Category Archives: 2014 Books

The Odyssey (an Oral Tradition) by Homer

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The Odyssey

“Tell me, Muse, of the man of many ways, who was driven far journeys, after he had sacked Troy’s sacred citadel.”

It is nearly 20 years after the Trojan War and Ithaka is still without its king, Odysseus.  Anarchy reigns, as numerous suitors vie for the hand of his wife, Penelope, while ravaging his household goods and disrespecting his memory, and his son, Telemachos, is helpless to prevent them.  Has our hero perished in his quest to reach his homeland, or is he still alive somewhere, struggling to reach home?

The Odyssey begins in media res, or in the middle, where Odysseus is near the end of his journey, becoming shipwrecked on the land of the Phaiakians. These people, who we learn are very close to the gods, give Odysseus an audience for the retelling of his story and the various adventures he has experienced, while attempting to return home from the battlegrounds of Troy.

From a violent assault on the land of the Cicones, to narrowly escaping a drugged existence in the land of the Lotus-Eaters, Odysseus endangers his men by deciding to stay in the land of the Cyclops in hopes of gaining host-gifts, and they must set to perilous flight.  Poseidon, angered at the maiming of his Cyclops son, Polyphemus, plots their suffering and Odysseus and his men must endure captivity by Circe, an island goddess; a trip to the land of the Dead; a narrow escape from the Sirens, Scylla and Charybdis; and further imprisonment by the nymph, Calypso, lasting seven years, before he is released and lands on the island of the Phaiakians.  Yet, mainly because of the rage of Poseidon, but due also to Odysseus’ and his men’s misguided judgement, his whole crew is killed on the way home and he is left to continue the final part of his journey alone.

The Odyssey Homer

Fame and glory, or in Greek, kleos, are the most important values in this society. It appears that the suitors can disrespect and commandeer Odysseus’ household, only because there is no story attached to his fate.  If he had died fighting in Troy, and therefore receiving a generous helping of fame and glory, this inheritance would have passed down to Telemachus, which would have engendered a reverence and respect among the people. It might not have prevented a few of the more aggressive suitors attempting to utilize their power, but Telemachos certainly would have received more support and sympathy from other Ithakan families.   Gifts and spoils are another aspect of fame and glory.  The more one acquires, the more renown is added to their reputations.  This perhaps explains why Odysseus pours on the charm with the Phaiakians, who bestow on him more gifts than he could have won at Troy, then taxi him to Ithaka, unaware that they have angered Poseidon, who turns their ship to stone in the harbour on their journey back.

The guest-host relationship, or in Greek, xenia, is another aspect of Greek culture unfamiliar to modern readers.  If a guest visits your house, you are required by the tenets of hospitality to give him food and shelter.  These acts are even more important than discovering his name and peoples, as we often see this information offered after the initial formalities are served.  The concept of xenia is emphasized because one never knows if one is hosting a man or a god.  As a modern reader, it was amusing to see poor Telemachos attempt to extricate himself from Menelaos’ hospitality and avoid Nestor’s, in an effort to avoid wasting time in the search for his father.  I’m certain amusement wasn’t Homer’s intention but it wasn’t surprising as to the emphasis placed on this tradition.  Any deviation from this custom could result in dishonour and a possible feud with your potential host or guest.

The Odyssey Homer
1. Mt. Olympus   2. Troy   3. Kikonians   4. Lotus-Eaters   5. Cyclops
6. Aeolia’s Island   7. Laestrygonians   8. Circe’s Kingdom  9. Land of the Dead
10. Sirens   11. Scylla & Charybdis   12. Kalypso   13. Ithaka
source Nada’s ESL Island

Greek literature has been a surprising passion of mine.  From my first read of The Iliad, I was hooked and I often wonder why?  The heroes are chiefly concerned with fame, glory, reputation, pillaging and the spoils of war; the gods are jealous, capricious, vindictive and possess far too many human traits for comfort.  Yet I think what draws me to these characters is that they are so real …….. fallible, vulnerable, imperfect, yet they exhibit these deficiencies through an heroic, courageous and larger-than-life persona. They have their customs and traditions, institutions designed to help their society flourish, and which are important enough to sacrifice happiness, comfort and, at times, even their lives, to preserve.

The Odyssey Read Along Posts:  Book I & II / Book III & IV /  Book V & VI /  Book VII & VIII /  Book IX & X /  Book XI & XII / Book XIII & XIV /  Book XV & XVI /  Book XVII & XVIII /  Book XIX & XX /  Book XXI & XXII /  Book XXIII & XXIV

A note on translations:  if you plan to read only one translation of The Odyssey, I would highly recommend Richard Lattimore’s translation, as it is supposed to be closest to the original Greek, while also conveying well the substance of the story.  Fitzgerald is adequate but likes to embellish, and the Fagles translation …….. well, as one learned reviewer put it, “they are so colloquial, so far from Homeric that they feel more like modern adaptations than translations.”  I would have to agree.

For people who are interested in introducing their children to the tales of Homer, there are a number of excellent books for children which I will list here:

This book counts as Plethora of Books Classic Club Spin, so I finished her book and my spin book, as well.  I’m going to give myself a pat on the back and less guilt for not finishing my previous spin book (yet). 🙂

Translated by Richard Lattimore

 

Classics Club

 

Candide by Voltaire

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“In the castle of Baron Thunder-ten-tronckh in Westphalia, there once lived a youth endowed by nature with the gentlest of characters.”

Published when Voltaire was 66 years old, Candide was expressly written to satirize the philosophy of Optimism.  This optimism was not simply the positive hope of better circumstances, but the belief that everything that happened was for the best, no matter if good or bad, happy or tragic.  This philosophy disgusted Voltaire because he felt that it left no facility for bettering oneself or one’s surroundings and that it supported fatalism and complacency.  The tragic earthquake in Lisbon in 1755 seemed to precipitated the writing of this novel, causing the author to question justice in such a calamity, and reflected in his poem, “Poem on the Disaster of Lisbon,” written weeks afterward.  Candide was further emphasis of Voltaire’s rejection of the attitude that life was the “best of all possible worlds” and that everything that happened in it was for the best.

Voltaire
detailed portrait by Maurice Quenton de la Tour
source Wikipedia

Voltaire was an established writer and thinker by the time he wrote Candide, yet a controversial figure who by many was both admired and hated.  He  was continuously clashing with the government and the church, suffering two periods of incarceration, and most of his adult life was spent exiled from Paris, the city of his birth.  Much of his works were published under a pseudonym to avoid prosecution.  During a stint in exile, he spent three years in Great Britain and, impressed with the freedoms of England, particularly that of speech, his stay intensified his desire for reforms in his home country.  In 1758 he settled in Ferney in eastern France, spending his time farming, writing and supporting local business.  Candide was written there, not long after his move.

Satire:  the use of humour, irony, exaggeration, or ridicule to expose and criticize people’s stupidity or vices, particularly in the context of contemporary politics and other topical issues

Candide is a young man who has grown up living in a state of perfect happiness, guided by his tutor, Pangloss, who is entrenched in the doctrines of Leibnizian Optimism.  Leibnizian Optimism, a philosophy of Gottfried Wilhelm Leibniz, believed that this world is the best of all possible worlds because it was created by an omniscient God who would not create flaws if a better world could have been created, therefore, whatever we experience in this world, be it good or bad, must work towards good.  When Candide is thrown out of his paradise, he travels the world, at times escaping persecution, and at others, searching for his love, Cunégonde, experiencing many horrific trials and suffering that challenge the philosophy entrenched by his tutor, causing him to question over and over, if this really is “the best of all possible worlds.”

I really whiffle-waffled over how I felt about this book.  On one hand, Voltaire can write a fast-moving, engaging tale.  His storyline was amusing and it did contain deeper themes that, if the reader had a strong attention span, challenged him to think about his view of the world, his place in society and his response to injustice.  Yet Voltaire’s method was rushed and honestly, just too absurd to ellict introspection for long.  Candide flew from one adventure to the other, characters threw philosophical comments around, but there was no time or room for philosophy itself.  Voltaire never took a thought or comment from a character into deeper conversation; he simply told the reader what the characters did or thought, but we weren’t privy to the conversation.  As a reader, you were often left swimming in a murky haze of Voltaire-imposed ignorance ……. Yet perhaps this was Voltaire’s intention.  Perhaps at the end of the book, as Candide states, “we must cultivate our garden,” Voltaire meant that we should all mind our own business, not examine things too closely, and just work with what is at hand.  Okay, but it is self-introspection that causes a human being to better himself, it is dialogue and discussion that can often help a society, as well as having the possibility to harm it.  People need to have hope, and to cultivate hope it often means having dreams that reach outside our immediate circle of life.  Within the light-hearted narrative that almost masked the tragedy, I felt a fatalism with which I could not accept or sympathize.

That said, these were only my impressions of a book that touches on topics of which I have a limited understanding.  To give an informed opinion on Voltaire’s stance, you would really need to have more than a cursory knowledge of Leibnizian Optimism, as well as having at least summary knowledge of his contemporaries, with a dollop of the study of the Enlightenment on top.  So I will count this as the beginning of my inquiry into the Enlightenment and Voltaire, and hope that my journey fairs better than the journey of Candide.  And until my next foray into Voltaire, I will be cultivating my garden.

Translated by Lowell Blair

The Magician’s Nephew by C.S. Lewis

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“This is a story about something that happened long ago when your grandfather was a child.”

When Digory’s father is posted to India and his mother becomes ill, they must leave their country life and settle in London with Uncle Andrew and his sister, Aunt Letty. Fortunately Digory soon meets Polly, a girl who lives in one of the connecting row houses, and the adventure begins!

While trying to find a passage through the attics from Polly’s house to Digory’s, they inadvertently stumble into the workroom of Uncle Andrew.  To this point, Digory has not had much contact with his scientific uncle, but this experience proves without a doubt his uncle’s evil nature.  With a magic ring, he sends Polly into another world with no chance of returning, without Digory entering the world as well, with two magic rings that will bring them back.

 

Aslan in the process of creating Narnia’s animals
Pauline Baynes 1955

Lewis believed that each one of our actions in life either took us one step closer to Heaven, or one step closer to Hell.  Now, this didn’t mean that by doing something bad, you would go to Hell; Lewis wanted people to be aware that their actions matter.  Our actions are what form our character and each action works either towards forming a good, trustworthy, amiable character, or a bad, prideful, self-centred character.

Uncle Andrew is a fine example of a character gone rotten.  He is untrustworthy, lacks a conscience and is extraordinarily narcissistic, believing because of his perceived superior intellectual skills and his ability as a magician and scientist, that he is exempt from societal conventions and moral obligations.  His cultivated vanity is uncontainable, and in his selfishly aggrandized mind, the ends always justify the means.

At the beginning of the story, while being different from his uncle, Digory, however, shows some disturbingly similar traits.  He exhibits the same weakness as his uncle when, in The Wood Between Two Worlds, he suggests that instead of going directly back to the study, they explore another pool.  Curiosity overcomes his common sense and a stubborn prideful attitude closes his ears to Polly’s initial prudent advice. Fortunately he agrees to Polly’s insistent demand to test the rings to see if they are able to return easily; unconstrained curiosity can get one into unexpected perils and it is important that a thirst for knowledge is tempered with a respect for the nature of things.

Similarly in Charn, even though Digory senses that it is a “queer place,” he once again ignores Polly’s suggestion to leave, using words to deride and mortify her to make her abandon common sense.  Finally, he again allows his curiosity to override his good judgement, when he rings the bell in Charn, waking an evil that is beyond his imagination.  Curiously, just before this act, Polly remarks, “You look exactly like your uncle when you say that.”

Yet finally Digory starts to make wise choices.  In spite of being initially captivated by the evil Empress Jadis, his enchantment begins to dissipate after he hears of her ruthless destruction of Charn and of her plans to travel to their world.  He also has the integrity to make a full confession when Aslan asks him about the evil that he brought into Narnia, and his bravery and honesty serve him well, as Aslan trusts him with the quest of bringing back a magic apple to grow a tree to protect Narnia from the evil that lurks there.  Within the garden there is a replay of the temptation of Eve, this time with Jadis as the tempter and Digory the intended victim.  Yet Digory shows surprising resilience, faithfully resisting the witch’s manipulations and temptations, returning to fulfil his quest.  Through the characters of Uncle Andrew and Digory, we see the formation of a virtuous character who makes prudent choices (with mistakes along the way), and the result of a deceptive and corrupt character who makes the wrong choices .

The Mountains of Mourne
…. inspired Lewis to write the Chronicles of Narnia …
source Wikipedia

Ah, this post is already too long but there are so many other elements enmeshed in this fascinating tale. Lewis’ use of “supposition” to represent the creation of Narnia was just lovely. There are obvious parallels to Genesis and the creation of Earth, but also differences, that are as creative as they are compelling.  Aslan singing the entire world of Narnia into existence, evoking edenic and pastoral images, is a beautifully captivating scene.  The Deplorable Word is thought to be a reference to the atomic bomb; when Lewis began writing this book, the world was at war, and its annihilation would certainly have been foremost in his mind.  And there is also an example Plato’s theme of self-deception, which we see played out in the character of Uncle Andrew.  Plato believed that self-deception was a state of mind where irrational desires supersede natural reason as a guide for ethical behaviour, and while the person believes that their conduct will bring them happiness, in effect, it only brings them misery.  Socrates also levelled the charge against his countrymen that blindly pursuing knowledge through any means, with the goal being the resulting power attained, can only be realized at the expense of truth and morality.

The last book in the Chronicles of Narnia series is, of course, The Last Battle.  I can’t wait!

 

C.S. Lewis Project 2014

 

Other Narnia Books

The Seven Storey Mountain by Thomas Merton (Classic Club Spin #5)

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“On the last day of January 1915, under the sign of the Water Bearer, in a year of a great war, and down in the shadow of some French mountains on the borders of Spain, I came into the world.”

I had heard many stories about Thomas Merton, the “Buddhist Trappist monk” and I was interested in finding out the commonalities he discovered between Buddhism and Catholicism. However, as it turns out, The Seven Storey Mountain is an autobiography of Merton’s early life, before he converted to Catholicism, and covering a few of the years after he entered the Trappist monastery, so I’ll have to search further to read about the Buddhist-Catholic component.  Nevertheless, this book, which was featured in the National Review’s 100 Best Books of the Century, was charming, funny, heart-warming, spiritual, serious, emotional and intellectual.

Born in Prades, southern France on January 31, 1915, and during the First World War, Merton had a somewhat nomadic life as a child.  Perhaps gaining perspective and creativity from his artistic French father and a certain practicality from his American mother, he draws the reader into the book in the first chapter:

“On the last day of January 1915, under the sign of the Water Bearer, in a year of a great war, and down in the shadow of some French mountains on the borders of Spain, I came into the world.  Free by nature, in the image of God, I was nevertheless the prisoner of my own violence and my own selfishness, in the image of the world into which I was born.  That world was the picture of Hell, full of men like myself, loving God and yet hating Him; born to love Him, living instead in fear and hopeless self-contradictory hungers …… My father and mother were captives in that world, knowing they did not belong with it or in it, and yet unable to get away from it.  They were in the world and not of it —— not because they were saints, but in a different way: because they were artists.  The integrity of an artist lifts a man above the level of the world without delivering him from it ……… I inherited from my father his way of looking at things and some of his integrity and from my mother some of her dissatisfaction with the mess the world is in, and some of her versatility.  From both I got capacities for work and vision and enjoyment and expression that ought to have made me some kind of King, if the standards the world lives by were the real ones.  Not that we ever had any money; but any fool knows that you don’t need money to get enjoyment out of life.”  

From Merton’s early life in France, we move with him to America and then, after the death of his mother, his return to France with his father, while his brother, John Paul, is left behind with his grandparents.  When Merton is 13 years old, they move to England, but when his father dies of a brain tumour, he eventually moves to the U.S. again, and finds himself enrolled in Columbia University, on his way to a possible promising professorship.  Yet life intervenes and through various circumstances, Merton finds the church and from there, a personal relationship with God.

Merton was not a man who was searching for an escape from life. Fascinatingly, he did not find the monastery; the monastery found him. Initially, as a young man, his life consisted of university, friends, bars, girls and fun.  Calling himself a true child of the modern world, he was a mirror of its afflictions: selfishness, ambition, irreligion, materialism, etc.   His expectations were to graduate and find employment, as other young men in his situation.  Yet within the social activity and superficial amusements that he experienced as a typical American youth, he nevertheless felt an emptiness that came with an increasingly strong desire to be filled.  Perhaps Merton had tried it all and the only thing left was God.

Merton’s prose is delightful, both beautifully description and harmonious, yet he is also adept at injecting light humour into situations:

“‘France!’ I said, in astonishment.  Why should anybody want to go to France?  I thought: which shows that I was a very stupid and ignorant child.”

And an excerpt from a trip to Switzerland with his family when he was about 11 years old:

“The rest of the time was one long fight.  We fought on pleasure steamers, we fought on funicular railways, we fought on the tops of mountains and at the foot of mountains and by the shores of lakes and under the heavy branches of evergreens ……………. By the time we got to the Jungfrau koch, everybody was ready to fall down from nervous exhaustion, and the height made Bonnemaman faint, and Pop began to feel sick, and I had a big crisis of tears in the dining room, and then when Father and I and John Paul walked out into the blinding white-snow field without dark glasses we all got headaches; and so the day, as a whole, was completely horrible …………… John Paul humiliated the whole family by falling fully dressed into a pond full of gold-fish and running through the hotel dripping with water and green-weeds.”

Merton’s deep understanding of human nature is punctuated by intelligent comments throughout the book.

On school:  “But when a couple of hundred of these southern French boys were thrown together in the prison of that Lycée, a subtle change was operated in their spirit and mentality.  In fact, I noticed that when you were with them separately, outside of school, they were mild and peaceable and humane enough.  But when they were all together there seemed to be some diabolical spirit of cruelty and viciousness and obscenity and blasphemy and envy and hatred that banded them together against all goodness and against one another in mockery and fierce cruelty and in vociferous, uninhibited filthiness.”

On literature:  “A course in literature should never be a course in economics or philosophy or sociology or psychology …….. the material of literature and especially drama is chiefly human acts — that is, free acts, moral acts.  And, as a matter of fact, literature, drama, poetry, make certain statements about these acts that can be made in no other way.  That is precisely why you will miss all the deepest meaning of Shakespeare, Dante, and the rest if you reduce their vital and creative statements about life and men to the dry matter-of-fact terms of history, or ethics, or some other science.  They belong to a different order.”

On capitalism:  “It is true that the materialistic society, the so-called culture that has evolved under the tender mercies of capitalism, has produced what seems to be the ultimate limit of this worldliness.  And nowhere, except perhaps in the analogous society of pagan Rome has there ever been such a flowering of cheap and petty and disgusting lusts and vanities as in the world of capitalism, where there is no evil that is not fostered and encouraged for the sake of making money.  We live in a society whose whole policy is to excite every nerve in the human body and keep it at the highest pitch of artificial tension, to strain every human desire to the limit and to create as many new desires and synthetic passions as possible, in order to cater to them with the products of our factories and printing presses and movie studios and all the rest.”

courtesy of The Thomas Merton Center at Bellarmine University   

Through his writing, Merton’s connection with the outside world was only enlivened and strengthened after he entered the Trappist monastery. Most of his most vibrant and inspirational work was produced while he was cloistered, as if being in the world made him understand it less, but by being removed from it, he gained a greater understanding.  While his post-monastery accomplishments were vast, he initially felt the vocation of a writer in conflict with his vows, but under the urging of his abbey superior, he became a prolific author, producing more than 70 books on spirituality, social justice and pacifism, and The Seven Storey Mountain gained him a world-wide reputation.  He became more interested in inter-faith dialogue and amassed a huge correspondence with a great number of influential people.  In 1968 he attended an inter-faith conference for Catholic and non-Christian monks in Thailand, and, after stepping out of the bathtub in his hotel room, Merton was accidentally electrocuted by touching an electrical fan. He was 53 years old.

Upon its publication, The Seven Storey Mountain won critical acclaim, appealing to a post World War II society looking for meaning and stability.  Grahame Greene had high praise for it, saying: “Is is a rare pleasure to read an autobiography with a pattern and meaning valid for us all.  The Seven Storey Mountain is a book one reads with a pencil so as to make it one’s own.”  By 1984 it had sold 3 million copies, and to-date is in continuous printing and is published in 15 different languages.

The value of a book such as this is that it takes you out of life as you see it from your own perspective.  Like it nor not, society influences our thoughts, our choices, our perceptions and our actions.  We often see situations from one vantage point and must struggle to get a different view.  Merton starts with the familiar, living the status quo, but then takes you out of the normal, the complacent, the mundane, and allows you to see life from a completely different aspect.  The door is open and you are free explore.

I’m looking forward to reading more of Merton’s work.  He examines so many fascinating ideas in so many different areas, and really gets me thinking.  And I actually finished my Classic Club Spin #5 so I’m going to celebrate!  Yay!

The Horse and His Boy by C.S. Lewis

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First Edition Dust Jacket
source Wikipedia

“This is the story of an adventure that happened in Narnia and Calormen and the lands between, in the Golden Age when Peter was High King in Narnia and his brother and his two sisters were King and Queens under him.”

The Horse and His Boy, the fifth Narnian adventure, is set outside of Narnia in a land far to the south called Calormen.  Appearing to be modeled after an eastern land, Calormen is inhabited by dark-skinned people who are traders, merchants and lords, all living under their ruler, the great Tisroc, a descendant of the god Tash.   Shasta, a fair-skinned boy lives with his “father”, a Calormen fisherman, but when a great lord arrives and attempts to purchase the boy, he escapes on the lord’s horse, a talking Narnian horse named Bree.  In their flight they are joined by Aravis, a young Calormen girl escaping on another Narnian horse, Hwin, as she attempts to avoid a distasteful arranged marriage.  Together they learn of the plans of Tisroc’s son, Rabadash to invade Archenland, a kingdom friendly to Narnia, and have to use all their skill and wits to avert a disaster and to find Shasta’s true heritage.

Elements of The Arabian Nights permeate this story.  Calormen is reminiscent of an Arabian city, and the people are perceptive, knowledgeable, wealthy and courteous, yet a ruthlessness runs through their ancient blood.  They are also respected storytellers, able to weave elaborately fabulous tales.

From another viewpoint, the storyline could be compared to a Shakespearean drama.  Lost or mistaken identity are favourite devices of the Bard, and Shasta’s situation fits just this scenario:  a boy who has been taken from his parents, discovers he does not belong within the culture where he lives, and sets out to find out his true heritage.

And finally, a prophecy is given at the beginning of Cor’s (Shasta’s) life, that he will one day save Archenland from a terrible catastrophe.  This prophecy is reminiscent of the Greek story of Oedipus told by Sophocles: a prophecy is given at his birth as well and, as in the case of Cor, every attempt to prevent the prophecy, only causes its fulfilment.

Tashbaan by Pauline Baynes (1953)

Instead of Aslan appearing outright to the children as in other stories and directly affecting the adventure, in The Horse and His Boy, he is presented as a shadowy presence that hovers at the edge of the adventure.  Finally he does intervene but the book makes it very clear that his actions are still behind the story not driving it.  When Aravis remarks that it is “luck” that she was not more seriously wounded by the Lion, the hermit replies, “…. I have never met any such thing as luck”; instead of fortune, it is Aslan or Providence that is helping them on.  As Shasta so wisely remarks, ” ……. Aslan (he seems to be at the back of all stories) …..”

I believe there is also some “reverse-theology” incorporated into the making of the characters of Shasta and Aravis.  Aravis is strong and courageous; she is adept on a horse, knows her mind, and often mocks or secretly despises some of the tentativeness or perceived weakness shown by Shasta.  Yet, at the climax of the story, it is Shasta who shows unexpected bravery and is ultimately trusted with the task of saving Archenland from the troops of Rabadash.  Aravis is forced to admit her pride, which she does most willingly:  “There’s something I’ve got to say at once.  I’m sorry I’ve been such a pig.  But I did change [her opinion of him] before you were a Prince, honestly I did: when you went back, and faced the Lion,” echoing the biblical maxim, “for those who exalt themselves shall be humbled, and those who humble themselves will be exalted.”

The Magician’s Nephew is up next.  It used to be my least favourite chronicle but we’ll see if the years have changed my mind!

C.S. Lewis Project 2014

Other Narnia Books

A Preface to Paradise Lost by C.S. Lewis

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C.S. Lewis does it again.  Not only does he supply enlightening commentary to accompany a reading of Paradise Lost, but he touches on a number of other books and subjects, conveying fascinating information in an extremely accessible narrative.

A Preface to Paradise Lost is a compilation of Lewis’ Ballard Matthews Lectures, which he gave in 1941 to students at the University College of Northern Wales. Lewis’ expertise was Medieval and Renaissance literature, and while reading this book, it is apparent that he is in his element, as he covers not only Paradise Lost but also gives the reader an introduction to the genre of epic and insights into how to read it.

Lewis’ initial chapters — more than one-third of the book — cover epic poetry, both primary and secondary, and he provides numerous examples contrasting the two, from The Odyssey, The Iliad, Beowulf, The Aeneid and, of course, Paradise Lost, to further the readers’ understanding.  Next, in a lecture titled, The Unchanging Human Heart, he deals with how to read a poem (or book), which is perhaps my favourite lecture of all.  How do we deal with the gulf between our era and the author’s?  Do we read only for what is relevant to us, or do we attempt to engage with the author?  Lewis deals with both approaches:

“A method often recommended may be called the method of The Unchanging Human Heart.  According to this method the things which separate one age from another are superficial ……. if we stripped [off the superficialities] …… we should find beneath … an anatomy identical with our own ….. we shall find the Unchanging Human Heart, and on this we are to concentrate.   

I held this theory myself for many years, but I have now abandoned it.  I continue, of course, to admit that if you remove from people the things that make them different, what is left must be the same, and that the Human Heart will certainly appear as Unchanging if you ignore its changes ……. [thus] our whole study of the poem will then become a battle between us and the author in which we are trying to twist his work into a shape he never gave it, to make him use the loud pedal where he really used the soft, to force into false prominence what he took in his stride, and to slur over what he actually threw into prominence ……….. I do not say that even on these terms we shall not get some value out of our reading; but we must not imagine that we are appreciating the works the old writers actually wrote ……

Fortunately, there is a better way.  Instead of stripping the knight of his armour you can try to put his armour on yourself ………. I would much rather know what I should feel like if I adopted the beliefs of Lucretius than how Lucretius would have felt if he had never entertained them.  The possible Lucretius in myself interests me more than the possible C.S. Lewis in Lucretius …… 

To enjoy our full humanity we ought, so far as is possible, to contain within us potentially at all times, and on occasion to actualize, all the modes of feeling and thinking through which man has passed …….. Only thus will you be able to judge the work ‘in the same spirit that its author writ’ and to avoid chimerical criticism.  It is better to study the changes in which the being of the Human Heart largely consists than to amuse ourselves with fictions about its immutability ……….”


Finally Lewis delves into Paradise Lost, but instead of summarizing the chapters, Lewis concentrates on expounding on particular characters and certain themes.  He explores the poem’s theology, hierarchy, Satan, Satan’s followers, the angels, Adam and Eve, unfilled sexuality, and the Fall. Addressing some of the controversies over the poem, Lewis deals with the difficulties with his typical logical summations and a sprinkling of dry wit.  And while mostly praising Milton’s achievement, he does not hesitate to point out perceived flaws in the work, and while doing so, gives the reader a more profound comprehension of the challenges of Milton’s task.

While amazingly thorough, Lewis’ writing is simple, clear and understandable.  His lectures encourage the reader to read critically, and his explanation of Milton’s worldview is not only helpful, but necessary, to gain a good understanding of the poem.  While being very readable, this guide is the definitive “go-to” book for tackling Paradise Lost for readers who want to go in-depth with their study.

Paradise Lost Review

The Silver Chair by C.S. Lewis

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The Silver Chair
First Edition Dustjacket
source Wikipedia

“It was a dully autumn day and Jill Pole was crying behind the gym.”

Eustace Scrubb and Jill Pole seek shelter from bullies in their Experiment House school and, after stumbling through a door, find themselves in Aslan’s country, not realizing that Aslan has called them there for a very special purpose.

Ten years ago after the death of his mother, Prince Caspian’s son, Rillian, disappeared into the North without a trace.  With Puddlegum, the pessimistic Marshwiggle as their guide and companion, Eustace and Jill set out to discover his fate.  However, Jill missed some of the four signs that Aslan had given her and the adventurers wonder if their quest has not been made more difficult because of her oversights.  Will they be able to save the heir of Narnia from the evil Emerald Witch, and even more importantly, what will they have learned by the end of their adventure?

Lewis makes me laugh with some of the symbolism he inserts into these tales for children.  In one scene, the Witch attempts to enchant the children, striving to convince them that their world is only a dream and that her world is, in fact, the real thing.  Bravely, Puddleglum, in desperation, stamps on the fire, hoping the resulting pain will break the spell.  He declares even if they have imagined all the wonderful things of their world, he prefers them to the cold, dark, menacing world of the Witch, and he pledges to live as a Narnian even if Narnia does not exist.  Puddleglum’s curious statement echoes Blaise Pascal’s famous wager that argues that even if God does not exist, to live by His precepts will ensure a better earthly life; what one would gain would be infinitely more valuable than what one would lose.

 

Puddleglum the Marshwiggle

This book is my least favourite of the Chronicles so far, but Lewis still manages to tell an engaging tale that keeps the reader interested and invested in the characters.  Next up is The Horse and His Boy!

C.S. Lewis Project 2014

Other Narnia Books

 

Paradise Lost by John Milton

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                                                                           “Of Man’s first disobedience and the fruit
Of that forbidden tree whose mortal taste
 Brought death into the world and all our woe,
With loss of Eden, till one greater Man
Restore us and regain the blissful seat,
Sing, Heavenly Muse, that on the secret top
Of Oreb or of Sinai didst inspire
That shepherd who first taught the chosen seed
In the beginning how the heavens and earth
Rose out of Chaos; or, if Sion hill
Delight thee more, and Siloa’s brook that flowed
Fast by the Oracle of God, I thence
Invoke thy aid to my adventurous song,
That with no middle flight intends to soar
Above the Aonian mount, while it pursues
Things unattempted yet in prose or rhyme.”

 

Samuel Johnson declared that Paradise Lost is “a poem …… which respect to design may claim the first place, and with respect to performance, the second, among the productions of the human mind …..”   It is a poem about the rebellion in Heaven and the ejection of the fallen Angels; it is about the Garden of Eden, the deception of the snake, and the fall of Man.  But it is much more than all these points, separately and as a whole. Just as Satan falls into the depths of the burning pit of Hell, Milton delves into the depths of the human Soul and conversely soars to the heights of the God of Heaven, weaving a tapestry of images and profundity that will leave the reader amazed and speechless.  Initially, the reader believes he is following Milton’s lead, not realizing until later that he is part of the tapestry itself and Milton’s words have become part of his soul.

 

John Milton’s Cottage
courtesy of Old Skool Paul (sourced Flickr)
Creative Commons License
In this poem, Satan’s actions are especially shockingly compelling as we follow his fall from Heaven, his brash, swaggering leadership of the fallen angels, and then his quest to best God to get his spiteful, yet senseless, vengeance.  We think of Hell as a place, full of fire and brimstone, burning and torment, and while Milton gives Hell a location in this poem, it is much more than that.  Satan carries Hell inside him.  It torments him, not only with thoughts of rage and hate and revenge, but almost more effectively with thoughts of despair, regret and impossible hope.  Conflicting emotions scrape and tear at him incessantly.  For him, Hell is not external; it is an internal condition from which he cannot escape.

Milton’s superlative crafting of the character of Satan has led many people to believe he was perhaps too successful, making Satan the most exciting and heroic character of the poem.  William Blake stated that “the reason Milton wrote in fetters when he wrote of Angels and God, and at liberty when of Devils and Hell, is because he was a true poet, and of the devil’s party without knowing it”.  It is certainly true that Milton intimately understood “the devil’s party”.  Like us all, he experienced sin within himself and within others:  rage, treachery, deceit, the desire for power, etc.  And with his astonishing talent, he was able to craft a character that is perhaps the most Satan of all the Satans in the history of literature.  Milton’s Satan is capable of tricking not only Adam and Eve and angels, he is able to trick the reader of Paradise Lost as well, in such a subtle manner that certain readers admire his bravado, respect his machinations, and feel sorry for his plight.  While Milton’s brilliance in this area of the poem is breath-taking, it is also unsettling.  C.S. Lewis in his lectures on Paradise Lost, approaches this issue in a dexterous manner, saying that if the reader chooses to admire Satan, he must only realize what he is admiring:

“No one had in fact done anything to Satan; he was not hungry, nor over-tasked, nor removed from this place, nor shunned, nor hated —- he only thought himself impaired.  In the midst of a world of light and love, of song and feast and dance, he could find nothing to think of more interesting than his own prestige …..


……… Satan lies about every subject he mentions in Paradise Lost.  But I do not know whether we can distinguish his conscious lies from the blindness which he had almost willingly imposed on himself ……


…….  What we see in Satan is the horrible co-existence of a subtle and incessant intellectual activity with an incapacity to understand anything.  This doom he has brought upon himself; in order to avoid seeing one thing he has, almost voluntarily, incapacitated himself from seeing at all.  And thus, throughout the poem, all his torments come, in a sense, at this own bidding  …..


……. the design of ruining two creatures (Adam & Eve) who had never done him any harm, no longer in the serious hope of victory, but only to annoy the Enemy (God) whom he cannot directly attack ……


…….  From hero to general, from general to politician, from politician to secret service agent, and thence to a thing that peers in at bedroom or bathroom windows, and thence to a toad, and finally to a snake  ——-  such is the progress of Satan.  This progress, misunderstood, has given rise to the belief that Milton began by making Satan more glorious than he intended and then, too late, attempted to rectify the error.  But such an unerring picture of the ‘sense of injured merit’ in its actual operations upon character cannot have come about by blundering and accident.  We need not doubt that it was the poet’s intention to be fair to evil, to give it a run for its money —- to show it first at the height, with all its rants and melodrama and ‘Godlike imitated state’ about it, and then to trace what actually becomes of such self-intoxication when it encounters reality.”

 

Depiction of Satan
Gustave Doré (1866)
source Wikipedia

Yet in spite of the beautiful images painted amid the stark reality, Milton seems to rush the end of the poem, packing the whole Old Testament into the last two books and surprisingly uses a more direct narrative instead of showing the reader with his usual subtle yet beautiful verse.  Lewis remarks on the lack of genius in the last books in comparison to the earlier wonderful artistry of the poem:

“It (Paradise Lost) suffers from a grave structural flaw.  Milton, like Virgil, though telling a short story about the remote past, wishes our minds to be carried to the later results of that story.  But he does this less skillfully than Virgil.  Not content with following his master in the use of occasional prophecies, allusions, and reflections, he makes his two last books into a brief outline of sacred history from the Fall to the Last Day.  Such an untransmuted lump of futurity, coming in a position so momentous for the structural effect of the whole work, is inartistic.  And what makes it worse is that the actual writing in this passage is curiously bad.  There are fine moments, and a great recovery at the very end.  But again and again, as we read his account of Abraham or of the Exodus or of the Passion, we find ourselves saying, as Johnson said of the ballad, ‘the story cannot possibly be told in a manner that shall make less impression on the mind’.  ……….  If we stick to what we know we must be content to say that Milton’s talent temporarily failed him …….”

Yet even with its flaws, Paradise Lost is an epic that is at once majestic, beautiful, poignant, tragic and instructive.  It opens a window into the Biblical story of the fall, allowing the reader to live the experiences and emotions first-hand.  What a task Milton took on and how well he succeeded!  I predict this read be my favourite of the year.  My feeble summary only covers the surface of its significance; you will only have to read it yourself to discover its grandeur!

Further reading:
         A Preface to Paradise Lost – C.S. Lewis
         Charles Williams Selected Writings (contains an essay on Milton)
         

 

Daniel Deronda by George Eliot

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“Was she beautiful or not beautiful?”

Gwendolyn Harleth is a “spoiled child”, a young woman with average prospects yet with high hopes of attaining respectable social standing and monetary comfort. While scorning the traditional avenues of marriage, she desperately wishes for a meaningful, vibrant life, even though she is unsure of how to attain it.  Gambling, parties and equestrian amusements, fill her time, with little thought of other peoples wants, needs or struggles.

Daniel Deronda is a respectable moral young man and the ward of Sir Hugo Mallinger.  When he first spies Gwendolyn, his disapproval of her gambling and later, the same quiet censure of some of her actions, leads her down a path of introspection and causes her to question the manner in which she is living her life.  Yet the changes in her character do not come soon enough and, due to her family’s sudden monetary troubles, she contracts a marriage to Henleigh Mallinger Grandcourt, the nephew and heir of Sir Hugo.  She views the marriage as an escape from poverty and a stepping stone to a life of leisure and a respectable position in society.  Instead she gets a husband with a twisted soul, bent on breaking her will as he would a horse or a wild animal.  He glories in her struggles, fear and his ability to control her actions.

Gwendolyn at the Roulette Table
(1910)
Wikipedia

A second plot winds itself through Gwendolyn’s, as Deronda internally questions the manner of his birth and the identity of his parents.  Not wishing to bring up a subject that may be uncomfortable for Sir Hugo, he suppresses his curiosity, yet aches for familial connections and history.  Upon saving a Jewish singer from drowning, his relationship with her takes him down the path of finding his true heritage.

Eliot forces the reader to examine some of the social issues of that time.  Without money, young women could only hope to find work in low paying positions, such as governesses or companions, or perhaps choose less respectful avenues as singers or actresses.  Without an inheritance or a family who was financially able to support them, an advantageous marriage was really the only protection for women of this time period.

She also treats the subject of Jewish identity and culture with surprising dexterity and perception.  While they are portrayed with an obvious sympathy, Eliot makes each character real, from the philosophic and idealistic Mordecai, to the money-loving pawnbroker, Cohen. The struggle of a people against prejudice and pre-judgement is plainly explored with touching sincerity and insight.  Mordecai’s longing to see the Zionist hopes for a Jewish homeland established adds a deeper more complex examination of an issue that was of particular interest to the author.

The Fair Toxophilites (Archers)
by William Firth (1872)
Wikimedia Commons

I found that certain parts of the novel dragged, and the plot suffered numerous bumps, but again Eliot tackled such diverse issues, making the writing of the novel an epic task, so I can forgive some of the inconsistencies. Her obvious intellectual curiosity, and her enlightened opinions made the read informative as well as enjoyable.  Daniel Deronda is a book that prods you to think and ponder even after the last page is turned.

“In the chequered area of human experience the seasons are all mingled as in the golden age: fruit  and blossom hang together,; in the same moment the sickle is reaping and the seed is sprinkled; one tends the green cluster and another treads the wine-press.  Nay, in each of our lives harvest and spring-time are continually one, until Death himself gathers us and sows us anew in his invisible fields.”

The Voyage of the Dawn Treader by C.S. Lewis

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First Edition Dustjacket
source Wikipedia

“There was a boy called Eustace Clarence Scrubb and he almost deserved it.”

Another year has passed.  Peter and Susan Pevensie are able to travel with their parents to America, while Edmund and Lucy are sent to live with their cousin, Eustace Scrubb.  Eustace is a spoiled pest, a child who has been raised by “very up-to-date and advanced” parents and who attends a “modern school.”  When the three children pass through a picture of a sailing ship and back into the land of Narnia, they are tossed into another wild adventure.

The Dawn Treader is the pride of the Narnian fleet and is carrying Prince Caspian on a journey to find the seven lost lords of Narnia, friends of his father who sailed east and went missing long ago.  As they explore both uncharted land and water, the children find themselves in situations of danger and moments of decision that will change their lives forever.

This book is the third book published of the Narnia chronicles and with each book, Lewis weaves more gems of wisdom into the story and does it with a genuineness that is particularly appealing.  Lucy once again has an encounter with Aslan: Lucy is instructed to look for a particular spell in a book of Magic but decides, against her conscience, to read a spell that will stroke her vanity and make her more beautiful than her sister.  Immediately she spies Aslan on the page, growling and showing his teeth, which stops her selfish action.  Instead she chooses to read a spell that allows her to eavesdrop on two girls from her school, and what she hears about herself is not pleasant, especially since she had viewed one of the girls as her friend.  Aslan gently admonishes her about listening to their conversation and says that her relationship with her friend will now never be the same.  When Lucy wishes to know what would have happened if she hadn’t eavesdropped, Aslan tells her, as he told her in Prince Caspian, “Child, did I not explain to you once before that no one is ever told what would have happened?”  Actions have consequences and we need to weigh the repercussions before we act, instead of being guided by impulse.

Wikimedia Commons

Eustace Scrubb is certainly a wonderful character and Lewis’ development of him is extraordinary.  Going from a petulant, spoiled, impertient child, he is transformed by a frightening experience, yet Lewis does not make him perfect in his transformation.  As we see by his reactions, he still holds some of the same prejudices, assumptions, and, at times, behaviour as he originally did.  Eustace’s encounter with Aslan fundementally changed his soul, yet he is like an Everyman, struggling with life’s circumstances while trying to live a life of integrity, and still making mistakes along the way.

Lewis makes a point in this book of examining the views of an exclusively scientific mentality and what results from this kind of worldview.  Eustace is initially presented as boy who goes to a model, or progressive school, and is only exposed to factual experience.  Because of his sterile formation, he is unable to enjoy or even recognize, the magic and joy in Narnia.  He has straightforward knowledge, but when situations do not fit into his technical understanding, he is handicapped by his lack of wonder and curiosity, and is unable to accept, understand or cope with them.  What is particularly telling, is that he doesn’t recognize what lies right in front of his face:  in spite of being on the Dawn Treader and being able to see that it is a ship, he tries to tell Caspian what a real ship is like; when they land on Droon, it is reasonably obvious (and he has been told) that they are in another world, yet Eustace insists they should find the British consul; and even after Eustace’s transformation, when they land in the country of the Dufflepuds, he makes an impulsive judgement about the area and its people based on his first sight of technology: “Machinery!  I do believe we’ve come to a civilized country at last!”  By living solely by “the facts”, Eustace can recognize what makes us physically human, yet misses the wonder, enjoyment, and recognition, of what makes us spiritually human.

Detail of Dawn Treader port stern porthole
photo courtesy of David Jackmanson
Creative Commons License

Living during the Second World War and being exposed to the Nazi’s views of racial superiority and social-Darwinism,  Lewis’ was unavoidably confronted with certain aspects of science and was forced to ponder their eventual outcomes:

 

“Again, the oligarchy must more and more base its claim to plan us on its claim of knowledge …….  This means they must increasingly rely on the advice of scientists …… Now I dread specialists in power because they are specialists speaking outside their special subjects.  Let scientists tell us about science.  But government involves questions about the good of man, and justice, and what things are worth having at what price; and on these a scientific training gives a man’s opinion no added value …… On just the same ground I dread government in the name of science.  That is how tyrannies come in.  In every age the men who want us under their thumb, if they have any sense, will put forward the particular pretension, which the hopes and fears of that age render most potent.  They ‘cash in’.  It has been magic, it has been Christianity.  Now it will certainly be science.”

Lewis was not concerned about science itself, but the importance placed on it and for what means it could be used.

Once again, Lewis weaves a wonderful adventure for children, but leaves questions and ideas that relate to an adult world.

C.S. Lewis Project 2014

Other Narnia Books