder on Sunnyside Ave has left out some potted ibises, free for the taking.

At the office, things are quiet. I trust the rain to keep my tutees away. What with the fall weather and Halloween, I’m reading three “supernatural thrillers”:

The Man Who Was Thursday (this is my fourth time);

All Hallows’ Eve; and

Inferno.

For this last book, I’m using Mark Musa’s evocative, elegant translation and notes (next time, I might read someone else’s). Inferno is like the Bible: each new version brings out something different. Also, like the Bible, it’s profoundly sobering.

Inferno has its quirks, though. Dante (the character) always is fainting. (Things keep getting worse and worse down there in Hell.) Also, Dante clearly thinks well of his own ability. He likes to group himself with the most illustrious fallen poets.