Plato’s Dialogues: Ion

Over at Thermidor last month we talked about Homer, so it’s good timing that Plato is now giving us a chance to talk to Homer’s greatest interpreter, Ion. Who’s Ion? He’s a rhapsode and Socrates’ interlocutor in his shortest dialogue called, well, Ion. We know he’s the greatest because he says so himself, after telling Socrates about winning a contest in Epidaurus:

I judge that I, of all men, have the finest things to say on Homer, that neither Metrodorus of Lampsacus, nor Stesimbrotus of Thasos, nor Glaucon, nor anyone else who ever lived, had so many reflections, or such fine ones, to present on Homer as have I.

Well, he’s still more humble than our man Hippias, who claimed to be the best at everything, and Ion even admits that interpretation of Homer is the only thing he’s great at (with one exception, which we’ll get to shortly). Still, Ion is a likeable guy, and Socrates is amiable with him throughout the dialogue. It’s hard not to like his almost childlike enthusiasm for Homer; for instance, at one point Socrates wants to quote a few lines from the Iliad to illustrate a point, but Ion jumps in, “No, let me do it, for I know them.” He’s like a boy who just learned a new skill and wants to show it off.…

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The Pillow Book of Art Garfunkel

So, I suppose I’ll start with something of a confession: I love Boomer music.

Yeah, I know, as a Reactionary half their age, I’m supposed to despise Der Ewige Boomer, but I can’t help myself. Most of the music I listen to was recorded in the 1960s or ’70s, and though I try to make up for it by mixing in some music either much older than that or a bit newer, my favourites are what they are. I offer no excuses for my borderline-plebeian musical preferences.

That’s all just to explain why I’m interested in today’s subject in the first place. It came to my attention last year when a friend told me that Art Garfunkel would be at Southern Methodist University to talk about a new book of his, What is it All but Luminous, in the form of an interview with a columnist with the Dallas Morning News and a Q&A session afterwards (you can find an account of it here, if you’re interested). The interview had a few interesting points, while the questions from the audience varied wildly in quality, as one would expect. Each of the attendees also received a signed copy of the book, and though it’s not the most personally meaningful autograph I have (that would be ABe Yoshitoshi’s, for those wondering), it is the most famous by a wide margin.…

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The Catena Aurea on Biblical Genealogies

Looking at the state of Christianity, the lack of unity is disconcerting, as “each has a cry of his own, I am for Paul, I am for Apollo, I am for Cephas, I am for Christ.” Those in favour of ecumenism sometimes go too far, but it’s hard not to sympathise with their goal of fostering more unity among Christians, as long as it can be done without falling into indifferentism. There is, though, one thing regarding the Bible that seems to be universally agreed on, and that’s that the genealogies are the most boring part of Scripture.

Now, the ancients seem to have delighted in this sort of thing; they were probably more patient than we are, but they also had more appreciation for family than we do, and thus had a greater interest in ancestry. Nonetheless, the modern attitude isn’t totally new. St. John Chrysostom said of Christ’s genealogy in Luke 3, “because this part of the Gospel consists of a series of names, men think there is nothing valuable to be derived therefrom.” However, Scripture doesn’t record anything without reason, so he adds, “Lest then we should feel this, let us try to examine every step. For from the mere name we may extract an abundant treasure, for names are indicative of many things.”

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The Art of Dying Well

Is it time for our annual visit with St. Robert Bellarmine already? Yes it is, and this time I’d like to talk about a short book of his called The Art of Dying Well.

Now, St. Robert is best known for his apologetical work, like De Laicis and De Romano Pontifice, and I’ve also covered his catechism, which serves a similar purpose for those already in the Church. He wrote The Art of Dying Well, though, near the end of his life, when he’d largely retired from public work, and it’s a much more immediately practical book than the others. In other words, where his other works are primarily concerned with what the reader should know, here he’s concerned with what the reader should do. It is, though, still noticeably his style, as he does explain why a man should do this or that, and every page is filled with quotations from Scripture and the saints.

He begins with the general precept “that he who lives well, will die well,” and continues:

[F]or since death is nothing more than the end of life, it is certain that all who live well to the end, die well; nor can he die ill, who hath never lived ill; as, on the other hand, he who hath never led a good life, cannot die a good death. The same thing is observable in many similar cases: for all that walk along the right path, are sure to arrive at the place of their destination; whilst, on the contrary, they who wander from it, will never arrive at their journey’s end.

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Plato’s Dialogues: Cratylus

Hey, remember this series? Honestly, I’m rather proud of having kept up this web log on a regular schedule despite starting graduate school and working a full-time job. Unfortunately, though doing fairly short posts isn’t too hard, a series that demands more attention like Plato’s dialogues is significantly more difficult. I read Cratylus about a month ago. I barely remember what it’s about at this point. I’m not 100% sure who Plato is. He might’ve been a geek?

Okay, that’s only half-serious, but this series is still on, and we are indeed talking about Cratylus today. I’ll be briefer than usual on this one, for two reasons. One is that it’s becoming clear that I’m either going to write about it quickly, or it’ll never get finished. The other is that most of the dialogue is a discussion of the etymology of Greek words. Now, the etymologies aren’t the main point, exactly, but it is tedious reading about a language one doesn’t understand, so I was more interested in the conversation that took place before and after the bulk of the work. What I’ll do, then, is go through and share a few individual points that stood out to me as I was reading (fortunately, I do annotate my books somewhat, so I can find interesting passages even when a book isn’t fresh in my mind).

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New at Thermidor: How to Read the Iliad

It’s been a while since I’ve posted twice in a day; in fact, I don’t think I’ve ever done that. Well, if my review of the Gongyang Commentary wasn’t enough for you, my latest article for Thermidor is also up: “How to Read the Iliad.” As the title advertises, it’s a gentle introduction to one of the greatest books ever written, for those who may be reluctant to read Homer for whatever reason.

There’s a lot to say about the Iliad, of course, but I hope this is useful as a starting-point. I may write a follow-up just going over a few odds and ends about the poem that I found interesting, but aren’t really worth a post to themselves and didn’t really fit into that main article. We’ll see if I can come up with enough to justify a second article.

On a side note, I actually attempted to write about the Iliad after I first read it back in 2011. Looking back now, it’s funny how difficult it seemed for me to come up with even that short post about it. What I came up with isn’t even bad, really, it’s just boring and doesn’t have anything to say. I’ll keep the post up, but I may simply replace the link to it on the index page with this newer one.…

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The Spring and Autumn Annals and the Gongyang Commentary

The Spring and Autumn Annals is one of Confucianism’s Five Classics, and like the Book of Documents is a work of history, in this case chronicling the history of the state of Lu, Confucius’ home state, from 722-481 B.C. However, whereas the Documents is, as the title indicates, a collection of speeches, decrees, and the like, the Annals is a chronology. It should take just one excerpt to give one an idea of the book, so from the very beginning, the first year of Duke Yin’s reign (722 B.C.):

It was the year one, in the spring, during the King’s first month.
During the third month, the Duke met up with Yifu of the state of Zhu Lou and made a pact with him at Mie.
In the summer, during the fifth month, the Earl of Zheng subdued Duan at Yan.
In the autumn, during the seventh month, the Heavenly King dispatched Zai Xuan to come bearing funerary offerings for Duke Hui’s wife, Zhongzi.
During the ninth month, a pact was made with men from the state of Song at Su.
In the winter, during the twelfth month, the Earl of Zhai arrived.
Prince Yishi died.

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Tenth Friend: Henry VI, “Kingdomes are but Cares”

This poem is of interest partly because it’s good on its own terms, but also because of who wrote it. Today’s friend, you see, is none other than King Henry VI. There have been a few monarchs who’ve written poetry, but not many. At least, not in English culture; in Japan, for example, it was very common, and emperors are well-represented in classic anthologies there.

In any case, in this poem, His Majesty reflects on his own royal position:

Kingdomes are but cares;
State ys devoyd of staie;
Ryches are redy snares,
And hastene to decaie.

Plesure ys a pryvie prycke
Wich vyce doth styll provoke;
Pompe, unprompt; and fame, a flame;
Powre, a smouldryng smoke.

Who meenethe to remoofe the rocke
Owte of the slymie mudde,
Shall myre hymselfe, and hardlie scape
The swellynge of the flodde.…

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A Confucian Notebook

At a glance, Edward Herbert’s short book A Confucian Notebook looks promising. I’d never heard of it until I ran across it in a used bookstore, but it’s intended to serve as an introduction to Confucianism through a series of thirty-three “notes,” each of them two, sometimes three pages long. Each offers a few brief observations or explanations on a given theme, varying from the Confucian use of prehistorical figures, Confucius’ favourite disciple, Mencius and Yang Chu, Mo Ti’s doctrine of universal love, etc. Unfortunately, it only partially succeeds.

First, I’ll give credit where it’s due. I do know a little more about Confucianism now than when I started, and someone new to the philosophy will find several helpful pieces of information that will make some aspects of the canon easier to understand. One of the most interesting notes, for example, was on Mo Ti. Mencius speaks of him and his doctrine of universal love scornfully, but doesn’t go into much detail. Herbert gives a summary of Mo Ti’s doctrine, and adds this observation:

But the principle [of universal love] is recommended, not so much on account of its goodness and naturalness, as on the ground that the exercise of it “pays.” The practitioner of filial piety, who extends this duty to include other people’s parents, is promised a dividend int he form of reciprocal attention by the latter to his own parents. It is further intimated that the social obligations generally, if universalized, will operate in this way, yielding a return to the community in benefits of greater safety, more creature comforts. “Master Mo,” who was a utilitarian at heart, seems not to have minded debasing his lofty ethic by linking it with the prospect of gain; nor to have realized that the effect of so doing was to encourage the self-love which he condemned. It escaped him, too, that it was incompatible with the high purposes of Universal Love to suggest imposing it by means of rewards and penalties.

That’s all good, but the book does have some shortcomings. One is that the book isn’t systematic, but tends to meander from topic to topic. That is implied by the title, of course, but it feels more like a series of short blog posts written for people who are already familiar with Confucianism. The preface sells this book as an introduction, but an introduction needs to be more systematic, like Xinzhong Yao’s. Also, much of the discussion on terms doesn’t provide any more information than is already found in the introductions or annotations to most editions of the AnalectsMencius, etc. So, even if you are new, why read this? Why not just read the introduction in the book you already have by Arthur Waley, James Legge, or whoever?

Worsening matters further, much of the book is strangely off-topic, since just over 1/3 of the notes spend most of their time discussing Taoism, usually (though not always!) in relation to Confucianism. Herbert, for what reason I don’t know, seems to assume that the reader is already familiar with Taoism and tries to use it to illuminate Confucianism. Some of that material is fine, and a note or two on the topic would be reasonable. Most of it, though, should’ve been cut and possibly used in a separate A Taoist Notebook.

So, is A Confucian Notebook bad? No, not really, but even at a mere eighty-four pages, it’s not worth the effort to track down and read. What Herbert set out to do has been accomplished much more successfully elsewhere, whether by Yao or even by many of the translators of the Confucian canon.…

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Ninth Friend: Edmund Spenser, “Amoretti LXXV: One Day I Wrote her Name”

No, I didn’t forget about my goal of making a hundred friends by memorising their poems. I just took a break to reconsider the feasibility of this project, but have decided to go forward.

So, today we meet Edmund Spenser. You know Mr. Spenser, right? He was born in 1552 or 1553, the son of a journeyman clothmaker, went to Pembroke College but required financial assistance to do so (apparently, doing menial work for the college), and as an adult spent much of his career as a government official in Ireland. He became well-known in his own time, though, for his poetry and especially for his epic, The Faerie Queene.

For this post, though, I memorised one of his sonnets from the series Amoretti, which he wrote while wooing his future wife Elizabeth Boyle. This is the seventy-fifth, “One Day I Wrote her Name.”

One day I wrote her name upon the strand,
But came the waves and washed it away:
Again I wrote it with a second hand,
But came the tide, and made my pains his prey.
“Vain man,” said she, “that dost in vain assay,
A mortal thing so to immortalize;
For I myself shall like to this decay,
And eke my name be wiped out likewise.”
“Not so,” (quod I) “let baser things devise
To die in dust, but you shall live by fame:
My verse your vertues rare shall eternize,
And in the heavens write your glorious name:
Where whenas death shall all the world subdue,
Our love shall live, and later life renew.”…

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