The Companion Virtues: Intelligence and Goodness

You who know me, know I love John Erskine's Essay called "The Moral Obligation to Be Intelligent". I like it for a few reasons including the idea that it always seems to prepare me to start another school year on the right foot—making sure I remember intelligence is a virtue and a companion to Goodness. You can read more about his premise in the link above.

Well, my thoughts have somewhat been rolling around in the realm of being intelligent and virtuous—that Knowledge must be matched with the sister virtue of Goodness.  To the degree that intelligence and Goodness exist together, they make a person whole and glorious. C. S. Lewis said, “Education without values, as useful as it is, seems rather to make man a more clever devil.” I surmise that sometimes in our learning we justify our weaknesses and lower our values and standards. I think this is the seductive danger in leaning toward our own understanding and not God's understanding. In Second Nephi 9:29, we learn that "to be learned is good if they hearken unto the counsels of God." This principle of aligning my intelligence with God's intelligence has led me to ponder on my recent past.

Here is a little history: for the last twelve years, I have been associating with a couple who have intrigued me with their thoughts, ideas and intellect. Most of our discussion has been in the field of religion, LDS religion, and includes principles and ideas from without the mainstream of Church belief. It has been fascinating and compelling. Other couples have shared stories and books about visions and near-death experiences. These have been intriguing too. For the sake of making this post brief, I am not going to go into detail at this time. I may revisit this post when college classes and my own homeschooling responsibilities are not overwhelming me, but for right now, I will be brief.

Over time, I have had a feeling that something does not quite settle right in my soul about all of these things and I have not known why and maybe I still do not know why, but I have an idea. It seemed that all these years only a few number of members know about these things or talk about them. The rest do not or do not even care. The Brethren surely do not talk about them either. The word esoteric comes to mind. These discussions, therefore are for the few, not the many. They also come in, not by the Gate, but in other ways (under the gate, over the fence, etc.) Knowledge translated into Greek is Gnosis, which could be interpreted as Gnosticism. In other words, over the last decade or so, I have been delighting in good old Mormon Gnosticism. Not gnosticism in the ancient sense pertaining to the 2nd Century heretical movement, but a loose definition of gnosticism in the sense that only a few know about it—esoteric knowledge.

If the knowledge is esoteric, then it is not for the general public. This is starting to sound like the Dark Ages to me. If it is not for the general public, then it is only personal revelation and not something that ought to be shared with others. Alma 12:9 says, “It is given unto many to know the mysteries of God; nevertheless they are laid under a strict command that they shall not impart only according to the portion of his word which he doth grant unto the children of men, according to the heed and diligence which they give unto him.” Strict command is pretty strong here. I surmise that this "gnosis" in which, I have been caught up is not for me to share with others, discuss with others or listen from others.

I believe Mormon Gnosticism began as a fascination with me, then gradually, I felt a sort of "pulling away" from the basic faith. I do not think I went far, but just enough to feel a little darker. In my struggle, I felt to veer away from the esoteric and an amazing thing happened, I felt freer and more filled with light and knowledge, or more pertinently, I felt true gnosis—the kind of living knowledge given to all mankind from God.

Back to Erskine, I truly DO have a moral obligation to be intelligent, act intelligent and do intelligent things. I have the obligation to be good and to match my intelligence with that of God's, but I do not have an obligation to share the esoteric or the obscure doctrines, I need to heed the Lord and "impart only the portion of His word which he doth grant unto the children of men, according to the heed and diligence which they give Him". I do, however, have an obligation to continue to seek for personal revelation and when it comes, I know I can be like Mary of the New Testament and keep all these things and ponder them in my heart (Luke 2:19).

Chorus in Aristophanes' Frogs

Who will win the contest and be granted the grand position to bring life back to an ailing Athens? The aggressive match is between the newly deceased Euripides and the long deceased Aeschylus. Dionysus descends to the underworld and will determine who bears more weight and could turn Athens around.  However, the most influential force of any Grecian contest relies on the Muses, the source of the knowledge of arts and sciences. They are the “experts” in the Dionysian rituals and festivals. In the following two stanzas the chorus summons their bright presence to preside over the fierce debate between the two angry poets.

When men of sage and subtle mind

In fierce debate their views do vent,

And strive some priceless phrase to find

To mask each specious argument,

The Zeus’s virgin daughters nine

Stand by to watch the sport divine.

Come then today, you Muses bright!

Two worse foes never took the field:

For one is armed with words of might,

And one the sword of wit does wield.

O heavenly maids, your presence lend!

The Game’s afoot! Descend, descend![1]

It is alluded to in the first stanza that whenever there is a debate, such as this fierce one, the nine Muses stand by as spectators. Alas, is that all they are—spectators? I would surmise their purpose is more than bystanders. The chorus would agree and knew well the importance of the Muses at the contests. They continue on chanting their wisdom. With their iambic trimeter, they call down the Muses to descend below to witness and give favor to the contest. In the penultimate line of the second stanza, the “heavenly maids” will lend their presence, which one can assume that by their presence, they impart something substantial. I imagine that they grant encouragement, strength and hope for the best man to win.

In comparing the chorus of Frogs to the choruses of the former poets, Aeschylus and Sophocles, I find it exceedingly interesting that the chorus’ in Aristophanes’ Frogs has less substance than the antecedents. It would seem that the characteristics of the singular figures are becoming more in tune to the logic and wisdom or the irrationality and folly of their choices and rely less on a wisdom-bearing chorus. Therefore, I deduce that, apart from the chorus leader, the chorus’ effect on the audience or reader is weaker and less convincing than those of the former poets. It may be that Euripides’ characters are portrayed as real and human and more reasonable, whereas, those of Aeschylus’ are more heroic and stay closer to the moral themes denoting the ideal virtue, relying on the chorus to convince the audience of the ideal. Regardless, the influence and spirit of the Muses will always linger on.

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[1] Aristophanes, The Frogs, translated by David Barrett, (Penguin Classics, 2007), Act II, line 877-888

The Chorus in Sophocles' Theban Plays

If the natural inclination of man is to follow the crowd, Sophocles must have understood this because of his use of the chorus. It seemed to supply the democratic pull to persuade and convince his audience (or in my case, his reader) to go with the flow. I sensed an intense relief as I read over the following strophe and ceased reading. I was in awe at the power of the chorus. Some of that was due to my directed focus on the purpose of Sophocles’ chorus, but whether or not I was focused, I felt its invisible hand controlling my mood.

The Chorus of all the Theban plays is made up of the old men. Particularly, in his Oedipus at Colonus, the chorus is a group of old men of that city. In all likelihood, they are the wise experienced citizens and owners of land and, apart from the heavily ingrained fate that accompanies all Greek thought, the deciding factor of the play. The chorus, working to unite the audience in a democratic sense, not only gives clarity and provides the bigger picture, but it heavily persuades the mood.

Just before the following strophe, Theseus calms the blind king’s heart, confirming that Apollo sent and guided Oedipus to this particular grove at Colonus, a sacred resting place of the gods. He promises that his name, the name of Theseus, will be his shield of protection from the enemies. The chorus takes the role of a united societal thought and soothes the emotions of the audience, after having suffered with Oedipus over the innocent, but terrible tragedy. It is interesting to note that the “pull” of the gods is not as strong as it once was and it appears that the chorus might be taking over that responsibility. With that said, it is the chorus that changes the mood and furnishes a blanket of peace, tranquility and rest. It clarifies and expands the horizon for his future, but ultimately, it assures that Oedipus has finally found a people who will accept him.

The land of running horses, fair

Colonus takes a guest;

He shall not seek another home.

For this, in all the earth and air,

Is most secure and loveliest.

In the god’s untrodden vale

Where leaves and berries throng,

And wine-dark ivy climbs the bough,

The sweet, sojourning nightingale

Murmurs all night long.

No sun nor wind may enter there

Nor the winter’s rain;

But ever through the shadow goes Dionysus reveler,

Immortal maenads in his train.

We see that these lines are an extension of Theseus’ promise.  The chorus expounds upon his oath of peace and protection. It announces, in unison, “Colonus takes a guest.” Undoubtedly, the old men agree with their King, Theseus, to receive Oedipus and protect him as their code of xenia requires. The reader feels drawn in, they are more likely persuaded to agree with the chorus and the King; it is a welcome relief.

The purpose for the chorus here is to demonstrate the belief of the people of Athens, united and amenable to make Oedipus take comfort here, his last home. The strophe assures the audience that the grove is the “most secure and loveliest” than any other place of rest. Furthermore, the words, “In God’s untrodden vale” are a safeguard that trespassers never will bother to come. The last part of the strophe guarantees that the harshness of life has no place in this part of the world. The hot sun has no more power to beat upon, bake or burn. The wind can no longer carry him away as he was wont to wander and the winter’s rain may not pelt, freeze, erode, grind him down, nor deluge him with sorrows. In this manner, the chorus calms the anxiety the audience may feel as a result of the tragedy of Oedipus’ life.

The zeitgeist of the Ancients is not far from the spirit of our times. People naturally tend toward group thought. It is much easier to follow the crowd than to stand up against it. Not that this particular chorus strophe expresses it, but that the chorus ode persuades the mood and unites us in thought, relieves us from this long suffering and influences us to agree with the people, which is not so hard to do since we want relief for poor Oedipus. The chorus is the voice of greater society, most likely the beginnings of what would soon to appear on the horizon: the Greek democracy.  

Homeric Digressions: Are They Necessary?

When the reader arrives at a significant moment in The Odyssey and when the tenseness is almost about to reach its climax, Homer jerks him back in time to give an exhaustive literary impression of a particular object or person. At first, the digressions might feel tedious, seem unnecessary and slow the story down, especially, if one is waiting on the edge of his seat for more action. However, compared with the modern day excessive amusements and distractions, Homer and his fellow citizens were not interested in cutting to the chase, but in embellishing the stories of their heritage and celebrating the heroes and their culture. This essay will attempt to justify the essentiality of Homeric digressions.

These digressions add depth and background, richness and context to the beloved stories. They fully illuminate themes, ideas and the essential Greek cultural capital of Reciprocity, Hospitality and Arête. The digressions involve the storyteller himself. In the middle of the story, Homer chimes in and takes the reader on a tangent, like a little old man in his rocking chair might do. The digression is where we, the reader, allow the bard to embellish and celebrate the stories within the story.

Many essays have been written about the more famous digression of Odysseus’ scar, but there are numerous smaller digressions that beg for attention. One in particular is the story of how Odysseus obtained his bow. Penelope dreadfully climbs “up the steep stairs…to a hidden storeroom, far in the palace depths.”[1] The reader is anticipating her bringing the bow down to the hall where the suitors will contend in stringing the bow and cutting the axes. The best man will become Penelope’s new husband. Yet, leaving us in terrible suspense, Homer takes us now, to the region of Messene, where youthful Odysseus strikes up a friendship with Iphitus. We learn that they exchange gifts to mark the start of their relationship; Iphitus gives his bow, which once was his father’s, the mighty Eurytus and Odysseus gives his sharp sword and rugged spear. No sooner than they exchange the friendly tokens, but Heracles, the past master of monstrous works, kills the gallant Iphitus, Eurytus’ magnificent son, a guest in his house.

In this digression, Homer expounds upon some of the themes of heritage, of names, of hospitality, as would an old wise man continually take to the task of teaching and training the virtues to the young. He knows his place as a keeper of the Greek values and maintains it through the oral tradition.

In addition to the reasons we have already discussed, the digressions occasionally suggest prophecy, omens, or symbolism. In this one, there seems to be some symbolism in the arrows described as “shafts of pain.” Heretofore in the epic, we know that Odysseus is the man of pain and has suffered much pain in the last twenty years, and who is finally on home turf with one last battle to fight. Nevertheless, instead of his pain, this time it will be that of the suitors. Furthermore, symbolic of the bow that never “went abroad with” him, but that he “only took…on hunts at home,” he will use specifically on a hunt at home; his very home; within his home. But first, Penelope must search “far in the palace depths” to find the well-constructed bow.  Symbolically, she is reaching far within the depths of her soul for solace and what will bring her the most happiness—her husband home and by her side. Here she arms herself with the weapon of soon-to-be-mass-destruction, thinking only of her own imminent destruction and yet, it is the very symbol of home for Odysseus as it, along with Odysseus’ craftiness and strength, will restore his home and his family. All this symbolism is made richer, deeper and more powerful because of the story of the bow.

The stories within the story are important to these people. Interwoven throughout the Odyssey, the inquiries: who are you, what is your name, and from whence do you hail, express the importance of Greek heritage. The story of the man is the ultimate of who he is. His story embodies him. It is the cultural capital that portrays Arête. It is the motivation for hospitality and reciprocity. Without the digressions, we have few stories.

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[1] Homer, The Odyssey, translated by Robert Fagles (Penguin Books, 2006), pg. 424, lines 6-10

Emotional Manipulation: Well known in the Ancient World

In Aeschylus’ day no dramatic music score existed to help raise the emotions of the audience. No digitized special effects could add flavor and appeal, or agitate his audience, transforming them at gut level. The entire effect rested upon three things, the accounts of the story, hideous masks, and especially the third: the eerie chorus, which furnished the necessary foreboding, forewarning, and foreshadowing of the impending doom that awaited the household of Agamemnon.  The choral lines were the special effects, which set the mood and tone of the ancient plays in the Oresteia. They give us a backdrop for a powerful emotional experience.

The choral lines throughout alluded to the several murders of Atreus’ household; first the murder of Thyestes’ children by Atreus, Agamemnon’s father; then, in order to have favorable winds for his journey to the Trojan war, Agamemnon sacrifices his daughter Iphigenia; followed by the murder of the recently returned victorious Agamemnon by his wife Clytemnestra and her lover, Aegisthus; and now Orestes, Agamemnon’s exiled son, who is about to murder his mother and Aegisthus. Clearly, the chorus is setting the mood for a never-ending evil and generational destruction. The audience feels agitated, anxious, and apprehensive.

In the following passage from the Libation Bearers, the chorus cuts through the nonsense and heralds the ominous cloud of impending doom upon Orestes. Notice the mood depicted by the descriptions of blood so thick, “caked and hard,” and “the fostering ground,” which stems from the constant familial desire to atone one man’s murder with another man’s murder; and how this infectious desire “boils within” each of their hearts; and finally how each successive murder brings on new evil or “new blood guilt,” with no cure in sight.

“Through too much glut of blood drunk by our fostering ground

the vengeful gore is caked and hard, will not drain through.

The deep-run ruin carries away

the man of guilt. Swarming infection boils within.

“For one who assaults the bride’s pure bed, there is no cure.

All the world’s waters running in a single drift

may try to wash blood from the hand

of the stained man; they only bring new blood guilt on.”[1]

Each evil act is spurred on by a feeling of atoning for the evil of the previous and yet, with each murder, the evil runs thicker and deeper, never to be resolved, or so the drama leads the audience to believe. This persistent evil spell brought on by continual devious deeds sets the tone and, doubtless, causes a deep desire within the heart of the patron to think twice about his or her own decisions.

In this one example of the poetic chorus, we see how the stage is set for an emotional impact and psychological outcome. Thus, is the purpose of the chorus: to deliver the special effects and nuances that set the mood and tone of the Oresteia and cause the audience to participate in the story and feel the emotions of cause and effect.

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[1] Aeschylus, The Libation Bearers, Edited by David Grene and Richmond Lattimore (University of Chicago Press, 2013), pg. 83-84, lines 71-74