Thursday, June 11, 2020

The Waving Line

The existence of grace seems to depend more upon the character of mental, than of corporeal beauty. All its motions seem to indicate, and to be regulated by the utmost delicacy of sentiment! I have placed it between the highest sentiment of the human mind, sublimity, that no rules can teach, and the highest sentiment that rules can teach, exact beauty, the two extremes of the vrai réel, and the vrai idéal. Grace seems as it were to hang between the influence of both; the irregular sublime giving character and relief to the negative and determined qualities of beauty; and beauty, i. e. truth confining within due bounds the eccentric qualities of sublimity, forming both to sight and in idea, orderly variety, the waving line, neither straight nor crooked. The waving line is the symbol, or memento, as I may say of grace, wherever it is seen, in whatever object animate or inanimate; and may be justly stiled the line of taste or grace.

Frances Reynolds, An Enquiry Concerning the Principles of Taste, and of the Origin of Our Ideas of Beauty (1785), p. 14. 'Grace' here means aesthetic gracefulness. The 'line of grace', which is a particular version of what is more commonly known as the Line of Beauty, is usually associated with William Hogarth, The Analysis of Beauty (1753):



Reynolds is right that this is only a sort of "symbol, or memento" of a larger point, although it seems like the Line itself is the only thing most people picked up from Hogarth. In any case, this is Hogarth's explanation of the serpentine line as the line of grace:

It is to be observed, that straight lines vary only in length, and therefore are least ornamental.

That curved lines as they can be varied in their degrees of curvature as well as in their lengths, begin on that account to be ornamental.

That straight and curv'd lines join'd, being a compound line, vary more than curves alone, and so become somewhat more ornamental.

That the waving line, or line of beauty, varying still more, being composed of two curves contrasted, becomes still more ornamental and pleasing, insomuch that the hand takes a lively movement in making it with pen or pencil.

And that the serpentine line, by its waving and winding at the same time different ways, leads the eye in a pleasing manner along the continuity of its variety, if I may be allowed the expression; and which by its twisting so many different ways, may be said to inclose (tho' but a single line) varied contents; and therefore all its variety cannot be express'd on paper by one continued line, without the assistance of the imagination, or the help of a figure; see where that sort of proportion'd, winding line, which will hereafter be call'd the precise serpentine line, or line of grace, is represented by a fine wire, properly twisted round the elegant and varied figure of a cone.

Due to the fact that she situates grace between sublimity and beauty, Reynolds is adapting this idea in a slightly different direction.

Wednesday, June 10, 2020

Music on My Mind



Eivør, "Patience"

Tuesday, June 09, 2020

Ephraem Syrus

Today is the feast of St. Ephrem the Syrian, Doctor of the Church. He is also known as the Harp of the Holy Spirit, because his most important theological works are didactic hymns. From The Pearl, Hymn 1:

On a certain day a pearl did I take up, my brethren; I saw in it mysteries pertaining to the Kingdom; semblances and types of the Majesty; it became a fountain, and I drank out of it mysteries of the Son.

I put it, my brethren, upon the palm of my hand, that I might examine it: I went to look at it on one side, and it proved faces on all sides. I found out that the Son was incomprehensible, since He is wholly Light.

In its brightness I beheld the Bright One Who cannot be clouded, and in its pureness a great mystery, even the Body of our Lord which is well-refined: in its undividedness I saw the Truth which is undivided.

It was so that I saw there its pure conception — the Church, and the Son within her. The cloud was the likeness of her that bare Him, and her type the heaven, since there shone forth from her His gracious Shining.

I saw therein His trophies, and His victories, and His crowns. I saw His helpful and overflowing graces, and His hidden things with His revealed things.

Monday, June 08, 2020

Public Monuments

We've had a lot of argument about public monuments the past few years. One of the things I find interesting about it is how moralized it is. That's not intrinsic to the topic; how closely memorializing (or de-memorializing) is tied to moralizing is not a stable thing, and varies considerably across time. To take an example of what I mean, an argument that has become very popular with respect to Confederate monuments is that they were traitors, so they should not be memorialized with a public monument. This is always put forward as an obvious and definitive argument; but that someone was a traitor is neither an obvious nor a definitive reason not to memorialize them, and you have only to look around at human memorializing behavior to see that it is not even particularly relevant. Human beings don't memorialize people for loyalty or goodness, which is why we do not have many bronzes in the public plaza commemorating neighborhood grandmas and working-class joes who sacrifice for the lives of others. We don't even make much of an effort to remember good people, usually; and, of course, human goodness being what it is, a 'good person' is always only 'relatively good in some particular set of ways'. Exactly whom you memorialize might be affected by what you admire, but even that is not always set. There are plenty of politicians and bureaucrats whom nobody has ever admired who have their portraits hung up somewhere.

People tear down public monuments for the same reasons they build them, and while moral principle sometimes makes a showing somewhere, it is never the heart of the act. People build or tear down public monuments

(1) because doing so curries favor with those who are seen as powerful; or
(2) in order to express, in visible form, authority, superiority, or dominance over prior generations or a current population.

That's it. We don't randomly go about monument-building or monument-breaking; we have a point, and the point is never a purely moral one but is instead primarily a point about who controls destiny. To be sure, our reasons can still be quite complicated. Why do we have so many Confederate monuments in the South? It's easy to trace it to three reasons: (a) Southern states were reasserting that despite appearances they were in control of their own destiny; (b) definitely in some places and perhaps in most places, whites were asserting that they were still dominant over the black populations; (c) paradoxically, as the South was in fact still in a weak and relatively powerless state, it flattered the people who could have done something about it that they were magnanimous and tolerant enough to throw the South a bone, thus showing their own control over things. Whenever all three happened to converge at the same time, you had a flurry of building of Confederate monuments. And they tended to stay up because it has been the badge of honor of Western liberal societies, one of the things regularly put forward by them as their distinctive expression, to allow freedom of expression, so their remaining showed the commitment of liberals to this feature that they treated as a mark of liberalism, and the sheer power they had in not being threatened by these things. (It's the same reason why you can still find liberals unsettled by monument-destruction even when they sympathize with the reasons; historically, liberals have pointed to their refusal to support things like book-burning or book-banning as a proof of their commitment and strength, but as a book is, in the long run, far more influential and effective than a statue in a plaza somewhere, all arguments for tearing down statues are even better arguments for banning and burning books.) And why are they being torn down? Because the people doing it want to express their superiority over the prior generations and their dominance over certain groups in the present one.

This is all universal, so there is no point in getting bent out of shape about the bare fact of it. Human beings generally need signs to recognize power and authority, so we express power and authority by visible signs, and standing power and authority is expressed by standing visible signs. We memorialize because we can -- more specifically, because we, as opposed to someone else, can, and we are communicating that we can. Occasionally other motives will join forces with this, but they are not the stable ones. And there's nothing wrong with memorializing because you can. We all do it on a small scale; it's not surprising that we'd do it on a large scale. But it is a self-communication, and has more to do with the statement we wish to make about ourselves than with the people and events we are memorializing.

Nor are people who want to moralize the matter doing so purely as a matter of principle. There was a furor a while back over a statue of György Lukács in Hungary; there was a big push to tear it down. I saw a number of colleagues spreading emails and the like about it and crying shame over it. They characterized the movement to tear down the statue as anti-intellectual (Lukács was a historian) and as right-wing (Lukács was a Marxist) and as anti-Semitic (Lukács was Jewish). And you can argue that some of the support for the monument-breaking was powered by precisely these things. But the outrage over it was selective, as well, because Lukács was in fact a supporter -- and the main Hungarian theoretician -- for Communist red-terrorism, arguing that the power of the state should be used to destroy the enemies of Communist policies. This was also a major issue for the movement to tear down the statue; another example of trying visibly to assert power over the past. But is it the case that the Western academics who were crying shame over the intent to destroy the statue simply didn't care about Lukács's complicity? Perhaps in some cases, but really, for most of them it was irrelevant. The fact of condemning was not based on moral principle, but on an assessment of it as an expression of power by groups they thought should not have power; and that assessment was what determined what moral principles were relevant, not vice versa.

Or take a very different case. Just the other day, a statue of Edward Colston in Bristol was toppled and thrown into Bristol Harbour. It was not really surprising, because Colston was a slave-trader, and made some significant fortune through that trade, although it was only one of his many lines of business. That's certainly a reason that could be given for throwing him in the drink. But, of course, the reason the statue was there was that he was one of the most important philanthropists and benefactors in Bristol's history; he poured his fortune into almshouses, schools, hospitals, churches, charitable societies (some of which still exist today) -- and that, of course, doesn't eve count the extent to which his fortune was the seed for other people's fortunes. You can scarcely turn around in Bristol without bumping into something that could not have existed except for Colston. If it were purely a matter of moral principle, the question would not be, "Should we tear down the statue of Edward Colston?" but "Should we raze the city of Bristol and start again from scratch?" Such a thing has in fact happened before; in the long run of history, in fact, tearing down all or much of a city, to express that a new age has begun, is not uncommon. We could very well do it. Or, at least, it could be done. Whether it would be appropriate as an expression of our power and control over our destiny is another question and depends a great deal on how we see ourselves (and who counts as 'we').

Monuments go up and monuments come down all the time. It has only been a common view in a relatively small part of history that monuments should stay up simply because they are monuments; and that, too, was an expression of the power of liberal regimes, a way of communicating their supremacy over all that came before. We memorialized memorialization itself, a visible proof that all progress led to ourselves at the pinnacle, overcomers of all prior defects, collectors of all prior good. It has always been inevitable that any serious attempt to transition to a new age would break with that in one way or another, and this we have seen in the past, and are currently seeing. Whether current attempts will in fact succeed in the long run is another question. Modern liberal regimes have a long history of handling their would-be successors not aggressively but passive-aggressively, and history has shown it to be a very, very effective strategy, regardless of whether the liberal regime that deployed it was controlled by by 'liberals' or 'conservatives' in a party-politics sense. One sees this in the recent protests, in which the primary strategy regardless of party has been tactics of deflection and co-option. We will undoubtedly get a few monuments to the brave people who tore down monuments; nothing about this will necessarily prevent new versions of the torn-down monuments going back up at a later date in some form or other; again it will all show that the regime in power has the power, and communicate that all things are under the sway of the power of liberal democracy. Or so it will go, at least, until the regime in power is not trying to communicate that it is a liberal democracy, because it is another kind of power-regime entirely. And when that happens, whether the regime is good or rotten to the core, their monument-building and monument-breaking will be driven by the same thing that has always driven these things: that they will be the ones who can do them.

And Rest and Silence Reign Profound

LINES
Written after a very severe TEMPEST, which cleared up extremely pleasant
by Mercy Otis Warren


When rolling thunders shake the skies,
And lightnings fly from pole to pole;
When threatening whirlwinds rend the air,
What terrors seize th'affrighted soul!

Aghast and pale with thrilling fear,
He trembling stands in wild amaze;
Nor knows for shelter where to hide,
To screen him from the livid blaze.

Happy the calm and tranquil breast,
That with a steady equal mind,
Can view those flying shafts of death,
With heart and will at once resign'd!--

Oh! thou Supreme Eternal King,
At whose command the tempests rage,
With equal ease can worlds destroy,
Or with a word, the storm assuage.

And though impetuous tempests roar,
And penetrating flames surround,
Thou bid'st them cease--the thunder's hush'd,
And rest and silence reign profound.

Thus have we seen thy power and might,
Adoring, we thy works survey;
'Tis thou direct'st the pointed flame,
And thus thy goodness dost display.

Thou hast composed the rapid winds,
And lull'd to rest the foaming wave;
The clouds dispers'd, each twinkling star
Proclaims aloud thy power to save.

The silver moon, the glorious orbs,
That swim aloft in boundless space,
Their rays resplendent all unite,
To celebrate at once thy praise.

Sunday, June 07, 2020

Fortnightly Book, June 7

Kuru Pradesh was a tribal nation that consolidated territory in northern India, in what became known as the Kurukshetra region. Its culture at the height of its power was a significant formative influence on the Vedas, but it maintained a notable cultural influence long into the post-Vedic Mahajanapada period,and it is the origin of India's most renowned epic, the Mahabharata. The Mahabharata depicts an intratribal war, the Kurukshetra War, between two major clans of the Kuru Kingdom, the Kauravas and the Pandavas; if the war was historical, it would have occurred somewhere around 1000 BC, but the Mahabharata as we have it is much later and historical confirmation of anything in it is only sporadic. In any case, the chief protagonist of the epic is the mighty warrior Arjuna, prince of the Pandava clan and close friend of one of the avatars of Krishna.

The most famous episode of the epic is the Bhagavad Gita, the celestial song, part of the book Bhisma Parva, in which Arjuna and Krishna are preparing for battle with the Kauravas, and Arjuna wonders whether the bloodshed is justified, particularly given that these were his relatives. Krishna encourages him to the fight.

I'll be reading this in a Heritage Press edition, which means the translation will be the nineteenth-century translation of Sir Edwin Arnold. Most famous in his own day for his poem, The Light of Asia, on the life of Buddha, his posthumous fame is due almost entirely to this translation of "The Song Celestial". It has an introduction by Shri Sri Prakasa; Sri Pakasa was a notable politician and the son of the more famous Bhagavan Das. It is illustrated with fifteen color plates of watercolors by Y. G. Srimati (each one with commentary by the artist), who also designed a yellow, red, and gold binding suggestive of the kind of binding one often sees on older books from India. It has the Sanskrit Devanagari as well as the English text; the latter is in Egmont type, which is a distinctive and, as far as I can tell, rare typeface.

Holy Trinity

Today is the feast of the Most Holy Trinity.

The "worship in the Spirit" suggests the idea of the operation of our intelligence being carried on in the light, as may be learned from the words spoken to the woman of Samaria. Deceived as she was by the customs of her country into the belief that worship was local, our Lord, with the object of giving her better instruction, said that worship ought to be offered "in Spirit and in Truth," (John 4:24) plainly meaning by the Truth, Himself. As then we speak of the worship offered in the Image of God the Father as worship in the Son, so too do we speak of worship in the Spirit as showing in Himself the Godhead of the Lord. Wherefore even in our worship the Holy Spirit is inseparable from the Father and the Son. If you remain outside the Spirit you will not be able even to worship at all; and on your becoming in Him you will in no way be able to dissever Him from God — any more than you will divorce light from visible objects. For it is impossible to behold the Image of the invisible God except by the enlightenment of the Spirit, and impracticable for him to fix his gaze on the Image to dissever the light from the Image, because the cause of vision is of necessity seen at the same time as the visible objects. Thus fitly and consistently do we behold the "Brightness of the glory" of God by means of the illumination of the Spirit, and by means of the "Express Image" we are led up to Him of whom He is the Express Image and Seal, graven to the like.

St. Basil of Caesarea, On the Holy Spirit, Chapter 26 (sect. 64).