Tag Archives: christopher rush

A Growing Sense of History: Adding Comforters and Pillowcases to the Towels

Christopher R. Rush

Though I grew up in a home ensconced in the past, with hardly ever a thought about the present (except for the eager anticipation of getting to the video game rental store for the latest Mario or Final Fantasy game), my sense of history was primarily from an aesthetic perspective.  I mentioned in the initial definition some of the historians I read – skimmed, read, let us not quibble at the close of a semester – Tuchman, Ambrose, others.  I did not mention then I read them from an aesthetic point of view, likely because I did not realize it until this course.  My definition four months ago for a “good” history was “some sort of combination of ‘true’ and ‘engaging,’” likely as I reflect with more emphasis on the “engaging,” since I rarely read multiple authors on a topic or event or person to compare, contrast, refute, and such.  The histories and the historians I enjoyed, aesthetically, were “good historians.”

Lukacs instigated an awareness of that approach.  His definition of history as “the remembered past”[1] has lingered in the middle of my mind all term, especially his earlier line: “the very purpose of historical knowledge is not so much accuracy as a certain kind of understanding: historical knowledge is the knowledge of human beings about other human beings, and this is different from the knowledge which human beings possess of their environment.”[2]  I thought historians wrote so we could remember what people used to know or do; Lukacs’s “remembered past,” with his emphasis on people knowing people, not just actions, showed me that my aesthetic approach was limited, yet I did not need to read history more like a historian but more like a person (not a literary critic in training).

After we read Lukacs, Adler’s remark, “The historians are aware of the difficulty of combining truth telling with storytelling,”[3] resonated even more – perhaps because I have been reading Catton recently, and I read Michael Shaara’s Killer Angels as a younger guy when I went through my Gettysburg movie phase, watching it every other week or so for a time, enjoying the narrative-driven historians more than the factual historians.  Is Shaara a bad historian because he tells stories?  No one doubts Catton, surely (he does have endnotes, after all – perhaps that is what saves him).

As a classical educator, I have read Thucydides and Herodotus before, but this encounter with them, with echoes of Lukacs and Adler dancing in my head, struck a bit differently. Thucydides: “my habit has been to make the speakers say what was in my opinion demanded of them by the various occasions, of course adhering as closely as possible to the general sense of what they really said.”[4]  Here is Thucydides, admitting without compunction, he has told stories about what the participants said based on his understanding of the needs of the moment, what they likely or should have said, and he is a great historian – not “fast and loose,” but a bit “peppy and sub-taut,” perhaps.  Herodotus: “My judgment as to the extent of Egypt is confirmed by an oracle delivered at the shrine of Ammon, of which I had no knowledge at all until after I had formed my opinion.”[5]  An oracle said it, so Herodotus is working it into his history.

Tacitus relates a story (historical anecdote?) about Sejanus and concludes, “Neither of these statements would I positively affirm; still it would not have been right for me to conceal what was related by those who lived up to the time of my youth.[6]  This brings us back to Lukacs’s “remembered past” – here are stories passed down to Tacitus, he cannot confirm it, but the people he knew in his youth knew these stories, and their knowledge is part of history, so he includes them as part of Roman history.

Kirk never said, “Beam me up, Scotty”; Rick never said, “Play it again, Sam,” but people think they did.  Those misremembered phrases have been more influential in pop culture, a real aspect of modern Western human history, than the actual lines of those video stories.  Surely that has some connection to “history, the remembered past.”  We did not read 1984 for this course, though it would certainly be an interesting pairing with Lukacs: Lukacs is not concerned so much with “controlling” the past as Orwell was, as a tool for controlling the present, but Lukacs does want us to know the past (as accurately as possible, I took it, though there is the rub) to live in the present better, concerned as he is with our humanity and our connection to our common past and inexorable march to our collective future (not in a Marxian sense, of course).  The mis-remembered past may be “false,” but that falsehood is not necessarily a moral evil.  I do not know why I have two fir trees in my home with lights and baubles on them to celebrate the birth of the Lord Christ, but my peers would find it odd if I did not have at least one, though none of us know why we do such a thing.  We are operating on a misremembered past, but we seem to be doing all right with this tradition, at least.

My understanding of history is still in motion; Lukacs was by far my favorite reading of the term, and I wrote my paper on historical gaming mainly as a way to honor and satisfy him, even more than preparation for my forthcoming gaming elective.  It is his (and Adler’s) counterbalance between history and literature, facts and the “remembered past” that will stick with me the most from this course

I am also preparing to teach the ’60s Pop Culture course again with my librarian father, likely for the last time.  I have been encouraging students to sign up for it mainly for his personal reflections, his “remembered past” growing up in the ’60s in New Jersey within ballistic missile range of Cuba.  The last times we taught it we focused mainly on American Pop Culture, with a dose of British Invasion, USSR Cold War, and Vietnam aspects.  I want to add more international components, more jazz, and more remembered past for myself and my students.  This course, and Lukacs especially, has encouraged me to emphasize as well a line I used previously in the course that everyone’s “the ’60s” was different: the ’60s were different for those in San Francisco, in New York, in London, in Saigon, and certainly for those in Birmingham, Alabama.  We created the course years ago mainly for the aesthetical experience: okay, it was an excuse to listen to the Beach Boys and the Beatles, but it has since become for me an opportunity to grow in this sense of “the remembered past.”  I have a few colleagues who do not approve of this course, mainly because they do not want to remember those years, but with all due respect to them, I do not think that will help our students know why the United States is what it is very much, nor where we stand collectively and individually in light of those years.  We shall see how it goes.  My approach going in, thanks to this course, is much different this time around, from an appreciation of the arts of the day, to an understanding of the people, the ideas, the history.  Perhaps I will see this decade not from a literary/aesthetic perspective this time but from a historian’s point of view.

Bibliography

Adler, Mortimer. Syntopicon. Vol. 1. Edited by Mortimer J. Adler and Philip W. Goetz. Second Edition. Vol. 1. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Herodotus. The History of Herodotus. Translated by Richard Crawley. Edited by Mortimer J. Adler and Philip W. Goeta. Second Edition. Vol. 5. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Lukacs, John. Historical Consciousness: The Remembered Past. New Brunswick, NJ: Transaction, 1994.

Thucydides. The History of the Peloponnesian War. Translated by George Rawlinson. Edited by Mortimer J. Adler and Philip W. Goeta. Second Edition. Vol. 5. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Tacitus. The Annals and The Histories. Translated by Alfred John Church and William Jackson Brodribb. Edited by Mortimer J. Adler and Philip W. Goeta. Second Edition. Vol. 14. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.


[1] John Lukacs, Historical Consciousness: The Remembered Past (New Brunswick, NJ: Transaction, 1994), 9.

[2] Ibid., 7.

[3] Mortimer J. Adler, “History” in Syntopicon Vol. 1, in Great Books of the Western World, 2nd ed., eds. Mortimer J. Adler and Philip W. Goetz (Chicago: Encyclopædia Britannica, 1990), 1:549.

[4] Thucydides, The History of the Peloponnesian War, trans. Richard Crawley, in Great Books of the Western World, 2nd ed., eds. Mortimer J. Adler and Philip W. Goetz (Chicago: Encyclopædia Britannica, 1990), 5:354.

[5] Herodotus, The History of Herodotus, trans. George Rawlinson, in Great Books of the Western World, 2nd ed., eds. Mortimer J. Adler and Philip W. Goetz (Chicago: Encyclopædia Britannica, 1990), 5:52.

[6] Tacitus, The Annals and The Histories, trans. Alfred John Church and William Jackson Brodribb, in Great Books of the Western World, 2nd ed., eds. Mortimer J. Adler and Philip W. Goetz (Chicago: Encyclopædia Britannica, 1990), 14:48.

Living in a Material World: A Brief Examination of Economy as a “Material Cause” of History

Christopher Rush

Far be it from me to argue with the late, great Mortimer Adler, an argument I would have little hope of winning, yet a perplexing point to me exists in the Syntopicon.  Adler lists three kinds of “material forces” as causes or factors for history, either in its inauguration or its development: “economic, physical, and geographic.”  One can readily accede to “physical” and “geographic” factors as material forces shaping and developing human history, but “economic”?  Is the economy truly a “material” force that shapes human history?  Adler soon selects a variety of “spirit of the time” selections from historians as a meaningful immaterial factor of “the politics and culture of a period,” so he has no qualms conceiving of history as more than material forces, as one would expect from Adler.  Though economics does not get its own entry in the Syntopicon, it appears throughout various categories, especially “Wealth,” wherein Adler declares wealth is more than economics, potentially material and immaterial.  Yet why is “economics,” the study of value, listed as a material factor of history?  A brief examination of sundry pecuniary-minded authors selected by Adler for this topic, notably Mill, Marx, and Weber, may help us understand why Adler considers economics commensurate with geography as a material force of history.

Mill’s selection effectively summarizes the perplexing idea of economics, what humans value, as both an immaterial drive of desire as well as a visible, material extension of that desire in the natural world and groupings of mankind itself, especially in governments.  “Let us remember, then, in the first place, that political institutions … are the work of men; owe their origin and their whole existence to human will. … In every stage of their existence they are made what they are by human voluntary agency.”  Governments, says Mill, do not spontaneously generate ex nihilo; they are the desires of mankind (their economics) shaped intentionally into tangible, material reality.  This is not a “spirit of the times” immaterial force; even if the desire is immaterial, the need for an external governmental force to enable material beings to live better is perhaps “material” enough, especially since the connection between will and action is so strong.

Mill elaborates on this strong connection between will and action: “When an institution … has the way prepared for it by the opinions, tastes, and habits of the people, they are not only more easily induced to accept it, but will more easily learn, and will be, from the beginning, better disposed, to do what is required of them both for the preservation of the institutions, and for bringing them into such action as enables them to produce their best results.”  The connection between economy and action, immaterial and material, is as natural as cause and effect for Mill.  Perhaps for Adler an economy only of the mind would be as unreal as a government of no people, by no people, for no people.  Economy must be lived in a physical world.

Marx is the most overt advocate among Adler’s selections for economy as a material force in human history, since Marx boldly declares human history and economy are tantamount: “The history of all hitherto existing society is the history of class struggles.”  From the opening statement, Marx categorizes every aspect of human history as an effect of the economic system under which mankind finds itself.  No ambiguity exists for Marx whether economy is a material force, as it is the only force, and one solely of oppression.  Even the social classes themselves must be in economic terms in relation to ownership and production.  The bourgeois class are to blame for this material oppression: “It has resolved personal worth into exchange value, and in place of the numberless indefeasible chartered freedoms has set up that single, unconscionable freedom — Free Trade. In one word, for exploitation, veiled by religious and political illusions, it has substituted naked, shameless, direct, brutal exploitation.”  All aspects of value, even human worth and dignity, according to Marx, have been usurped by the bourgeois exploitation of the downtrodden proletariat; worse, the bourgeoisie are responsible even for the creation of the proletariat class, simply to oppress and exploit it.

Unlike Mill, who perhaps overly optimistically saw economy effecting government for the desire of a people as a whole, Marx sees all governmental structures as a one-sided affair of oppression, material and economic to be sure, but solely for exploitation.  “Hitherto, every form of society has been based, as we have already seen, on the antagonism of oppressing and oppressed classes.”  Being forever an oppressed class, the working class has never had a say in either its economic or governmental life.  Unlike Adler’s distinction between wealth and economy, Marx sees economy as the essence of wealth and the essence of existence, driven as we have already seen by class warfare of the bourgeoisie’s making: “The essential condition for the existence and sway of the bourgeois class is the formation and augmentation of capital; the condition for capital is wage labor. Wage labor rests exclusively on competition between the laborers.”  Economy is an all-encompassing material force for Marx because economy is all-encompassing for reality itself: it is responsible for how mankind interacts with the world, it created the oppressive bourgeoisie, and they in turn created the proletariat.  Economy is every aspect of material reality, beginning, development, and ending.

On the other end of the spectrum from Marx is Weber, who sees reality not just as an eternal conflict of classes driven by ownership of material reality but as various amalgamations of persons with different avenues to the distributions of power in a community, with economic power only one of several kinds of power: “The social order and the economic order are, of course, similarly related to the ‘legal order.’ However, the social and the economic order are not identical. The economic order is for us merely the way in which economic goods and services are distributed and used. The social order is of course conditioned by the economic order to a high degree, and in its turn reacts upon it.”  Economy and society imbricate, but society is not a product of the economy for Weber as it is for Marx.

Weber also sees a distinction from Marx in the status of economy as not solely the end of existence but as potentially a means toward multiple viable ends: “Man does not strive for power only to enrich himself economically.  Power, including economic power, may be valued ‘for its own sake.’”  Money isn’t everything to Weber; to Marx it is the only thing.

Weber acknowledges the significance of a material-centric economy but recognizes that economy is not a sufficient paradigm for understanding the complexities of society: “the factor that creates ‘class’ is unambiguously economic interest, and indeed, only those interests involved in the existence of the ‘market.’ Nevertheless, the concept of ‘class-interest’ is an ambiguous one…”, an ambiguity that prevents entire classes from being homogenized even by economic similarities.  Economy shapes material forces, including social classes of people, but it does not control them outright.

Three influential minds, three differing perspectives on the complicated connection between economy and humanity, humanity’s purpose and historical development, especially.  Though they differ significantly in the implications of that connection, Mill, Marx, and Weber to various degrees agree that economy, whether we define it solely in pecuniary terms or as a measurement of more abstract values of a people, is so deeply intertwined with the physical aspects of human reality that economy effectively cannot even exist separate from material reality.  It may not be as readily scientifically measurable as the geological factors that shape a people’s development, but a people’s economy is so enmeshed with their conception of who they are, where they have been, and what they should become as a people that economy may rightly be considered, indeed, a material force of history.

Bibliography

Adler, Mortimer. Syntopicon. Vol. 1. Edited by Mortimer J. Adler and Philip W. Goetz. Second Edition. Vol. 1. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

—. Syntopicon. Vol. 2. Edited by Mortimer J. Adler and Philip W. Goetz. Second Edition. Vol. 2. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Marx, Karl and Friedrich Engels. Manifesto of the Communist Party. Edited by Mortimer J. Adler, Philip W. Goetz, and Friedrich Engels.  Second Edition. Vol. 50. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Mill, John Stuart. Representative Government. Edited by Mortimer J. Adler and Philip W. Goetz. Second Edition. Vol. 40. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Weber, Max. “Selections for Essays in Sociology.” Social Science: Selections from Twentieth-Century Anthropology, History, and Sociology. Edited by Mortimer J. Adler and Philip W. Goetz. Second Edition. Vol. 58. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Justice, A Human Quality

Christopher Rush

Justice is often considered today an abstract value, an intangible ideal of society and sundry impersonal amalgamations that governments and other anonymous congregations should pursue.  For many foundational thinkers of the classical Western world, however, justice is foremost a human quality that becomes the goal of the collective after enough individuals demonstrate a capacity for such a trait.  Such an emphasis on the individual responsibility of the person, whether as a citizen or more broadly as a free human being regardless of political ties, resonates throughout the book of Proverbs, the dialogues of Plato, and the treatises of Aristotle.

As Solomon begins his collocation of proverbs, he informs us he is a son before he is a king, a member of a one-to-one personal relationship before he is a leader of an impersonal political mass: “The proverbs of Solomon, son of David, king of Israel” (English Standard Version, Proverbs 1:1).  The lessons he learned as a son from his father he is now passing on to his son.  After a general overview of the purpose of this communication, to “know wisdom and instruction, to understand words of insight” (1:2), Solomon indicates the foremost quality for a son is to “receive instruction in wise dealing, in righteousness, justice, and equity” (1:3, emphasis added).  Even if the order of these benefits (or possibly goals) of instruction are not an indicator of priority, though there is no reason not to presume they are, the issue remains: these are human qualities Solomon wants his son to have.  These are the words of a father (and mother, cf. 1:8) to a son, not a ruler and consort to the heir apparent responsible for a mass of humanity.

Solomon proceeds to describe justice and other virtues not as abstract ideals but as human moral qualities, personality traits as evidence of attaining wisdom in adherence to the law of the Lord: “he is a shield to those who walk in integrity, guarding the paths of justice” (2:7b-8a).  The person who receives wisdom from the Lord will “understand righteousness and justice and equity, every good path” (2:9).  Justice is a byproduct of living correctly as an individual in pursuit of the wisdom of God before it is a corporate trait of a community.  They are so necessary for the proper human life rightly lived that righteousness and justice are “more acceptable to the Lord than sacrifice” (21:3).  Justice, the moral human quality, is more important to God than external shows of social decorum, a lesson a boy must learn before he expects it of his subjects.

Many of Plato’s dialogues deal with justice in a variety of human endeavors, individually and corporately, though the Republic is easily the most memorable, partly for its length and also passages such as the allegory of the cave.  Somewhat ironically, despite its advocacy for justice as an individual trait, the didactic nature of Proverbs does not allow for much discussion, yet the human interaction Plato employs through his dialogues enables the conversational Socratic method of engagement to define justice as a corporate, impersonal social trait, initially.  Cephalus, the host of the gathering in the Republic, is the first to offer a definition of justice, summarized by Socrates as “to speak the truth and pay your debts” (sec. 330).  The moral quality remains in Cephalus’ definition, though moral in terms of trustworthy social discourse and fulfillment of social obligations.  This does not satisfy either Thrasymachus or Socrates, and the Republic proceeds to explore justice and the ideal (or idealized) polis that embodies justice.

Thrasymachus attempts to define justice as a human quality but without the moral component altogether: “I proclaim that justice is nothing else than the interest of the stronger” (338).  Might makes right; just acts are what the powerful declare to be just.  This is as wholly distinct a conception of justice from Solomon as one can get.  Justice is no longer an objective trait from God for the individual to embody; justice is now an effect subjectively denoted by whoever has the gaul, temerity, and muscle-power to whimsically declare a thing is just because it is beneficial or desirable (“I affirm injustice to be profitable and justice not” (348), he says).

Socrates does not allow Thrasymachus to get away with an unsubstantiated, outlandish definition, returning justice to an internal human trait, though he struggles at first to define justice beyond an effect or abstraction: “And we have admitted that justice is the excellence of the soul, and injustice the defect of the soul” (353).  After much discussion, Socrates eventually alights on a definition much more akin to Solomon’s definition, as a personal moral quality of the individual before it should be sought after by the community as an abstract value: “ … justice was such as we were describing, being concerned however, not with the outward man, but with the inward, which is the true self and concernment of man … he sets in order his own inner life, and is his own master and his own law, and at peace with himself” (443).  Only after the individual has achieved this inner moral quality of justice should the person “act, if he has to act, whether in a matter of property, or in the treatment of the body, or in some affair of politics or private business; always thinking and calling that which preserves and co-operates with this harmonious condition, just and good action, and the knowledge which presides over it, wisdom” (443-44).  Justice is again an individual companion of wisdom, though Socrates’ definition is much more human-centric than Solomon’s understanding of justice as first originating from YHWH.  Still, Socrates concludes with his own eternal perspective on justice and its connection for humanity to the present and the future: “my counsel is that we hold fast ever to the heavenly way and follow after justice and virtue always, considering that the soul is immortal and able to endure every sort of good and every sort of evil” (621).

Socrates adheres to this moral, supernatural quality of justice at the end of his life, though he discusses justice more in social terms in the Apology, victim as he is of dishonesty and injustice.  “Now do you really imagine that I could have survived all these years, if I had led a public life, supposing that like a good man I had always maintained the right and had made justice, as I ought, the first thing?  No indeed, men of Athens, neither I nor any other man.  But I have been always the same in all my actions, public as well as private” (32-33).  On his deathbed Socrates wonders if justice is too high a value to be truly embodied in mortal, fallible mankind after all, settling in a sense for Cephalus’ definition: he has always been the same person in public and in private, and he has always done right by his fellow citizens – honest and debt free, the justice of old age, yet still the individual human trait first, the corporate trait second.

Aristotle, as is his wont, disagrees with Platonic and Solomonic justice, agreeing more with the contemporary conception of it as a social ideal than a personal moral quality, though that is not surprising given Aristotle’s commitment to the wellbeing of the polis.  Still, even in his distinctions Aristotle acknowledges in Nicomachean Ethics the existence of justice as an internal human trait: “We see that all men mean by justice that kind of state of character which makes people disposed to do what is just and makes them act justly and wish for what is just; and similarly by injustice that state which makes them act unjustly and wish for what is unjust” (1129a.5-10).  Far removed from Solomon’s understanding of justice as a gift from YHWH, now justice is almost an impersonal circular force seeking its own quality.  Aristotle furthers that distance by exploring justice as a distinct virtue: “What the difference is between virtue and justice in this sense is plain from what we have said; they are the same but their essence is not the same; what, as a relation to one’s neighbor, is justice is, as a certain kind of state without qualification, virtue” (1130a.10-14).  Justice is still a moral quality, and somehow connected to virtue (“Justice in this sense [of establishing community], then is not part of virtue but virtue entire” (1130a.9), though it is not as personal a trait in Aristotlian philosophy, at least at first.

But Aristotle then does something unexpected with justice: he makes it a kind of mutual prerequisite with friendship, perhaps the most important social bond outside of filial love: “when men are friends they have no need of justice, while when they are just they need friendship as well, and the truest form of justice is thought to be a friendly quality” (1155a.27-29).  Justice, the pan-virtuous moral trait of society, enables the existence of friendship among equals, who then, driven by their mutual affection and camaraderie, no longer require the impersonal force of justice.  If they only have cold justice, the human trait of friendship is necessary to make that justice worthwhile, which then rekindles the connection of friendship and justice.  “For in every community there is thought to be some form of justice, and friendship too …. And the extent of their association is the extent of their friendship, as it is to the extent to which justice exists between them” (1159b.25, 29-30).  Justice and friendship create for each other a symbiotic relationship, enabling equals to enjoy both justice and friendship.  And this mutuality is a human endeavor before it is a social endeavor: though there can be no friendship between unequals, such as between a slave and a master, “[b]ut qua man one can; for there seems to be some justice between any man and any other who can share in a system of law or be a party to an agreement; therefore there can also be friendship with him in so far as he is a man” (1161b.7-9).  This human endeavor of friendship, enabled by justice, reciprocally allows for social justice: “Therefore while in tyrannies friendship and justice hardly exist, in democracies they exist more fully; for where the citizens are equal they have much in common” (1161b.9-10).

Before it is a social, governmental, political virtue, justice is a human quality.  Justice drives personal, intimate relations between father and son, teacher and student, friend and friend, before it drives still personal but less intimate relations among rulers and subjects, citizens and citizens.  When justice is sought by individuals as a desired human trait, righteousness, equity, knowledge, wisdom, understanding, and friendship thrive and find their proper place in the human heart, and then, and only then, can they find their proper place in human society.

References

Aristotle. Nicomachean Ethics. In The Works of Aristotle. Vol. 2. Edited by Mortimer J. Adler and Philip W. Goetz. Translated by W. D. Ross. Second Edition. Vol. 8. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

The Holy Bible: English Standard Version. Wheaton, IL: Crossway Bibles. 2016.

Plato. The Dialogues of Plato; The Seventh Letter. Edited by Mortimer J. Adler and Philip W. Goetz. Translated by Benjamin Jowett and J. Harward. Second Edition. Vol. 6. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Matching His- and Herstory Towels

Christopher Rush

My father, the librarian, has a degree in history.  I grew up playing historical board games with him, simulating various battles, but apparently not as often as he would have wished.  He sold his extensive collection to help my brother pay for his schooling, but recently we have resumed collecting and playing a number of the older and more recently published wargames, as much as his arthritic fingers and my schedule will allow.  He also never hesitated to get me books from any historian that caught my fancy, such as Tuchman, Ambrose, Catton, and even Toynbee.  My mother, the violist, was a concert musician, musical librarian, educator, and now master gardener, who made sure we went to orchestral concerts and learned a smattering of musical history.  Growing up I was also raised on classic comedy team movies (Marx Brothers, Abbott and Costello, Martin and Lewis, Hope and Crosby – how many nine-year-olds can say they received Animal Crackers on VHS for their birthday?) and music of the ’60s and ’70s, mainly the Beatles and Beach Boys.  The past has played a significant developmental role in my life, far more than current events, in understanding what is important and whence we came.

Growing up as a Christian in a Christian home, too, the Biblical past has also shaped my understanding of history, with the cross of Christ perhaps the most significant event of the past that still shapes and informs (or should) contemporary life and social direction.  For twenty-plus years as a classical, Christian educator, of course, it was impossible to get away from “His-Story” talk about God’s providential directing of history, which is one of those truths that seems to lose its impact after much repetition.  But it is still true, nonetheless.

History, then, is a product of divine guidance as well as the meaningful actions of free individuals (to an extent, not to get sidetracked in the tall grass of freedom of the will at this point).  I tend to side with the camp that individuals can play a role in shaping the directions of communities, even on a grand scale.  Surely some of that comes from my theological understanding; some of that comes from my affinity for Babylon 5, the greatest television show of all time, that, too, purports individuals matter, not just the vagaries of time or the whims of the impersonal force of “history.”  I do not give credence to the thought that if there had not been an Abraham Lincoln, “history” would have created one because of the exigencies and foment of the period.  The debate among these and other views of history is demonstrated in a very interesting episode of B5, “The Deconstruction of Falling Stars.”  About one hundred years after the main storyline, various historians in the episode debate whether the events that we have seen actually happened or whether the main cast actually was significant in them or not.  The last living crewmember of the events arrives to put them in their place.

A minor factor that has shaped my understanding of “history” in recent years has been the DC Heath Problems in European Civilization series, which collates contemporary and secondary writings about a person or event without much commentary.  The book that struck me the most (I have not read them all) was the issue on Cromwell.  The further in time away from Cromwell the historians’ writings got, the more favorable the attitude toward Cromwell became.  This is somewhat opposed to the biographies of G. Washington I have read – the further away from the Revolutionary period the biographies are, the more human, the more fallible Washington seems to get.  Not that I ever thought historians are perfect, of course, but it raised my awareness of the difficulty of writing good histories (“good” meaning some sort of combination of “true” and “engaging”).  Years ago I read AJP Taylor on World War Two, not one of his more famous works, I believe, and his summary of America’s involvement was something to the effect that Britain won the war and a few weeks afterward America showed up late and took all the credit.  That was not the perspective I got from Jack Benny and Fibber McGee.  History must be a tricky business.

The gospels tell the same events from different perspectives.  Do they “disagree”?  Can they disagree without contradicting each other?  They are all inspired, even in their distinctions.  Catton and Foote are not inspired, but they disagree, yet both are valuable.  The past is worth knowing not because it can teach us about ourselves or any other external reason but simply because it exists and is true and is intrinsically worth knowing.  I spent some time this summer trying to teach that to my son with some Marx Brothers and Bob Hope movies – we are off to a decent start.  It boggles my mind that Goodreads keeps asking me to rate books that came out this year, as if I have had time yet to get caught up on every Poul Anderson, Michael Moorcock, and C. J. Cherryh, how do I have time to read books that came out in my lifetime?  History is what God and the people He cares about have done, what they have made, and what they care about.  It is not all pleasurable, but it is worth knowing … we just have to keep Obi-wan’s caution in mind, “from a certain point of view.”

The Importance of Being Humble

Christopher Rush

I am excited to see directly what Babbitt and Co. wrote that helped shaped the generation of thinkers I have read so much over the years.  My understanding of humanism as effectively “living the human life fully and well,” tempered by Christian doctrines of sin and salvation of course, will certainly be improved by these primary sources.

Such is where I began this exploration of a humanist – I was aware of some humanists, including Babbitt, Erasmus, Chesterton, T. S. Eliot, and Russell Kirk, but beyond knowing differences between “Christian humanists” and “secular humanists” existed, I could not identify any specific philosophical distinctions besides religious faith.  Thanks to this course, I have a much better understanding of the positive incarnations of what a “humanist” is over the years, an understanding that will, I hope, improve my life and teaching for the foreseeable future.

I was intrigued throughout the course that Babbitt’s conception of “humanist” was not in contrast to “secular humanist” but against “humanitarian” and Rousseau’s romanticism.  At the beginning of Literature and the American College, which I read for my paper, Babbitt says, “The humanist, then, as opposed to the humanitarian, is interested in the perfecting of the individual rather than in schemes for the elevation of mankind as a whole; and although he allows largely for sympathy, he insists that it be disciplined and tempered by judgment.”  I encountered this at an interesting time, as I was simultaneously reading a Kempis’s Imitation of Christ with some students and discovered how individualistic his emphasis was as well, that we must focus on improving ourselves before we can make the aggregate better.  The humanitarian’s efforts at improving the world is effectively nothing more than “white washing tombs,” Tom Sawyer-style, doing “good deeds” as if that truly improved people’s intellectual and spiritual lives (Professor Ryn’s equating humanitarianism with the “virtue signaling” of our day was especially helpful).  While detractors may consider this self-centeredness, the humanist, taking the position that right thinking will then translate into right action, does not advocate stopping at improving oneself.

The humanist is also humble.  Babbitt perhaps implies this more than declares it, but such an idea is present in his frequent references to the need to restrain oneself, especially one’s passions, to the “higher will” – while indicating too much restraint could be just as bad as not enough.  “The humanist is equally on his guard against the excess of sympathy and the excess of selection, against the excess of liberty and the excess of restraint … [and] must at least do inner obeisance to something higher than his ordinary self, whether he calls this something God, or, … calls it his higher Self….”  Paul Elmer More treats on this idea in “The Humility of Common Sense” in the changing (at the time) fields of art and science, noting that the loss of such restraint and humility was not doing art and science any favors: “The submergence of the humanistic conception of man as a responsible creature of free will has been accompanied by an emergence of the romantic glorification of uncontrollable temperament….”  In no field of human endeavor (art, science, politics, ad infinitum), can the rejection of the humanist’s call for restraint and humility lead to the wellbeing of man, only unbridled excess, chaos, destruction, and Duchamp.

I saw this emphasis on humility in some helpful readings for my paper, from the more overtly Christian side of humanism.  Vigen Guroian says of the Renaissance Christian humanists, “they especially valued humility in personal conduct and magnanimity in public life,” which is certainly true of the twentieth-century Christian humanists.  Guroian says this in the context of the Renaissance humanists’ freedom to combine classical truths with medieval faith, and man’s sin nature and his redeemed nature.  Man is not a gnat’s wing above being the scum of reality – created in the image of God, incalculably dignified by the Incarnation of Christ, humanity is worth what was paid for it, the blood of Christ.  The humanist is able to know this with humility.  A “humanist” is not necessarily one who rejects God or elevates man as the center of reality; a humanist knows she is created by God and will be sensorily and bodily experiencing reality eternally as a human being, and there is nothing shameful about that.  While I did know that intellectually from a distance, in a sense, this course and these readings have brought that truth much nearer and much more palpably to me.

As my time in this course with the New Humanists draws to a close, I see my initial vague “living the human life fully and well” idea has been refined quite well.  In my paper I focused on intellectual inquiry, moderation, and imagination, but I have absorbed other humanist emphases as well, such as “the one and the many” and an improved view of humanitarianism.  Though I gave this topic short shrift in my paper, the most memorable thing I have learned from this course has been the humanist emphasis on humility.  We read before the course started Babbitt’s “Humanism: An Essay at Definition,” in which he says, “Humanism gains greatly by having a religious background….”  I quoted above Babbitt equating the “higher Self” with “God” (at least the concept), which Professor Ryn corroborated in his talk, reminding us all that Christians then (and now) get too hung up on Babbitt’s diction and almost wilfully miss the truth of his arguments.  Even though I was not bothered by Babbitt’s attitudes during the course, I appreciated Professor Ryn’s chastisement, since I realized I was probably a bit harsh on Babbitt in my paper.  I, too, needed this course’s reminder on being humble.  Humility is not a barrier to erudition; erudition is not an excuse for abjuring humility.  I pray I remember that long after I complete this doctoral program as I try to live a full human life well to the glory of God.

References

Babbitt, Irving. “Humanism: An Essay at Definition.” In Humanism and America. N.d. Course handout. 

———. “Two Types of Humanitarians: Bacon and Rousseau.” In Literature and the American College. Boston: Houghton, Mifflin, 1908. Internet Archive. https://archive.org/details/literatureandam02babbgoog/page/n36/mode/2up.

———. “What is Humanism?” In Literature and the American College. Boston: Houghton, Mifflin, 1908. Internet Archive. https://archive.org/details/literatureandam02babbgoog/page/n36/mode/2up.

Guroian, Vigen. Rallying the Really Human Things: The Moral Imagination in Politics, Literature, and Everyday Life. Wilmington, DE: ISI Books, 2005.

More, Paul Elmer. “The Humility of Common Sense.” In Humanism in America. N.d. Course handout.

Better to Have Laughed and Lived Than Never to Have Lived at All

Christopher Rush

Christianity has a difficult time with happiness.  Such a difficulty is somewhat understandable, considering Christianity itself comes from Jesus, the Man of Sorrows.  This difficulty has manifested in diverse ways throughout the centuries, mainly as opposition to activities prone to bring happiness to people: dancing, reading fiction, playing games (especially those with dice, six-sided or otherwise).  While Christianity should, as a matter of course, stand in opposition to activities that bring happiness through sinful behavior, one wonders if the accretion of antagonism to things deemed “worldly” or “secular” have come from an outright conflation of “happiness” and “sin.”  An investigation into that notion is beyond our scope, so we, admittedly somewhat pusillanimously, wonder it in passing and turn instead to a kind of rescue attempt on behalf of both happiness and Christianity, since both would be enhanced if they operate in tandem and not in opposition.  Even the Man of Sorrows had a habit of making people feel better, see better, hear better, and even sustained the occasional shindig by improving the comestibles – what is this if not increasing the happiness of the people?  Desiderius Erasmus’s In Praise of Folly may seem, now, an odd embarkation point from which to begin such a rescue operation, but the work, even from the voice of Folly herself, provides many helpful insights for this cause, offered in a lighthearted tone that lends itself to a more persuasive posture than a more overtly didactic approach likely would to prove happiness is not just for fools but for Christians as well.

Before fully turning to the reunification of happiness and Christianity, we should begin by briefly refuting the popular notion in Christian circles that happiness is unnecessary because of joy; next to joy, happiness is ephemeral, trivial, and downright small potatoes compared to the full satisfaction of joy.  After all, the Man of Sorrows did say and do much of what He said and did to impart His joy into His audience, not in dribs and drabs but to the full.  Admittedly, it would be foolhardy (and not in a clever, Erasmusian way) to deny or refute Jesus’ words, so we shall not do that.  The problem, as indicated above, is the artificial distinction between happiness and joy – and if not artificial, then it has always struck me as more Epicurean than Christian: why seek, says this idea, the temporary pleasures of happiness when the fuller, more mature satisfactions of joy can be found (whatever those are)?  But if happiness can be severed from sin, surely there is nothing inappropriate about enjoying life and being happy while one waits for the complete impartation of Jesus’ joy?  After all, might not happiness be a kind of precursor to joy?

Erasmus discusses happiness, indeed, all his topics in Praise of Folly, through the voice of Folly herself, so it is difficult at times to know if Erasmus is lightheartedly jesting at the topic, more intellectually satirizing the issue, or outright ridiculing the subject at hand.  Such is the difficulty with (potentially) satirical works such as these.  Happiness is a frequent subject throughout the work, so an exhaustive study is far beyond our scope here.  We shall focus on two brief passages to show happiness and Christianity are not truly at odds in Erasmus, and thus they should not be for us, either.

One interesting discussion on happiness comes in chapter thirty-seven, in which Erasmus (through Folly) contrasts the lives of fools and so-called wise men and is worth quoting in full:

To return to the happiness of fools. After living a life full of enjoyment, with no fear or awareness of death, they move straight off to the Elysian fields where their tricks can amuse pious souls who have come to rest. Let’s now compare the lot of a wise man with that of this clown.  Imagine some paragon of wisdom set up against him, a man who has frittered away all his boyhood and youth in acquiring learning, has lost the happiest part of his life in endless wakeful nights, toil and care, and never tastes a drop of pleasure even in what’s left to him. He’s always thrifty, impoverished, miserable, grumpy, harsh and unjust to himself, disagreeable and unpopular with his fellows, pale and thin, sickly and blear-eyed, prematurely white-haired and senile, worn-out and dying before his time. Though what difference does it make when a man like that does die? He’s never been alive. There you have a splendid picture of a wise man. (16)

Those who prefer joy to happiness might highlight that the happy people in this example are fools who live for enjoyment and trick and romp and do not seem to live meaningful lives.  That is not Erasmus’s point here, though – rather, those who eschew happiness do not seem to be living admirable lives, either: “miserable, grumpy, harsh and unjust to himself, disagreeable and unpopular” … these are not noble qualities of a Christian life spent waiting for joy.  The main distinction here is a life of play versus a life of study more than sin versus Christian living, to be sure, but the essence of Erasmus’s distinction can easily be translated into Christian terms.  A “life in endless wakeful nights, toil and care,” even for the glory of God, is not somehow more holy just because it results in pain and discomfort.  Are Christians to fear death?  No, they are not.  Can Christians “[live] a life full of enjoyment”?  Yes, they can – and they can experience happiness while doing so.  A life without happiness may be no life at all.

An even more important idea for happiness’s alignment with Christianity is tucked away in the middle of a thought earlier in the book, in chapter twenty-two: “…for the most part happiness consists in being willing to be what you are …” (8).  Though this comes from Folly, the almost casual way Erasmus has Folly mention it in passing, as if it is a well-known fact that needs no discussion or explanation, seems significant.  The context again requires some finessing, since this remarkable notion occurs in the midst of Folly praising Self-love, but this is not an insuperable barrier to the truth of this idea.  Our present goal is not to align everything Folly says with Christianity, only happiness itself.  If the idea is true, even if it comes from Folly, what better reason for Christians to accept happiness, as it is a byproduct of being who we were created to be by God?  Simply by being willing to live the Christian life, Christians can be not just content and stoically (apathetically?) waiting for joy but also they can be happy.

Surely Jesus’ words to “take heart” since He has overcome the world need not be simply an intellectual acknowledgment of future redemption or mild stiff-upper-lippedness.  Why not an active happiness, even while suffering trials and being strengthened by the joy of the Lord?  Christianity should not have difficulty with happiness.  Happiness can happen not just from doing things in this life that bring pleasure but also from being the kind of person we were created to be.  Let the conflict between happiness and Christianity come to an end.  Christians, do not be afraid to be happy!

What’s In a Name?: Fear, Pride, and Courage in Cratylus (and Roses, Onions, and Stars)

Christopher Rush

Juliet was rather unhappy with Romeo’s surname and for good reason: had he any other name, the barriers to their love and companionship would likely have been much less perilous.  If he could “be some other name” he might still be everything she wanted him to be.  The rose may smell as sweet were it called a pumpkin, but would Romeo Mackintosh be as lovely as Romeo Montague?  What Juliet may fail to grasp in her youthful furor is that the “Montague” aspect of Romeo’s identity is not as arbitrary as the “Romeo” half – he is a Montague by nature, by birth.  He would not exist were he not a Montague.

Whether names are a necessary reflection or indicator of a thing’s identity is a major focus in Plato’s Cratylus as well.  Socrates’ two interlocutors in this dialogue share the desire for names to be innate and accurately reflect the nature or identity of that which is named.  They differ, though, in that Hermogenes is having trouble accepting that it is true: “I have often talked over this matter, both with Cratylus and others, and cannot convince myself that there is any principle of correctness in names other than convention and agreement” (86), he says at the outset of the conversation with Socrates.  He clearly wants names to be objective or, as the video lecturer called it, a “natural rightness.”  Cratylus, at the other extreme, is unwilling to conceive of names being anything other than naturally right: whereas pictures may be imitations and incorrectly identified, “but not in the case of names – they must be always right” (109), he insists again and again.  Cratylus seems like he would be an unforgiving grade school teacher, going so far to say a misspelled word is not “close enough” for young learners, but “if we add, or subtract, or misplace a letter, the name which is written is not only written wrongly, but not written at all” (110) – no partial credit in Mr. Cratylus’ classroom.  Thus, Hermogenes desires names to be naturally right, yearning for a rose to be a rose to be a rose, but he fears that a rose is a rose is an onion, yet that onion would smell as sweet.  Cratylus imperiously cannot believe names could be anything other than what they are: a rose that is an onion cannot exist at all.

Socrates, perhaps in an effort to live up to his assigned name as “wisest man alive,” leads both fellows toward common ground in the middle between such emotional extremes.  He assures Hermogenes that names are true and real and can reflect the authentic identity of a thing or person, yet he also shows Cratylus things have a nature and exist even if one did not know what the proper appellation should be, and perhaps some trial and error in nomenclature is not a bad thing: “But if things are only to be known through names, how can we suppose that the givers of names had knowledge … before they could have known them?” (113).  Names have to come from somewhere.  Humans had left ventricles a long time before anyone knew they existed, let alone what to call them.  In finding that common ground, Socrates attempts to assuage the fear of Hermogenes and soften the obduracy of Cratylus, since the subject is so complex it should be neither one of fear nor pride.  Our attitude toward names should, perhaps, be more calm, yielding what McClay urged for in that “composure in one’s speech” that could balance fear and pride into “composure in one’s soul.”  Perhaps it is courage we need today to call things what they are, as Zach said, not fear of being wrong or pride at being correct.

And perhaps some composure could enable young lovers to stop calling each other the sun and stars and thus really set themselves up for failure.

In the Me of the Beholder: Beauty as an Objective Reality

Christopher Rush

I am no expert on Catholic theology, but I suspect it is easier to solve a problem like Maria than it is to define “beauty” in any authoritative way.  Considering in the more than two thousand years since the classical world, no aesthetician, artist, philosopher, critic, or beleaguered junior high art teacher has been able to craft a widely-satisfying definition of beauty, it would be presumptuous to propose one here and now.  On the other hand, since the likes of Aristotle, Aquinas, Kant, Hegel, Spinoza, and William James have been unable to conquer this chimera, I will be in good company if I cannot do so either.  Instead of attempting to do what the great minds of history have not done, we shall focus instead on advocating beauty as an objective reality as opposed to a subjective one.

Though it is rare for artists and critics to agree on anything, most if not all agree that beauty exists.  The difficulty comes with the next step of rhetorical stasis theory: what kind of thing it is.  Is beauty subjective or objective?  The inability to come to agreement on the nature of beauty is a significant reason why little progress has ever been made in defining it.  This age-old question is perhaps most often answered by the commonplace “beauty is in the eye of the beholder,” which clearly posits beauty as a subjective concept: the reader, the listener, the viewer of whatever subject is presented for the audience has total authority to determine if the work in question should be considered beautiful, or, perhaps, even is beautiful.  The popularity of this saying does not make it, ipso facto, true and authoritative, of course, but it must be acknowledged, and not in my favor for this present argument, that no ready to hand aphorism for beauty’s objectivity exists.

Furthering the complexity of the issue of trying to categorize beauty and its unclear nature as either a subjective or an objective reality, many have suggested that beauty is entwined with truth and goodness, concepts that, at times, are nearly as tenuous to grasp.  Mortimer Adler, in the Syntopicon, summarizes the perplexities of this trio of imbricating ideas this way:

Truth, goodness, and beauty, singly and together, have been the focus of the age-old controversy concerning the absolute and the relative, the objective and the subjective, the universal and the individual. At certain times it has been thought that the distinction of true from false, good from evil, beautiful from ugly, has its basis and warranty in the very nature of things, and that a man’s judgment of these matters is measured for its soundness or accuracy by its conformity to fact. At other times the opposite position has been dominant. One meaning of the ancient saying that man is the measure of all things applies particularly to the true, good, and beautiful. Man measures truth, goodness, and beauty by the effect things have upon him, according to what they seem to him to be. What seems good to one man may seem evil to another. What seems ugly or false may also seem beautiful or true to different men or to the same man at different times.

While often grouped together as significant values, whether universal and transcendent or otherwise, beauty is often treated as fundamentally different from its fellows in this trio, as truth and goodness require much more important responses than beauty.  People tend to find it easier, generally speaking, to disregard a beautiful work if it doesn’t fit their fancy than it is to ignore right conduct (goodness) or truths about existence (again, generally speaking – we all know humanity is excellent at lying to itself and, as Paul says in 1 Corinthians, incapable of understanding spiritual truth).

For Christians, especially those who eschew the notion that man is the measure of all things, as Adler noted above, truth and goodness are not (or should not be) so inscrutable, but beauty remains elusive even for many of us.  If beauty should be collocated with truth and goodness, one might be inclined to consider it an absolute value and thus objective, but the dearth of Bible verses on beauty, especially in an aesthetic sense and related to the created artworks of man or even in elements of nature itself, tends to disincline many Christians from embracing beauty as easily as truth and goodness.  Jesus was, after all, the Truth and the Good Shepherd (cf. John 14:7, 10:11), but Isaiah points out He had “no beauty that we should desire him” (Isaiah 53:2, ESV).  If Jesus was not beautiful, why should we spend effort exploring what is?  This rather dextrous use of logic to pursue heavenly holiness and avoid worldly endeavors is a rather recent notion within the church, and it inspired Christian thinkers in the latter half of the twentieth century, such as Hans Rookmaaker and Francis Schaeffer, to encourage Christians to once again engage in the arts and delight in beauty wherever it could be found without guilt.

Returning to the seemingly subjective notion that beauty is in the eye of the beholder, closer examination of this saying reveals that the beholder is required to make a judgment.  The beholder has to perceive the object of beauty and decide that it is beautiful.  If the saying wanted to convey a passive acknowledgement of the truth of the beauty of the object being observed, it would be self-defeating by implying the object is innately beautiful and the observer’s role is simply to observe that it is beautiful, free of judgment.  As it stands, then, the saying advocates beauty as subjective, but in order for beauty to be subjective, the observer has to make a rational judgment to that end.

It is this aspect of perceiving beauty, rational judgment, that drives much of Roger Scruton’s analysis of beauty in Beauty: A Very Short Introduction.  “The judgement [sic, passim] of beauty, it emerges, is not merely a statement of preference.  It demands an act of attention. … Less important than the final verdict is the attempt to show what is right, fitting, worthwhile, attractive or expressive in the object: in other words, to identify the aspect of the thing that claims our attention.”  Scruton spends much of his book demonstrating that acknowledging beauty where it is seen is not merely a matter of taste, which would be wholly subjective.  Beauty can be found in various aspects of reality: nature itself; man’s attempts to systematize nature through well-kept gardens and aesthetically-pleasing architecture; works of fine art such as paintings, sculpture, poetry, music, and, perhaps, cinema; and even in everyday objects of fine craftsmanship that promote balance and order, two additional companions of beauty.

The discussion of nature being beautiful acts as an effective foundational argument for beauty’s objectivity.  In the appreciation of nature, says Scruton, “we are all equally engaged, and though we may differ in our judgements, we all agree in making them.  Nature, unlike art, has no history, and its beauties are available to every culture and at every time.  A faculty that is directed towards natural beauty therefore has a real chance of being common to all human beings, issuing judgements with a universal force.”  Scruton emphasizes the existence of nature as the main point here: since it exists apart from mankind as its usual observer, individual responses are not authoritative.  The claim “I don’t think Impressionist paintings are beautiful” warrants discussion in the subjective/objective debate here, but “I don’t think waterfalls are beautiful” is less tenable, in part because of that universal quality of nature Scruton mentions.  Nature is.  Disliking how reality is does not contribute anything for anyone, even the person hewing to that idea.  The person who says, “I do not enjoy reading Newton’s Mathematical Principles of Natural Philosophy” is worth debating; the person who says, “I am not a fan of gravity” may best be left alone, at least for a little while.  If nature is beautiful, beauty exists separate from our subjective responses to it.  Natural beauty existing in places people cannot see is troublesome to Kant: “how are we to explain why nature has scattered beauty abroad with so lavish a hand, even in the depth of the ocean where it can but seldom be reached by the eye of man – for which alone it is final?”  Christian aesthetes would likely respond that man is not the final eye for observing nature anyway, and the hand that scattered beauty abroad so lavishly belongs to the One who created it for His own good pleasure as well as out of love to share it with His creations.  In any event, if beauty exists where our eyes cannot observe it, beauty does not depend on our subjective responses after all.

Those who acknowledge nature as beautiful (or sublime) may even credit the universal quality of nature Scruton highlights, while still raising the objection that man-made realms of art can be legitimately received or designated subjectively.  Nature is one thing; those Impressionist paintings and laborious prose of scientists and theologians is another, as we have acknowledged above.  “You like Bach, she likes U2; you like Leonardo, he likes Mucha; she likes Jane Austen, you like Danielle Steele,” as Scruton puts it.  This returns us to the fundamental tenet of beauty’s subjectivity: personal taste, if not the only standard, is at least an acceptable standard for aesthetic judgment, and once that is averred, “beauty is in the eye of the beholder” soon gives way to “anything can be art,” and before one can say Milton Cross the barbarians are not only through the gates but also they are using The Adoration of the Lamb as a placemat under their chicken fried waffles.  Weak attempts at humorous hyperbole aside, Scruton seriously attempts to forestall such a decline into banality by presenting the other sources of beauty (cultivated nature in gardens and such, everyday objects of fine craftsmanship, and, perhaps most significantly, the fine arts) as objective beauty-realities just as nature is.  His defense of these areas often confront the question of subjectivity through the idea of purpose – not just the telos of these discrete human endeavors in isolation but also the purposeful implications for us as people in pursuing these endeavors the way we do – and that purpose never seems to be enough for mankind.

The drive to reshape nature into gardens, parks, manicured lawns surely speaks to a universal yearning for beauty and order, even if not everyone enjoys pulling weeds and gassing up the lawnmower.  Turning the wilderness around us into an orderly space for the kinds of flowers we prefer and a navigable path to the hot tub and charcoal grill does not deny the innate beauty of nature; rather, it demonstrates a desire to inhabit beauty and make the spaces in which we exist orderly and enjoyable.  “This attempt to match our surroundings to ourselves and ourselves to our surroundings is arguably a human universal,” Scruton says.  “And it suggests that the judgement of beauty is not just an optional addition to the repertoire of human judgements, but the unavoidable consequence of taking life seriously, and becoming truly conscious of our affairs.”  The purpose of gardens is not to show nature and entropy who’s boss; it is to increase beauty wherever we can.  Likewise we design buildings with flair and style, Bauhaus and Minimalism fads aside, because not only do we need space for our things and places to work but also we want to work in attractive places.  Few have faulted the exterior of the Sydney Opera House for being non-functional.  The skylines of Florence, Italy and Dubuque, Iowa may not normally be placed in propinquity like in this sentence, but both are marked by centuries-old architecture designed to delight as well as function, supplied mainly by buildings that exist for religious purposes, interestingly enough.  It is telling that for most of Western civilization, when lifespans were markedly short, architecture and furniture were marked by a commitment to beauty beyond utility and materials meant to last (marble and oak).  Today, with lifespans ever increasing, architecture is a hurried affair of bland rectangles and pressed-wood bookshelves.  Telling as well that the cars of the ’50s and ’60s are still beloved collector’s items, not for their gas mileage and cup holders, but for their fins and freshness and beautiful originality.  Some people, at least, still think beauty is worth the material and temporal cost.

The same can effectively be said for everyday use objects and their connection to beauty, especially as shown through function and order and enhanced by flair.  Scruton uses the example of setting the table for guests: “you will not simply dump down the plates and cutlery anyhow.  You will be motivated by a desire for things to look right – not just to yourself but also to your guests.”  Sometimes we engage in fellowship on paper plates and plasticware (often when s’mores and fireworks are on the agenda as well), but we also know that fine china exists to “get the job done” when the occasion is special and beauty enhances the experience.  Just like we do not wear a tuxedo everywhere we go, we do not use the fine china for every meal – but even the regular plates and glasses have a pattern and an etching because the necessity of utility is not enough (assuming one is not a single twenty-year-old thriving on mac-n-cheese and cola).

Of course, the main subject under investigation for beauty being subjective or objective is the world of the fine arts.  It is mainly in the realm of art that beauty and the beholder’s eye is called into question.  Many people who cannot stand the opera are quite willing to enjoy a sunset and those fireworks, as well as recognizing the value of setting a nice table for Thanksgiving, perhaps even willing to call those things beautiful (even if accompanied with “in their way”).  So it is to art we finally turn in our exploration of beauty as objective and not subjective.

Though much has been said about art, beauty, purpose, subjectivity, and objectivity for thousands of years, as noted at the outset no one has authoritatively put the full stop on the debate.  Without trying to sound like begging the question, we have summarized the argument for subjectivity in the apothegm “beauty is in the eye of the beholder,” which has transformed in practice into “anything can be art.”  The merits of subjectivity in art and thus beauty are mainly the appeal to personal freedom, which people enjoy “because it seems to emancipate people from the burden of culture, telling them that all those venerable masterpieces can be ignored with impunity, that TV soaps are ‘as good as’ Shakespeare and Radiohead the equal of Brahms, since nothing is better than anything and all claims to aesthetic value are void.”  It does not take long for this aesthetic relativism to expand into moral relativism and, in all sincerity, suddenly the world is not fit for man nor beast.  Even if people clamor to live that way, Christians, especially, should not sit idly by and allow that to happen (any more than we have since Modernism).

Instead, let us examine the consequences (yea, benefits) of art and beauty as objective.  In his forgotten yet still trenchant essay “The Trivialization of Outrage,” Roger Kimball thoroughly details the squeamish world of what passed for “modern art” at the close of the twentieth century.  Though he does admit beauty is “by no means an unambiguous term,” Kimball clearly demonstrates that so-called art that has rejected beauty and attempts only to shock and outrage is not art at all, just as philosophy that has rejected truth as a valid end or objective reality is no true philosophy.  “Art that loses touch with the resources of beauty is bound to be sterile,” says Kimball.  Art allied with beauty is the only path for art’s restoration as well as the restoration of our well being culturally: “The point is that, in its highest sense, beauty speaks with such great immediacy because it touches something deep within us.  Understood in this way, beauty is something that absorbs our attention and delivers us, if but momentarily, from the poverty and incompleteness of everyday life.”  It may almost be worth considering beauty as objective simply from a desperate sense of survival, but surely it is more than that: beauty does not just mean an escape from death, it enables and ennobles life itself.

Kimball’s injunction for art’s allegiance to beauty as an attention-arresting experience returns us to our earlier observation that absorbing beauty, whether found in nature or art or anything, is an intellectual process, even when purportedly in the eye of the beholder.  Returning as well to Scruton, he refrains from engaging with this key slogan of beauty’s subjectivity until his concluding chapter, and his summary response to that position

is simply this: everything I have said about the experience of beauty implies that it is rationally founded.  It challenges us to find meaning in its object, to make critical comparisons, and to examine our own lives and emotions in the light of what we find.  Art, nature, and the human form all invite us to place this experience in the centre [sic] of our lives.  If we do so, then it offers a place of refreshment of which we will never tire.  But to imagine that we can do this, and still be free to see beauty as nothing more than a subjective preference or a source of transient pleasure, is to misunderstand the depth to which reason and value penetrate our lives.

Beauty, clearly, is more than just personal taste.  It is a rational means of experience and interpreting reality itself, both in nature (God’s handiwork) and art (man’s handicraft), and because of that, it must be an objective reality, and our aesthetic judgments can only be meaningful in an allegiance to objective existence.

The issue of beauty’s subjectivity or objectivity might be related to C. S. Lewis’s argument for a transcendent moral reality in the broadcasts that became Mere Christianity.  Lewis argues it is fundamentally irrelevant that people disagree on what is right and wrong – the important issue is that people, by engaging in such debate even internally, thereby acknowledge right and wrong exist, and thus a meaningful standard for evaluation and distinction must also exist.  This is similar to Scruton’s point with judgments of beauty: we tend to get distracted by the particular things called beautiful or ugly (“we may differ in our judgements”), forgetting that even attributing this quality to something can only be done if it exists and if a meaningful standard for warranting that application exists.  As morality must exist within an objective standard else we would have no basis for calling one thing “good” and another “bad,” just so an objective standard for beauty must exist.  Otherwise anything could indeed be art, and the very terms “art” and “beauty” would have no meaning.  And while some “artists” today may be committed to that chaotic end, everyday delight in beautiful objects and man’s continued desires to “look good” and enhance function with flair continue to combat that appetite for destruction.

Let us delight, instead, in beauty’s objective existence, and that art is an accessible means of flourishing beauty in our lives.  As Hegel says, the aim of art

is placed in arousing and animating the slumbering emotions, inclinations, and passions; in filling the heart, in forcing the human being, whether cultured or uncultured, to feel the whole range of what man’s soul in its inmost and secret corners has power to experience and to create, and all that is able to move and to stir the human breast in its depths and in its manifold aspects and possibilities; to present as a delight to emotion and to perception all that the mind possesses of real and lofty in its thought and in the Idea – all the splendor of the noble, the eternal, and the true…

From the heart to the head and throughout the soul, all of this wonder and delight and joy (and more) comes to us from objective beauty.

Bibliography

Adler, Mortimer. “Beauty,” in Syntopicon, vol. 1. Edited by Mortimer J. Adler and Philip W. Goetz. Second Edition. Vol. 1. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Hegel, Georg Wilhelm Friedrich. Introductory Lectures on Aesthetics. New York: Penguin Books, 1993. 1886.

Kant, Immanuel. Critique of Judgement. Edited by Mortimer J. Adler and Philip W. Goetz. Trans. James Creed. Second Edition. Volume 39. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.

Kimball, Roger. “The Trivialization of Outrage.” In Experiments Against Reality. Chicago: Ivan R. Dee, 2000.

Scruton, Roger. Beauty: A Very Short Introduction. Oxford: Oxford University Press, 2011.

Five Strikes and You’re Out: Euthyphro, Piety, and the Elusive Art of Defining the Abstract

Christopher Rush

On the steps of justice, an odd meeting occurs between two acquaintances, both enmeshed in situations that may not have anything to do with justice and even less to do with piety.  Euthyphro has come to the Porch of the King Archon to prosecute his own father for murder.  Socrates is there to defend himself against charges of corrupting the youth.  Three generations collide in the search for human justice, but the more pressing concern is whether these cases are not only just in the eyes of mortal man but pious in the eyes of the immortal gods.

If a son prosecuting his father for murder were not unusual enough, Socrates, the beleaguered defendant, is actually pleased he is being prosecuted, since, like his prosecutor, he is in favor of eliminating those who corrupt the youth.  He is not pleased for himself, of course, but pleased Meletus is taking action to keep the youth uncorrupted, misguided as he may be in direction if not intention.  With his typical self-effacing humor, Socrates soon shows his delight at being prosecuted is more akin to surprise at the true nature of Meletus’ antagonism: Socrates is purportedly “a poet or maker of gods” who “invent[s] new gods and den[ies] the existence of old ones.”  Euthyphro agrees this is a worse crime in the eyes of society, as maintaining the status quo concerning the gods is a great comfort to the people.  Anything that changes that status quo hints at impiety, a situation Euthyphro himself knows well.

Euthyphro tells Socrates about his own case, which instigates the main argument of the dialogue, for only a wise man, says Socrates, would have the courage to bring his own father to court on such a serious charge of murder.  Euthyphro naturally believes he has such wisdom, and concomitant piety as well, since he would prosecute his father for this crime whether the victim were a loved one or a servant; a distinction that should not matter concerning justice, wisdom, and piety.  The case gets more complicated (not to Euthyphro) in that his father did not directly kill the servant but indirectly allowed him to die, tantamount to murder according to Euthyphro (but ignored in the rest of the dialogue).  Euthyphro is the only person who thinks he is being pious and doing what the gods want him to do.  Such self-assuredness by Euthyphro impels Socrates to learn from him what piety truly is, beginning the dialogue’s five attempts at defining piety in a way that satisfies Euthyphro and Socrates, a herculean task indeed.

Euthyphro’s first attempt at a definition is his current conception of piety: “Piety is doing as I am doing; that is to say, prosecuting any one who is guilty of murder, sacrilege, or of any similar crime — whether he be your father or mother, or whoever he may be — that makes no difference; and not to prosecute them is impiety.”  Like for most of us, Euthyphro’s initial standard for piety is not only achievable by his own human effort but also representative of how he already lives his life.  It is also circular and not a real definition, as Socrates points out: “Remember that I did not ask you to give me two or three examples of piety, but to explain the general idea which makes all pious things to be pious.”  This gentle reprimand from Socrates is the most useful part of the dialogue: knowing that examples of concepts are not the same as defining the concept is a crucial distinction for all philosophers (and students writing papers).  A definition, says Socrates, gets to the essence of the concept as well as enables the person to use the term correctly: “Tell me what is the nature of this idea, and then I shall have a standard to which I may look, and by which I may measure actions, whether yours or those of any one else, and then I shall be able to say that such and such an action is pious, such another impious.”

Undeterred, Euthyphro attempts to satisfy Socrates with his second definition: “Piety, then, is that which is dear to the gods, and impiety is that which is not dear to them.”  Here Euthyphro shifts the direction of piety completely from the standard of human activity to the attitude of the gods.  This is more to Socrates’ liking, as it is an actual definition of the concept of piety that restores piety to the heavenly realm of ideals and absolutes, but it is still rather ambiguous.  Socrates’ contention with this definition stems from the gods’ own inability to agree on what pleases and displeases them, mirrored in humanity’s inability to distinguish absolutely what is pleasing and good and just from what is displeasing, bad, and unjust: “people regard the same things, some as just and others as unjust, — about these they dispute; and so there arise wars and fightings among them” and “the same things are hated by the gods and loved by the gods, and are both hateful and dear to them,” says Socrates, with which Euthyphro must agree.

The conversation returns to Euthyphro’s case against his father, as the only specific example of actions or behaviors considered pious or impious by all or some men and gods.  Zeus may approve of Euthyphro prosecuting his father, but Cronos, naturally, would likely disapprove of it.  This distinction inspires Euthyphro to combat Socrates’ enthymeme: perhaps not all would be pleased by the situation, “[b]ut I believe, Socrates, that all the gods would be agreed as to the propriety of punishing a murderer: there would be no difference of opinion about that,” says Euthyphro.  Socrates effectively agrees with this remark, but only as a general statement of propriety.  Whereas Euthyphro believes the gods find punishing murderers pious because he is trying to do that (returning to his first definition), Socrates acknowledges both gods and mankind should never say “the doer of injustice is not to be punished” — but that still does not clarify what actions are just or pious, only that pious actions should elicit a certain kind of response.

To keep the argument going, Socrates assists Euthyphro by rephrasing his second sally into a more specific third attempt at defining piety: “But I will amend the definition so far as to say that what all the gods hate is impious, and what they love pious or holy; and what some of them love and others hate is both or neither.”  Euthyphro gladly assents to this revision centered on unanimity among the gods, but this definition, even from Socrates, is not sufficient either, though it leads into the heart of the dialogue: are things pious because the gods love them, or do the gods love them because they are pious?  Is piety an intrinsic quality, or is it attributed to something (or someone) by an external authority (such as the gods of Olympus)?

Socrates leans toward innate qualities prior to current circumstances: “my meaning is, that any state of action or passion implies previous action or passion. It does not become because it is becoming, but it is in a state of becoming because it becomes; neither does it suffer because it is in a state of suffering, but it is in a state of suffering because it suffers.”  The nature of a thing exists prior to an outside observer becoming aware of such qualities of the thing observed; it does not “receive” those qualities because of an observer observing them, though the observer can still adjectivize the quality or condition sequent to the observation.  If piety (or holiness) is that which is “loved by all the gods,” then, the thing is “loved because it is holy, not holy because it is loved,” agrees Euthyphro.  The gods choosing to bestow love onto something or someone does not concomitantly impute holiness or piety onto the thing or person in this view.

As much sense as this distinction makes, it does not achieve the ultimate end of defining piety, since it only establishes piety is not created by the affections or attentions of the gods (all to the good, knowing how capricious they are even in Socrates’ view).  Socrates highlights this insufficiency by returning to the application of definition number three: even if the gods love things that are already pious, those same things are “dear” to the gods because they are loved by them, not loved because already dear.  Socrates posits that since the attribute of being dear to the gods comes as a result of their loving yet their loving does not impart piety to that thing, if the thing held dear is also pious, the present postulate reverts to merely another example of piety, not an actual definition.  Saying piety is “the attribute of being loved by all the gods” is simply describing something that happens to pious objects, not elucidating the concept of piety itself.

By this point Euthyphro is, somewhat understandably, growing weary of the conversation, resulting in Socrates mocking his youth, calling him “lazy,” and taking over the conversation.  Socrates, now in full control, returns to his usual form by beginning definition number four in the form of a question and recalling the audience to the setting of the conversation, two court cases of justice: “Is not that which is pious necessarily just?”  This is not an entire definition, as Socrates knows this is more of a correlating quality of piety than a nature-of definition, but he is building to a fuller definition.  He begins with a lateral movement from definition three, applying enthymemes similar to an “all squares are rectangles but not all rectangles are squares” theorem to piety’s connection to justice.  Justice, they decide, is of a larger scope than piety and can exist without piety, meaning piety is a part of justice, not its own absolute characteristic.  If they can discover what part of justice piety is specifically, they will finally arrive at an actual definition.  Euthyphro, having learned from Socrates’ earlier remonstrations that piety should not be man-centered, says, “Piety or holiness, Socrates, appears to me to be that part of justice which attends to the gods, as there is the other part of justice which attends to men.”  Socrates is not wholly satisfied with this and draws out further explication on “attends,” only to end up back where they started, leading Euthyphro circuitously to the idea “piety is the art of attending to the gods,” leaving justice momentarily by the wayside.  To this Socrates adds that those who attend to things (such as a huntsman attending to his dogs) do so for the benefit of that which is attended: the dogs are benefited by the huntsman’s attention, oxen are benefited by the oxherd’s attention.  If this is true, though, the gods must then benefit from the attention paid to them by pious worshipers, a notion both Euthyphro and Socrates quickly reject.  If piety is attending to the gods, it must be of a different nature than actions or attitudes that improve or assist the gods, and as neither of them can adduce a satisfactory substitute for what “attending” the gods might mean, the fourth definition peters out.

Euthyphro, now clearly tired of the conversation, gives a fifth and final attempt at defining piety: “Let me simply say that piety or holiness is learning how to please the gods in word and deed, by prayers and sacrifices.  Such piety is the salvation of families and states, just as the impious, which is unpleasing to the gods, is their ruin and destruction.”  Socrates effectively acts as if Euthyphro said nothing at all and asks again, “what is the pious, and what is piety? Do you mean that they are a sort of science of praying and sacrificing?”  Euthyphro agrees, possibly without fully attending to what Socrates is saying either, leading Socrates to narrow this final definition into “piety is a science of asking and giving.”  If this definition is true, then we are back to definition four: piety requires the gods receive from us sacrifices that they desire, and when pious worshippers give the gods that which they desire, the gods benefit from this transaction.  Yet, if they do not benefit from such sacrifices, the pious give nothing of substance to the gods, and that hardly meshes with what they think piety should be, more than receiving bountifully from the gods and giving nothing meaningful in return.  But if the gods still desire such prayers and sacrifices, then, says Socrates, they are back to definition number two, “piety is dear to the gods.”  The gods do not benefit from sacrifices by pious worshipers, but they do enjoy them.  By inadvertently returning to a definition they have already rejected, Euthyphro and Socrates have walked a long way to arrive back where they started, no closer to defining piety than when the conversation began.  Having swung at and missed piety five times, a tired Euthyphro bows out, leaving Socrates mildly (yet likely insincerely) despondent.

As is typical of many early Platonic dialogues, the Euthyphro ends with no satisfactory definition of piety, having spent most of the time describing what piety is not.  Still, Euthyphro and Socrates highlight at least two important aspects of piety, especially early on.  The major flaw of Euthyphro’s first definition is its human-centeredness: “Surely I am doing what is right, therefore the gods must approve” sort of attitude is typical, as we have said, of most humans’ conception of piety (or holiness or, perhaps today, “virtue”).  Such a standard has nothing transcendent about it, nothing substantial, and is effectively no better than saying “I’m not as bad as Hitler, so I must be good.”  The “standard,” such as it is, for piety is as flexible as taffy and just as salubrious.  Socrates’ quick dismissal of this human-centered perspective is helpful and beneficial, certainly for Christians and for non-Christians as well.  Piety is more than being “good enough”; it must be suprahuman at the least, if not divine (divinely inspired, perhaps, or divinely granted).  The rest of the dialogue’s centering piety on the gods is much closer to a useful conception of piety for us flawed mortals.

The brief discussion during the third definition, whether things are pious because they are approved by the gods or the gods’ approval of things makes them pious, is the other important aspect of this dialogue, if not one of the more important aspects of Western philosophy: do things have certain qualities by their essence, because they have them (or are them), or do things have certain qualities because the observer observes and describes the things a certain way (possibly imputing the qualities onto what is observed through simple sensory human acts).  Such an interesting distinction requires more time and space than we have here to explore adequately, but the distinction is worth considering.

Despite the unsatisfactory conclusion of the dialogue, Socrates leaves us with a small but helpful handful of negations on what piety is not: centered on man’s self-appraisal, affected by a majority or minority of opinions, determined by attributive observations or assessments, or measured by its effect on others.  This is a helpful beginning to defining an elusive abstract concept such as piety, but before concluding this exploration of Socratic piety, let us examine some of the other references to piety in Plato’s other dialogues to see if we can glean any further insights from Socrates as to what piety might possibly be.

Most of the other dialogues associate piety with the gods, a quite natural and expected association.  In Apollodorus’ story in the Symposium, he recalls this line: “Wherefore let us exhort all men to piety, that we may avoid evil, and obtain the good, of which Love is to us the lord and minister; and let no one oppose him — he is the enemy of the gods who oppose him.”  Apollodorus has just recalled the gods punishing people for disobedience, so the exhortation toward piety is an exhortation to revere and fear the gods, not specifically praying and sacrificing to them, but whatever it is (no specifics are given). piety consists of both a right attitude and right actions.  The motivation is almost (acceptably) mercenary: to avoid chastisement from the gods and to receive blessings.  Piety may be done for one’s own benefit, even if it does not benefit the gods who receive the fruit of pious deeds (whatever they may be).

The Apology and Republic have likewise very brief references to piety and impiety, which is odd: two dialogues one might suppose should be replete with overt examples, discussions, and explanations of piety (Socrates’s self-defense against charges of impiety and a detailed manual for creating the right kind of society) only have passing mentions of the concept at their conclusions.  Socrates ends his address in the Apology by urging his friends not to perjure themselves in court because “there can be no piety in that. Do not then require me to do what I consider dishonorable and impious and wrong, especially now, when I am being tried for impiety on the indictment of Meletus.”  Here is another quality of what piety is not: piety is not dishonesty, especially in court.  Impiety is perhaps tantamount to dishonorable and wrong actions, motivation, and thoughts as well, which may imply piety is akin to honor and rightness.  Except for a passing remark about the rain falling on the pious in book two of the Republic, Socrates does not mention piety until the end of the lengthy discourse, while berating the poets: “We will not have them (the poets) trying to persuade our youth that the gods are the authors of evil, and that heroes are no better than men — sentiments which, as we were saying, are neither pious nor true, for we have already proved that evil cannot come from the gods.”  Again Socrates associates piety with another abstract value, truth, and again he mentions piety in a negation (poets are not pious when they lead others, especially youth, to think ill of the gods), and again we have a passing example but no substantial definition of piety.

About halfway through the Theaetetus, while trying to define knowledge itself, Socrates, revisits another abstraction he associates with piety: “But in the other case, I mean when they (sophists) speak of justice and injustice, piety and impiety, they are confident that in nature these have no existence or essence of their own — the truth is that which is agreed on at the time of the agreement, and as long as the agreement lasts; and this is the philosophy of many who do not altogether go along with Protagoras.”  Piety is again associated with justice, and again Socrates (perhaps more Plato, if Theaetetus is a later dialogue) leans toward piety (and justice) being an intrinsic quality despite what sophists advocate as temporary or superficial observations.  Nothing new is added to the aspects found in Euthyphro, but the constancy of relating piety to justice and best understood as innate reality not subjective attribution is helpful in arriving at an understanding of Socratic/Platonic piety.

Finally in Plato’s output, in book four of the Laws, the Athenian Stranger says, “In the first place, we affirm that next after the Olympian Gods and the Gods of the State, honor should be given to the Gods below; they should receive everything in even numbers, and of the second choice, and ill omen, while the odd numbers, and the first choice, and the things of lucky omen, are given to the Gods above, by him who would rightly hit the mark of piety.”  Piety is again the proper response of man to the gods themselves.  Later, the Stranger mentions the three “noblest aspirations”: “The principle of piety, the love of honor, and the desire of beauty, not in the body but in the soul.”  Again, piety is another abstract value among many (not justice here) and a spiritual, almost otherworldly aspect of mankind’s function in life.  Toward the end of the Laws, the Stranger echoes two of Socrates’ negation descriptions of piety, saying poets and prose writers “draw you aside from your natural piety” by praising evil men, and other men who “defile the names of the Gods” and “care little about piety and purity in their religious actions.”  Reversing the negation, piety is honoring the names of the Gods among fellow humans, not just honoring the gods themselves directly through prayer and sacrifice.

Through a scrutiny of Euthyphro and a survey of other Platonic dialogues, we get, if not a full and satisfactory definition of piety, at least a helpful and somewhat practical starting conception of piety, especially as to what it is not.  To be fair to Socrates (and Plato), we know we are not going to get a full and satisfying definition of anything, really — but that is much of the joy and challenge of dialoguing with him: it truly is the journey not the destination.  We need not be as exasperated as Euthyphro at seemingly getting no closer to defining piety, since we are actually better able to grasp the qualities of the pious person in motion, at least, if not in fact.  Piety is a part of justice and a boon companion of truth, honor, and spiritual beauty.  It is rooted in our acknowledgement of the divine above and, to an extent, beyond us, and our actions and attitudes must be aimed toward pleasing God, even if we do not benefit Him by our prayers or sacrifice or obedience.

What does that piety actually look like?  As Euthyphro said, look at the time…

Work Cited

Plato. The Dialogues of Plato; The Seventh Letter. Edited by Mortimer J. Adler and Philip W. Goetz. Translated by Benjamin Jowett and J. Harward. Second Edition. Vol. 6. Great Books of the Western World. Chicago: Encyclopædia Britannica, 1990.  All dialogues quoted are taken from the pagination of this source.

Elevate From the Norm: Rush’s Prog Rock

Christopher Rush

Finding My Way: Rush and Fly By Night

Like so many of the prog rockers we have been examining, Rush started out as a would-be rhythm-and-blues band, as evidenced by the beats and lyrics of their eponymous debut, and the bandmates met at school.  That is about where the similarities end.  Unlike the boys of Genesis, who mostly grew up in well-to-do families, Geddy Lee’s father spent time in a concentration camp and died when Geddy was twelve.  His grieving process prevented from listening to music for almost a year.  After that year, Geddy was introduced to Alex Lifeson, whose Yugoslavian parents likewise moved to Toronto after World War II.  Perhaps because Rush is a Canadian band and not English like everyone else in the main wave undoubtedly labeled as “prog rock,” many critics and historians of prog ignore them altogether.

To be fair, they are also a little younger than Tull, Genesis, and the others, and their debut did not occur until the main era of prog was just about over in 1974.  Growing up listening to rock music in the late ’60s, they certainly had great musical role models to emulate as a bassist and guitarist, and they had the benefit of also listening to early Tull, Yes, Genesis, and the popular Van der Graaf Generator.  So they are somewhat on the “outside” of the core of prog rock, if such a thing exists.  That is in part to the temperament and musical affinities of their first drummer, John Rutsey, who was the de facto leader of early Rush.

Besides getting a manager, Ray Danniels (the only manager they ever had), and the acquisition of arguably the greatest drummer in rock history (a subject for another time), perhaps the most influential event that propelled Rush’s career came from an unlikely source: “In 1971, the government of Ontario made a decision that would alter the history of progressive rock.  The Canadian province dropped the drinking age from twenty-one to eighteen.”

Rush’s eponymous album, the only release with drummer John Rutsey and Lee and Lifeson composing most of the lyrics, much like Tull’s debut This Was and Genesis’s double debut albums, is enjoyable likely more for nostalgic reasons (one hesitates to say “quaint”) as the beginning point of a band that was one drummer away from becoming a whole new entity.  It is enjoyable but rather middling R&B/rock, and possibly even “Working Man” would have been forgotten had the band not kept it alive on most tours over the next forty years.

Like Tull and the Moody Blues and others, after getting R&B and cover songs mostly out of their system, Rush became a unique musical entity: a heavy/progressive rock power trio with a social conscience and literate drummer.  Gene Simmons says of Peart in those early days: “Neil is a self-professed and/or otherwise reading hound.  He likes to read.  Yeah, after the show he goes back … reads.  Anthem by Ayn Rand, Foundation trilogy by Isaac Asimov, all that stuff.”

As appropriate as the first song, “Finding My Way,” was for Rush, Fly By Night’s opening song, “Anthem,” perfectly captures the new direction musically and lyrically of Rush 2.0.  Much has been said – too much – of Neil Peart’s disproportionately short-lived interest in the objectivism of Ayn Rand (certainly disproportionate to the lasting recrimination Rush suffered), but here Peart’s belief in the need for hardwork and perseverance (and general optimism in mankind, if not individually: “Live for yourself / There’s no one else more worth living for”) is unabashedly on display.

Also on display is the almost mid-’70s requisite homage to JRR Tolkien, with “Rivendell.”  If Led Zeppelin can unashamedly sing of Tolkien’s creation, certainly Rush should be able to as well.  But those two widely disparate sources of inspiration (Rand and Tolkien) are likely only to be found in the same place on a Rush album – the fans of both radically different worldviews rarely commingle anywhere else.  Bradley J. Bizer says Peart’s Tolkienian influence is also heard in Rush’s first prog-like mini-epic, “By-Tor and the Snow Dog,” but it may just be more a sign of Peart’s diverse reading of fantasy and other speculative fiction.  Peart admits being fascinated with Chariots of the Gods around that time as well.  Regardless, for our purposes, it has taken very little time to find direct literary influences on this prog rock band.

We Have Assumed Control: Caress of Steel and 2112

Caress of Steel may be more the black sheep of the Rush canon than Rush, oddly enough, though it does begin Rush’s rest-of-career-long relationship with cover artist Hugh Syme, another important component of prog rock music.  The first side is an eclectic mix of song styles and subject matter, from the humorous “I Think I’m Going Bald” (prog rock’s sense of humor is, like our present exploration of literary influence, another underexplored component of the genre), to the grand and personal histories of “Bastille Day” and “Lakeside Park” and the next progression in prog epics, “The Necromancer,” another song with clear influences from Tolkien.  The liner notes at the end of the lyrics for “Necromancer” include the Latin tag to Christopher Marlowe’s Doctor Faustus as well (admittedly somewhat hard to read in my CD version of the album).  Perhaps it is this diversity (what critics call “lack of unity”) that has led to the album’s general disfavor.

The second side of the album is the first of Rush’s three album-side-long prog epics, “The Fountain of Lamneth,” but unlike Genesis’s “Fountain of Salmacis,” this fountain is not based on any mythological or literary inspiration directly.  Birzer suggests the protagonist of the song sloughs of his conformity after drinking the draft from “the cask of ’43,” which the protagonist says “give[s] me back my wonder,” could be a reference to The Fountainhead, published in that year. At the end of the journey, which Birzer in his zeal likens to most journeys in “the western tradition of Homer, Virgil, Dante, and Tolkien,” Popoff says “the journey has not resolved itself, that now there are more questions than answers, that the birthing at the beginning merely put the hero into a cycle of perpetual motion.”  This interpretation would likely make more sense than Birzer’s desire to cast “Lamneth” in a more traditional light, since it foreshadows much of Rush’s seeming preference for the searching itself more than the resolution.

From hindsight, of course, “Lamneth” is easily overshadowed by what comes next, though it does us well to remember there would have been no 2112 without the early experimentations of “Necromancer” and “Lamneth.”  Lee and Lifeson both highlight how important it was for them to experiment with longer forms of composition, though Lee says in retrospect it was “kind of absurd. … And I think there are some beautiful moments, but a lot of it is ponderous and off the mark.”  Says Lifeson, “You smile and shake your head and you go, ‘What was I thinking?’”

2112 is many things to many people.  For Rush, it was a last-ditch effort to create the kind of music they wanted to create, flying in the face of the critical, financial, and touring disappointments from Caress of Steel.  For many critics, it was a justification of the disdain for the atypical music from the late-to-the-prog-party Canadian trio.  ’60s British counterculture insider Barry Miles was one of several vocal antagonists to Peart’s tribute to Rand.  As Weigel puts it, “he (Miles) had read up on Ayn Rand and was utterly offended that Rush had written a paean to her with 2112.”  For many (if not most) fans, the opening synthesized outer-space sounds of the Overture leading into the syncopated hits and the driving full intro are the very reason they love music.

Lee says, “2112 was part of a progression to us. … And we had this concept in our minds that we love progressive music, but we also love to rock.  We like The Who as much as we liked Genesis and Yes, and to us, The Who were still a progressive band even though they were more of a hard rock band. … We wanted to be the world’s most complicated thee-piece band.”  Lee continues in that section of Popoff’s work to describe their evolution beyond an R&B band and even beyond the by-then fairly static conception of prog rock, which they clearly loved, into the heavy rock band most evident by Counterparts.  Peart seems to have spent much of the next thirty years downplaying the significance of Randian philosophy on himself and his lyrics, and he certainly disavows the entire spectrum of political labels foisted upon him following 2112: “I like noble virtues, the difference between right and wrong.  I also don’t like people telling me what to do. … You have to make your own decisions if you want your ideals to come across. … I’m against socialism because again it stifles the individual.  It tries to wrap him up not letting him think for himself.”

Most see the story of 2112 influenced by Anthem, and Birzer adds Zamyatin’s We.  For Peart, the story of individuality and freedom triumphing over repressive government (especially religious oppression) is represented by what Popoff calls “the lurid red pentagram,” which “had nothing to do with Satan, representing instead the creativity-suffocating authorities of the tension-filled tale,” with the naked fellow representing man at his most basic, most needy, ready for something new.  2112’s ending is usually interpreted optimistically, which is fitting for how successful the band came following the album’s reception among the people who actually paid to listen to the album, the fans.

All the Same We Take Our Chances: A Farewell to Kings and Hemispheres

As the ’70s and prog rock were (semi-)officially ending, Rush took the lessons and successes of recent albums and, in a sense, doubled-down with effectively a double album spread out over a couple of years.  Continuing the pervasive Rush themes of anti-authoritarianism found in “Bastille Day,” “Anthem,” and many more (and after), the title track of A Farewell to Kings clears up any doubt listeners may have whether “2112” was about exchanging one oppressive government for another.  As good as the opening track is, and Rush was always good at setting the tone of their albums with the opening tracks, the real treat of the album is “Xanadu,” the longest non-side-length song in their canon except “Necromancer,” and it is undoubtedly a much better song than “Necromancer.”  This is not to say the source material, Coleridge’s “Kublai Khan” is better than Tolkien’s Lord of the Rings, of course; rather, the band has simply matured in all facets of their musical craft.

“Closer to the Heart,” fan-favorite and the closest Rush gets to a traditional pop-rock radio-friendly hit, echoes lyrics and sentiment from the opening track; “Cinderella Man,” another optimistic anthropological song from Lee, is based on the Frank Capra movie Mr. Deeds Goes to Town; and “Madrigal” is effectively Rush’s last “medieval prog rock” song, with their own twist.  The close of the album is, of course, the first half of Cygnus X-1, “The Voyage.”  The music of this half is likely more memorable than the lyrics, the opposite being true of book two kicking off Hemispheres.

Cygnus X-1 together is the longest Rush story except for Clockwork Angels, their grand finale, with the diverse four-part “Fear Trilogy” a close second.  As with the odd pairing of Rand and Tolkien on Fly By Night, Cygnus X-1 pairs Cervantes and Nietzsche.  The vehicle the traveler uses to embark his mission is the Rocinante, like Don Quixote’s steed; and the gods at war in book two are Apollo and Dionysus.  Birzer quotes Nietzsche’s Birth of Tragedy at length, as well as interviews from Peart indicating his affinity and lifelong commitment to a Nietzschean philosophy.  The conclusion of the epic is that logic and love must join together in a “perfect sphere” to unite both heart and mind (as well as god and man) in perfect balance.

The second half of the album (it is difficult for me to think of it as the “second side,” considering I first heard most Rush albums on compact disc) is another disparate collection of quintessential Rush: Peart autobiography in “Circumstances,” tongue-in-cheek political satire in “The Trees,” and virtuoso playing in the band’s first instrumental, “La Villa Strangiato.”  Surely most Rush fans wished the boys had indulged in more “exercises in self-indulgence,” as its subtitle jokingly calls it.

Everybody Got to Elevate From the Norm: Permanent Waves and Moving Pictures

If 2023 has taught us anything in the music world, it is that fans should “never say ‘never’”; a year that saw new releases from the Rolling Stones and Beatles should show us that even though Neil Peart is no longer with us and Rush officially disbanded five years ago, one should never give up hope.  I say that mainly for myself, as I was originally planning on opening this final section with “Now that the Rush corpus is completed” – but “never say ‘never.’”  With the Rush corpus (temporarily) completed, fans tend to categorize their output in different ways, often by year, by major sound style, or by subject matter.  Birzer, like most, posits Rush as its own entity, then collates the remaining ’70s albums together, most of the ’80s albums together except for Presto, joining it to Roll the Bones and Counterparts, leaves Test for Echo as its own era, and, understandably, unites the remaining Rush albums following Peart’s hiatus and personal rebirth into one final group.  Though it is not a matter worth much debate, I disagree mildly concerning the ’80s albums: I posit Permanent Waves and Moving Pictures should go with the earlier albums as the culmination of the band’s mainline prog era (as I did here for this paper), and Signals through Hold Your Fire is the band’s “second wave style” of prog, much like Tull’s folk trilogy is still prog rock but of a different kind than the more obvious concept albums from Thick as a Brick through Too Old.  I agree that these ’80s albums are united in their clever multi-layered album titles, but musically the first two seem different (maybe it is just the synthesizer that defines the era for me).  Rush’s Presto does feel like it is cut from a different cloth than the rest of the decade’s material, indeed.

Forgive me if this leans into hyperbole, but the opening of Permanent Waves is possibly the most invigorating opening to any rock album of all time.  The audience reaction in every live album since 1980 should be proof enough.  Though many paeans to the radio are at times tongue-in-cheek, like “The Spirit of Radio” here, Queen’s “Radio Ga Ga” for another example, at the heart of them is an unconquerable optimism despite the growing commercialism that is often noted for ending Prog rock and the “glory days” of the ’60-’70s music scene.  Peart ends this with a clever, if not wistful, updating of Simon and Garfunkel’s “The Sounds of Silence,” itself a critique of the growing commercialism of society and the music industry fifteen-some years earlier (from Peart’s perspective).

The album continues Peart’s lifelong agon with religion in “Freewill,” which also incorporates Peart’s readings of Jung.  Oddly, though not so odd considering Peart’s penchant for unusual pairings, the album follows this with “Jacob’s Ladder,” which is clearly an Old Testament allusion (which Peart surely knows).  Lyrically, the song is ambiguous enough to forestall outright antagonism to religion, but it does lean toward a more humanistic solution to wisdom-seeking.  Perhaps “Babel” would have been a better title, but Peart likely knew that “story” ended in confusion.

“Entre Nous” may be influenced by The Fountainhead, or perhaps Peart’s love of reading in general, as the second line “Each one’s life a novel” may imply.  One could have wished Peart had taken this open-minded approach to religious ideas (and people) more, but such is life.  “Different Strings” continues the same theme of “Entre Nous,” though it ends with Peart’s standby atheism: “All there really is: the two of us.”  “Natural Science” began life as a musical adaptation of “Sir Gawain and the Green Knight,” but Peart found it too out of place with the general theme of the album, and while that does not do this paper any good, it certainly served the album well to shift into the song’s eventual tripartite exploration of nature, science, and integrity.

Moving Pictures opens with perhaps Rush’s most beloved song, and another eventual encore staple that always brought cheers from the audience, in “Tom Sawyer,” whose literary influences should go without saying.  It is fitting for this song to be, if you will allow the expression, the real “anthem” for Rush, a band whose “mind is not for rent / To any god or government / Always hopeful yet discontent / [Who] knows changes aren’t permanent / But change is.”  Surely that encapsulates what Rush was about: literary-influenced individualism.

“Red Barchetta” was inspired “by a 1973 short story by Richard Foster” entitled “A Nice Morning Drive,” though Peart changed the type of car from the story.  Peart has discussed it in multiple interviews, even meeting the author toward the end of his (Peart’s) life.  “YYZ” is another masterful instrumental, and “Limelight” is another Peart autobiographical song, somewhat ironically making him and the band even more famous from the rousing success of this, perhaps their greatest album.  The song lyrically anticipates the next song, “The Camera Eye,” and reflects on the live album released after 2112, All the World’s a Stage and the Bard’s famous line from As You Like It.

Birzer describes “The Camera Eye” as “a John Dos Passosesque view of two cities, New York’s Manhattan and London,” which Peart mentions in bonus material on the 2112 blu-ray release.  It is certainly the last long song of Rush’s career (to date).  “Witch Hunt,” he says, was inspired by Clark’s The Ox-Bow Incident, which seems feasible enough.  “Vital Signs” is a preview of the more synthesizer/technological sounds coming in the heart of Rush’s ’80s output, which is likely why Birzer links Signals to these two albums.  Perhaps it is fitting to end our examination of Rush’s literary-influenced prog phase of their career with “Vital Signs,” as Peart says “Leave out the fiction.”  Coincidence, perhaps, but the band does shift into different directions, though they never stay away from Peart’s reading-inspired lyrics for long.

After quoting interviews in which Peart mentioned Dos Passos, Steinbeck, Hemingway, Dickens, Hardy, TS Eliot, and Frost, Birzer lists several other authors mentioned by Peart and others in interviews and other places throughout Rush’s career: Hawthorne, Melville, Henry James, Wilkie Collins, Wilde, Woolf, Sinclair Lewis, Dreiser, Cather, Edward Abbey, Fitzgerald, Lieber, CS Lewis, Pirsig, Stegner, Pynchon, Barth, Tom Robbins, and Kevin J. Anderson.  Surely this list is inexhaustive.  Though perhaps we could have wished he spent more time with authors before the nineteenth century, especially more Christian authors like Eliot and Lewis, Neil Peart, like Tony Banks and Peter Gabriel in Genesis, is a resplendent proof for our quest for literary influences on the lyrics of prog rock.  Surely much of the timeless quality of Rush’s output, much of what helped them to “elevate from the norm” of an already markedly intellectual musical genre, is Neil Peart’s adult lifetime of reading almost every genre from poetry to fiction to philosophy, a lifetime of reading reflected in his eye and in his lyrics.

Bibliography

Birzer, Bradley J. Neil Peart: Cultural Repercussions. WordFire Press, revised 2nd ed., 2022.

Popoff, Martin. Anthem: Rush in the ’70s. ECW Press, 2020.Weigel, David. The Show That Never Ends: The Rise and Fall of Progressive Rock. New York: Norton, 2017.