Intimations of Mortality

We have been here before. The coronavirus pandemic has many precedents. Over the centuries various plagues have swept over our world. Many millions of people have died before their time. From 1347 to 1351 the Black Death killed about 30 million people in Medieval Europe: over a third of the population. From 1918 to 1920 the Great Influenza killed about 50 million people: about 2.5% of the world’s population. Each of these pandemics was as deadly as World War I (about 20 million) or World War II (about 70 million). Pandemics are more worrisome than wars: we cannot sue for peace with a virus. Most of us survived even the worst of past infections. Our systems of immunity will likely once again become victorious in this present pandemic. But just like after a war, we shall be severely chastened. How close we will have come to death will change the way we think. Everything will be seen through the mirror of our own mortality and the transience of our species. The nearness of an ending will distort our thinking. We shall have strange dreams and frightening visions.

John of Patmos

Such dreams and visions came to a man named John almost two millennia ago. In the second half of the 1st Century CE, during the reign of the Roman Emperor Domitian, the Christians of the Roman Empire were severely persecuted, the Second Temple in Jerusalem was destroyed, and the Roman Empire was shaken by attacks from without and rebellions from within. There was no pandemic but life was just as uncertain.

On the island of Patmos just off the west coast of what is now Turkey, a Christian named John experienced disturbing visions of the future. He described these in a manuscript that began with the word apokalypsis (Greek for “unveiling”). This became Revelation, the last book in the Christian New Testament (Koester, 2014; Quispel, 1979). The illustration on the right, from the Bamberg Apocalypse, an illuminated manuscript from the 11th Century, shows an angel telling John what he should write:

The Revelation of Jesus Christ, which God gave unto him, to shew unto his servants things which must shortly come to pass; and he sent and signified it by his angel unto his servant John (Revelation 1:1)

For many years, Christian scholars assumed that John the Apostle, the youngest of Christ’s disciples, was the author of Revelation, the Gospel of John and the three Epistles of John. Most modern scholars consider it unlikely that he wrote any of these works. They suggest three separate authors one for the gospel, one for the three epistles, and one for the apocalypse. One telling point is that each author describes the end-times very differently. For example, the Antichrist is mentioned in the epistles (e.g. 1 John 2:18), but not in the apocalypse. The author of Revelation was probably a Jewish-Christian prophet living in Asia Minor – John of Patmos. He may have written the book over many years. One suggestion is that he began writing as a Jew and later converted to Christianity (Koester, 2014, pp 68-71).

The visions described by John are stunning in their force and detail. The Whore of Babylon, the Seven-Headed Beast, and the Four Horsemen have become part of our collective consciousness.

Revelation is the most interpreted and least understood book of the Christian Bible (Quispel, 1979; Koester, 2014). Some have interpreted the visions as describing the troubled time in which they were experienced. The Seven-Headed Beast could then represent Rome (with its seven hills, or its seven emperors), and the Rider on the White Horse could represent the Parthians who threatened the peace of the Middle East. Others have considered the visions as prophesying the later history of the Christian Church. The Whore of Babylon was the papacy of Rome for Protestants and the heresies of the Reformation for Catholics. Others believe that Revelation foretells the Last Days, that are yet to come, when Christ will judge both the quick and the dead.

John’s first vision was of the Lord seated upon a throne in Heaven. This is illustrated below in the 11th-Century Bamberg Apocalypse, and in the 1498 woodcut by Albrecht Dürer. Around the throne were four beasts in the form of Man, Lion, Ox and Eagle, probably representing the evangelists Matthew, Mark, Luke and John. Around them were four and twenty elders, clothed in white and wearing crowns of gold. In the Lord’s right hand was a book “sealed with seven seals.” The structure of this book is not clear. Perhaps it is made up of seven scrolls one rolled up within the other (Quispel, 1979, p 51). A mystical lamb appears and proceeds to open each of the seals.

The Four Horsemen

As the first four seals are opened four horsemen appear:

And I saw when the Lamb opened one of the seals, and I heard, as it were the noise of thunder, one of the four beasts saying, Come and see.
And I saw, and behold a white horse: and he that sat on him had a bow; and a crown was given unto him: and he went forth conquering, and to conquer.
And when he had opened the second seal, I heard the second beast say, Come and see.
And there went out another horse that was red: and power was given to him that sat thereon to take peace from the earth, and that they should kill one another: and there was given unto him a great sword.
And when he had opened the third seal, I heard the third beast say, Come and see. And I beheld, and lo a black horse; and he that sat on him had a pair of balances in his hand.
And I heard a voice in the midst of the four beasts say, A measure of wheat for a penny, and three measures of barley for a penny; and see thou hurt not the oil and the wine.
And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see.
And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth. (Revelation 6:1-8)

Only the fourth horseman is clearly identified by John as Death. The color of his horse has been interpreted as “pale,” although the Greek chloros is actually better translated as “green.” Perhaps John envisioned a sickly pale green color. The identity of the other three is unknown (reviewed by Koester, 2014, pp 392-398; and in Wikipedia). The rider of the black horse with his scales for weighing and pricing food was almost certainly Famine. The rider of the Red Horse was probably War. The first horsemen has been interpreted in many ways. Perhaps he is Christ, perhaps the Antichrist. Some have considered him as Conquest though this seems to overlap with the rider of the Red Horse. Pestilence or plague seems the most reasonable interpretation. His arrows could then represent the transmission of infection.

The most famous depiction of the Four Horsemen is the 1498 woodcut of Albrecht Dürer, illustrated on the right. The first three horsemen look like mercenary warriors from the Hundred Year War. Death is a skeletal figure riding an emaciated horse. He clears the world of those who die from pestilence, war and famine.

 








The 1865 wood-engraving by Héliodore Pelan based on a drawing by Gustave Doré gives Death a more majestic appearance, and grants him the scythe that has become his symbol. The scythe refers the apocalyptic passages in the Gospels that consider the final harvest of human souls. Doré also depicts the dark shades of Hades that John saw following after Death.

 





Pale Horse, Pale Rider

In 1918 Katherine Anne Porter almost died from the Great Influenza while she was in Denver working as a journalist (Barry, 1963). In 1939 she published Pale Horse, Pale Rider a short novel about that experience. In the novel she calls herself Miranda (from the Latin, “to be wondered at”). Pale Horse, Pale Rider was published together with two other stories – Old Mortality and Noon Wine – and gave its title to the collection.

The novel opens with a dream. Miranda is about to go riding, but she cannot decide which horse to borrow for a journey she does not wish to take. She decides against Miss Lucy “with the long nose and the wicked eye,” and Fiddler “who can jump ditches in the dark,” and choses Graylie “because he is not afraid of bridges.” These horses are those that were ridden long ago by Amy, the wife of Miranda’s Uncle Gabriel. Amy was a beautiful and spirited young woman, who committed suicide before Miranda was born. Her story was told in Old Mortality, one of several Miranda stories.

In the dream Miranda must go riding with a stranger who has been hanging about the place. She mounts Graylie, and urges him on. They fly off, over the hedge and the ditch and down the lane:

The stranger rode beside her, easily, lightly, his reins loose in his half-closed hand, straight and elegant in dark shabby garments that flapped upon his bones. (Porter, 1939, p 181)

Suddenly, she pulls Graylie up, the stranger rides on, and Miranda wakes up.

She remembers the events of the day before, particularly her visit to the infirmary at the army camp, and her tryst with her new boyfriend Adam, a young and handsome soldier about to be sent to France. She is not feeling well, but goes to work and once again meets Adam.

The next day she feels quite ill, and is seen by a doctor who prescribes some medications and says he will check on her later. Adam comes to see her and comforts her. They talk of their love for each other, about the war and about old songs they had heard when they were younger. One of these is a spiritual that began “Pale horse, pale rider, done taken my lover away.” The doctor returns and arranges for Miranda to be admitted to hospital. She has contracted influenza, perhaps from her visit to the infirmary.

While in hospital Miranda comes close to death but survives

Silenced she sank easily through deeps under deeps of darkness until she lay like a stone at the farthest bottom of life, knowing herself to be blind, deaf, speechless, no longer aware of the members of her own body, entirely with-drawn from all human concerns, yet alive with a peculiar lucidity and coherence; all notions of the mind, the reasonable inquiries of doubt, all ties of blood and the desires of the heart, dissolved and fell away from her, and there remained of her only a minute fiercely burning particle of being that knew itself alone, that relied upon nothing beyond itself for its strength; not susceptible to any appeal or inducement, being itself com-posed entirely of one single motive, the stubborn will to live. This fiery motionless particle set itself unaided to resist destruction, to survive and to be in its own madness of being, motiveless and planless beyond that one essential end. (pp 252-3).

She has a vision of a place reached by crossing a rainbow bridge.  Graylie was not afraid of bridges. There Miranda sees in the shimmering air “a great company of human beings,” all the people she had known in life. From this apparent heaven she returns to the reality of the hospital. She has miraculously comeback from the dead.  She lives up to her name – someone to be wondered at.

In her convalescence she learns that Adam had also became ill, probably having caught the disease from her. However, though Miranda had survived, Adam had died.

Outside the bells are ringing to celebrate the end of the war. As Miranda prepares to leave the hospital, she requests some essentials to begin her new life:

One lipstick, medium, one ounce flask Bois d’Hiver perfume, one pair gray suede gauntlets without straps, two pairs gray sheer stockings without clocks … one walking stick of silvery wood with a silver knob. (p 262).

She will be pale and elegant like the rider she dreamed about at the beginning of her illness, the rider that done take her love away. She has been irretrievably marked by death. As she leaves the hospital Miranda thinks

No more war, no more plague, only the dazed silence that follows the ceasing of the heavy guns; noiseless houses with the shades drawn, empty streets, the dead cold light of tomorrow. Now there would be time for everything. (p 264)

Life is now defined by what it is not – no war, no plague, no noise, no light. Porter’s  words recall Wilfred Owen’s 1917 poem Anthem for Doomed Youth which begins with the “monstrous anger of the guns” and ends with “each slow dusk a drawing down of blinds” (Owen, 1985, p 76).  Much poetry was written about the terrible loss of life in the Great War. Very little is concerned with the great epidemic of influenza that marked its ending (Crosby, 1989; Fisher, 2012).

Miranda’s final claim “Now there would be time for everything” is the tragedy of the book. She is now free to do as she wishes but there is nothing that she wishes to do.

Porter spent many years before she fully recovered from her experience in Denver. She did not publish her first stories until 1930, and Pale Horse, Pale Rider did not come out until 1939. Some sense of Miranda’s feelings at the end of that book is perhaps present in the 1942 portrait drawing of Porter by Paul Cadmus.

 







The Great Influenza

The influenza that almost killed Katherine Anne Porter swept across the world between 1918 and 1921 (Barry, 2004; Crosby, 1989; Spinney, 2017; Taubenberger & Morens, 2006). No one is sure where it began. The first cases were seen in Kansas, and the disease spread rapidly through the US army camps where young men were being trained before going to fight in France.

The following is the iconic image of the epidemic: the make-shift infirmary at Camp Funston, Kansas. The photograph is strangely still. It should be accompanied by the sound of intermittent coughing. The light rakes across the camp cots, randomly selecting one soldier or another, much as the disease would select those who would die. There was no treatment: oxygen would not be used for pneumonia until after the war (Heffner, 2013). About a quarter of the young men in this photo likely died of influenza. More US soldiers died of influenza than during battle.

The disease quickly spread to the battlefields of Europe. None of the combatant-countries wished to acknowledge that their troops were ill. Since the first officially reported cases occurred when the disease spread to Spain, the pandemic was thereafter miscalled the Spanish Flu. In this posting it is called the Great Influenza.

The 1918 pandemic was unusual in that it the young and healthy were more susceptible to the disease than the elderly. This may have been related to the close quartering of the young soldiers. Or it might have been caused by an overly reactive immune system.

Coronavirus COVID-19 acts similarly to the influenza virus in terms of its spread through airborne droplets, and in terms of how its major morbidity is due to a viral pneumonia. The coronavirus differs from the Great Influenza in that it affects the elderly more than the young. Nevertheless, we should look to the Great Influenza in terms of what might happen in our current pandemic.

A pandemic is characterized by two main parameters. The contagiousness of the disease is measured by the basic reproduction number (R0). This is the number of new people that will become infected from one individual patient. If R0 is less than 1 the disease dies out; if it is greater than 1 the disease spreads exponentially through the population. The virulence of the disease is assessed by the case fatality rate (CFR). This measures the proportion of infected patients that die.

For the Great Influenza R0 was about 2 (Ferguson et al. 2006), and the CFR was about 2.5% (Taubenberger & Morens, 2006). We do not yet know for sure how the present coronavirus COVID-19 compares. Early data from China suggest that R0 is about 2, and the CFR about 5% (Wu et al., 2020). Since we have not yet done sufficient testing to be sure of the number of cases in the population, the CFR is likely overestimated. Most of the tested cases are patients who have been severely symptomatic. If there is a significant number of asymptomatic (and untested) cases, the CFR will be lower (discussed extensively on the World in Data website). It might approach the CFR estimated for the Great Influenza, but it will be at least an order of magnitude greater than seasonal flu (<0.1%).

For those who wish to consider all the other great epidemics of human history, Wikipedia has listed their estimated values for R0 and CFR.

The numbers for COVID-19 Pandemic indicate we must be extremely cautious so as not to endure a repeat of the Great Influenza. Since stories are often more convincing than numbers, we can briefly consider the effect of the Philadelphia’s Liberty Loan Parade on September 23, 1918. Despite warnings about the influenza, the city went ahead with a huge parade to drum up support for the US war effort. A few days after the parade, hundreds of people became ill. Soon the number of ill patients increased. Hospitals rapidly became overcrowded and unable to take new cases. By the end of the years the number of cases exceeded 100,000 and the number of dead approached 13,000, over 1% of the city’s population (Barry, 2004, pp 220-227; Kopp & McGovern, 2018)). In contrast after the first recorded cases of influenza in St Louis, that city quickly instituted measures against the spread of the disease, such as closing schools and banning public gatherings. The number of deaths in St Louis per 100,000 population during the epidemic was less than half that in Philadelphia (Hatchett et al, 2007).

In Philadelphia and across the world morticians and gravediggers rapidly became overwhelmed and bodies began to pile up in the streets. In Rio de Janeiro, Jamanta, a famous carnival reveller, commandeered a tram and a luggage car and swept through the city picking up bodies and delivering them to the cemetery (Spinney, 2017, p. 54-55).

Despite its death toll, the Great Influenza was largely ignored by historians until the possibility of new influenza pandemics became real toward the end of the 20th Century. Thousands of monuments memorializing those who died in the Great War exist all over the world. Monuments to those who died of influenza are scarce, even though those who died of the disease outnumbered those who died in battle. The soldiers at Camp Fenton erected their own memorial to their colleagues who had died of the influenza (illustrated on the right, with its designer Henry Hardy). The monument was a simple pyramid of piled up stones with the names of the victims written in smaller stones on the grass. The camp and its monument have been long ago abandoned.

One of the reasons for the lack of attention that the Great Influenza received may have been that it did not fit with any overarching narrative. Though many died, they did not die for some noble cause. The disease was largely random it its killing.

The Black Death

Even though it did not kill so many, the Black Death had a far greater impact on our history. It shattered the society of the Middle Ages, disrupting the feudal system, and questioning the power of the Church. Part of this impact was due to the Bubonic Plague being far more virulent than either the influenza or the coronavirus. The Case Fatality Rate during the Black Death was over 30%. The disease was caused by a bacterium Yersinia pestis, which is endemic in rats and transmitted to human beings by fleas. The infected rats and their fleas came to Europe from the East on merchant ships. The plague began in port cities such as Naples, Venice and Genoa, are rapidly spread throughout Europe (McMillen, 2016; Snowden, 2019).

Nowadays we have antibiotics that can kill the bacteria that causes the Bubonic Plague. Furthermore, we understand how it is transmitted and can prevent this by controlling human exposure to rats and fleas. In the 14th Century there was nothing to do but flee. This flight actually increased the spread of the disease, which was carried by the fleas on all those who ran away.

The Black Death bequeathed us with our most potent image of death as a skeletal figure, often clad in a shroud or black cloak and carrying scythe – the “grim reaper.” Such figures were often portrayed leading various people from all stations of life in a “dance of death.” The statue illustrated on the right is from the tomb in Trier Cathedral of Johann Philipp von Wallerdorff who died in 1768.

Many considered the Black Death as God’s punishment for humanity’s sins, and decided that a great return to God was necessary. Yet the plague had randomly killed both saint and sinner. Others thought that the plague was God’s demonstration that the Church had gone astray and needed to be reformed. Yet both priests and parishioners were equally affected.

And so, a few came to the idea that perhaps there was no God. The only justice in the world was at the hand of human beings. And their only recourse was themselves. And if they could ultimately survive the plague, they could perhaps settle on a different world, where reason ruled instead of faith.

The Seventh Seal

In Revelation after the four horsemen, the fifth and sixth seals are opened. These bring forth to John a vision of the Christian Martyrs, and then a vision of all those who had been saved by faith in Christ. Finally, the last seal is opened:

And when he had opened the seventh seal, there was silence in heaven about the space of half an hour. (Revelation 8:1)

Christians interpret the silence as representing the awe that occurs when one realizes the greatness of God and his program for the future. Ingmar Bergman considered it differently. Much of his work is concerned with the silence of God. All our prayers no matter how fervent are met with silence. He made this the subject of a trilogy of films: Through a Glass Darkly (1961), Winter Light (1963) and The Silence (1963).

The idea is also at the heart of his earlier 1957 film The Seventh Seal. The quotation from Revelation about the opening of the seventh seal and the silence in heaven begins the film.  A knight Antonius Block (Max von Sydow) has just returned to Sweden from the Crusades. He has brought with him a game of chess that he learned in Palestine. All of Europe is in the grip of the Black Death. On a beach Antonius prays to God. After his prayer, Death (Bengt Ekerot) appears. Antonius challenges Death to a game of Chess to decide his fate. The following is a clip from the movie. The sound of the waves goes silent when Death appears.

 



Bergman based the idea of the game of chess from a 1480 fresco (right) painted by Albertus Pictor in the Täby Church near Stockholm. As the film proceeds, Death ultimately wins the game, and leads Antonius and his family off in a dance of death. The film is not accurate historically: the crusades ended long before the Black Death. However, it is one of our most vivid depictions of human mortality.

 








Playing Chess with Death

Death is now among us. Not in as the dark figure portrayed by Bengt Ekerot, but in the form of a coronavirus epidemic. The disease is not as virulent as the Black Death. However, it is likely just as contagious and just as virulent as the virus that caused the Great Influenza. How do we prevent what happened in 1918 when Death took millions of people before their time?

How do we play our game of chess with Death? We still have no specific treatment, and there is as yet no vaccine. Unlike in 1918, however, we now have oxygen therapy and, if necessary, artificial ventilation. These procedures can help patients with pneumonia survive until their immune systems can finally destroy the virus. Furthermore, we have monitors such as finger oximeters that can determine when oxygen therapy is needed.

What is most important is to inhibit the spread of the disease in the population. The most powerful means to do this involves identifying all patients with the disease, tracing all people who have come in contact with these patients, testing these contacts, and quarantining both the patients and their contacts (whether or not they are infected) until they are no longer contagious. Since we have tests that are reasonably specific for the virus, this approach is definitely possible, and is being used successfully in China and in South Korea.

In the absence of contact tracing, we can limit the spread of the disease by staying away from our fellows beyond the distance that airborne drops can travel: “physical distancing” (a more appropriate term than “social distancing”).  Physical distancing can certainly slow down the spread of the disease so that hospital facilities for treating those patients that develop pneumonia do not become overwhelmed. However, it will ultimately have to be replaced with contact tracing. Or the Dance of Death will continue.

Despite our best efforts many people will die in the pandemic. Though we know we have to die sometime, we generally believe that this will not be tomorrow. Nowadays death is closer. We need to come to terms with it. Through whatever stories, dreams and visions we can muster. We cannot play chess well without equanimity.

 

References

Barry, J. M. (2004). The great influenza: The epic story of the deadliest plague in history. New York: Viking.

Crosby, A. W. (1989/2003). America’s forgotten pandemic: The influenza of 1918. Cambridge England: Cambridge University Press.

Ferguson NM; Cummings DA; Fraser C; et al. (2006). Strategies for mitigating an influenza pandemic. Nature, 442 (7101), 448–452.

Fisher, J. E. (2012). Envisioning disease, gender, and war: Women’s narratives of the 1918 influenza pandemic. New York: Palgrave Macmillan

Hatchett, R. J.; Mecher, C. E.; & Lipsitch, M. (2007). Public health interventions and epidemic intensity during the 1918 influenza pandemic. Proceedings of the National Academy of Sciences of the United States of America, 104, 7582–7587.

Heffner, J. E. (2013). The story of oxygen. Respiratory Care, 58, 18-31.

Koester, C. R. (2014). Revelation: a new translation with introduction and commentary. New Haven, CT: Yale University Press, 2014.

Kopp, J., & McGovern, B. (2018).  100 years ago, ‘Spanish flu’ shut down Philadelphia – and wiped out thousands. PhillyVoice, September 20 and 27, 2018.

McMillen, C. W. (2016). Pandemics: a very short introduction. New York: Oxford University Press.

Owen, W. (Edited by Stallworthy, J., 1985). The poems of Wilfred Owen. London: Hogarth Press.

Porter, K. A. (1939). Pale horse, pale rider: Three short novels. New York: Harcourt, Brace and Company.

Quispel, G. (1979). The secret Book of Revelation: The last book of the Bible. New York: McGraw-Hill.

Snowden, F. M. (2019). Epidemics and society: From the Black Death to the present. New Haven, CT: Yale University Press.

Spinney, L. (2017). Pale rider: The Spanish flu of 1918 and how it changed the world. London: Johnathan Cape.

Taubenberger, J. K., & Morens, D. M. (2006) 1918 Influenza: the mother of all pandemics Emerging Infectious Diseases, 12, 15-22.

West, R. B. (1963). Katherine Anne Porter: American Writers 28.  Minneapolis: University of Minnesota Press.

Wu, J.T., Leung, K., Bushman, M. et al. (2020). Estimating clinical severity of COVID-19 from the transmission dynamics in Wuhan, China. Nature Medicine 26506–510.




Story of Job

Everyone knows the story of Job. A righteous man is tested by God. All that Job owns is taken away, all his children are killed, and he is struck down by disease. Job’s friends advise him to seek God’s forgiveness since he must have somehow offended Him. However, Job insists on his own righteousness. He does not repent. He demands an explanation for why he is being unjustly punished. An angry God appears unto Job in a whirlwind. He proclaims His workings to be far beyond the understanding of Job. He talks of Behemoth and Leviathan. He castigates Job’s friends. He grants Job happiness and prosperity. He neither explains nor justifies what happened.

Everyone knows the story of Job. No one fully understands its meaning.



The Land of Uz

There was a man in the land
of Uz, whose name was Job;
and that man was perfect
and upright, and one that feared
God, and eschewed evil.

(Job 1:1)

Thus begins the story of Job. The text was likely written in the 6th or 5th Century BCE (Crenshaw, 2011; Pope, 1965). Job was a righteous man who worshipped God. The God he worshipped went by the name “Elohim” (אלהים). Job was not Jewish; his god was not Yahweh (Sawyer, 2011). Job made all of the appropriate sacrifices. A Byzantine illumination from the 11th Century CE (Papadaki-Oekland, 2009) shows him making a sacrifice and receiving a blessing from the hand of God.

No one is sure about the Land of Uz (Pope, 1965). Some have suggested that it is equivalent to the land of Edom to the south and east of Israel. This fits with the idea voiced in the later Testament of Job written in the 1st Century BCE (James, 1897) that Job was descended from Esau, the son of Isaac who ceded his birthright to his brother Jacob, and left to found the nation of Edom. Others have suggested that Uz is located in the Hauran district of Southern Syria. Arabic traditions consider the town of Sheikh Saad (also called Karnaim or Dair Ayyub – “monastery of Job”) as the home of Job and site of his tribulations. A third possibility is raised in one of the Dead Sea scrolls called the War Scroll, which mentions Uz as one of the lands “beyond the Euphrates” (Vermes, 2000, p. 124).

I prefer the third explanation since stories similar to that of Job existed in the ancient literature of Mesopotamia – the land between the rivers Tigris and Euphrates. The oldest story, written in cuneiform on clay tablets, comes from Sumer and may date from 2500-2000 BCE (Pritchard, 2011, pp 352-357; Kramer, 1956/81, Chapter 15). In this story the author laments his undeserved suffering. Ultimately, God hears his cries and turns “the man’s suffering into joy.” A later story, the Babylonian Theodicy, dated to 1500-1000 BCE is even more similar to the Hebrew story (Lambert, 1960, pp 63-91; Pritchard, 2011, pp 374-379). In it the persecuted man tells his troubles to a friend who, rather than offering comfort, accuses him of blasphemy. The following is an excerpt (Lambert, 1960, ll 72-80) in translation and in cuneiform:

Sufferer:          In my youth I sought the will of my god;
                        With prostration and prayer I followed my goddess
                        But I was bearing a profitless corvée as a yoke
                        My god decreed instead of wealth destitution
                        A cripple is my superior, a lunatic outstrips me
                        The rogue has been promoted, but I have been brought low.

Friend             My reliable fellow, holder of knowledge, your thoughts are perverse
                        You have forsaken right and blaspheme against your god’s designs.
                        In your mind you have an urge to disregard the divine ordinances.

The Hebrew Book of Job is a far more complex and poetic creation than these Mesopotamian stories. The writer of Job may have heard these tales during the period of the Babylonian Captivity (597-539 BCE), and worked them into a poetic whole then or on his or her return to Jerusalem. The Book of Job does not directly mention the exile of the Jews. However, it might subtly reflect the idea that the people of Israel were for a while completely forsaken by their God.

Maimonides (1190, Chapter 22) considers the Land of Uz a fantasy. He points out that “uz” is the Hebrew verb “take counsel.” The name Uz is therefore an exhortation to study well this story.

… its basis is a fiction, conceived for the purpose of explaining the different opinions which people hold on Divine Providence.   

Job’s name is as ambiguous as the land he lived in. On the one hand, it might derive from the root ‘yb meaning “enmity”; on the other hand, it might come from the root ‘ab indicating “repentence” (Pope, 1965). Is Job the enemy of God, or His repentant servant?

The Council of the Gods

After introducing us to its main character, the Book of Job takes us to Heaven where God has called a council. Amongst those gathered is one they call the “Adversary” (Alter, 2010) or the Satan, someone who is part the Lucifer of Isaiah, and part the Devil of later scriptures. The following is an illustration of the council from a Byzantine manuscript of the 11th century CE. God is represented only by his hand; the Adversary is dark and has been defaced. 

God indicates his servant Job to the Adversary:

Hast thou considered my servant Job, that there is none like him in the earth, a perfect and an upright man, one that feareth God, and escheweth evil? (Job 1:8)

The Adversary claims that Job is only good because God treats him well. If he were not so well taken care of, he would curse God to his face. God refuses to believe this, and allows the Adversary to take away all that Job has, and ultimately to strike Job himself.

The Ruination of Job

The Adversary arranges for all Job’s holdings to be stolen or killed and for his children to die. Job is bereft but curses not God. He accepts his fate in a verse that has become the focus of the Judeo-Christian funeral rites (Eisenberg & Wiesel, 1987, p 13).

Naked came I out of my mother’s womb, and naked shall I return thither: the Lord gave, and the Lord hath taken away; blessed be the name of the Lord. (Job 1: 21).

Although Job is not Jewish, this verse comes from the Jewish tradition. The Lord whose name is blessed is Yahweh.

Ultimately the Adversary strikes Job with a terrible disease. Job’s wife urges him to curse God, but he rebukes her. Covered with boils he sits disconsolately “among the ashes” (Job 2:8). The Greek Septuagint and the 14th Century Wycliff Bible translate this as a “upon a dunghill,” but this appears poetic license.

From ancient times human beings in mourning have covered themselves with ashes to signify bereavement and repentance. Ashes are particularly significant in Jewish history – the ashes of the first temple destroyed by the Babylonians in 586 BCE, the ashes of the second temple destroyed by the Romans in 70 CE, and the ashes of the millions of Jews murdered and cremated by the Nazis in the 20th Century CE. Dust and ashes go back to Genesis. Adam is expelled from Eden with the words “dust thou art, and unto dust shalt thou return” (Genesis 3:19), and Abraham admits to God that he is “but dust and ashes” (Genesis 18:27). Dust and ashes return later as the final words of Job.

The peace and prosperity of Job and his family at the beginning of the story is well characterized in the first of William Blake’s illustrations for the Book of Job (Blake, 1821/1995). The cataclysm leading to the death of his children is the subject of his third illustration:

Job’s Comforters

Three friends of Job – Eliphaz, Bildad and Zophar – come to comfort him in his grief. They spend seven days and seven nights in silence with him. Only when Job finally speaks do they say anything. This is the way that those in mourning should be comforted: visitors should allow the bereaved to be quiet, and only speak when he or she initiates conversation.  

After Job begins to talk, however, multiple debates follow. These form the bulk of the Book of Job – Chapters 3 to 27. Job describes the injustice of his situation. His friends attempt to show that it must in some way be his own fault. Job and his friends go through multiple exchanges, which are portrayed in exquisite Hebrew poetry, quite unlike the prose that describes the story of Job’s downfall.

Job begins by cursing the day of his birth. For this I shall use the translation of Stephen Mitchell (1987), which is more colloquial than the King James Version:

God damn the day I was born
and the night that forced me from the womb.
On that day—let there be darkness;
let it never have been created;
let it sink back into the void.
Let chaos overpower it;
let black clouds overwhelm it;
let the sun be plucked from its sky.
Let oblivion overshadow it;
let the other days disown it;
let the aeons swallow it up.
On that night—let no child be born,
no mother cry out with joy.
Let sorcerers wake the Serpent
to blast it with eternal blight.
Let its last stars be extinguished;
let it wait in terror for daylight;
let its dawn never arrive.
For it did not shut the womb’s doors
to shelter me from this sorrow.

Job’s curse is remarkably similar to that of Jeremiah the prophet who lamented the destruction of the First Temple and the Babylonian Captivity (Eisenberg & Wiesel, 1987, p 60).  

Cursed be the day wherein I was born: let not the day wherein my mother bare me be blessed.
Cursed be the man who brought tidings to my father, saying, A man child is born unto thee; making him very glad. (Jeremiah 20:14-15)

Job’s friends attempt to demonstrate to Job that what has happened to him is just. He must have sinned in some way to warrant his misfortune. The illustration below shows Blake’s view of Job’s comforters casting accusing fingers at their friend. In the background is a large stone monument. Blake placed his land of Uz on the Salisbury plain.

Eliphaz, Bildad and Zophar believe firmly in the idea that God rewards the good and punishes the evil. Job must therefore have sinned in some way. Their belief in Divine Providence is clearly expressed in the first of the Psalms:

Blessed is the man that walketh not in the counsel of the ungodly, nor standeth in the way of sinners, nor sitteth in the seat of the scornful.
But his delight is in the law of the Lord; and in his law doth he meditate day and night.
And he shall be like a tree planted by the rivers of water, that bringeth forth his fruit in his season; his leaf also shall not wither; and whatsoever he doeth shall prosper.
The ungodly are not so: but are like the chaff which the wind driveth away.
Therefore the ungodly shall not stand in the judgment, nor sinners in the congregation of the righteous.
For the Lord knoweth the way of the righteous: but the way of the ungodly shall perish.

Eliphaz’ first reply to Job restates this idea of divine justice:

Remember, I pray thee, who ever perished, being innocent? or where were the righteous cut off?
Even as I have seen, they that plow iniquity, and sow wickedness, reap the same.
By the blast of God they perish, and by the breath of his nostrils are they consumed. (Job 4:7-9)

Eliphaz then recounts a dream (Job 4:12-21) that warns us not to question the justice of God (Blakes illustration is shown on the right. In 1815 Lord Byron wrote some lyrics for Hebrew Melodies that were composed by Isaac Nathan (Byron, 1815; Cochran, 2015). One of these lyrics was a translation of the dream of Eliphaz:

The face of immortality unveiled—
Deep sleep came down on every eye save mine—
And there it stood,—all formless—but divine;
Along my bones the creeping flesh did quake;
And as my damp hair stiffened, thus it spake:

‘Is man more just than God? Is man more pure
Than He who deems even seraphs insecure?
Creatures of clay—vain dwellers in the dust!
The moth survives you, and are ye more just?
Things of a day! you wither ere the night,
Heedless and blind to wisdom’s wasted light!’

Nathan’s music is not memorable. In 1854 the violinist Joseph Joachim wrote Hebrew Melodies for Viola and Piano. His music presents an impression rather than a setting of Byron’s poems. The sound of the viola suits the pathos of Job. The following is the ending to the second movement played by Anna Barbara Dütschler and Marc Pantillon:

Job insists that he has done no wrong and that his suffering is therefore unjust. He demands that God confront him with his sin. The illustration below shows a representation of Job attributed to an unknown Spanish painter from the early 17th Century. Some have suggested that the painter might actually have been the young Velasquez (Terrien, 1996). Job says unto God “Noli me condemnare” – “Do not condemn me” (Job 10:2).

Only do not two things unto me: then will I not hide myself from thee.
Withdraw thine hand far from me: and let not thy dread make me afraid.
Then call thou, and I will answer: or let me speak, and answer thou me.
How many are mine iniquities and sins? make me to know my transgression and my sin. (Job 13: 20-23)

Job describes the transience of human life in verses that recall Ecclesiastes, and remonstrates that God should judge him rather than pity him:

Man that is born of a woman is of few days and full of trouble.
He cometh forth like a flower, and is cut down: he fleeth also as a shadow, and continueth not.
And doth thou open thine eyes upon such an one, and bringest me into judgment with thee? (Job 14:1-3)

Then he asks God not to deprive him so much during his brief time on earth that he not be able to accomplish something:

Seeing his days are determined, the number of his months are with thee, thou hast appointed his bounds that he cannot pass;
Turn from him, that he may rest, till he shall accomplish, as an hireling, his day.
For there is hope of a tree, if it be cut down, that it will sprout again, and that the tender branch thereof will not cease.
Though the root thereof wax old in the earth, and the stock thereof die in the ground;
Yet through the scent of water it will bud, and bring forth boughs like a plant. (Job 14:5-9)

Sins of Omission

After a while Job’s insistence on his own innocence becomes tiresome. No one is perfect. Indeed, as Wiesel points out a true Tzadik (“righteous one”) would never proclaim his own goodness (Wiesel & Eisenberg, 1987, p 32). Even if he has done no wrong, he may not have done sufficient good. In one of his speeches (Job 22), Eliphaz accuses Job of not giving water to the weary or bread to the hungry. Job does not immediately reply to this rebuke. Later (Job 29-31) he insists that he always helped the poor and the orphans. But was this sufficient? Job remained rich and the poor remained poor.

Wiesel retells a story from the Midrash that attempts to explain why Job’s appeals to God are initially met with silence (Wiesel & Eisenberg, 1987, p 22-23). When asked by Moses to “let my people go,” the Pharaoh consulted three counselors: Jethro, Billam and Job. Jethro urged the Pharaoh to agree, Billam rejected the proposal, and Job stayed silent. The Midrash insists that when faced with the suffering of others one must not remain neutral. Not to attempt to prevent evil is as great a sin as the evil itself.   

The Redeemer

The debates continue between Job and his friends. At one point, Job calls upon a redeemer or a “vindicator” to bear witness to his righteousness.

Why do ye persecute me as God, and are not satisfied with my flesh?
Oh that my words were now written! oh that they were printed in a book!
That they were graven with an iron pen and lead in the rock for ever!
For I know that my redeemer liveth, and that he shall stand at the latter day upon the earth:
And though after my skin worms destroy this body, yet in my flesh shall I see God (Job 19: 22-26)

Christians have taken this passage as a prophecy of Christ. George Frideric Handel set the last two of these verses for soprano in his Messiah of 1741. The Christian interpretation does not make sense. According to Christian teachings, Christ came to save the sinners not to vindicate the righteous.

Who then is this “vindicator”? Job is appealing to someone in God’s entourage to serve as his advocate. In his Answer to Job, Jung (1956/2010) suggests that Job’s god has many aspects. The very name of God – Elohim – is in the plural. God is both good and evil – Satan is as much a part of him as Christ. God is both knowing and unknowing. According to Hebrew traditions, Wisdom or Sophia was part of God from the beginning. In the Proverbs Wisdom describes herself as being with God from before the creation of the universe:

The Lord possessed me in the beginning of his way, before his works of old.
I was set up from everlasting, from the beginning, or ever the earth was.
When there were no depths, I was brought forth; when there were no fountains abounding with water.
Before the mountains were settled, before the hills was I brought forth:
While as yet he had not made the earth, nor the fields, nor the highest part of the dust of the world.
When he prepared the heavens, I was there: when he set a compass upon the face of the depth:
When he established the clouds above: when he strengthened the fountains of the deep:
When he gave to the sea his decree, that the waters should not pass his commandment: when he appointed the foundations of the earth (Proverbs 8:22-29)

Christians often take this as indicating that God the Father and God the Son were together from the beginning. This fits with the idea that Christ was the word or logos, a concept similar to wisdom. However, this is not the meaning of the idea in the Hebrew bible and Christ is not the advocate to whom Job calls.

The Book of Job also contains a full chapter devoted to Wisdom (Job 28). Many commentators believe it to be a later interpolation. However, it fits nicely at the end of the disputation between Job and his comforters:

Whence then cometh wisdom? and where is the place of understanding?
Seeing it is hid from the eyes of all living, and kept close from the fowls of the air.
Destruction and death say, We have heard the fame thereof with our ears.
God understandeth the way thereof, and he knoweth the place thereof.
For he looketh to the ends of the earth, and seeth under the whole heaven;
To make the weight for the winds; and he weigheth the waters by measure.
When he made a decree for the rain, and a way for the lightning of the thunder:
Then did he see it, and declare it; he prepared it, yea, and searched it out.
And unto man he said, Behold, the fear of the Lord, that is wisdom; and to depart from evil is understanding.(Job 28 :20-28)

After Job makes his final statement of innocence, he is rudely interrupted by Elihu, a brash young man who cannot understand why foolish old Job does not recognize the justice of God. Most commentators consider this section of the book (Chapters 32-37) to be a later interpolation. One possibility is that it is the work of a young scribe who, when copying the initial version of book, became frustrated with Job’s refusal to acknowledge justice and inserted more argument for the benefit of the reader. Wiesel (p 390) remarks that some Talmudists have suggested that Elihu might be Satan in disguise, muddying the waters of the argument.

Yahweh’s Response to Job

After Elihu’s diatribe, God suddenly appears to Job. Yahweh – this is indeed the one true God – describes the creation and maintenance of the universe. This exuberant paean to the wonders of the world is expressed in some of the most beautiful poetry in the Bible.

Then the Lord answered Job out of the whirlwind, and said,
Who is this that darkeneth counsel by words without knowledge?
Gird up now thy loins like a man; for I will demand of thee, and answer thou me.
Where wast thou when I laid the foundations of the earth? declare, if thou hast understanding.
Who hath laid the measures thereof, if thou knowest? or who hath stretched the line upon it?
Whereupon are the foundations thereof fastened? or who laid the corner stone thereof;
When the morning stars sang together, and all the sons of God shouted for joy?
Or who shut up the sea with doors, when it brake forth, as if it had issued out of the womb?
When I made the cloud the garment thereof, and thick darkness a swaddlingband for it,
And brake up for it my decreed place, and set bars and doors,
And said, Hitherto shalt thou come, but no further: and here shall thy proud waves be stayed? (Job 38:1-11)

On the left below is William Blake’s illustration of the appearance of God in the whirlwind, and on the right is his image of the sons of God. In 1930 Ralph Vaughan Williams set this latter image to music as part of his Job, a Masque for Dancing. This particular piece is called Pavane for the Sons of Morning, a slow and stately dance appropriate to the majesty of creation.

The Patience of Job

Many different
interpretations have been provided for the story of Job. The most common
focuses on the patience of Job. In the Epistle of James (5:11) we have

Behold, we count them happy which endure. Ye have heard of the patience of Job, and have seen the end of the Lord; that the Lord is very pitiful, and of tender mercy.

The idea is that
if we are patient everything will turn out fine. In the 2011 movie The Best
Exotic Marigold Hotel
the hotel manager Sonny (Dev Patel) claims “Everything
will be all right in the end and if it’s not all right, then it’s not yet the
end.” This saying has been attributed to John Lennon, but it is probably just
an old Indian proverb, similar to the thought of Ecclesiastes 7:8:

Better is the end of a thing than the beginning thereof: and the patient in spirit is better than
the proud in spirit.

The Testament
of Job
and the mention of Job in the Qur’an (sura 21:83) both stress
the idea of Job’s patience and God’s mercy in his time of adversity. Joseph
Roth’s novel Job (1931) tells the story of a good and pious Jew from the
Pale of Settlement who undergoes much suffering but is finally rewarded in his
old age.

The Justice of God

The interpretation of Job as a man who patiently awaits the mercy of God misses the great poetic center of the book. The debates between Job and his friends deal with theodicy – the justice (dike) of God (theos). If God is just then righteousness should be rewarded and evil should be punished. This is not the case. Suffering occurs without regard to innocence or guilt.

The term “theodicy” originated with Leibniz’s book Theodicy (1710), based on his discussion of the problem of suffering with Queen Sophie of Prussia. The understanding of suffering for those who live in comfort differs from the experience of those who survive in poverty (Guttierrez, 1987). Leibniz argued that God chose to create a world with as much good in it as possible. Though this entailed some concurrent evil, the optimal world contained much more good than world completely devoid of evil. Leibniz’ idea that this is the “best of all possible worlds” was ridiculed by Voltaire in Candide (1759).

The philosophical problems concerning God and justice have been discussed for centuries (Draper, 1989; Laato & de Moor, 2003; Hume, 1799; Illman, 2003; Larrimore, 2013, Chapter 4; Sarot, 2003; Surin, 1986; Tooley, 2015), and are beyond the scope of this posting. The main problem of theodicy has to do with the concept of God as an omnipotent and omnibenevolent entity. In his Dialogues Concerning Natural Religion (1799), David Hume states the basic trilemma of theodicy, attributing it to Epicurus:

Epicurus’s old questions are yet unanswered. Is he willing to prevent evil, but not able? then is he impotent. Is he able, but not willing? then is he malevolent. Is he both able and willing? whence then is evil? (Section X)

Whence then is evil? The question of evil became acute during the 20th Century with the Holocaust (Wollaston, 2011). How could God have allowed this to occur? In his memoir La Nuit (1958), Elie Wiesel recounts how in Auschwitz he took Job’s part and railed against God. He later described how certain great Talmudic masters convened a rabbinic court in Auschwitz to indict the Almighty for failing to protect His people (Wiesel, 1980). After hearing witnesses, and following due deliberation, the court pronounced a verdict of guilty. After a brief but profound silence, the judges moved on to evening prayer. Wiesel (1978) later wrote a play about The Trial of God (1979), though he distanced it from his experience by placing it in the fictional Ukrainian village of Shamgorod in the immediate aftermath of a pogrom that happened there three centuries before.

MacLeish’s 1958 play J.B. tells the story of the complete ruin and ultimate redemption of a successful American businessman. In a framing story, two out-of-work actors using masks play the parts of God (“Mr. Suss” from Zeus) and Satan (“Nickles” from “Old Nick”, an ancient name for the Devil, perhaps coming from “Old Iniquity”). In the Broadway debut these roles were played by Raymond Massey and Christopher Plummer (illustrated on the right). Hume’s question about the omnipotence and omnibenevolence of God is presented in in Nickles’ song

I heard upon his dry dung heap
That man cry out who cannot sleep:
“If God is God He is not good,
If God is good He is not God;
Take the even, take the odd,
I would not sleep here if I could
Except for the little green leaves in the wood
And the wind on the water.”

In A Masque of Reason (1945), the American poet Robert Frost has God discuss with Job the meaning of his story. The portrait on the right shows the poet in full didactic mode as photographed by Yousef Karsh in 1958. As Frost points out, the story of Job brings to an end the idea that a Divine Justice rewards and punishes each individual based on his or her behavior. We are not guaranteed our just deserts:

I’ve had you on my mind a thousand years
To thank you someday for the way you helped me
Establish once for all the principle
There’s no connection man can reason out
Between his just deserts and what he gets.
Virtue may fail and wickedness succeed.
‘Twas a great demonstration we put on.
I should have spoken sooner had I found
The word I wanted. You would have supposed
One who in the beginning was the Word
Would be in a position to command it.
I have to wait for words like anyone.
Too long I’ve owed you this apology
For the apparently unmeaning sorrow
You were afflicted with in those old days.
But it was of the essence of the trial
You shouldn’t understand it at the time.
And it came out all right. I have no doubt
You realize by now the part you played
To stultify the Deuteronomist
And change the tenor of religious thought.
My thanks are to you for releasing me
From moral bondage to the human race.
The only free will there at first was man’s,
Who could do good or evil as he chose.
I had no choice but I must follow him
With forfeits and rewards he understood—
Unless I liked to suffer loss of worship.
I had to prosper good and punish evil.
You changed all that. You set me free to reign.
You are the Emancipator of your God,
And as such I promote you to a saint.

Job is indeed commemorated as a Christian Saint in the Lutheran, Roman Catholic and Eastern Orthodox churches.

A Scent of Water

In his discussion of theodicy in the Dialogues Concerning Natural Religion (1799), Hume concludes that the forces that drive the universe are neither benevolent or malevolent. Rather the original source of all things is indifferent, and

has no more regard to good above ill than to heat above cold, or to drought above moisture, or to light above heavy. (Section XI).

These thoughts are remarkably similar to those of Marvin Pope in the conclusion to his introduction to Job (1965, p lxxvii)

Viewed as a whole, the book presents profundities surpassing those that may be found in any of its parts. The issues raised are crucial for all men and the answers attempted are as good as have ever been offered. The hard facts of life cannot be ignored or denied. All worldly hopes vanish in time. The values men cherish, the little gods they worship—family, home, nation, race, sex, wealth, fame—all fade away. The one final reality appears to be the process by which things come into being, exist, and pass away. This ultimate Force, the Source and End of all things, is inexorable. Against it there is no defense. Any hope a man may put in anything other than this First and Last One is vain. There is nothing else that abides. This is God. He gives and takes away. From Him we come and to Him we return. Confidence in this One is the only value not subject to time.
But how can a man put his faith in such an One who is the Slayer of all? Faith in Him is not achieved without moral struggle and spiritual agony. The foundation of such a faith has to be laid in utter despair of reliance on any or all lesser causes and in resignation which has faced and accepted the worst and the best life can offer. Before this One no man is clean. To Him all human righteous-ness is as filthy rags. The transition from fear and hatred to trust and even love of this One—from God the Enemy to God the Friend and Companion—is the pilgrimage of every man of faith. Job’s journey from despair to faith is the way each mortal must go.

The description does not differ much from the scientific view of Nature (e.g. Williams, 1993). Is there anything beyond this view? Does God exist in any way other than as an impersonal force? Is there any reason for human beings to have faith in this God or in its goals? Does Nature have a goal toward which it is moving or does everything occur by chance? Can human beings significantly alter the course of Nature?

Perhaps in the poetry of Job we might find some inkling that the universe is proceeding towards something that is good rather than evil (Janzen, 2009). And that we can perhaps contribute in some way to this evolution. As we have already considered, at the center of his story, Job asked God to allow him time to accomplish something:

Seeing his days are determined, the number of his months are with thee, thou hast appointed his bounds that he cannot pass;
Turn from him, that he may rest, till he shall accomplish, as an hireling, his day.
For there is hope of a tree, if it be cut down, that it will sprout again, and that the tender branch thereof will not cease.
Though the root thereof wax old in the earth, and the stock thereof die in the ground;
Yet through the scent of water it will bud, and bring forth boughs like a plant.(Job 14:5-9)

The idea of the rain bringing forth new life recurs throughout the Book of Job. Yahweh mentions it in his description of the thunder, and Nickles mentions the “little green leaves” in his song about the nature of God. This continual rebirth makes us wonder whether there is some mindfulness behind Nature’s apparent randomness. And makes us wonder whether we might somehow contribute to this purpose.

References

Alter, R. (2010). The wisdom books: Job, Proverbs, and Ecclesiastes: a translation with commentary. New York: W.W. Norton & Co.

Blake, W. (1995). Blake’s illustrations for the Book of Job. New York: Dover Publications.

Byron, Lord (1815). Hebrew Melodies. London: John Murray.

Cochran, P. (2015). Hebrew Melodies. Paper available at the website of the Newstead Abbey Byron Society.

Crenshaw, J. L. (2011). Reading Job: a literary and theological commentary. Macon, GA: Smyth & Helwys.

Draper, P. (1989). Pain and pleasure: an evidential problem for theists. Noûs, 23: 331-350.

Eisenberg, J., & Wiesel, E. (1987). Job, ou, Dieu dans la tempête. Paris: Fayard.

Frost, R. (1945). A masque of reason. New York: H. Holt and Company.

Gutiérrez, G. (translated by O’Connell, M. J., 1987). On Job: God-talk and the suffering of the innocent. Maryknoll, N.Y: Orbis Books

Hume, D. (1779). Dialogues concerning natural religion. London: Anonymous.

Illman, K.-J. (2003). Theodicy in Job. In Laato, A., & Moor, J. C. (Eds). Theodicy in the world of the Bible. (pp 304-333). Leiden: Brill.

James, M. R. (1897). Testament of Job. Available in pdf format

Janzen, J. G. (1985). Job. Atlanta: John Knox Press.

Janzen, J. G. (2009). At the scent of water: the ground of hope in the book of Job. Grand Rapids, MI: William B. Eerdmans

Jung, C. G. (1956, translated by Hull, R. F. C., 2010). Answer to Job. Princeton, N.J: Princeton University Press.

Kramer, S. N. (1956/1981). History begins at Sumer: Thirty-nine firsts in man’s recorded history Third Edition. Philadelphia: University of Pennsylvania Pres

Laato, A., & Moor, J. C. (2003). Introduction. In Laato, A., & Moor, J. C. (Eds). Theodicy in the world of the Bible. (pp vii-liv). Leiden: Brill.

Lambert, W. G. (1960). Babylonian wisdom literature. Oxford: Clarendon Press.

Larrimore, M. (2013). The Book of Job: a biography. Princeton: Princeton University Press.

Leibniz, G. W. (1710, translated by E. M. Huggard, 1985). Theodicy: Essays on the goodness of God, the freedom of man and the origin of evil.

MacLeish, A. (1958). J.B. A play in verse. Boston: Houghton Mifflin,

Maimonides, M. (1190, translated by M Freidlander, 1904). Guide for the perplexed.

Mitchell, S. (1987). The book of Job. San Francisco: North Point Press.

Ozick,C. (1998). The impious impatience of Job. American Scholar, 67(4), 15-24.

Papadaki-Oekland, S. (2009). Byzantine illuminated manuscripts of the Book of Job: A preliminary study of the miniature illustrations, its origin and development. Athens: Brepols

Pope, M. H. (1965). Job: Introduction, translation and notes. Garden City, NY: Doubleday (Anchor Bible).

Pritchard, J. B. (2011). The ancient Near East: An anthology of texts and pictures. Princeton, NJ: Princeton University Press.

Roth, J. (translated by Thompson, D., 1931). Job, the story of a simple man. New York: Viking Press

Sarot, M. (2003). Introduction. In Laato, A., & Moor, J. C. (Eds). Theodicy in the world of the Bible. (pp 1-26). Leiden: Brill.

Sawyer, J. F. A. (2011). Job. In Lieb, M., Mason, E., & Roberts, J. (Eds.) The Oxford handbook of the reception history of the Bible. (pp 25-36). Oxford: Oxford University Press.

Surin, K. (1986). Theology and the problem of evil. Oxford, UK: Blackwell.

Terrien, S. L. (1996). The iconography of Job through the centuries: Artists as Biblical interpreters. University Park, PA: Pennsylvania State University Press.

Tooley, M.  (2015). The problem of evil. The Stanford Encyclopedia of Philosophy.

Vermes, G. (2000). The Dead Sea scrolls: a selection of original manuscripts. London: Folio Society, 2000.

Wiesel, E. (1958). La nuit. Paris: Editions de Minuit.

Wiesel, E. (1979). The trial of God (as it was held on February 25, 1649, in Shamgorod): A play in three acts. New York: Random House.

Wiesel, E. (1980). The story of The Trial of God. In Abrahamson, I. (Ed.) (1985). Against silence: The voice and vision of Elie Wiesel. (Volume III pp 112-113) New York: Holocaust Library.

Williams, G. C. (1993). Mother nature is a wicked old witch. In Nitecki, M. H.; Nitecki, D. V. (Eds.). Evolutionary Ethics. (pp 217–232). Albany, NY: SUNY Press.

Wollaston, I. (2011) Post‐Holocaust Jewish Interpretations of Job (2011). In Lieb, M., Mason, E., & Roberts, J. (Eds.) The Oxford handbook of the reception history of the Bible. (pp 488-501). Oxford: Oxford University Press.




Antisemitism

Hatred is directed anger. Though we can claim metaphorically to hate
unconscious objects or abstractions, hatred is typically directed at another person or persons. Hatred is evoked by suffering that we perceive they caused. Since it leads to actions against these persons, hatred can also be described as “ill
will.”

Emotions can overwhelm reason. Passion is not logical. We often hate
without any justification. Hatred must then be maintained by fictions that describe the evil nature of those we hate.

Antisemitism is the most enduring and most unjustified of human hatreds.
The ill will suffered by the Jewish people has lasted for thousands of years, and has led to countless crimes, the most terrible of which was the Holocaust wherein 6 million Jews were put to death by the Nazi Government of Germany (Bauer, 2001; Marrus, 1987). ;

Antisemitism has been inspired by many fictions. This posting considers the unfortunate power of some of the stories that paved the way to the Holocaust.



Some Simple Psychology

Anger arises when we experience suffering, especially when we believe it
to be unwarranted, and when we are thwarted from achieving what we desire,
especially when we believe that we entitled to it. Anger seeks to attack these causes: to hit out at those who strike us; to break those who obstruct us.

We tend to think of events as caused by persons. Even when forces of
nature act against us we may attribute them to a divinity or a devil, or to
those who worship them. Only in that way can anger find a target for its
release.

Sometimes the causes of our anger are too complicated to understand or too powerful to fight against. In these cases, we may vent our anger elsewhere and attack other human beings, while inventing plausible (though fictional) reasons for so doing.

…every instance of suffering, every feeling of displeasure, by whomsoever and in whatsoever way it may have been caused, whether it arises from the guilt or from the lawful activity of another person, or through the sufferer’s own fault, or without any fault, or even without any human influence, tends to transform itself into a feeling of enmity, to direct itself against fellow-humans and if possible to express itself against them. (Bernstein, 1951, p 85)

As we were growing up during childhood, we realized – at about the age
of three – that we can exert some control over our environment. We therefore created a self as the agent of this control. At about the same time we realized that the world contains other agents. These could either help us or hinder us. We became comfortable with those that helped and learned to cooperate with them. We feared the others.

The group appears to be a curious form of extension of the individual. It seems as if under the influence of the necessities of human communal life, human beings who need love and produce hate combine into new, collective and collectively selfish individualities of a higher order; directing their love inwards, their hate outward, their social instincts towards the insider, their anti-social tendencies toward the outsider. (Bernstein, 1951, p 109-110)

Those who cooperated in groups came to have similar desires and modes of
behavior. They followed the same rules and sought the same goals. Those who
were different became isolated. These “others” challenge our group-identification (Chanes, 2004, p 3). In our search for where to vent our anger, we often light upon those that are different from us. Especially if these people are small in number and not inclined to violence.

While for normal group enmity a certain regularity in the mutual expression of enmity is characteristic, the antagonism between a powerful majority and a powerless minority is characterised by a onesidedness of hostile actions which is fatal for the minority. For the latter is exposed to continual attacks and must confine itself to laborious attempts to maintain its existence, without a chance to resist actively to any extent; even its passive means of defense are totally inadequate and its existence often has to rely on nothing but periodical flight from place to place. This onesided relation of
permanent attack and failing defense is called persecution. Weak minority
groups are usually persecuted more or less emphatically. (Bernstein, 1951, p 224)

The actual psychological mechanisms that lead to antisemitism are not
really understood. Some believe that there are personality-types that are more easily convinced to vent their hatred on minorities. The role of authority and power is undoubtedly a factor (Morse & Allport, 1952; Milgram, 1974). Those who seek power or wish to maintain it gain great support by fomenting hatred. Propaganda – invented stories – have a tremendous power. For some reason the more incredible the story the more easily it is believed (Baum, 2012). Dehumanization of the victims serves to attenuate our inherent tendency to help our fellows. (Bandura et al., 1975)

For millennia the Jewish people have allowed us to vent our hatred. For
millennia we have invented reasons for our violence.

The hostility toward a minority exacerbates the feelings that initially triggered. When persecuted, a minority does not fare well in society and often comes to appear even more deserving of denigration and oppression (Beller, 2007, p 5).

Antisemitism is not caused by the Jews but by the inadequacy of those who need to hate them.

…two psychological characteristics are present in the individual antisemite: excessive hostility and the need (and a capacity) to project one’s aggression on other groups. Persons who have these traits generally suffer from feelings of inadequacy and from the feeling that their own personal borders, psychologically speaking, are easily invaded by others (Chanes, 2004, p 7)

We can perhaps conclude this section with two epigrams from Jean-Paul Sartre (1948):

If the Jew did not exist, the anti-Semite would invent him (p 13)
Antisemitism is not a Jewish problem: it is our problem. (p 152)

The People of the Covenant

The Jews consider themselves God’s chosen people. In the Hebrew
scripture Yahweh made a covenant with Abraham, and then renewed the covenant with Jacob and with Moses. The Jews were to worship Yahweh as the one true God and to follow his commandments. The Jews would then serve as an example for the rest of humanity

I the Lord have called thee in righteousness, and will hold thine hand, and will keep thee, and give thee for a covenant of the people, for a light of the Gentiles (Isaiah
42:6).

In return, the Jews would be considered special

For thou art an holy people unto the Lord
thy God, and the Lord hath chosen thee to be a peculiar people unto
himself, above all the nations that are upon the earth. (Deuteronomy 14:2)

And were promised as their home the land containing what is now the country of Israel

In the same day the Lord made a covenant with Abram, saying, Unto thy seed have I given this land, from the river of Egypt unto the great river, the river Euphrates (Genesis 15:18)

God’s covenant with the Jews was based on their keeping the commandments that he revealed to Moses. Rembrandt’s 1659 painting Moses with the Tablets of the Law shows Moses holding aloft the stone tablets on which the Ten Commandments had been written. These were engraved on two separate stones (Exodus 31:18, 32:15). In the painting, only the second tablet is completely visible giving the 6th to 10th commandments (Exodus 20:13-17). These begin with: “Thou shalt not kill. Thou shalt not commit adultery. Thou shalt not steal:” (Hebrew illustrated on the right).

No one is sure what moment in the story of the tablets Rembrandt is representing. Is it when he first displays these to the Hebrews? or when he is about to shatter them on the ground because the Hebrews had been worshipping the Golden Calf while he had been on Mount Sinai with God (Exodus 32:19)? or is it when he returns to God and brings a second set of tablets back to the chastised Hebrews (Exodus 34:1). Moses’ face is shining with revelation rather than angry. Perhaps, Rembrandt has painted the moment when Moses first displays the commandments.

No group of people is perfect. However, the Jews have contributed more than their share to the human endeavor – in philosophy, science, medicine, politics, art, music, literature. And for the most part the, laws that they accepted as part of their covenant with God have served them well. They are indeed an example to other people.

So why were and are they so often reviled? It is unlikely a reaction to their chutzpah in claiming to be God’s chosen. In the Middle Ages this was called the Insolentia Judaeorum. Yet every one of the world’s many religions claims to be just as special.

One defining aspect of the Jewish religion is that it is monotheistic. The first commandments state that a Jew must obey Jehovah and not even pay lip-service to any other god or idol:

I am the Lord thy God, which have brought thee out of the land of Egypt, out of the house of bondage.
Thou shalt have no other gods before me.
Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth.
Thou shalt not bow down thyself to them, nor serve them
(Exodus 20:2-5).

The Jewish religion thus combines the worship of one god with strict obedience to his commandments. As Prager and Telushkin (2003) have suggested, this ethical monotheism may have offended those who followed other gods. Jews refused to follow the proverbial injunction that when in Rome do as the Romans do. For example, the outburst of violence against the Jews in Alexandria in 38 CE (then part of the Roman Empire) was triggered by their refusal to place statues of the Emperor Caligula in their temples (Goldstein, 2012).

One should respect the beliefs of others. However, respect does not mean obeying rules that go against one’s own moral principles. The Jewish people’s refusal to acknowledge or worship other gods has continued to the present. In particular Jews do not recognize the divinity of Jesus Christ.

In addition to the Ten Commandments, Yahweh’s covenant with the Jewish people involved numerous other rules of behavior. These included strict stipulations about the types of food that they might eat and the methods in which this food should be prepared. Over the ages observant Jews have thus been unable to share meals with those of other faiths. And although some of the ancient Jewish philosophers – Hillel and Maimonides for example – were open to ideas beyond the Covenant, strict Judaism limited itself to the study of the Torah and its interpretations.

The Covenant with Yahweh thus isolated the Jewish people from the rest of humanity. They could not share the beliefs, the food or the thoughts of others. They antagonized others by their claim to be the chosen people.

So we have the idea that antisemitism is in part caused by the very character of the Jewish religion. This would explain why the Jews have been reviled by so many different people in so many different countries. The following was written Bernard Lazare in 1894. He was a Jewish polemicist who wrote the first defense of Captain Alfred Dreyfus. Yet even he thought that the Jews were partly to blame for antisemitism.

Inasmuch as the enemies of the Jews belonged to divers races; as they dwelled far apart from one another, were ruled by different laws and governed by opposite principles; as they had not the same customs and differed in spirit from one another, so that they could not possibly judge alike of any subject, it must needs be that the general causes of antisemitism have always resided in Israel itself, and not in those who antagonized it…. Which virtues or which vices have earned for the Jew this universal enmity? Why was he ill-treated and hated alike and in turn by the Alexandrians and the Romans, by the Persians and the Arabs, by the Turks and the Christian nations? Because, everywhere up to our own days the Jew was an unsociable being. (Lazare, 1894/1903, pp 8-9)

This seems so reasonable. Yet it is false. It does not explain the cause of antisemitism. It is just an excuse. It blames the victim for the crime.

The Crucifixion of Christ

In the early decades of the Common Era, Jesus, a Jewish teacher from Nazareth, brought new insight to the interpretation of Jewish law. He simplified the commandments by expressing them as the need to love the Lord and to love one’s neighbor as oneself. He criticized the rigid adherence to the Sabbath, and the commercialization of the Temple. He proclaimed the idea of a Kingdom of Heaven. Many of the more observant Jews were disconcerted by his teachings. The Romans were upset that he was proposing a new kingdom. Jesus was arraigned before Pilate, the Roman governor of Judea, condemned and crucified.

A few days after his death and burial, the tomb of Jesus was found empty. Many of his followers claimed that they afterwards saw him in person. They therefore believed that he had been resurrected. They continued to meet and discuss his teachings. They were either tolerated by other Jews or condemned as heretics.

A learned Jew named Saul was one of those that persecuted the followers of Jesus. However, on the road to Damascus he had a vision of Jesus that completely altered his thinking. He changed his name to Paul, and began to provide an over-arching theory about the death and resurrection of Jesus. His main ideas were that Jesus was the Son of God, the Messiah prophesied in the scriptures, that he died to release us from our sins, and that we shall all be saved from death by having faith in Jesus called Christ (the “anointed”).

For I delivered unto you first of all that which I also received, how that Christ died for our sins according to the scriptures;
And that he was buried, and that he rose again the third day according to the scriptures (I Corinthians 15:3-4)

Paul’s major teaching was that one could never attain salvation by following the Mosaic laws. No one is perfect. Everyone breaks the law. However, Christ offers salvation if we repent our sins and have faith in him.

Knowing that a man is not justified by the works of the law, but by the faith of Jesus Christ, even we have believed in Jesus Christ, that we might be justified by the faith of Christ, and not by the works of the law: for by the works of the law shall no flesh be justified. (Galatians 2:16).

Paul’s letters describing these ideas are the earliest of the Christian scriptures. Written in the years 50-60 CE these predate by 20 to 50 years the four gospels, which describe the life and teachings of Jesus.

The followers of Jesus in the 1st Century CE differed in their opinion about his relationship to the Jews. Some thought that the message of Jesus was for the Jews; others that it was for both Jews and Gentiles. Most of Paul’s teaching was directed to the Gentiles. In some of his letters he laments the inability of many of his Jewish colleagues to understand God’s new covenant.

For ye, brethren, became followers of the churches of God which in Judaea are in Christ Jesus: for ye also have suffered like things of your own countrymen, even as they have of the Jews:
Who both killed the Lord Jesus, and their own prophets, and have persecuted us; and they please not God, and are contrary to all men:
Forbidding us to speak to the Gentiles that they might be saved, to fill up their sins alway: for the wrath is come upon them to the uttermost.
(I Thessalonians 2:14-16)

Some of the gospels continued this criticism of the Jews (Crossan, 1995). This is perhaps most evident in the gospel of Matthew. He describes how the Jews forced Pilate to crucify Jesus, and willingly accepted the responsibility for his death:

When Pilate saw that he could prevail nothing, but that rather a tumult was made, he took water, and washed his hands before the multitude, saying, I am innocent of the blood of this just person: see ye to it.
Then answered all the people, and said, His blood be on us, and on our
children. (Matthew 27: 24-25)

The major event in Jewish history of the 1st Century CE was the Great Revolt of the Jews against Roman rule. This began in 66 CE and culminated in the Destruction of the Second Temple in 70 CE. The illustration below shows a representation in the Arch of Titus of the Romans carrying the spoils from the temple. Among the spoils is the great Menorah that once gave light to the Tabernacle.

At this time many Jews fled their homeland and settled in other countries. The Jewish people have been exiled at many times in its history – the Assyrian conquest (733 BCE), the Babylonian captivity (597 BCE), the Great Revolt (70 CE), the later Bar Kokhba Rebellion (132 CE). Though some Jews remained in Israel, most lived in the Diaspora (“scattering”) – far from the land that from the days of Moses they had considered their God-given home.

The Destruction of the Temple seemed to many Christians a divine response to the action of the Jews in crucifying their Lord. Though the Romans crucified Jesus, some of the early Christians considered the Jews responsible. The Jews were thus guilty of deicide and should be reviled and cast out from Christian society. Even if they were not guilty, they should be chastised for not recognizing the salvation offered by Christ – for staying with the old dispensation rather than following the new.

These ideas have long permeated the thinking of the Christian Church. Many of the cathedrals illustrate these concepts by contrasting sculptures of Ecclesia and Synagoga. The statues on the south portail of the Cathedral of Notre Dame in Strasbourg from the 13th Century CE are particularly impressive. Legend has it that these were created by a female sculptor Sabina von Steinbach, though there is no real evidence for this. Ecclesia with her crown, holds in her hands the cross and the chalice. She looks with pity on Synagoga, who is blindfolded and cannot see the truth. She holds in her hands the tablets of the law and the lance that the centurion used to bring the crucifixion to an end. The lance was shattered by the resurrection.

The following illustration shows the complete portail. Ecclesia and Synagoga are on the left and right sides. In the center sits Solomon in judgement between the old covenant and the new. Above him is Christ, Salvator Mundi (savior of the world). The carvings in the tympanums represent the dormition, assumption and coronation of the Virgin Mary.

The statues of Ecclesia and Synagoga are impressive examples of gothic art. Though superficially beautiful, they obscure rather than convey the truth. The feelings against the Jews that they evoke are a complete betrayal of Jesus, a Jew who taught in the synagogues of Palestine.

One might have hoped that the antisemitism of the Christian Church would have been excised by the Reformation. But this was not to be. Martin Luther was virulently antisemitic. In his The Jews and Their Lies (1543, pp 39-42) he advises Christians to burn their synagogues of the Jews, their houses, and their books, prohibit their Rabbis from teaching, not allow them to travel on the highways, and prohibit them from lending money. Luther was a harbinger of Kristallnacht.

Wild Accusations

During the Middle Ages people could not understand why life was so often brutal. An easy way to explain the various disasters was to attribute them to the Jews. If the Jews could kill God, there was no telling what other crimes they were capable of.

On Good Friday in 1144 the body of a child called William was discovered in the woods near Norwich in England. The Jews were accused of murdering the child. No credible evidence was ever found. However, a monk who had just converted from Judaism to Christianity claimed that the Jews had decided to sacrifice a Christian child to re-enact the death of Christ. Several Jews were slaughtered. William was declared a martyr. Pilgrims flocked to his tomb. Miracles occurred.

William of Norwich was the first documented case of Jews being accused of ritual murder. As the years went by similar accusations arose in multiple different regions of Europe (Goldstein, 2012). Many of these cases included the idea that the Jews used the blood of their victims to make the unleavened bread used in the celebration of Passover. This particular accusation was called the “blood libel.” It makes no sense. Kosher regulations require that observant Jews never eat food contaminated with blood. Jews go to great lengths to remove blood from meat before it can be eaten.

The Christian Bible contains the Hebrew scriptures in what it calls the Old Testament. Some of these writings described how the blood of sacrificed animals played an important role in the ceremonies of the ancient Hebrews, e.g.

And he shall kill the bullock before the Lord: and the priests, Aaron’s sons, shall bring the blood, and sprinkle the blood round about upon the altar that is by the door of the tabernacle of the congregation. (Leviticus 1:5).

Other ancient Hebrew writings are even more disconcerting. One of the foundational stories of Judaism is the Akedah (“binding”), wherein the Patriarch Abraham, at the request of Jehovah, takes his son Isaac to Mount Moriah to sacrifice him (Genesis 22). Although an angel stays Abraham’s hand at the last moment, this fails to attenuate the story’s horror. The illustration below shows Rembrandt’s 1655 etching.

The Old Testament contains other stories wherein children were sacrificed. To defeat the Ammonites, Jephthah promised the Lord that he would sacrifice whatever came out of his house when he returned from battle. Jehovah gave the victory to the Israelites. When Jephthah returned home, his daughter came to greet him, dancing and playing the tambourine (Judges 11).

There is also a suggestion that King Manasseh sacrificed his son – the wording is “he made his son pass through the fire” (2 Kings 21:6). These events and the idea that the terrible place near Jerusalem called Gehenna or Tophet was actually a site of human sacrifice are discussed at length by Stavrakopoulou (2004). The practice was banned by Yahweh speaking through his prophet Jeremiah:

And they have built the high places of Tophet, which is in the valley of the son of Hinnom, to burn their sons and their daughters in the fire; which I commanded them not; neither came it into my heart. (Jeremiah 7:31).

One can perhaps imagine how such stories from the Old Testament might have allowed credulous people to accept the idea that the Jews might sacrifice Christian children and use their blood for their ceremonies. When one’s faith requires a belief in miracles, wild rumors are not easily contradicted.

The main sacrament of the Christian Church is the Eucharist, wherein the congregation partakes of bread and wine that have been especially blessed. According to the church, these had been miraculously “transubstantiated” to the body  of Jesus, who was sacrificed to save the world. The sacramental bread is called the host (from the Latin hostia for sacrificial victim). In many places and at many times the Jews were accused of “desecrating” the host. The following illustration shows a 1469 sequence of paintings by Paolo Uccello that tell the story of the Miracle of the Desecrated Host. Both the full sequence and the particular panels illustrating the second and fifth episodes are shown. The paintings were on the predella to the altar in the Corpus Domin church in Urbino. The retable painting above the predella by Justus van Gent presented the Institution of the Eucharist.

The six episodes in the predella show

  1. a woman sells a portion of the consecrated host to a Jewish merchant
  2. when the Jew tries to burn the host, it starts to bleed, alerting the city guards
  3. a holy procession is needed to re-consecrate the host
  4. the woman is burned at the stake; she repents and an angel descends from heaven to save her
  5. the Jew and his family are burned at the stake; no angel intervenes
  6. two angels and two devils argue over the woman’s body

As the Black Death (Bubonic Plague) spread across Europe in the 14th Century, Jews were accused of poisoning wells and spreading the disease. Many Jews were condemned to death by fire fort these crimes. No one noticed that Jews died from the pandemic just as frequently as their Christian neighbors. Nor that burning Jews at the stake had no effect on the spread of the disease. A half century later, Jacob von Königshofen wrote a critical history of these times. The following is his description of the massacre of the Jews in Strasbourg at the height of the Black Death in 1349:

In the matter of this plague the Jews throughout the world were reviled and accused in all lands of having caused it through the poison which they are said to have put into the water and the wells – that is what they were accused of – and for this reason the Jews were burnt all the way from the Mediterranean into Germany, but not in Avignon, for the pope protected them there. On Saturday-that was St. Valentine’s Day, they burnt the Jews on a wooden platform in their cemetery. There were about two thousand people of them. Those who wanted to baptize themselves were spared. Many small children were taken out of the fire and baptized against the will of their fathers and mothers. And everything that was owed to the Jews was cancelled, and the Jews had to surrender all pledges and notes that they had taken for debts. The council, however, took the direct cash that the Jews possessed and divided it among the working men proportionately. The money was indeed the thing that killed the Jews. If they had been poor and if the feudal lords had not been in debt to them, they would not have been burnt. After this wealth was divided among the artisans some gave their share to the Cathedral or to the Church on the advice of their confessors. Thus were the Jews burnt at Strasbourg. (quoted in Marcus, 1938, p.47)

Forces other than the plague were at play. Debt caused as much suffering as disease. As the historian notes, “The money was indeed the thing that killed the Jews.”

Usury

The Old Testament contains several injunctions against usury. Originally “usury” was simply any interest charged on loans. The meaning of the term has changed as the relations between religion and commerce have developed. At present, usury is generally limited to exorbitant interest.

In one of the earliest mentions of usury in the Hebrew Scriptures, the Jewish people are forbidden to charge interest on loans to fellow-Jews although they may so charge strangers:

Unto a stranger thou mayest lend upon usury; but unto thy brother thou shalt not lend upon usury (Deuteronomy 23:20).

In the New Testament usury is only occasionally considered:

But love ye your enemies, and do good, and lend, hoping for nothing
again (Luke 6:35).

Nevertheless, the Christian Church decided early in its history that usury was a sin (Moehlman, 1934). In the council of Nicaea of 327 CE it forbade clergy to collect interest on any debts. In the Third Lateran Council of 1179, it decreed

Since in almost every place the crime of usury has become so prevalent that many persons give up all other business and become usurers, as if it were permitted, regarding not its prohibition in both testaments, we ordain that manifest usurers shall not be admitted to communion, nor, if they die in their sin, receive Christian burial, and that no priest shall accept their alms. (Moehlman, 1934, pp 6-7)

Thus for most of the middle ages it was difficult for people in business to obtain financial support for their enterprises. Jewish merchants, untrammeled by Christian prohibitions, unable to own land, and often prevented from practicing trades because of exclusively Christian guilds, gradually assume the responsibility for lending money in return for interest (Foxman, 2010). Some kings and princes found the linguistic abilities and financial connections of the Jews appealing and appointed them to their courts. However, most Jews remained poor and unrecognized – traders, shopkeepers, pawnbrokers and minor moneylenders.  

In later years the Catholic Church found itself in need of capital to build its churches, and revised its doctrine on usury, founding its own lending organizations called Mounts of Piety (Monte de Pieta). The oldest bank in the world, the Banca Monte dei Paschi di Siena, derives from one of these lenders. After the Reformation, Protestants re-interpreted the scriptures and established their own investment banks.

Jewish lenders prospered and some of our current banks have Jewish roots, the Rothschild banks and Goldman-Sachs being two of the biggest. However, almost all of the world’s largest banks were actually founded by Gentiles. The idea that the Jews control international banking is ludicrous. Why one should only consider the religion of a banker when he is Jewish is invidious (Foxman, 2010). One never mentions the Roman Catholic origins of the Bank of America or the Presbyterian origins of Wells Fargo. Yet Jewish bankers have long been game for hateful cartoons. The depiction of “King Rothschild” by Charles Lucien Léandre shown on the right is from the cover of Le Rire, April 16, 1898. Above Rothschild is the Golden Calf that was worshipped by the  the idea of Mammon, the idol of wealth condemned in the New Testament:

No man can serve two masters: for either he will hate the one, and love the other; or else he will hold to the one, and despise the other. Ye cannot serve God and mammon. (Matthew 6:24).

The myth of Jewish greed has become a mainstay of antisemitic thought. Richard Wagner (1850) cannot get away from it even though he is supposed to be writing about music.

According to the present constitution of this world, the Jew in truth is already more than emancipate: he rules, and will rule, so long as Money remains the power before which all our doings and our dealings lose their force.

Even Jewish writers have been convinced of the myth

Thus, by himself and by those around him; by his own laws and by those imposed upon him; by his artificial nature and circumstances, the Jew was directed to gold. He was prepared to be changer, lender, usurer, one who strives after the metal, first for the pleasures it could afford and then afterwards for the sole happiness of possessing it; one who greedily seizes gold and avariciously immobilizes it. (Lazare, 1903, p 110).

The Pale of Settlement

As the Middle Ages progressed, the Jews were expelled from many European countries: England, 1290; France, 1306; Hungary, 1349; Austria, 1421; Spain, 1492; Portugal, 1497 (Baum 2012, p. 18). Other countries required that the Jews live apart from Christians in regions that came to be known as ghettos, from the Venetian dialect word for “foundry” located near where the first ghetto was established in Venice in 1516. Other ghettos were later set up throughout Italy, and then in Germany and in Poland (Goldstein, 2012, p 130)

Many of the expelled Jews moved to Eastern Europe. They settled in the
regions that now form the countries of Poland, Lithuania, Belarus, and Ukraine. Much of this area was then part of the Kingdom of Poland. Polish nobles welcomed the new immigrants. Many Jews were used as tax-collectors. This did sit well with some of the Eastern Orthodox Slavic people who chafed under the control of Catholic Poland. In 1648, the Cossacks in Ukraine rebelled under the leadership of Bohdan Khmelnytsky. During this war, tens of thousands of Poles and Jews were massacred (Bacon 2003). The Eastern Orthodox Church was every bit as antisemitic as the Roman Catholic Church. Ukraine became independent of Poland and soon became part of the Russian Empire. Later Poland itself would be partitioned between Prussia, Austria and Russia and cease to exist as an independent kingdom.

The “Pale of Settlement” was set up in 1791 by Catherine the Great. This was an area in the Western regions of the Russian Empire wherein Jews were allowed to live. The term “pale” refers to the stakes that delineated the area
– the word was originally used to describe an area in Ireland under the control of the English crown. Over the years many of the Jews in central Russia were exiled to the Pale of Settlement. As shown in the map (adapted from Wikipedia, originally created by Thomas Gun) the Jewish percentage of the population in these regions was significant. Around 1900, the Jews in the Pale of Settlement numbered almost 5 million (about half the total number of Jews in the world), and formed about 10% of the general population of the area. 

The ghettos and the Pale of Settlement separated the Jews from their neighbors. Their resultant isolation of the Jews increased their “unlikeness” or “otherness.” By closing them off in localized areas beyond the reach of normal civil authorities, it also made them more susceptible to random violence.

In 1881, Tsar Alexander II was assassinated in St. Petersburg by a group
of revolutionaries. The group Narodnaya Volya (“People’s Will”) was
composed of Russian-born anarchists, but one young woman was Jewish. The new Tsar Alexander III believed that the Jews were behind the assassination and unleashed a series of pogroms in the Pale of Settlement to avenge his father’s death.

The word “pogrom” derives from a Russian word for storm or devastation. Christians in a community were encouraged to murder their Jewish neighbors – killers of Christ and assassins of the Emperor. The police were ordered not to intervene. These pogroms continued into for several years. Thousands of Jews were killed.

The pogroms returned in 1903-1906 during the reign of Tsar Nicholas II. These appear to have been instigated by members of the Tsar’s secret police. One political rationale for these actions against the Jews was to rally the Russian people around the Tsar and against all those that were promoting the modernization of Russia.

The first pogrom of the 20th Century began in Kishinev, Moldava (then known as Bessarabia), on Easter Sunday in 1903. A child had been found murdered, and city leaders accused the Jews of his murder. Patriotism, blood libel and deicide worked together to create a rampaging and  murderous mob (Penkower, 2004). The following is an illustration from the French Journal L’Assiette de Beurre of April, 1903, depicting the aftermath of the Easter pogrom.

The novel The Lazarus Project by Aleksander Hemon (2008), which tells the story of a survivor of the Kishinev pogrom who immigrated to the United States, provides a vivid description of the violence and its far-reaching consequents. The epic poem City of the Killings written in 1903 by the Jewish poet Chaim Bialik to commemorate the massacre begins:

Rise and go to the town of the killings and you’ll come to the yards
and with your eyes and your own hand feel the fence
and on the trees and on the stones and plaster of the walls
the congealed blood and hardened brains of the dead.

The Protocols

At about this time there appeared the first traces of The Protocols of the Elders of Zion (Nilus, 1906/1922). This document purported to be the secret plans of Jewish Leaders to take over the world. The protocols describe how these elders will sow dissension and confusion amidst the goyim and ultimately step in to rule:

In order to put public opinion into our hands we must bring it into a state of bewilderment by giving expression from all sides to so many contradictory opinions and for such length of time as will suffice to make the goyim lose their heads in the labyrinth and come to see that the best thing is to have no opinion of any kind in matters political, which it is not given to the public to understand because they are understood only by him who guides the public. This is the first secret.
The second secret requisite for the success of our government is comprised in the following; To multiply to such an extent national railings, habits, passions, conditions of civil life, that it will be impossible for anyone to know where he is in the resulting chaos, so that the people in consequence will fail to understand one another. This measure will also serve us in another way, namely, to sow discord in all parties, to dislocate all collective forces which are still unwilling to submit to us, and to discourage any kind of personal initiative which might in any degree hinder our affair. There is nothing more dangerous than personal initiative; if it has genius behind it, such initiative can do more than can be done by millions of people among whom we have sown discord. We most so direct the education of the goyim communities that whenever they come upon a matter requiring initiative they may drop their hands in despairing impotence. The strain which results from freedom of action saps the forces when it meets with the freedom of another. From this collision arise grave moral shocks, disenchantment, failures. By all these means we shall so wear down the goyim that they will be compelled to offer us international power of a nature that by its position will enable us without any violence gradually to absorb all the State forces of the world and to form a Super-Government. (Protocol 5)

The reader easily recognizes the confusions of the modern world. Our
natural paranoia quickly attributes this to outside agents rather than to the
simple complexity of political forces. Human beings have long imagined that our lives are controlled by secret societies such as the Templars, the
Rosicrucians, the Jesuits, the Illuminati, the Masons, and the New World Order (Eco, 1994, pp 132-139). The Protocols of the Elders of Zion identified these clandestine agents as the Jews.

The protocols are a complete fiction (Eisner, 2005; Hagemeister, 2008). They were largely plagiarized from a satire against the French Emperor Napoleon II written by Maurice Joly in 1864 entitled The Dialogue in Hell between Machiavelli and Montesquieu (Graves, 1921). The most widely accepted story is that a Russian exile living in France, Mathieu Golovinski, adapted Joly’s satire into an antisemitic tract at the instigation of the Tsar’s secret police, who wished to impugn the forces of modernization in Russia, and to whip up hatred of the Jews as a distraction from the government’s problems.

Despite being proven a fiction, the Protocols have been republished over and over again. The illustration at the right shows the cover of a French Version published in 1934. The design is loosely based on Léandre’s 1898 cartoon depiction of Rothschild. The cover artist goes by the alias ‘Christian Goy.” In the 20th Century the Protocols are widely published in Muslim countries, where they serve to foster animus against Israel. Why do people still believe that this tract represents the truth? It is easier to believe in a simple fiction than in complex facts. The confusion of the modern world is caused by the interactions of many different political
forces. It is simpler to believe it is caused by the Jews than to try to understand the real causes.

Rootless Cosmopolitans

During the 18th and 19th Century nationalism became one of the main forces in European politics. As the Age of Enlightenment and the Age of Revolution undermined the legitimacy of divinely ordained dynasties, the people developed the idea of a nation – a community conceived or “imagined” in three ways: shared culture, limited geographic extent, and governance by the people (Anderson, 2016). Inherent in the concept of a nation was the idea that all its citizens should have equal rights. Nationalism gained its greatest impetus from the revolutions in the United States and France in the 18th century, and from the later Revolutions of 1848 in Europe.

According to the ideals of nationalism, no one should be discriminated against on the basis of their religion. As part of this movement Jewish citizens began therefore to be accepted as equal participants in the new nations (Mendes-Flohr, 1996; Barnavi, 2003, pp 158-9). This emancipation occurred slowly: France in 1791; Prussia in 1812; Belgium in 1830; the Netherlands in 1834 the United Kingdom in 1858; Austria 1867; the United States in 1877 (reviewed in Wikipedia).  

Although nationalism wants all its citizens, regardless of their beliefs or background to be equal, it would prefer them to be homogeneous, all believing in the same national ideals. Yet no nation is homogeneous. The success of a nation depends on how it comes together despite its differences.

As nationalism progressed, suspicions about the Jewish people remained. This worry was presaged by the Conte de Clermont‑Tonnere in a speech to France’s new National Assembly in 1789. He initially proposed the principle “that the profession, or manner of worship of a man, can never be motives for depriving him of the Rights of Election.” He then listed some of the arguments against giving citizenship to the Jews and declared them invalid:

It is here I am at tacked by the adversaries of the Jews. That people, say they, are unsociable; usury is enjoined them; they cannot be united with us, either by marriage, or habitual intercourse; they are forbidden our meats, and interdicted our tables. Our armies will never be recruited by Jews; they will never take up arms for the defense of their country. The weightiest of these reproaches is unjust, the others are but specious.

However, he then recognized that Jews may have commitments outside of the nation in which they would be granted full citizenship. They have religious and financial ties to colleagues in other nations. They may wish to be governed by their own laws and judged according to their scriptures. They could thus be a nation within a nation. So he suggested that

you should deny the Jews every thing as a distinct nation, and grant them every thing as individuals.

This idea that Jews were still different from other citizens persisted. The very fact of the diaspora worked against them. With their allegiances to other Jewish communities in other countries, they seemed “cosmopolitan” rather than patriotic. They interfered with a nation’s sense of itself. In the Middle Ages the Jew was assailed because he was not Christian. In the Modern Age he was assailed because he was not truly French or German or Russian. In both cases he was not “one of us.”

The idea of the Jews as “rootless cosmopolitans” was (and is) one of the main tenets of Russian antisemitism. It was basic to the foundation of the Pale of Settlement in Tsarist times and it continued in the socialist regime that followed the Russian Revolution. The following is a description of cosmopolitans from Vissarion Belinsky, a 19th century literary critic who promoted the idea of a truly Russian literature:

The cosmopolitan is a false, senseless, strange and incomprehensive phenomenon, a manifestation in which there is something insipid and vague. He is a corrupt, unfeeling creature, totally unworthy of being called by the holy name of man (quoted in Pinkus, 1988, pp 153-154).

Despite Soviet Russia’s professed goal of the brotherhood of man, the idea of the Jew as a “rootless cosmopolitan” persisted after the Revolution. It came to a frightening culmination in the accusations against the Jewish doctors in 1952-3 (Carfield, 2002). It is frightening to note the similarity between Communist thought and the Fascist idea of Bodenlosigkeit (lack of “ground” in the sense of a place to have roots).

The ideas of nationhood radically changed the lives of many Jews (Arendt, 1951). Intent on proving themselves good citizens of the new nations, they relinquished some of their religious beliefs and behaviors. They became secular. Some even converted to the state religion, hoping to become “assimilated” into general society. Despite all these efforts to become involved as a citizen, the Jews continued to be considered alien. Rather than being welcomed as a compatriots they reviled as pretentious upstarts.

And so many Jews began to think that the only solution was to return to Palestine to found their own new nation of Israel. No longer cosmopolitan they would reclaim their homeland. Zionism would provide Jews with a nation wherein they were not alien (Miller& Ury, 2010).

These new developments made it even more difficult for the Jews who remained in the countries of their birth. Would a Jew support Israel against the interests of the country in which he lives? Zionism raised fears about the allegiance of the Jews, and provided an excuse to exile them from the nations they could not be part of.

So arose the idea that the Jews could never really be part of any non-Jewish nation. This concept was presented by T. S. Eliot (1934) in a series of talks about literary traditions. He describes “tradition:”

What I mean by tradition involves all those habitual actions, habits and customs, from the most significant religious rite to our conventional way of greeting a stranger, which represent the blood kinship of ‘the same people living in the same place.’ (p 18)

He goes on to suggest how tradition should be established and maintained:

What we can do is to use our minds, remembering that a tradition without intelligence is not worth having, to discover what is the best life for us not as a political abstraction, but as a particular people in a particular place; what in the past is worth preserving and what should be rejected; and what conditions, within our power to bring about, would foster the society that we desired. (p. 19)

And then he brings up something that is essential to any great tradition:

The population should be homogeneous; where two or more cultures exist in the same place they are likely either to be fiercely self-conscious or both to become adulterate. What is still more important is unity of religious background; and reasons of race and religion combine to make any large number of free-thinking Jews undesirable. There must be a proper balance between urban and rural, industrial and  gricultural development. And a spirit of excessive tolerance is to be deprecated.

The remarks about the free-thinking Jews are strange and terrifying. They are completely out of context in a discussion of the literary traditions of the American South. They clearly reflect the antisemitism of the writer and of his time. In the years subsequent to Eliot’s book, the great liberal democracies of the world refused to accept Jews fleeing from the Nazi regime in Germany for fear that they would pollute their national identities.

Although nationalism fostered the idea of governance by the people, it also promoted war in the pursuit of a nation’s destiny. As Anderson (2016) has pointed out, one of the measures of nationalism’s success is how easily a people will lay down their lives to defend their country. Surely cosmopolitanism is a better ideal.

Conclusion

Human beings unfortunately seem to need to hate. We make an enemy of any one who is different from us. And so we revile those who gave us the Ten Commandments. We need to stop this senseless behavior. The main way forward is to learn abou those who are not us. This will broaden our understanding. With understanding will come tolerance and cooperation. And we should follow ideals that refuse to be limited to one faith or to one nation.

References

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Crossan, J. D. (1995). Who killed Jesus? Exposing the roots of anti-semitism in the Gospel story of the death of Jesus. San Francisco: Harper

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Station Island

Station Island is an island in Lough Derg in County Donegal in the northwest part of the Republic of Ireland, very near the border with Northern Ireland. Lough Derg is a small shallow lake set amid low hills. Drainage from the surrounding bogs often gives its waters a russet hue, accounting for its name, “Red Lake” in Irish. Legend attributes the color to the blood of a monster serpent killed by St Patrick. Station Island has long been a place of Catholic Pilgrimage. This post presents some history of the pilgrims and of those who have written about them. Particular attention is paid to Seamus Heaney’s sequence of poems entitled Station Island (1984). The posting is long – like the pilgrimage.

Lough Derg

The following illustration presents an annotated view of Lough Derg from Google Earth. The view is toward the north and the scale is approximate. The ferry to Station Island leaves from Ballymacavany.

A monastic community has existed on Station Island since the 5th Century CE. The initial inhabitants were likely anchorites (from the Greek anachoreo, withdraw), believers who underwent a rite of consecration similar to the funeral rite. They then considered themselves dead to the world and never moved from their one place of worship. Station Island has six low circular stone structures that probably are the remains of the anchorites’ clochans (“beehive cells”). Such ancient structures are common in western Ireland. The following illustration shows a clochan from the Dingle Peninsula. Those on the Island of Skellig Michael have become famous after being used in the movie Star Wars: The Last Jedi (2017).

St Patrick, the Romano-British missionary, may have visited Station Island during his time in Ireland during the 5th Century CE. St Dabheog, a Welsh disciple of St Patrick, is generally recognized as the first abbot of Station Island. As we shall see, in the early Middle Ages the island was considered one of the locations of Purgatory. The island soon became a place of pilgrimage, where believers came to repent their sins and renew their faith. The remains of the clochans became “penitential beds” where the pilgrims prayed.

A Short History of Purgatory

Early Christian teachings proposed two possible afterlives. Those who believed in Christ and repented their sins went to Heaven; those who did not went to Hell. The scriptures provide extensive support for both Heaven and Hell. However, there was some uncertainty about when these afterlives began. Was it immediately after death, or did the deceased have to wait until the Second Coming and the Resurrection of the Dead? If the latter, what happened in the meantime? Or is the idea of time after death without meaning?

The New Testament contains occasional references to being tested by fire after death:

That the trial of your faith, being much more precious than of gold that perisheth, though it be tried with fire, might be found unto praise and honour and glory at the appearing of Jesus Christ. (1 Peter 1:7).

In addition, another scriptural verse suggested that prayers could facilitate removal of sin from those who have died:

It is therefore a holy and wholesome thought to pray for the dead, that they may be loosed from sins. (2 Maccabees 12:46).

During the early Middle Ages, Christian theologians such as Albertus Magnus and Thomas Aquinas began to consider a third afterlife in addition to Heaven and Hell (Le Goff, 1984; Greenblatt, 2001). Perhaps there was a place or state where believers were cleansed or purged of their sins. Christ died to wash away the sins of the believers, but perhaps there was still some taint of sin that needed to be removed before entry into Heaven. After much discussion the Catholic Church accepted this idea at the Second Council of Lyon in 1274 (Denzinger et al., 2012, p. 283):

Those who after baptism lapse into sin must not be rebaptized but must obtain pardon for their sins through true penance. If, being truly repentant, they die in charity before having satisfied by worthy fruits of penance for their sins of commission and omission, their souls are cleansed after death by purgatorial and purifying penalties … and to alleviate such penalties the acts of intercession of the living faithful benefit them, namely, the sacrifices of the Mass, prayers, alms, and other works of piety that the faithful are wont to do for the other faithful according to the Church’s institutions.

The concept of purgatory was quickly taken up as an essential part of Christian culture. Dante’s Divine Comedy completed in 1320 vividly imagined the tripartite afterlife: Inferno, Purgatorio and Paradiso.  Many aspects of Purgatory remained unclear. Could mortal sins be removed or just venial sins? What was the nature of the purification process? Dante had the souls pass through fire only at the end of their ascent of Mount Purgatory. Others proposed that the fires of Purgatory were similar to those of Hell. However, the fires of Purgatory served to purify rather than to punish, and were limited in time rather than eternal. A terrifying description of Purgatory is given by the ghost of Hamlet’s father (Greenblatt, 2001):

                               I am thy father’s spirit,
Doom’d for a certain term to walk the night,
And for the day confined to fast in fires,
Till the foul crimes done in my days of nature
Are burnt and purged away. But that I am forbid
To tell the secrets of my prison-house,
I could a tale unfold whose lightest word
Would harrow up thy soul, freeze thy young blood,
Make thy two eyes, like stars, start from their spheres,
Thy knotted and combined locks to part
And each particular hair to stand on end,
Like quills upon the fretful porcupine:
But this eternal blazon must not be
To ears of flesh and blood. (Hamlet I: 5)

This is Brian Blessed as the Ghost in Kenneth Branagh’s 1996 movie of Hamlet:

The idea of Purgatory and the belief that prayers and alms could help reduce the suffering of souls in Purgatory soon led to corruption. In the later Middle Ages the church began to raise money from the faithful by selling “indulgences” as a way to reduce the amount of punishment one has to undergo in purgatory. These could be purchased for the benefit of either the dead or the living. The abuse of this process was one of the main factors leading to the Protestant Revolution. None of the Protestant churches recognize Purgatory. For example, the Articles of Religion of the Church of England state that the doctrine of Purgatory is “a fond thing vainly invented, and grounded upon no warranty of Scripture, but rather repugnant to the Word of God.”

St Patrick’s Purgatory

Legend states that while St Patrick was on Station Island he had a vision of the afterlife in a cave on the island. In 1184 a monk who signed himself “H” at the monastery of Saltrey near Cambridge wrote about the experiences of the Irish knight Owein during his visit to Loug Derg: the Tractatus de Purgatorio Sancti Patricii. (Le Goff, 1984). Some forty years before H penned his story, Owein was allowed to enter the cave on the island and soon found himself surrounded by demons and cast into the fire. He was delivered by calling on the name of Christ. After multiple periods of torture, the knight finally made his way across a narrow bridge over Hell and entered an Earthly Paradise, where souls await their entry into heaven. Owein returned to the world to tell others of his ordeal. Various versions and translations of the story became widely read across Europe.

No one knows the source of Owein’s visions. One possibility is that medicinal (“purgative”) herbs were burned in the cave. Some of these could have led to hallucinations. Ireland has evidence of ancient “sweathouses” that were likely used in this way. (Anthony Weir website).

The idea of St Patrick’s Purgatory became famous, and Lough Derg soon became a popular place of pilgrimage. The following illustration, showing a pilgrim entering the cave, is from La tres noble et tres merveilleuse Histoire du purgatoire saint Patrice (14th Century), a manuscript in the Bibliothèque nationale in Paris.

One of the earliest depictions of Purgatory is a fresco in the Convent of San Francisco in Todi, Umbria, Italy (MacTreinfhir, 1986). Whitewashed long ago, this fresco was only restored in 1976. The painter was likely Jacopo di Mino del Pellicciaio, and the date of the fresco is around 1345. Purgatory is shown as a rocky hill filled with separate openings into its hollow center. Above the mountain St Patrick introduces the prayers of the faithful that can help attenuate the sufferings of the souls undergoing purification. In each opening, sinners are tormented by demons and by fire. Each of the seven deadly sins – avarice, envy, sloth, pride, anger, lust, and gluttony – has its own region of purgatory and its own appropriate tortures. For example, in the central upper opening – luxuria (lust) – naked souls lie burning in flames while demons dance upon them. And in the lower right – invidia (envy) – souls are boiled in a seething cauldron.

The purified souls exit Purgatory in the center of the fresco where they are greeted by the Virgin Mary. She places a garland of white flowers upon their heads and passes them to St Philip Benizi (1233 –1285). The building was a monastery for the Order of the Servites before it became a convent and the fresco was clearly painted to glorify Benizi, who had founded this monastic order. The souls are then taken by St Peter into the New Jerusalem to join Christ and his angels. Above the arch are St Matthew on the left and Isaiah on the right. They each have scrolls quoting from their writings:

Come, ye blessed of my Father, inherit the kingdom prepared for you from the foundation of the world (Matthew 25:34)

Comfort ye, comfort ye my people, saith your God (Isaiah 40:1).

The Lough Derg Pilgrimage

Pilgrims have visited Lough Derg since the time of St. Patrick. In the early years of the pilgrimage much was made of the experience of Purgatory. However, the church moved away from the idea that Purgatory was an actual place that could be visited, preferring to consider it as a state of existence. Nevertheless, the idea of a pilgrimage to Station Island, as a sacred place conducive of faith and repentance was maintained.

During the subjugation of Ireland by the English in the 17th Century the monastic buildings on Station Island and Saints Island were raised, and the pilgrimage suppressed. Today the only medieval remnants on Station Island are the column supporting St Patrick’s Cross (illustrated on the right) and St. Brigid’s cross, incised in a stone now located in the wall of the modern Basilica. The new Church of St Mary of Angels was built in 1763. In 1790 the cave was filled in and a bell-tower constructed over its remains. The pilgrimage flourished. Various dormitory buildings were built to house the pilgrims. In 1929 St Patrick’s Basilica was constructed: a large octagonal neo-gothic building with extensive stained-glass windows. The illustration below shows a view of the basilica taken from the labyrinth. The following illustration shows the modern island from the air:

The Pilgrimage

The modern pilgrimage to Station Island follows a set course (Good, 2003). The usual visit lasts for 3 days and 2 nights. Pilgrims fast from the midnight before their visit. During their time on the island they partake each day of only one meal, composed of oatcakes or toast with tea or coffee. On their arrival on island, pilgrims give up their shoes and stay barefoot until they leave. On their first night on the island, they remain awake in a vigil in the Basilica of St Patrick. On the second night they sleep in the dormitories.

Services are conducted in the basilica. Mass is celebrated 4 times. In addition, a Sacrament of Reconciliation is conducted. Much of the pilgrims’ time on the island involves a sequence of prayers at various locations (“stations”) on the island. The prayers are Lord’s Prayer, the Hail Mary, and the Nicene Creed. Pilgrims begin by praying at St Patrick’s Cross., and then stand at St Brigid’s Cross and renounce the world, the flesh and the devil. After circumambulating the basilica, they then proceed to the “penitential beds,” the remains of the clochans of the original monks on the island. They walk around the beds and then pray at the cross in the center of each bed. Finally, the pilgrims go to the edge of the water to pray and meditate on their baptism and its meaning. The sequence of stations is repeated nine times during the pilgrimage. The following illustrations show pilgrims at the end of the 19th Century in a photograph from the National Library of Ireland and pilgrims from the 21st Century:

Many different writers have described their experience at Lough Derg (O’Brien, 2006). Since participating in the pilgrimage effectively requires that you be Catholic, these writers have all been brought up in the Catholic tradition, and have tried to portray their experience sympathetically. Yet each found that their pilgrimage did not fit easily with their ideals. I shall consider three writers: William Carleton and Patrick Kavanagh briefly, and Seamus Heaney in greater detail.

William Carleton (1794-1869)

William Carleton was born near Clogher in what is now the county Tyrone of Northern Ireland. A monastery was founded there in the 5th Century CE, and the town has long been the seat of a Catholic Bishopric. The youngest of 14 children (8 of whom survived their infancy) of a Catholic tenant farmer, Carleton was taught to read and write in hedge schools. In Ireland at that time the only schools allowed by the government were for children of the Anglican faith. Hedge schools were small illegal schools operated secretly in private houses and barns. They provided a rudimentary education for Catholic children.

In 1813, Carleton made the pilgrimage to Lough Derg. He found the experience oppressive. Soon thereafter gave up his idea of entering the priesthood, and decided to become a writer. His first publication described the pilgrimage. This was initially published in an evangelical Protestant journal and later collected in his Traits and Stories of the Irish Peasantry.  Carleton’s first view of Station Island was dismal:

In the lake itself, about half a mile from the edge next us, was to be seen the “Island”, with two or three slated houses on it, naked and unplastered, as desolate-looking almost as the mountains. A little range of exceeding low hovels, which a dwarf could scarcely enter without stooping, appeared to the left; and the eye could rest on nothing more, except a living mass of human beings crawling slowly about.

He found the vigil and the stations painful and depressing. They provided no release from sin but only intensified one’s self-loathing. He felt no nearness to God.

As for that solemn, humble, and heartfelt sense of God’s presence, which Christian prayer demands, its existence in the mind would not only be a moral but a physical impossibility in Lough Derg. I verily think that if mortification of the body, without conversion of the life or heart — if penance and not repentance could save the soul, no wretch who performed a pilgrimage here could with a good grace be damned. Out of hell the place is matchless, and if there be a purgatory in the other world, it may very well be said there is a fair rehearsal of it in the county of Donegal in Ireland.

Carleton described the lack of Christian charity in the priests of Lough Derg, one of whom insisted on taking the last pennies of a poor pilgrim and his son for a ticket to confession. At the beginning of his pilgrimage Carleton had taken up with two strangely dressed women. At the end these fellow pilgrims stole his coat and his money. Carleton’s experience at Lough Derg challenged his belief in both the Christian Church and his fellow man.

Carleton soon relinquished his Catholicism, travelled to Dublin, studied at Trinity College, and became a Protestant. His conversion is only briefly mentioned in his autobiography (Carleton, 1896, pp 214-5):

One doctrine of the Catholic Church I had sent to the winds long before that period. I allude to exclusive salvation. Neither logic nor reasoning was required to enable me to discard it. Common feeling—the plain principle of simple humanity—was sufficient. This, indeed, was the doctrine which first taught me to feel the justice of thinking for myself; and from that moment I felt that I could not much longer hold the doctrines of a Catholic. This course of thought was not suggested to me by a human being, and to confess the truth, I was a Protestant at least twelve months before the change was known to a human being.

The doctrine of exclusive salvation proposes that only those who believe in Christ can go to heaven; everyone else is damned to Hell. Carleton’s new religion allowed him to become successful, to publish extensively and to marry a Protestant wife. His portrait (illustrated on the left) was painted by John Slattery in the 1850s. Carleton’s pragmatic apostasy has made him a controversial figure in Ireland. However, his approach to religion was probably far more nuanced than his detractors propose. At the end of his life, Carleton was on friendly terms with both priests and preachers. He was offered the last rites of the Catholic Church but respectfully declined (Brown, 1970; Sloan, 2019).

Patrick Kavanagh (1904-1967)

Patrick Kavanagh was born in Inniskeen in County Monaghan, which is now just south of the border with Northern Ireland. He was the 4th of 10 children of a cobbler and farmer. At the age of 27 he left his work as a cobbler with his father and went to Dublin, where he was encouraged by George William Russell, a leader of the Irish Literary Revival. His first book of poems came out in 1936. The photograph on the right was taken by Elinor Wiltshire in 1951 (National Library of Ireland).

In 1942 Kavanagh wrote a long poem describing his experiences during a pilgrimage to Lough Derg. This poem, characterized by verse both free and constrained, was not published until 1978. His pilgrimage became more an exercise in compassion than in penitence (Welch, 1983). At the beginning he is scornful of his fellow pilgrims who are unable to appreciate the beauty of either art or nature:

From Cavan and from Leitrim and from Mayo,
From all the thin-faced parishes where hills
Are perished noses running peaty water,
They come to Lough Derg to fast and pray and beg
With all the bitterness of nonentities, and the envy
Of the inarticulate when dealing with an artist.
Their hands push closed the doors that God holds open.
Love-sunlit is an enchanter in June’s hours
And flowers and light. These to shopkeepers and small lawyers
Are heresies up beauty’s sleeve.

Yet over the course of his poem and his pilgrimage he develops an intense sympathy for the pilgrims. For the generations that they have been exploited by their Protestant landlords. To the extent that they are no longer a who but a what.

‘And who are you?’ said the poet speaking to
The old Leitrim man.
He said, ‘I can tell you
What I am.
Servant girls bred my servility:
When I stoop It is my mother’s mother’s mother’s mother
Each one in turn being called in to spread —
“Wider with your legs,” the master of the house said.
Domestic servants taken back and front.
That’s why I’m servile. It is not the poverty
Of soil in Leitrim that makes me raise my hat
To fools with fifty pounds in a paper bank.
Domestic servants, no one has told
Their generations as it is, as I
Show the cowardice of the man whose mothers were whored
By five generations of capitalist and lord.’

And Kavanagh realized that the grinding poverty of their lives that prevents any hope of gentleness or freedom. One of several sonnets describing the prayers of the pilgrims:

St Anne, I am a young girl from Castleblayney,
One of a farmer’s six grown daughters.
Our little farm, when the season’s rainy,
Is putty spread on stones. The surface waters
Soak all the fields of this north-looking townland.
Last year we lost our acre of potatoes;
And my mother with unmarried daughters round her
Is soaked like our soil in savage natures.
She tries to be as kind as any mother
But what can a mother be in such a house
With arguments going on and such a bother
About the half-boiled pots and unmilked cows.
O Patron of the pure woman who lacks a man,
Let me be free I beg of you, St Anne.

Ford (2011) has suggested that Kavanagh is presenting a God’s-eye view of the pilgrims

The poet’s view of the pilgrims might be seen as an attempt to see them theologically, as God sees them. It is a striking, often paradoxical, mixture of realism and compassion. Again and again the whole group and its individual members are described in their pettiness, selfishness, mediocrity and small-mindedness, their vices of envy, jealousy, greed, smugness, hypocrisy, cold-heartedness and so on, with a special poet’s emphasis on their insensitivity to beauty. Yet again and again there are also glimpses of grace, transcendence, beauty, delight, love, generosity, laughter, compassion and wisdom

Kavanagh ends his poem quietly as the pilgrims depart on the train:

The turnips were a-sowing in the fields around Pettigo
As our train passed through.
A horse-cart stopped near the eye of the railway bridge.
By Monaghan and Cavan and Dundalk
By Bundoran and by Omagh the pilgrims went;
And three sad people had found the key to the lock
Of God’s delight in disillusionment.

Kavanagh realized that he had not changed greatly as a result of the pilgrimage. Nor had his fellows. They had found no greater understanding of God. But perhaps some greater sympathy for each other.

Seamus Heaney (1939-2013)

Seamus Heaney was born near Castledawson, County Derry, in Northern Ireland, the first of nine children in his family. His father was a farmer and cattle-dealer. At age 12 Heaney won a scholarship to attend St Coulomb’s College, a Roman Catholic boarding school in Derry. From there he went on to Queen’s University Dublin. His first book of poetry, Death of a Naturalist, was published by Faber and Faber in 1966. Heaney and his family moved to a country cottage in Wicklow in the Republic of Ireland in 1972, and later to Dublin. Heaney spent time teaching at the universities of Berkeley and Harvard in the United States and at Oxford in England. The portrait on the right by Jerry Bauer was taken during one of his sojourns in the United States. In 1995 Heaney was awarded the Nobel Prize in Literature. He died in 2013; his final words texted to his wife Marie were Noli timere (“Fear not”). Heaney .is buried in St Mary’s Church in the village of Bellaghy near his birthplace. His epitaph quotes from the poem ‘The Gravel Walks’ in The Spirit Level (1996): “Walk on air against your better judgement.”

In 1984 Heaney published a sequence of poems based on an imagined pilgrimage to Station Island in Lough Derg. He had participated in the actual pilgrimage several times when he was a student at Queen’s University (Mulrooney, 2018; O’Driscoll, 2008). As he grew older, however, he became less observant. He found that poetry could provide access to understanding that was more profound and less constrained than religion (Duffy, 2013). In his Nobel lecture Crediting Poetry (1996), he remarked

… for years I was bowed to the desk like some monk bowed over his prie-dieu, some dutiful contemplative pivoting his understanding in an attempt to bear his portion of the weight of the world, knowing himself incapable of heroic virtue or redemptive effect, but constrained by his obedience to his rule to repeat the effort and the posture. Blowing up sparks for meagre heat. Forgetting faith, straining towards good works. Attending insufficiently to the diamond absolutes, among which must be counted the sufficiency of that which is absolutely imagined. Then finally and happily, and not in obedience to the dolorous circumstances of my native place but in despite of them, I straightened up. I began a few years ago to try to make space in my reckoning and imagining for the marvellous as well as for the murderous.

When he was writing the Station Island poems, Heaney was considering Dante and his Divine Comedy (Heaney, 1985). In the Middle Ages Lough Derg had been considered the site of Purgatory. And so Heaney’s Station Island poems are similar in many ways to Dante’s Purgatorio (Fumagalli, 1996; Hawlin 1992). During his imagined pilgrimage the poet sees and talks to various people from his life and from his reading. These visions occur at the prayer stations of the pilgrimage, just like the shades that Dante sees as he ascends through the levels of Mount Purgatory. As in Dante the visions portray the people of his time. Vendler (1998) has suggested that they describe the lives that Heaney might have led given his background. What might have been. Heaney could have become a priest or a teacher; he may have been a victim or a perpetrator of the sectarian violence that permeated Northern Ireland during The Troubles; he may have renounced his religion or accepted it. I shall comment only on some of the poems. More extensive notes are available at the website of David Fawbert, and in critical books (Tobin, 1999; Vendler, 1998) and articles (Conniff, 1999).

The poem begins with the sound of church bells after rain:

A hurry of bell-notes
flew over morning hush
and water-blistered cornfields,
an escaped ringing
that stopped as quickly

as it started. Sunday,
the silence breathed

The bells cease and the first of Heaney’s visions appears: Sweeney, one of the Irish Travellers who camped out near his childhood farm. Sweeney carries a bow-saw to cut firewood from the hedges. His saw appears like a lyre and gives the opening a touch of pagan poetry. But Heaney is soon surrounded and carried away by women on their pilgrimage to Lough Derg.

The next vision comes upon him as he is parked on the road from Pettigo to Lough Derg. The poem has now assumed a form that is a loose version of Dante’s terza rima. He realizes that the “aggravated man” he sees is the ghost of William Carleton, who is upset that nothing has changed: Orangemen and Fenians still hate each other and pilgrims still go to Station Island. He tells Heaney “to try to make sense of what comes,” and leaves with a final piece of wisdom

We are earthworms of the earth, and all
that has gone through us is what will be our trace.’

In the 4th poem Heaney meets with the ghost of Terry Keenan, whom Heaney had known when he was a child and Keenan was a seminarian “doomed to the decent thing.” Keenan had done missionary work in the tropics, contracted a chronic illness, and become disillusioned with his vocation. He had tried to give relief to others but had failed. He asks Heaney what possessed him to take the pilgrimage.

`And you,’ he faltered, ‘what are you doing here
but the same thing? What possessed you?
I at least was young and unaware

that what I thought was chosen was convention.
But all this you were clear of you walked into
over again. And the god has, as they say, withdrawn.

What are you doing, going through these motions?
Unless . . . Unless . . .’ Again he was short of breath
and his whole fevered body yellowed and shook.

`Unless you are here taking the last look.’
Then where he stood was empty as the roads
we both grew up beside, where the sick man

had taken his last look one drizzly evening
when the tarmac steamed with first breath of spring,
a knee-deep mist I waded silently

behind him, on his circuits, visiting.

The poem is in triplets but rhymes only occasionally and not according to the terza rima convention of ABA BCB. The form fits the feeling. The outline of the church’s teaching is there but the words fail.

In the seventh poem, Heaney is visited by the ghost of William Strathearn, an old friend from school. They had played together on the same football team. Strathearn had become a shopkeeper. One night in 1977, he was callously murdered by John Weir and Billy McCaughey, two off-duty members of the Royal Ulster Constabulary, who incorrectly thought he was a member of the Provisional Irish Republican Army. The terza rima form has returned though the rhyme is more often slant than perfect. The poem begins as Heaney comes to the station near the water’s edge. This is illustrated on right by Anne Cassidy (Good, 2003).

I had come to the edge of the water,
soothed by just looking, idling over it
as if it were a clear barometer

or a mirror, when his reflection
did not appear but I sensed a presence
entering into my concentration

on not being concentrated as he spoke
my name. And though I was reluctant
I turned to meet his face and the shock

is still in me at what I saw. His brow
was blown open above the eye and blood
had dried on his neck and cheek. ‘Easy now,’

he said, ‘it’s only me. You’ve seen men as raw
after a football match . . . What time it was
when I was wakened up I still don’t know

but I heard this knocking, knocking, and it
scared me, like the phone in the small hours,
so I had the sense not to put on the light

but looked out from behind the curtain. I
saw two customers on the doorstep
and an old landrover with the doors open

parked on the street so I let the curtain drop;
but they must have been waiting for it to move
for they shouted to come down into the shop.

She started to cry then and roll round the bed,
lamenting and lamenting to herself,
not even asking who it was. “Is your head

astray, or what’s come over you?” I roared, more
to bring myself to my senses
than out of any real anger at her

for the knocking shook me, the way they kept it up,
and her whingeing and half-screeching made it worse.
All the time they were shouting, “Shop!

Shop!” so I pulled on my shoes and a sportscoat
and went back to the window and called out,
“What do you want? Could you quieten the racket

or I’ll not come down at all.” “There’s a child not well.
Open up and see what you have got — pills
or a powder or something in a bottle,”

one of them said. He stepped back off the footpath
so I could see his face in the street lamp
and when the other moved I knew them both.

But bad and all as the knocking was, the quiet
hit me worse. She was quiet herself now,
lying dead still, whispering to watch out.

At the bedroom door I switched on the light.
“It’s odd they didn’t look for a chemist.
Who are they anyway at this time of the night?”

she asked me, with the eyes standing in her head.
“I know them to see,” I said, but something
made me reach and squeeze her hand across the bed

before I went downstairs into the aisle
of the shop. I stood there, going weak
in the legs. I remember the stale smell

of cooked meat or something coming through
as I went to open up. From then on
you know as much about it as I do.’

`Did they say nothing?’ ‘Nothing. What would they say?’
`Were they in uniform? Not masked in any way?’
`They were barefaced as they would be in the day,

shites thinking they were the be-all and the end-all.’
`Not that it is any consolation
but they were caught,’ I told him, ‘and got jail.’

Big-limbed, decent, open-faced, he stood
forgetful of everything now except
whatever was welling up in his spoiled head,

beginning to smile. ‘You’ve put on weight
since you did your courting in that big Austin
you got the loan of on a Sunday night.’

Through life and death he had hardly aged.
There always was an athlete’s cleanliness
shining off him and except for the ravaged

forehead and the blood, he was still that same
rangy midfielder in a blue jersey
and starched pants, the one stylist on the team,

the perfect, clean, unthinkable victim.
`Forgive the way I have lived indifferent —
forgive my timid circumspect involvement,’

I surprised myself by saying. ‘Forgive my eye,’
he said, ‘all that’s above my head.’
And then a stun of pain seemed to go through him

and he trembled like a heatwave and faded.

In the next poem Heaney is chided by his cousin Colum McCartney, who died in 1975 as another victim of the sectarian violence in Northern Ireland. Heaney had written a eulogy The Strand at Lough Beg and published this in Fieldwork (1979). The poem quoted from the first canto of Dante’s Purgatorio. Colum is upset that this poem had inappropriately aestheticized the ugliness of his assassination – “saccharined my death with morning due.” Poetry is a way to memorialize what happens but it must not attenuate reality.

The 9th poem begins with a composite of two of the ten IRA prisoners who died in the hunger strike at the Maze Prison in Belfast in 1981. Francis Hughes, the second of the strikers to die, and Thomas McElwee, the ninth, were both from the village of Bellaghy, close to Heaney’s childhood home. Heaney attended McElwee’s wake. The photograph shows McElwee’s coffin carried by his sisters and attended by an IRA honor guard.

The poem is composed of a sequence of sonnets, of which the first two follow:

`My brain dried like spread turf, my stomach
Shrank to a cinder and tightened and cracked.
Often I was dogs on my own track
Of blood on wet grass that I could have licked.
Under the prison blanket, an ambush
Stillness I felt safe in settled round me.
Street lights came on in small towns, the bomb flash
Came before the sound, I saw country
I knew from Glenshane down to Toome
And heard a car I could make out years away
With me in the back of it like a white-faced groom,
A hit-man on the brink, emptied and deadly.
When the police yielded my coffin, I was light
As my head when I took aim.’
This voice from blight
And hunger died through the black dorm:
There he was, laid out with a drift of mass cards
At his shrouded feet. Then the firing party’s
Volley in the yard. I saw woodworm
In gate posts and door jambs, smelt mildew
From the byre loft where he watched and hid
From fields his draped coffin would raft through.
Unquiet soul, they should have buried you
In the bog where you threw your first grenade,
Where only helicopters and curlews
Make their maimed music, and sphagnum moss
Could teach you its medicinal repose
Until, when the weasel whistles on its tail,
No other weasel will obey its call.

The weasel whistle mentioned at the end is an alarm signal. IRA agents used similar-sounding whistle to warn their colleagues.

The penultimate poem of the sequence presents a translation of a poem by the Spanish mystic St John of the Cross (Juan de la Cruz, 1542-1591). St John was from a converso family, that had earlier renounced their Judaism for Christianity. After becoming a priest, he had worked with Saint Teresa of Avila. The posthumous portrait is attributed to Zurbarán (1656). St John’s most famous work is The Dark Night of the Soul, a poem which describes the ascent of the soul to mystical union with God through renunciation of the world.

The translation of the poem Cantar del alma que se huelga de conocer a Dios por fe (“Song of the soul that rejoices in knowing God through faith”) is triggered by the ghost of a monk who had spent time in Spain and who had once served as Heaney’s confessor. We do not know what Heaney had confessed but we sense that it was likely some increasing doubts about his religion. He had become more concerned with poetry than with God. The monk told him to “Read poems as prayers” and “for your penance translate me something by Juan de la Cruz.

The following provides the beginning of the poem in Spanish (Kavanaugh & Rodriguez, 1991) and in Heaney’s translation. Heaney keeps the rhyming of the original though most of his rhymes are slant:

Qué bien sé yo la fonte que inane y corre,
aunque es de noche.

Aquella eterna fonte está escondida,
que bien sé yo do tiene su manida,
aunque es de noche.

Su origen no lo sé, pues no le tiene,
mas sé que todo origen de ella tiene,
aunque es de noche.

Sé que no puede ser cosa tan bella,
y que cielos y tierra beben de ella,
aunque es de noche.

How well I know that fountain, filling, running,
although it is the night.

That eternal fountain, hidden away,
I know its haven and its secrecy
although it is the night.

But not its source because it does not have one,
which is all sources’ source and origin
although it is the night.

No other thing can be so beautiful.
Here the earth and heaven drink their fill
although it is the night.

This poem thus presents the idea that there is something behind the reality of the world, something that can be grasped by religious faith. In Heaney’s thinking it might also be understood through the poetic imagination. In the Coda to Stepping Stones (O’Driscoll, 2008, p 471) he states

Poetry is a ratification of the impulse towards transcendence. You can lose your belief in the afterlife, in the particular judgement at the moment of death, in the eternal separation of the good from the evil ones in the Valley of Jehoshaphat, but it’s harder to lose the sense of an ordained structure, beyond all this fuddle. Poetry represents the need for an ultimate court of appeal. The infinite spaces may be silent, but the human response is to say that this is not good enough, that there has to be more to it than neuter absence. Admittedly we now know that the spaces are far from silent, that they are continuously alive and fluent in their own wordless language, but if you stand out in the country under a starry sky, you can still feel a primitive awe at the muteness of the vault.

In the twelfth and final poem of the sequence, the ghost of James Joyce appears as Heaney is getting out of the ferry from Station Island and returning to his life. Joyce tells him of his love of words, and how this this gave him freedom (Crowley, 2010). He tells Heaney to forget everything except his writing:

‘Your obligation
is not discharged by any common rite.
What you do you must do on your own.

The main thing is to write
for the joy of it. Cultivate a work-lust
that imagines its haven like your hands at night

dreaming the sun in the sunspot of a breast.
You are fasted now, light-headed, dangerous.
Take off from here. And don’t be so earnest,

so ready for the sackcloth and the ashes.
Let go, let fly, forget.
You’ve listened long enough. Now strike your note.’

It was as if I had stepped free into space
alone with nothing that I had not known
already. Raindrops blew in my face

as I came to and heard the harangue and jeers
going on and on. ‘The English language belongs to us.
You are raking at dead fires,

rehearsing the old whinges at your age.
That subject people stuff is a cod’s game,
infantile, like this peasant pilgrimage.

You lose more of yourself than you redeem
doing the decent thing. Keep at a tangent.
When they make the circle wide, it’s time to swim

out on your own and fill the element
with signatures on your own frequency,
echo soundings, searches, probes, allurements,

elver-gleams in the dark of the whole sea.’
The shower broke in a cloudburst, the tarmac
fumed and sizzled. As he moved off quickly

the downpour loosed its screens round his straight walk.

And so the poems end. Through his imagined pilgrimage to Station Island, Heaney has gained his freedom from Catholicism and from the Troubles. He has been granted the right to his poetry.

References

Brown, T. (1970). The death of William Carleton 1869. Hermathena, 110, 81-85.

Carleton, W. (1834). The Lough Derg pilgrim. From Traits and Stories of the Irish Peasantry Vol. III. Available at ricorso.net

Carleton, W. (edited and supplemented by D. J. O’Donaghue, 1896). The Life of William Carleton. Volume I. London: Downey & Co. Available at Internet Archive

Conniff, B. (1999). Talking ghosts, living traditions: political violence, Catholicism, and Seamus Heaney’s “Station Island.” Logos, 2, 118-145

Crowley, T. (2010). James Joyce and lexicography: “I must look that word up. Upon my word I must” (Logodaedalus ‘one who is cunning in words’, 1611).  Dictionaries: Journal of the Dictionary Society of North America, 31, 87-96.

Denzinger, H., Hoping, H., Hünermann, P., Fastiggi, R. L., & Nash, A. E. (2012). Compendium of creeds, definitions, and declarations on matters of faith and morals. 43rd Edition. San Francisco: Ignatius Press

Duffy, E. (2013). Seamus Heaney and Catholicism. In Walker, J. (2013). The present word: Culture, society and the site of literature: Essays in honour of Nicholas Boyle. (pp. 167-183). London: Legenda

Fawbie, D. (accessed 2019) Connecting with Seamus Heaney. Station Island Sequence.

Ford, D. F. (2011).  Reading texts, seeking wisdom: A Gospel, a system and a poem. Theology 114, 173–180

Fumagalli, M. C. (1996). “Station Island”: Seamus Heaney’s “Divina Commedia.” Irish University Review, 26, 127-142

Good, E. (with photographs by A. Cassidy, 2003). Lough Derg. Dublin, Ireland: Veritas.

Greenblatt, S. (2001). Hamlet in purgatory. Princeton, N.J: Princeton University Press.

Griffiths, P. J. (2008). Purgatory. In J. L. Walls (Ed.), Oxford Handbook of Eschatology. (pp. 427-445). Oxford: Oxford University Press

Hawlin, S. (1992). Seamus Heaney’s ‘Station Island’: the shaping of a modern purgatory. English Studies,1, 35-50.

Heaney, S. (1984). Station Island. London: Faber and Faber

Heaney, S. (1985). Envies and identifications: Dante and the modern poet. Irish University Review, 15, 5-19

Heaney, S. (1990). New selected poems, 1966-1987. London: Faber and Faber.

Heaney, S. (1996). Crediting poetry: The Nobel lecture. New York: Farrar, Straus & Giroux. Also available at Nobel Prize website

Heaney, S., (2009). Collected poems (Audio recordings). Dublin: Raidió Teilifís Éireann.

Kavanagh, P. (edited by Quinn, A., 2004). Collected poems. London: Allen Lane.

Kavanaugh, K., & Rodriguez, O. (1991). The collected works of Saint John of the Cross. Washington, D.C: ICS Publications.

Le Goff, J. (1984). The birth of Purgatory. Chicago: University of Chicago Press.

MacTréinfhir, N. (1986). The Todi Fresco and St. Patrick’s Purgatory, Lough Derg. Clogher Record, 12, 141-158.

Mulrooney, H. (2018). The night of other days: the life and work of poet Seamus Heaney. Bloomington, IN: AuthorHouse

O’Brien, P. (2006). Writing Lough Derg: From William Carleton to Seamus Heaney. Syracuse, N.Y: Syracuse University Press.

O’Driscoll, D. (2008). Stepping stones: interviews with Seamus Heaney. London: Faber & Faber.

Sloan, B. (2019). The dilemma of William Carleton, regional writer and subject of empire. Romance, Revolution and Reform, 1, 92-105.

Tobin, D. (1999). Passage to the center: Imagination and the sacred in the poetry of Seamus Heaney. Lexington, KY: University Press of Kentucky.

Vendler, H. (1998). Seamus Heaney. Cambridge, MA: Harvard University Press.

Welch, R. (1983), Language as pilgrimage: Lough Derg Poems of Patrick Kavanagh and Denis Devlin. Irish University Review, 13, 54-66




Music of the Viola

The viola is much under-rated. The instrument is difficult to play and its sound box is not optimal for its range of notes. Violists are the butt of numerous jokes maligning their tuning and their timing. Nevertheless, in the hands of a master, the viola has a wonderfully rich sound, melancholy in its low register and silvery in the high. Of all the strings it is perhaps most similar to the normal human voice.



Early History

The modern viola
first appeared in the late 16th century (Riley, 1991). Until then
string music had been played on viols of various sizes. These had evolved from
guitar-like instruments, but were played with a bow rather than plucked. Most viols
were held between the legs (da gamba),
although the smaller ones were occasionally played on the arm (da braccio). Viols typically had 6
strings. 

In the 16th
and 17th centuries, the luthiers in Cremona, Northern Italy – Andrea
Amati and his sons, Antonio Stradivari, Andrea Guarneri, and others – produced
a new kind of stringed instrument with 4 strings. They used four sizes to fit
the normal vocal ranges: violin (soprano), viola (tenor, alto), cello (baritone)
and bass (bass). Different sized violas were initially made for the tenor and
alto ranges, but as time passed one viola was used for both. Music for the
viola is written in the alto clef.

The viola is
larger than the violin, with a length that varies between 38cm and 43 cm compared to the
violin’s 35.5 cm. The viola bow is a little heavier than that of the violin. The
viola’s sound box is smaller than it should be for its range of notes. This can
be seen by comparing the sizes of violin, viola, cello and bass – the viola is
closer in size to the violin than to the cello rather than intermediate between
the two. This is necessary if the instrument is to be played on the arm:

Violin, viola, cello, bass

Because it was
difficult to play and largely used to complete the middle notes of the harmony
rather than to play the melody, the viola was not popular with string players.
The viola section of the symphony orchestra often came to be filled with failed
violinists. The following is a comment from 1766:

The viola is
commonly regarded as of little importance in the musical establishment. The
reason may well be that it is often played by persons who are either still
beginners in the ensemble or have no particular gifts with which to distinguish
themselves on the violin, or that the instrument yields all too few advantages
to its players, so that able people are not easily persuaded to take it up.
(Quantz, 1766, quoted by Boyden and Woodward, 2001)

In recent years several luthiers have tried to make the viola more resonant and easier to play. An intriguing modern viola is the Viola Pellegrina of David Ravinus, which accentuates the volume of the sound box by using a novel shape and tilts the board and neck to facilitate the fingering. Rudolf Haken has recorded using a Viola Pellegrina. The following figure compares it to a Stradivari violin named after one of its first owners, the Count of Archinto:

Early Viola Music

The viola serves
to play the middle notes in the harmony. Most early string music used it simply
for this purpose. Themes were introduced and carried by the violins or the
cellos. Several pieces of classical chamber music, such as Mozart’s viola
quintets, benefit immensely form the subtle harmonizing of the viola, but for
the most part the viola is not heard separately from the ensemble. Concertos
written for the viola, e.g. by Carl Stamitz, Alessandro Rolla and Franz Anton
Hoffmeister, were few and are unfortunately now rarely played.  

The most important piece of classical music for the viola is Mozart’s Sinfonia Concertante for violin and viola in E-flat major K.364/320d, composed in 1779, The following is an excerpt from the Andante movement played by Itzhak Perlman and Pinchas Zukerman, with Zubin Mehta conducting the Israel Philharmonic Orchestra, Huberman Festival, Tel Aviv, 1982:

Harold in Italy

In the early
1830’s the great violinist Niccolo Paganini was very impressed by the Symphonie fantastique of Hector Berlioz.
Having just acquired a Stradivari viola he commissioned Berlioz to write a
concerto for the viola. Berlioz was not familiar with the viola but included it
in his Harold en Italie, Symphonie
avec un alto principal
, Op. 16, loosely based on Byron’s poem Childe Harold’s Pilgrimage. Paganini admired the work but found
that the sections for the solo viola were not really sufficient to justify his
playing it (Kawabata, 2004). He was right. The work is wonderfully tuneful but
the solo viola, playing the part of Harold, makes only occasional comments on
the orchestral action. The cor anglais
plays almost as prominent a solo part in the work as the viola. The following excerpt
is the ending to the third movement (Sérénade
d’un montagnard des Abruzzes
), with Harold (Gérard Caussé) meditating on
the celebrations.

Cinderella no More

Lionel Tertis
(1876-1975) was the first modern viola virtuoso (Tertis, 1953, 1974; White,
2006). Initially trained in the violin at the Royal Academy of Music in London,
he took up the viola toward the end of his studies. He quickly taught himself
techniques to enhance the sound of the viola and decided to become the
instrument’s champion, setting out to challenge the violin’s dominance in
string music. Interestingly, Pablo Casals who was to become the champion of the
cello was born in the same year as Tertis.

Lionel Tertis

At the end of the 19th century, Tertis was widely heard in chamber music concerts, and by1903 he was the first viola in the Queen’s Hall Orchestra. He was popular, and provided his fans with souvenir postcards signed “Yours very sincerely, Lionel Tertis” (see illustration on the right). At the Royal Academy, he taught many new viola students, among them Rebecca Clarke. At the Royal Academy he also interacted with York Bowen, Benjamin Dale and Arnold Bax, all of whom composed works for the viola. Full of enthusiasm and talent, Tertis quickly brought the viola out of obscurity and made it recognized as a solo instrument. This striking change gave him the title of his first autobiography: Cinderella no more (1953).  

Cartoon by Rene Bull included in a program for a concert by Lionel Tertis at the Wigmore Hall in 1911

  Tertis concertized widely in Britain. Europe and America. In Berlin in 1907, together with York Bowen he played Brahms Sonata for Viola in E-flat major Opus 120, No 2, Dale’s Suite for Viola, and York Bowen’s Viola Sonata Opus 18 to great applause(White, 2006, p 18). Brahms’ viola sonatas were initially written for clarinet but were adapted by Brahms himself for the viola. To give some sense of the Berlin program the following is an excerpts from the beginning of the third movement of the Brahms sonata (Andante con moto) as played by William Primrose with Gerald Moore on piano (a 1937 recording). Primrose was Tertis’s successor as the world’s leading violist:  

The beginning of
the Bowen Sonata (Allegro moderato) as
played by Matthew Jones (viola) and Michael Hampton follows:

In Paris in 1920 Tertis
found a viola made in 1717 by Domenico Montagnana a master luthier based in
Venice. With a body that was 17 1/8 inches (43.5 cm) long, the viola was larger
than most other violas. The instrument was in pieces and without a case. Tertis
had it repaired and played it from 1920 to 1937. It is currently played by
Roger Chase. 

Tertis recorded extensively for Vocalion (1919-1923), and for Columbia (1924-1933). Many of the recorded pieces were adapted by Tertis from music originally written for other instruments or for voice. Among the transcriptions was Bach’s sacred song Komm, süßer Tod, BMW 478. The words are from an unknown poet. The first verse follows; the whole poem is online.

Komm, süßer Tod, komm sel’ge Ruh!
Komm führe mich in Friede,

weil ich der Welt bin müde,
ach komm! ich wart auf dich,
komm bald und führe mich,
drück mir die Augen zu.
Komm, sel’ge Ruh!

Come, sweet death, come, blessed rest!
Come lead me to peace
because I am weary of the world,
O come! I wait for you,
come soon and lead me,
close my eyes.
Come, blessed rest!

This Bach song was
also transcribed for orchestra in 1946 by Leopold Stokowski. The full
orchestral version is powerful. Tertis’ 1925 recording is heart-breaking. We
have grown to love sad songs and the viola sings them well.

Bach Cello Suites

Bach’s Suites for Solo Cello have been transcribed many times for viola (Tatton, 2011). These transcriptions began in 1916. The music sounds quite different on the viola, but it is still as fascinating and as beautiful as on the cello. The following are some excerpts for comparison. First the beginning of the Sarabande from the 4th Suite as played by Pierre Fournier on cello and then by Maxim Rysanov on viola:

And then the first Bourrée from the same suite:

Rysanov uses the 1998 transcription of Simon Rowland-Jones. Although I originally thought that the suites were inextricably bound to the cello, I have grown very fond of the viola arrangements.

The Berkshire Festival

In 1918 Elizabeth Sprague Coolidge, a rich American heiress, founded the Berkshire Music Festival in the hills of western Massachusetts. Although it later evolved into the Berkshire Symphonic Festival at Tanglewood, it was initially devoted to chamber music. Part of the festival involved a competition for composers of new chamber music. In the second year of the festival the chosen instrumentation for the competition was viola and piano. Out of 73 entrants, two tied for first place: Ernest Bloch’s Suite for Viola and Rebecca Clarke’s Sonata for Viola. Elizabeth Coolidge herself cast the deciding vote for the Bloch suite.

Ernest Bloch

Ernest Bloch (1880-1959) was born in Switzerland and came to the USA in 1916. The photo on the right is from 1917. After the competition he went on to a very successful career in composition and teaching. His music uses both ancient and modern harmonies, but is immediately appealing. Many of his compositions are related to Jewish traditions, such as the Suite Hebraïque for viola and piano of 1951.

Rebecca Clarke

Rebecca Clarke (1889-1979) studied viola at the Royal Academy of Music with Lionel Tertis. She came to the United States in 1916 and supported herself by performing both in chamber ensembles and as a soloist. The photo at the right is from 1919. She also composed music, especially for the viola, and performed her compositions as part of her performances.

The Berkshire Festival competition was the closest that Rebecca Clarke came to appropriate recognition for her compositions. Years later she called it her “one little whiff of success.” No one was sure who Rebecca Clarke was. The general opinion was that a woman could not produce such fine music. Some even suggested that the name was a pseudonym for Ernest Bloch! In 1923, Elizabeth Coolidge commissioned a Trio for Piano, Violin and Cello. Thereafter she continued her career as a violist and occasionally composed music. Most of Clarke’s compositions, however, were performed by her in concerts and not published until after her death. There is an excellent website about her life and work.

The following
excerpts provide a taste of the 1919 Berkshire competition. The first is the Allegro ironico movement of Bloch’s
suite played by Paul Neuberger, accompanied by Margo Garrett:

And the second is
the comparable Vivace movement from
Clarke’s sonata, played by Paul Coletti and Leslie Howard.

It has become
fashionable to suggest that Clarke probably would have won the competition if
she had not been a woman. Myself, I prefer the Clarke. However, I am not sure
how much of this is related to the performers rather than to the actual
compositions. 

The Viola and the Voice

The viola has a particular affinity for the human voice. In 1884 Brahms published Two Songs for Alto, Piano and Viola, Opus 91 (Miyake, 2018). The lyrics of the first song (Gestillte Sehnsucht – Longing soothed) are from a poem by Thomas Rückert, the first verse of which is given below (and the whole poem is available online).

In gold’nen Abendschein getauchet,
Wie feierlich die Wälder stehn!
In leise Stimmen der Vöglein hauchet
Des Abendwindes leises Weh’n.
Was lispeln die Winde, die Vögelein?
Sie lispeln die Welt in Schlummer ein.

Bathed in golden evening light,
How solemnly the forests stand!
The soft voices of the birds breathe
The wafting of the evening winds
What do the winds and birds whisper?
They whisper the world to sleep.

The following is the
beginning of Gestillte Sehnsucht sung
by Janet Baker with Cecil Aronowitz on viola and André Previn on piano.

The viola beautifully portrays human singing in transcriptions of folk-songs and carols. The Sussex Mummers’ Carol was originally collected in 1880 by Mrs. Lucy Broadwood and published in 1908. Percy Grainger composed a piano version of the carol in 1915, and also arranged the piece for viola and piano. The first two verses are:

When righteous Joseph
wedded was
Unto a virtuous maid
A glorious angel from Heaven came
Unto that virtuous maid.

O mortal man, remember
well 
When Christ our Lord was born; 
He was crucified betwixt two thieves, 
And crownèd with the thorn.

The text of the complete carol is available online. The following excerpt is the beginning of Grainger’s viola arrangement as played by Paul Coletti and Leslie Howard:

This can be
compared to the how the carol sounds in the voices of the Choir of St Paul’s
Cathedral (directed by John Scott) singing wordlessly:  

In 1944 Rebecca Clarke wrote a viola transcription of an old Scottish ballad I’ll bid my heart be still. The tune is centuries old (Graham, 1849, Volume III, p. 84). The Scottish poet Thomas Pringle (1789-1834) wrote the modern words (Pringle, 1839, p 168). The song laments the death of a lover in battle. The first two verses are:

I’ll bid my heart be still,
And check each struggling sigh;
And there’s none e’er shall know
My soul’s cherish’d woe,
When the first tears of sorrow are dry.

They bid me cease to weep
For glory gilds his name;
But the deeper I mourn,
Since he ne’er can return
To enjoy the bright noon of his fame!

Again, it is
interestingto compare excerpts from
the vocal and viola versions. The raw a
capella
voice is that of Sylvia Tyson from the 1965 Ian and Sylvia album Early Morning Rain, and the viola and
piano performance is by Philip Dukes and Sophia Rahman.

Ralph Vaughan
Williams (1872-1958) used British folk music extensively in his compositions.
The following is the beginning of the Ballade
movement from his 1934 Suite for Viola
and Orchestra
performed in the composer’s own reduction for viola and piano
by Tina Cayouette and Mariane Patenaude. The piece portrays the idea of singing
rather than a specific song.    

Walton’s Concerto

William Walton

Cecil Beaton’s 1926 photograph of William Walton (1902-1983)
portrays him against a cubist background that Beaton had painted himself. The
intent was to present Walton as Britain’s modernist composer. And indeed, many
of his compositions broke with traditions putting forth new rhythms and
harmonics. Yet, at heart he was still a romantic. His music was emotional
rather than dry, lush rather than austere – “the reaction of a mind
fundamentally romantic to the events in a most unromantic world” (Avery, 1947).

Walton’s Concerto
for Viola and Orchestra in A minor
(1929) is considered by many as his most
important composition. The concerto was written for Tertis, but he initially
found it too modern and Paul Hindemith played the premiere.

Breaking with tradition, its first movement, is an Andante comodo. Walton greatly admired
Prokofiev’s first violin concerto (1923), which had begun in this way and there
are notable similarities between the works. The following is the beginning of
the first movement as played by Helen Callus with Marc Taddei conducting the
New Zealand Symphony Orchestra. Against the growling of the orchestra the viola
claims its rights and interweaves its song with the flute.

At the end of the concerto’s third and final movement
the themes of the first are recalled:

Walton had written the concerto for Lionel Tertis, but
he thought the music too modern. The soloist at the premiere was Paul
Hindemith. Over the years various violists, such as William Primrose and
Frederick Riddle worked with Walton to improve the solo viola part, and Walton
reduced the size of the orchestra before the concerto came to its final form in
1962 (Dunham, 2006).    

Epilogue

After Tertis the viola came into its own as a solo instrument. Composers such a Cecil Forsyth (1903), York Bowen (1908), Paul Hindemith, (1925), Darius Milhaud (1929, 1955), Bela Bartok (1945), and Arthur Schnittke (1985) have written important viola concertos. The sonata for viola and piano has provided composers with a form especially suited to inner feelings. One of the most powerful of these sonatas was Dimitri Shostakovich’s last composition:  the Sonata for Viola and Piano, Op. 147 (1975). Music for solo viola has also become important. This posting ends with the Langsam mit viel Ausdruck (slowly with much expression) movement of Paul Hindemith’s 1922 Sonata for Solo Viola Opus 25, No. 1 played by Kim Kashkashian:

References

Avery, K. (1947). William Walton. Music & Letters,
28, 1-11.

Boyden, D. D., & Woodward A. M. (2001). Viola (Fr. alto; Ger. Bratsche). In The New Grove Dictionary of Music and Musicians, 2nd Ed., Online

Broadwood, L. E. (1908) English traditional songs and carols. London: Boosey & Co, 1908.

Dunham, J. F. (2006). The Walton viola concerto: a synthesis. Journal of the
American Viola Society, 22
(1), 13-21.

Graham, G. F. (1849) The songs of Scotland adapted to their appropriate melodies. Volume III. Edinburgh: Wood & Co.

Kawabata, M. (2004). The
concerto that wasn’t: Paganini, Urhan and Harold in Italy. Nineteenth-Century Music Review, 1,
67-114.

Miyake, J. (2018). Implications of phrase rhythm in Brahms’s
“Gestillte Sehnsucht,” Op. 91, No. 1. In Murphy, S. (Ed.). Brahms and the shaping of time.
Pp. 83-109. Rochester, NY: University of Rochester Press.

Pringle, T. (edited by Leitch, E., 1839). The poetical works of Thomas Pringle. London, E. Moxon

Riley, M. W. (1991). The history of the
viola
. Volumes I and II.
Ypsilanti, MI: M.W. Riley.

Tatton, T. (2011). Bach violoncello suites arranged for viola: Available editions annotated.Journal of the American Viola Society, 27, 5-27.

Tertis, L. (1953). Cinderella no more.
London: P. Nevill.

Tertis, L. (1974). My viola and I: A
complete autobiography, with Beauty of tone in string playing, and other essays
.
London: Elek.

White, J. (2006). Lionel Tertis: The
first great virtuoso of the viola
. Woodbridge: Boydell Press.




Metaphor and Meaning

At the close of the opening scene of Shakespeare’s Hamlet, Horatio notices the arrival of the dawn

But look, the morn, in russet mantle clad,
Walks o’er the dew of yon high eastward hill.
(Hamlet, I-1: 165-6)

No one is on the hill. Horatio is speaking metaphorically, describing the dawn as though it were a person. His words relax the tension of what has just happened. He and his colleagues have just seen the spirit of Hamlet’s father wandering in the real world where it should not be. Terror is in the air. At this moment, however, Horatio does not see a real person on the hill – this is how the dawn seems in his imagination. He takes comfort in metaphor.

Figures of Speech

According to the Oxford English Dictionary (1989), a figure of speech is

any of the various ‘forms’ of expression, deviating from the normal arrangement or use of words, which are adopted in order to give beauty, variety, or force to a composition

And a metaphor is

a figure of speech in which a name or descriptive word or phrase is transferred to an object or action different from, but analogous to, that to which it is literally applicable.

The word derives from the Greek words meta (after, beyond) and phorein (carry, bear)

A clearer sense of metaphor is that of Richards (1936, p 93)

In the simplest formulation, when we use a metaphor we have two thoughts of different things active together and supported by a single word, or phrase, whose meaning is the resultant of their interaction.

Richards identified the two thoughts as the “tenor” the “vehicle.” These he does not define, but the tenor is basically the original idea, and the vehicle is the new idea that brings to light or accentuates some aspects of the original. Thus when Romeo says that Juliet is the sun, Juliet is the tenor and the sun the vehicle. In cognitive linguistics, the tenor is generally termed the “target” and the vehicle is the “source” (Kövecses, 2002, p 4).

Black (1993) proposed that the interaction described by Richards is the projection of some characteristics of the vehicle upon the tenor. The mystery of metaphor concerns which characteristics get projected and which do not.

We often differentiate metaphor from simile. A simile makes a direct comparison between tenor and vehicle, using terms such as “like” or “as.” A simile could be considered as a tentative metaphor, or a metaphor as an elliptical simile. Metaphor is far more powerful. Romeo could have said that Juliet was like the sun, but that would not have expressed his passion. Poets often use both metaphor and simile together. Enobarbus describes Cleopatra’s arrival:

The barge she sat in, like a burnish’d throne,
Burned on the water
(Anthony and Cleopatra, II-2: 202-3)

The “burnish’d throne” is a simile, but its burning is a metaphor.

Types of Tropes

The word “trope” (Greek tropos turn) is used to describe figures of speech based on comparisons or associations. As well as metaphor and simile, we have:

allegory – a metaphor wherein the comparison is extended into a story. Bunyan’s Pilgrim’s Progress considers the life of a Christian in terms of the journey of one particular man from sin to salvation

analogy – an extended simile used to explain one process or event in terms of another that is more clearly understood.

conceit – a metaphor (or simile) wherein the comparison is highly unusual and intricately detailed.

metonymy – the use of one entity to identify another (meta beyond + onymia name). This occurs in various ways (Kövecses, 2002, pp 143-162): a part can represent the whole (“head” instead of person or animal) or vice versa (“law” instead of a policeman); a container can indicate its contents (“bottle” instead of alcohol); a piece of clothing can stand for the person who wears it (“suits” for lawyers or businessmen); an instrument can mean what it does (“pen” instead of writing); and a place can represent the people who work there (the “White House” instead the President of the United States). Metonymy can highlight a particular aspect of what is being described: to call businessmen “suits” suggests that they all dress in the same way and lack individuality. Metaphors differ from metonymy by bringing completely novel ideas into play: to call businessmen “predators” suggests that they are out for blood. Kövecses describes this difference by proposing that metonymy stays within a single cognitive domain whereas metaphor crosses into another domain. He also suggests that a simple difference between metonymy and metaphor is that only the latter can be meaningfully recast as a simile. One would not say that businessmen are “like suits,” but it is easy to claim that they are “like predators.”

symbol (Greek syn together + ballo throw)– a simple metaphorical expression typically used as a stand-in for an abstract idea (“cross” for the Christian religion, “rose” for love). Symbols can enhance the emotional impact of a statement by making the idea concrete.

synecdoche (Greek syn together + ekdoche interpret) has been variably defined over the years. It is usually considered as a subclass of metonymy wherein the whole is signified by the part.

Poetry and Language

Poetry is the natural home of metaphor. Poets portray the world in ways that help us to see what we have not noticed before, and to understand what we previously could not. They teach us how best to express ideas, and provide emotional depth for our experiences. At least this is what Shelley (1821) proposed:

They measure the circumference and sound the depths of human nature with a comprehensive and all-penetrating spirit, and they are themselves perhaps the most sincerely astonished at its manifestations; for it is less their spirit than the spirit of the age. Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world.

This is hyperbole. However, much of our normal language evolves from metaphor. The use of “leg” in relation to a table was once metaphorical, but is now just one of the many accepted meanings of the word “leg.” Etymology records the passage from figurative to literal. Present meaning is sometimes equivalent to the metaphorical origin (“metaphor”- carried over), sometimes related (“malaria” – bad air) and sometimes almost completely unrelated (“muscle” – little mouse).

Normal human language is replete with metaphorical systems (Reddy, 1993; Gibbs, 1994; Lakoff and Johnson, 2003; Kövecses, 2002). Life is a journey; argument is war; ideas are food; relations are a game. The following illustrates one such metaphorical system – theories (and arguments) are buildings:

Is that the foundation for your theory? The theory needs more support. The argument is shaky. We need some more facts or the argument will fall apart. We need to construct a strong argument for that. I haven’t figured out yet what the form of the argument will be. Here are some more facts to shore up the theory. We need to buttress the theory with solid arguments. The theory will stand or fall on the strength of that argument. The argument collapsed. They exploded his latest theory. We will show that theory to be without foundation. So far we have put together only the framework of the theory. (Lakoff and Johnson, 2003, p 46)

Although prose and poetry both make extensive use of metaphor, poetry remains apart from normal language in its intensity and novelty (Donoghue, 2014). When Shakespeare’s Cleopatra puts the asp to her breast, she says

                         Come, thou mortal wretch,
With thy sharp teeth this knot intrinsicate
Of life at once untie.
(Anthony
and Cleopatra, V-2: 330-302)

The central metaphor is that life is a knot that death can untie. However, this poetry is more than metaphor. Shakespeare invented the word “intrinsicate” probably as a combination of “intricate” and “intrinsic.” Perhaps “transient” can also be heard within the word. And the metaphor of “knot” brings “not” immediately to mind – life is defined by its negation.

Metaphor and Truth

Metaphor has an ambivalent relationship with truth (Searle, 1993). A metaphorical statement is not literally true. Juliet is not the sun. Yet literal falseness is not a defining aspect of a metaphor. The statement ‘Juliet is not the sun.’ is literally true but can still be metaphorical – perhaps she shines more subtly than the brazen sun. Even when one makes a comparison in the form of a simile, truth is still not certain. We do not know what determines that something can be “seen as” something else (Zwicky, 2003).

Most discussions of metaphor, however, contend that a metaphor can express truth –“ring true” – despite being literally false (Binkley, 1974). The meaning of a statement depends on much more that its literal translation. The intent of the speaker, the context of the statement and the sensitivity of the hearer all contribute to meaning (Speaks, 2014). And whether or not that meaning is true depends on the shared knowledge of speaker and hearer. So Davidson (1978) insists that the speaker of metaphor means what he or she says. In respect to meaning and truth metaphor is then no different from other modes of expression.

Words Proper

The subtle relationship of metaphor to truth, however, made some of the early modern philosophers skeptical about anything that could not just be said in plain English.

Thomas Hobbes (1651) said that man excelled all other animals in his ability to determine the consequences of things and to express these consequences in words. However, he found that this privilege was allayed by a tendency to absurdity, a characteristic shared by no other living creature. Among the causes of absurdity are

the use of Metaphors, Tropes, and other Rhetoricall figures, in stead of words proper. For though it be lawfull to say, (for example) in common speech, the way goeth, or leadeth hither, or thither, The Proverb sayes this or that (whereas wayes cannot go, nor Proverbs speak); yet in reckoning, and seeking of truth, such speeches are not to be admitted. (Chapter V).

Yet this comes from the author who used the metaphor of Leviathan to describe the state, wherein the residents transfer all power to a sovereign in return for the maintenance of civil order. The frontispiece of his book – an engraving by Abraham Bosse shows the sovereign, composed of all his people, wielding the sword of civil power and the crozier of religious belief. The Latin inscription quotes from the Book of Job (41:24): Non Est potestas Super Terram quae Comparetur ei (There is no power on earth which can be compared to him).

In his Essay Concerning Human Understanding (1690), John Locke proposed that figurative speech and allusion are wholly to be avoided in any attempt to describe the truth:

Since Wit and Fancy finds easier entertainment in the World, than dry Truth, and real Knowledg, figurative Speeches, and allusion in Language, will hardly be admitted, as an Imperfection or Abuse of it. I confess in Discourses, where we seek rather Pleasure and Delight than Information and Improvement, such Ornaments as are borrowed from them, can scarce pass for Faults. But yet, if we would speak of Things as they are, we must allow, that all the Art of Rhetorick, besides Order and Clearness, all the artificial and figurative Application of Words Eloquence hath invented, are for nothing else but to insinuate wrong Ideas, move the Passions, and thereby mislead the Judgment, and so indeed are perfect cheat: And therefore however laudable or allowable Oratory may render them in Harangues and popular Addresses, they are certainly, in all Discourses that pretend to inform or instruct, wholly to be avoided ; and where Truth and Knowledg are concerned, cannot but be thought a great Fault, either of the Language or Person that makes use of them. (III: X: 34)

However, this aversion to figurative language did not stop the author from describing the mind of man using multiple metaphors:

Let us then suppose the mind to be, as we say, white paper, void of all characters, without any ideas; how comes it to be furnished? Whence comes it by that vast store which the busy and boundless fancy of man has painted on it, with an almost endless variety. (II: 1: 2)

Metaphors in Science

Scientists are much less skeptical of using figurative language than these early modern philosophers. Metaphor is the way to see what is invisible.  Analogy is the way to explain how things work.

Many different metaphors have been used to illustrate the structure of the atom. These are illustrated in the following figure, which shows the structure of the carbon atom containing 6 protons, 6 neutrons and 6 electrons. Dalton’s initial idea was that atoms were like billiard balls. Thomson discovered electrons and proposed that these particles were stuck in the atom like negative plums in a positive pudding. Rutherford determined that most of the atom was space and concluded that the electrons moved in orbits around a central nucleus just like planets move around the sun. Bohr proposed that electrons could only orbit at specific distances from the nucleus. Movement from one orbit to another was associated with release or absorption of energy. Rutherford later proposed that the nucleus contained both neutrons and protons. Heisenberg demonstrated that an electron had no specific location but rather existed as a cloud of possible locations. Schrödinger found that these clouds were defined by wave functions. These equations gave probability-shapes that are called “orbitals.”

Other metaphors can help explain the workings of the different organelles in a cell. The following views the neuron in terms of a manufacturing company.

Metaphor in Religion

Religious scripture is permeated with metaphor (Soskice, 1985). How else can one describe what is beyond human understanding. The most famous metaphor for God in the Judeo-Christian tradition is that of the Good Shepherd (Psalm 23, John 10: 1-21). This is illustrated in the 5th-century CE mosaics in the Mausoleum of Galla Placidia in Ravenna.

This metaphor tells us that a force in the universe takes care of us like a shepherd takes care of his sheep – leading us to food and shelter, protecting us from danger, finding us when we have gone astray, if necessary dying that we might live. Thus might we gain some insight into something far beyond our understanding.

Though metaphor is acknowledged as a means for conveying religious truths, there is no accepted limit about how far one might go in terms of metaphorical interpretation. In the Christian religion, for example, should a believer consider the resurrection of Christ to be literally or metaphorically true? Most believers follow the Nicene Creed and insist that the resurrection actually happened. But could the story be metaphorical rather than historical? Richard Holloway (2001) discusses the resurrection in terms of our ability to make changes for the better rather than in terms of its historical truth. He uses the story of Rosa Parks and the Montgomery Bus Boycott as an example of a “resurrection moment:”

Resurrection is the refusal to be imprisoned any longer by history and its long hatreds; it is the determination to take the first step out of the tomb. It may be a personal circumstance that immobilises us, or a social evil that confronts us: whatever it is, we simply refuse any longer to accept it, because the logic of resurrection calls us to action. It follows, therefore, that if we say we believe in the resurrection it only has meaning if we are people who believe in the possibility of transformed lives, transformed attitudes and transformed societies. The action is the proof of the belief. So I end with what may appear to be a paradox: I can say I believe in that resurrection then, the Jesus resurrection, because I see resurrections now, see stones rolled away and new possibilities rising from old attitudes. If a belief is an action indicator rather than a purely mental event, belief in resurrection means that I must commit myself to the possibility of transformation. That means continuing to struggle with the intractability of my own nature; more importantly, it means joining with others in action to bring new life to human communities that are still held in the grip of death. (p 141).

Another tenet of the Christian belief is the idea of the Second Coming – when Christ will return to the earth to judge what we have done and to reign in a new and perfect world. Christ in his majesty is depicted in Hans Memling’s Christ with Singing Angels from 1480 CE.

Should a Christian believe in this Second Coming as something that will actually occur? Or is it a metaphor for life leading ultimately toward peace and prosperity? Provided that we follow the injunctions of the religion to love our neighbor.

Envoi

In the closing scene of Shakespeare’s Hamlet, Horatio bids farewell to the dying Hamlet.

Now cracks a noble heart.—Good night, sweet prince,
And flights of angels sing thee to thy rest!
(Hamlet, V-5: 359-60)

Angels are a metaphor for the forces that might take care of us in our suffering, accompany us through whatever happens at the moment of death, and celebrate us when we have done well. There are no angels. Yet if there were, they would be with Hamlet. Horatio finds comfort in metaphor.

References

Black, M. (1993). More about metaphor. In Ortony, A. (Ed). Metaphor and thought. (pp 19-41). Cambridge UK: Cambridge University Press.

Binkley, T. (1974). On the truth and probity of metaphor Journal of Aesthetics and Art Criticism, 33, 171-180.

Davidson, D. (1978). What metaphors mean. Critical Inquiry, 5, 31-47.

Donoghue, D. (2014). Metaphor. Cambridge, MA: Harvard University Press.

Gibbs, R. W. (1994). The poetics of mind: Figurative thought, language, and understanding. Cambridge UK: Cambridge University Press.

Hobbes, T. (1651/1929). Leviathan, or the matter, form, and power of a commonwealth ecclesiastical and civil. Oxford: Clarendon Press.

Holloway, R. (2001). Doubts and loves: What is left of Christianity?. Edinburgh: Canongate.

Kövecses, Z. (2002). Metaphor: A practical introduction. New York: Oxford University Press.

Lakoff, G., & Johnson, M. (2003). Metaphors we live by. Chicago: University of Chicago Press.

Locke, J. (1690) An essay concerning human understanding. Volume I (Books 1 and 2) available at archive.org. Book 3 available at archive.org

Reddy, M.J. (1993). The conduit metaphor: a case of frame conflict in our language about language. In Ortony, A. (Ed.) Metaphor and thought. (pp. 164-201). Cambridge, UK: Cambridge University Press.

Richards, I. A. (1936). The philosophy of rhetoric. New York: Oxford University Press.

Searle, J. R. (1993). Metaphor. In Ortony, A. (Ed.) Metaphor and thought. (pp. 83-111). Cambridge, UK: Cambridge University Press.

Shelley, P. B. (1821/1915). A defense of poetry. In Salt, H. S. (Ed) Selected prose works of Shelley. (pp 75-118). London: Watts.

Soskice, J. M. (1985). Metaphor and religious language. Oxford: Clarendon Press

Speaks, J. (2014). Theories of meaning. Stanford Encyclopedia of Philosophy.

Zwicky, J. (2003). Wisdom & metaphor. Kentville, NS: Gaspereau Press.

 




Antigone

Sophocles’ play Antigone tells the story of a young woman who defies the laws of the state in order to do what she believes is right. The issues considered in the play remain as important now as they were almost two and a half millennia ago. Should one follow one’s conscience or obey the law? Does justice transcend the law? How does one determine what is right?

In the words of Hegel, Antigone is

one of the most sublime and in every respect most excellent works of art of all time. Everything in this tragedy is logical; the public law of the state is set in conflict over against inner family love and duty to a brother; the woman, Antigone, has the family interest as her ‘pathos’, Creon, the man, has the welfare of the community as his. (Hegel, 1975, p 464).

The word pathos most commonly means the quality of something that evokes pity. However, Hegel uses the word to denote “an inherently justified power over the heart, an essential content of rationality and freedom of will” (p 232). Pathos is the emotional commitment that defines a person – his or her driving passion.  Sophocles’ play presents the conflict of these passions.

The Theban Myths

In order to understand Antigone we need to know what has happened before the play begins. Antigone (441 BCE) was the first of what are now known as Sophocles’ three Theban Plays, the others being Oedipus Tyrranus (429 BCE) and Oedipus at Colonus (409 BCE). The plays were not conceived as a trilogy and Antigone was written before the other two. Aeschylus had also written three plays about Thebes but the initial two of these (about Laius the father of Oedipus and his version of Oedipus) have been lost. Only the third remains: Seven Against Thebes (467 BCE), which describes the siege of Thebes by the Argives. Antigone begins just after the events described in this play.

From the extant plays we can piece together the mythic narrative that leads to Antigone. Laius, king of Thebes, married to Jocasta, is told by the Delphic Oracle that he can only keep his city safe if he dies childless. After having drunkenly fathered Oedipus, Laius has his son left on Mount Cithaeron to die. However, the boy is found by a shepherd and ultimately adopted as a son by King Polybus of Corinth.

When he comes of age Oedipus is told by the Oracle that he will murder his father and marry his mother. Oedipus flees Corinth to prevent this from happening. On the way to Thebes at a place where three roads meet, he comes upon another traveler. They argue and fight; Oedipus kills the man; the man was Laius.

Oedipus continues on to Thebes. The city has long been plagued by the Sphinx, a monster sent by the gods because of some ancient crime of the Thebans. The Sphinx poses a riddle to all who pass by and devours those that fail to answer correctly: “What goes on four legs in the morning, two in the afternoon, and three at night.” The illustration at the right shows a representation of Oedipus and the Sphinx in a vase from around 500 BCE, now in the Vatican. (The sphinx seems much less monstrous than the legend indicated.) Oedipus solves the riddle – “man, who crawls in infancy, walks as an adult and uses a cane in old age.” This releases the city from the monster’s power. In gratitude the citizens of Thebes make Oedipus king and grant him the recently bereaved Jocasta as his wife. Oedipus and Jocasta have four children: the boys Polyneikes and Eteokles, and the girls Antigone and Ismene

The gods, displeased at the unrevenged death of Laius, bring a plague down upon Thebes. In order to stop the plague Oedipus searches for his father’s murderer. In the course of his investigations he realizes first that he was the killer, and ultimately that Laius was his father and Jocasta his mother. Jocasta hangs herself. Unable to bear the pain of his knowledge Oedipus blinds himself with Jocasta’s brooch pins. Exiled from Thebes he seeks sanctuary in the grove of the Furies at Colonus, a village near Athens. Here Theseus, king of Athens, takes pity on him.

His daughters Ismene and Antigone come to comfort their father in Colonus. In Thebes the sons of Oedipus initially decide to alternate the kingship, but Eteokles then banishes his older brother Polyneikes and becomes sole king of Thebes. Polyneikes visits Oedipus in Colonus to get his blessing for a revolt against his brother, but Oedipus curses both his sons and prophecies that they will die at each other’s hand. Oedipus dies. His daughters return to Thebes.

Polyneikes and six other generals raise an army from the rival state of Argos and attack Thebes. The Thebans ultimately defeat the besieging army. Near the end of the siege, Polyneikes and Eteokles fight and kill each other.

The deaths of Polyneikes and Eteokles became a popular motif for sculpture, the illustration below showing a relief on an Etruscan funerary urn from Chiusi (circe 200 BCE).

The following illustration from a 19th century jewel shows a more restrained view of the brothers’ deaths.

The Story of Antigone

After the deaths of Polyneikes and Eteokles, Kreon, the brother of Jocasta, becomes king of Thebes. He decrees that Eteokles be given a hero’s funeral rites but that the body of the traitor Polyneikes’ be left to rot. Anyone who disobeys this ruling will be put to death. Despite the warnings of her sister, Antigone refuses to obey Kreon’s commandment and casts earth over Polyneikes’ body. The illustration below shows Juliet Binoche in the 2015 production of Antigone at the Barbican in London.

Antigone is caught in the act. The following illustration from a Greek vase (circe 400 BCE) shows Antigone, flanked by two guards holding spears, brought before Kreon.

This is the crucial exchange between the two:

Kreon:     Now tell me, not at length, but in brief space,
Knew you the order not to do it?

Antigone:                                          Yes
I knew it; what should hinder? It was plain.

Kreon:     And you made free to overstep my law?

Antigone: Because it was not Zeus who ordered it,
Nor Justice, dweller with the Nether Gods,
Gave such a law to men; nor did I deem
Your ordinance of so much binding force,
As that a mortal man could overbear
The unchangeable unwritten code of Heaven;
This is not of today and yesterday,
But lives forever, having origin
Whence no man knows: whose sanctions I were loath
In Heaven’s sight to provoke, fearing the will
Of any man. I knew that I should die –
How otherwise? Even although your voice
Had never so prescribed. And that I die
Before my hour is due, that I count gain.
For one who lives in many ills, as I –
How should he fail to gain by dying? Thus
To me the pain is light, to meet this fate:
But had I borne to leave the body of him
My mother bare unburied, then, indeed,
I might feel pain; but as it is, I cannot:
And if my present actions seems to you
Foolish – ‘tis like I am found guilty of folly
At a fool’s mouth! (ll 446-470, Young translation)

This is one of the greatest speeches ever spoken on the stage. It comes in four parts. First, Antigone scorns the proclamation of Kreon. Made neither by the gods of Olympus nor by the lords of Hades, this was an “order” rather than a “law.” Second, she vaunts the eternal “unwritten code of Heaven” that guides human behavior and that must not be disobeyed. In the third section of the speech, Antigone recognizes that her defiance might bring about her death. However, this will bring relief to one who has already lost father, mother, and two brothers. Finally, she tells Kreon that she is not the one who is acting foolishly. He who does not understand the code of Heaven is far more fool than she. The following film-clip shows Irene Papas as Antigone and Manos Katrakis as Kreon (Tzavellas, 1961):

The chorus is upset by Antigone’s defiance. Kreon refuses to grant Antigone mercy and sentences her to be buried alive in a cave. Kreon’s son, Haimon, in love with Antigone, pleads with his father, but Kreon remains adamant. In his defense, he states the case for the rule of law:

Obedience is due
To the state’s officer in small and great,
Just and unjust commandments; …
There lives no greater fiend than Anarchy;
She ruins states, turns houses out of doors
Breaks up in rout the embattled soldiery;
While Discipline preserves the multitude
Of the ordered host alive. Therefore it is
We must assist the cause of order.
(ll 665-676, Young translation)

Haimon urges his father not to be so stubborn:

it’s no disgrace for a man, even a wise man,
to learn many things and not to be too rigid.
You’ve seen trees by a raging winter torrent,
how many sway with the flood and salvage every twig,
but not the stubborn—they’re ripped out, roots and all.
Bend or break. The same when a man is sailing:
haul your sheets too taut, never give an inch,
you’ll capsize, and go the rest of the voyage
keel up and the rowing-benches under.
(ll 710-717, Fagles translation)

Kreon refuses to listen to his son.

Meanwhile, Antigone bemoans her fate. She accepts that she did what she had to do, but she regrets that she was not able to marry or have children. She does not understand why the gods have not intervened to save one who served them truly. Before she is taken to the cave she asks the Thebans to behold one who has been condemned

τὴν εὐσεβίαν σεβίσασα. (ten eusebian sebisasa) (l 943)
In an act of perfect piety (Carson translation)
For doing reverence where reverence was due. (Brown translation)

The noun eusebia means an act of reverence or piety; the verb sebizo is to worship or honor. Carson (2015, pp 5-6) remarks about this emphatic conclusion:

Both noun (eusebia) and verb (sebizo) derive from the Greek root seb-, which refers to the awe that radiates from gods to humans and is given back as worship. Everything related to this root has fear in it. But eusebia is a fear that moves as devotion – a striving out of this world into another and of another world into this.

Teiresias, the blind seer, tells Kreon that the gods are displeased: they wish Antigone to be freed and Polyneikes properly buried. Kreon orders Antigone’s release but she has already killed herself. In grief at her death, Haimon commits suicide. In grief at the death of her son, Kreon’s wife Eurydike also commits suicide. Utterly broken, Kreon is led away, his life emptied of any meaning. He is “as a dead man who can still draw breath.” (l 1167, Gibbons translation)

The Choral Odes

One of the great attractions of Sophocles’ play is the way in which the chorus of Theban elders comment on the action. The play contains six main choral odes. The first is a celebration of the Theban triumph over the besieging Argives. The most exciting recent translation of this begins

The glories of the world come sharking in all red and gold
we won the war
salvation struts
the streets of sevengated Thebes
(ll 100-102, Carson translation)

The choral odes were sung and danced by a chorus of about fifteen men in the area of the theatre known as the orchestra (“place for dancing”). Carl Orff wrote music for the performance of Antigonae (1949) that suggests how the chorus might have sounded. The following is Orff’s  music for the introduction of the Chorus and the beginning of this first ode:

The second ode, often known as the Ode to Man, considers how wonderful is the creature called man, who can navigate the sea, cultivate the land, tame the animals, build homes for protection against the elements, and find medicine for his ailments. The following translation of the beginning of the ode attempts the rhythms of the Greek:

At many things – wonders
Terrors – we feel awe
But at nothing more
Than at man. This
Being sails the gray-
White sea running before
Winter storm-winds, he
Scuds beneath high
Waves surging over him
On each side
And Gaia, the Earth
Forever undestroyed and
Unwearying, highest of
All the gods, he
Wears away, year
After year as his plows
Cross ceaselessly
Back and forth, turning
Her soil with the
Offspring of horses.
(ll 332-345, Gibbons translation)

The following is Carl Orff’s 1949 setting of the opening of the Ode to Man. Orff used the words of Hölderlin: Ungeheuer ist viel. Doch nichts ungeheuerer als der Mensch (Many things are wonderful but nothing more wonderful than man). Orff’s music captures the awe at the beginning of the ode, and then gives a driving rendition of human achievements.

The Greek word used to describe man at the beginning of this famous ode – deinos – usually means “extraordinary” or “wonderful.” It also has connotations of the supernatural or uncanny, the unexpectedly clever, or even the monstrous. The word comes from a Proto-Indo-European root dwei denoting fear. An example of this root in English is “dinosaur.” Deinos has no obvious equivalent in English. The German ungeheuer (enormous, terrible, unnatural) used by Hölderlin captures many of its meanings.

The later choral odes in Antigone tell how human hopes often come to naught, describe the power of human passion, console Antigone as she is led away to her fate, and at the end of the play praise the gods who teach us wisdom. The following are three modern translations of the final words of the chorus:

Wisdom is by far the greatest part of joy,
and reverence toward the gods must be safeguarded.
The mighty words of the proud are paid in full
with mighty blows of fate, and at long last
those blows will teach us wisdom
(ll 1347-1353, Fagles’ translation)

Wise conduct is the key to happiness
Always rule by the gods and reverence them.
Those who overbear will be brought to grief.
Fate will flail them on its winnowing floor
And in due season teach them to be wise.
(Heaney translation)

There is no happiness, but there can be wisdom.
Revere the gods; revere them always.
When men get proud, they hurl hard words, then suffer for it.
Let them grow old and take no harm yet: they still get punished.
It teaches them. It teaches us.
(Paulin translation)

Fagles has the gods teaching all of us, whereas Heaney has them only teaching the proud. Paulin gives both meanings. This section from Orff’s Antigonae is appropriately otherworldly: Um vieles ist das Denken mehr denn Glückseligkeit. (Thought is much greater than happiness).

The following is a clip from the ending to Tzavellas’ 1961 film with Manos Katrakis as Kreon and Thodoris Moudis as the leader of the chorus:

Conflict

The heart of the play is the conflict between Kreon and Antigone. Steiner (1984, pp 231-232) notes that

It has, I believe, been given to only one literary text to express all the principal constants of conflict in the condition of man. These constants are fivefold: the confrontation of men and of women; of age and of youth; of society and of the individual; of the living and the dead; of men and of god(s). The conflicts which come of these five orders of confrontation are not negotiable. Men and women, old and young, the individual and the community or state, the quick and the dead, mortals and immortals, define themselves in the conflictual process of defining each other. Self-definition and the agonistic recognition of ‘otherness’ (of l’autre) across the threatened boundaries of self, are indissociable. The polarities of masculinity and of femininity, of ageing and of youth, of private autonomy and of social collectivity, of existence and mortality, of the human and the divine, can be crystallized only in adversative terms (whatever the many shades of accommodation between them). To arrive at oneself—the primordial journey—is to come up, polemically, against ‘the other’. The boundary-conditions of the human person are those set by gender, by age, by community, by the cut between life and death, and by the potentials of accepted or denied encounter between the existential and the transcendent.

In his assessment of the play, Hegel focused on the conflict between a person’s kinship-duties and the allegiance owed to the state (Reidy, 1995; Young 2013, pp 110-139). In his mind Antigone represented civilization’s necessary change from family-loyalty to state-citizenship. This fits with Hegel’s general view of history as a sequence of dialectic conflicts between different world-views. Progress occurs as the two competing ideas become reconciled. The tragedy occurs because neither Antigone nor Kreon can see the other side of the conflict. Antigone feels no duty to the state; Kreon pays no attention to his family, completely disregarding his son’s concerns.

The balance between Antigone and Kreon is what makes Antigone a tragedy. Albert Camus (1955/1968, p 301) differentiated tragedy from drama:

the forces confronting each other in tragedy are equally legitimate, equally justified. In melodramas or dramas, on the other hand, only one force is legitimate. In other words, tragedy is ambiguous and drama simple-minded. In the former, each force is at the same time both good and bad. In the latter, one is good and the other evil (which is why, in our day and age, propaganda plays are nothing but the resurrection of melodrama). Antigone is right, but Kreon is not wrong.

In the conflict Antigone and Kreon are very similar in character. Steiner (1984, pp 184-5) points out

Both Kreon and Antigone are auto-nomists, human beings who have taken the law into their own keeping. Their respective enunciations of justice are, in the given local case, irreconcilable. But in their obsession with law, they come very close to being mirror-images.

The tragedy evolves because neither Antigone nor Kreon is able to compromise. They are both bloody minded – obstinate to the point of bloodshed. However, Kreon is the more reprehensible: his edict forbidding the burial of Polyneikes is not based on either divine rule or reasoned thought.

Three conflicting  forces are at play in Antigone. One is the law (nomos) of the state (polis). The second is the set of “unwritten rules” (agrapta nomima) that tell us what is right. The third is fate (moira) – the working out of what must necessarily happen. Of these only the first is easy to understand.

Natural Law

Antigone’s “unwritten code of Heaven” is often considered the same as the “natural law” – that which we know because it is an essential part of our being (Robinson. 1991; Burns, 2002). Natural law is understood by “conscience” – our intuitive sense of what is right and wrong. Regardless of how we are educated or how our society operates, conscience tends to work similarly: murder and incest are wrong; hospitality and compassion are right. Human history has long realized that the laws promulgated to maintain order in particular societies may come into conflict with an individual’s conscience. In these cases, the natural law should generally be paramount. This is the basis of civil disobedience. An unjust law – one that is out of harmony with the natural law – need not be obeyed:

How does one determine whether a law is just or unjust? A just law is a man made code that squares with the moral law or the law of God. An unjust law is a code that is out of harmony with the moral law. To put it in the terms of St. Thomas Aquinas: An unjust law is a human law that is not rooted in eternal law and natural law. Any law that uplifts human personality is just. Any law that degrades human personality is unjust. (King, 1963).

However, the natural law is often difficult to determine. It is understood by intuition, and followed by inclination (Maritain, 2001, pp 32-38). So when should conscience take precedence over the law? The laws promulgated by a state should be and often are derived from the natural law. However, they sometimes also exist to entrench the status of the powerful.

The laws or commandments proclaimed in religious scriptures are also related to the natural law However, even this relationship is complex. On the one hand, the natural law can be conceived as independent of divinity. Hugo Grotius famously stated that we know what is right “even if we concede … that there is no God” (etiamsi daremus … non esse Deum). Others, such as Maritain (2001, p 46), propose that the natural law as perceived by man derives from the “eternal law” as perceived by God. Human perception of the divine law is as yet imperfect.

The relation between natural law and nature is also complex. Laws of nature (phusis) are deduced from experience of the real world. They portray what is rather than what should be. Such laws can be demonstrated, analyzed and tested. The natural laws for human behavior are understood by intuition. We know what is right but we do not understand how we know. Nor can we demonstrate or test the laws that we follow.

If the natural law is the sum of human dispositions, then we might be able to study it in terms of evolution. Since most of human existence was spent in small bands that hunted and gathered on the African Savannah, many human dispositions to behave in particular ways may have been selected to promote the survival of these small groups. Commandments against murder (other than in self-defense) clearly facilitate group-survival. Edicts against incest decrease the probability of deleterious recessive genes becoming homozygous, and by promoting exogamy (marriage outside of the group) enlarge and strengthen the group.

If natural causes such as evolution are the basis for our morality, perhaps we can determine what is right by what is considered natural. Many people consider homosexuality “unnatural.” In the Abrahamic religions, early laws expressly prohibited homosexual relations on pain of death.

If a man also lie with mankind, as he lieth with a woman, both of them have committed an abomination: they shall surely be put to death; their blood shall be upon them.” (Leviticus 20:13).

Aquinas argued that homosexuality is unnatural because it does not lead to procreation, which is the natural purpose of sexual intercourse (Summa Theologica II I 94). Yet who or what defines the natural purpose of an act and why should there be only one purpose?

How does Antigone know that she is right to bury her brother, even if her act will entail her death? She is following a “custom” – the Greeks buried their dead. Other cultures cremate their dead, or leave them out to be devoured by carrion-eating birds – “sky burial.” It is difficult to see burying the dead as an absolute requirement of natural law, though some unspecified honoring of the dead seems common to all human cultures.

Fate

The Ancient Greeks attributed much that happens in life to fate. Fate was often personified as three women – the moirai. The word derives from meros, a part, share or portion. Clotho spins the thread of a life; Lachesis allots the life to a particular person; and Atropos cuts the thread at death. Neither human nor divine intervention can affect the actions of the fates. The following is a print of The Three Fates (1558) by Giorgio Ghisi.

Although Antigone has obeyed the unwritten code of heaven, the gods cannot intervene to save her from her ignominious death. That has been otherwise ordained – it is her fate. After Antigone is led away, the Chorus remarks that such apparently unjust ends have been suffered by others before her. Fate is a terrible thing:

The power of fate is a wonder,
dark, terrible wonder –
neither wealth nor armies
towered walls nor ships
black hulls lashed by the salt
can save us from that force.
(ll 951-954, Fagles’ translation)

Fate is described as deinos (terrible), the same word that the chorus used to describe man. We are both made and unmade by fate. We should follow the unwritten code of the gods, but doing so will not prevent death. The Fates operate according to some other code. Perhaps they follow necessity rather than justice. Perhaps they follow laws that operate beyond the individual life. The chorus briefly mentions such a possibility: Antigone may be paying for the sins of her father. However, it is possible that the Fates do not follow any code of justice. They may just enforce the physical laws by which the universe operates.

Justice

Justice is the human concept of what is right. Our words related to justice – law, morality, fairness, equity, right, righteousness – overlap in their meanings. The Greeks at the time of Sophocles also had many words (Steiner, 1984, pp 248-251; Nonet, 2006). Precise translations distinguishing these one from another are usually not possible, and the usage of the terms changed over the years.

The Greeks often personified their ideas in terms of gods. Themis was a Titaness who personified divine law. Zeus and Themis had three daughters: Dike, law; Eunomia, order; and Eirene, peace. Dike is customarily represented with a sword and a set of scales for weighing right and wrong (as in the illustrated statue from the Frankfurt Fountain of Justice, an 1887 bronze replacement for the original 1611 stone statue). Another Greek word dikaiosune came to mean both a system of justice and the virtue of righteousness (Havelock, 1969). Antigone appeals to Dike as the supporter of the unwritten laws which require the burial of the dead.

The Greeks differentiated nomos – the set of socially constructed laws – from phusis – the laws underlying the universe. The word nomima (laws, regulations, customs) derives from nomos but Antigone used it to distinguish the eternal and unwritten laws from human laws. Words do not clearly show us what is right. And they fail to clearly differentiate laws that are given from those that are constructed. Sophocles’ tragedy deals in part with our inability to know with certainty what is just.

Modern Adaptations

The story of Antigone has been retold many times (Chancellor, 1979: Steiner, 1984). These versions stress different aspects of the story, supplement the main plot with other events, or place the story in a different time and place. For brevity I shall only consider a few recent adaptations.

(i) Anouilh

During the Nazi occupation of France, Jean Anouilh wrote a version of Antigone that was set in modern times. The play was accepted by the censors and produced in Paris in 1944. Anouilh made Kreon a more sympathetic character. He removed from the play the character of Tiresias, who in Sophocles’ original play confirmed that Antigone was right. The chorus was no longer a group of Theban citizens who commented on the actions. Rather the chorus acted as a foil between the audience and the actors, describing what was going to happen and why. In this way Anouilh distanced the audience from becoming directly involved in the tragedy.

Anouilh’s Antigone is more of an existential heroine than a tragic one – she did what she did because she was seeking a reason for her life. As Kreon explains

She wanted to die! None of us was strong enough to persuade her to live. I understand now. She was born to die. She may not have known it herself, but Polynices was only an excuse.

At the end after everyone who had to die has died, Kreon goes on about his work of governing the city. The chorus explains

It’s over. Antigone’s quiet now, cured of a fever whose name we shall never know. Her work is done. A great, sad peace descends on Thebes, and on the empty palace where Creon will begin to wait for death. Only the guard are left. All that has happened is a matter of indifference to them. None of their business. They go on with their game of cards.

Anouilh’s chorus thus appears to attenuate the tragedy. However, Anouilh and his audience most certainly understood the nature of Antigone’s fever as La Résistance.

How could the German occupation authorities have allowed such a production? Steiner (1984, p. 190) notes that the evaluation of Antigone’s story in Germany between the world wars differed from that in other countries. Frightened by the communist revolts that followed the Great War, Germans saw the need for people like Kreon to maintain the safety of the state. So even if they might have felt that Antigone was right, they also knew that Kreon was not wrong. The great German philosopher Hegel had said that the state must necessarily take precedence over family and personal conscience.

(ii) Brecht

Bertolt Brecht wrote and produced a theatrically stunning version of Antigone in Switzerland in 1948. The play was preceded by a prologue set in Berlin in April 1945. This tells the story of how a young deserter from the army came to his sisters’ home bringing food for his hungry family. However, he was captured by the police and hung for treason. His body was left hanging as an example to other would-be deserters. The prologue is doubly distanced from the play. As well as being set in the near present, the prologue is narrated to the audience by one of the sisters but acted out by both. The prologue ends with a police officer asking the sisters whether they knew the traitor. The first denies her brother, but the second goes out to cut down his body.

The play then reverts to Thebes. However, the situation differs from that of Sophocles’ Antigone. Thebes had not been under siege. Rather Kreon had embarked on a war against Argos to gain their iron ore. Eteokles had been brutally killed during this war. Polyneikes saw his older brother being trampled to death, deserted from the futile battle, and was then killed by his own people. The opening choral ode, rather than celebrating the survival of the city, welcomes the wagons of booty and plunder returning from the war.

When Antigone is captured and brought before Kreon, she is bound to a board. Effectively she is carrying a door upon her back. A door she cannot open. The illustration (taken from the Suhrkamp edition of Brecht’s play) is from the first production:

Brecht’s Antigone acts politically. She defies Kreon not so much because of any unwritten laws but because she considers him an evil tyrant. She tries unsuccessfully to goad the chorus to join in her defiance. The exchange between Antigone and Kreon is more extended than in Sophocles. After her initial speech of defiance (much the same as in Sophocles), Kreon praises the success of the war, and Antigone continues:

Antigone: The men in power always threaten us with the fall of The State.
It will fall by dissension, devoured by the invaders
and so we give in to you, and give you our power, and bow down;
and because of this weakness, the city falls and is devoured by the invaders.

Kreon: Are you accusing me of throwing the city away to be devoured by the enemy?

Antigone: The city threw herself away by bowing down before you,
because when a man bows down he can’t see what’s coming at him.

The story plays itself out as in the original Greek, but at the end the city falls to its enemies. The tragedy is that of the people who foolishly followed and who keep following a tyrant. The final words of the chorus are those of despair:

For time is short
and the unknown surrounds us; and it isn’t enough
just to live unthinking and happy
and patiently bear oppression
and only learn wisdom in age.

(iii) Fugard

Athol Fugard, John Kani and Winston Ntshona created and produced a play called The Island in South Africa in 1973 as a protest against the persecutions of apartheid. The play is set in an unknown prison camp clearly modelled on Robben Island where Nelson Mandela was held. The play follows two cell mates, played by Kani and Ntshona, in prison for the minor offences of belonging to a banned organization and burning an identity card.

In successive scenes, the two men work at digging holes in the sand and filling them up again, rehearse a performance of Antigone that they plan to present to the camp, learn that one of them may be released but not the other, pretend to talk on the phone with friends and relatives, and finally present the dramatic confrontation between Kreon and Antigone. Below is a photograph showing Ntshona and Kani in the National Theatre revival of the play (2000):

Winston fears that his appearance as a young woman will only cause ridicule, and indeed John bursts into laughter when he first sees him in wig and costume. Yet no one laughs during the final scene when on a makeshift stage Winston tells John

You are only a man Creon. Even as there are laws made by men, so too there are others that come from God. He watches my soul for a transgression even as your spies hide in the bush at night to see who is transgressing your laws. Guilty against God I will not be for any man on this earth.

Nelson Mandela was imprisoned in 1962 for conspiring to overthrow the state. He was not released until 1990.

(iv) Carson

In 2012 Anne Carson wrote Antigonick, a version of Antigone that is more concerned with depicting the ideas and feelings of the play than rendering a literal translation. She added to the play the character of Nick, a surveyor who intermittently and mutely takes measurements of what is happening. Nick stands for the modern viewer who must somehow assess the play coming from a society many hundred years before our own.

The book is presented with a text that is handwritten by Carson in small black capitals and illustrated with desolate landscapes and surrealistic images by Bianca Stone. These illustrations do not directly relate to the text but add to the book’s sense of incomprehensible passion. Below is a representation the book’s pages at the beginning of the Ode to ManAs can be seen in the ode Carson’s choice of words is designed to bring the audience the sense of the original Greek. The word deinos becomes “terribly quiet” – a description that captures the connotations of incomprehensibility and menace.

Many terribly quiet customers exist but none more
terribly quiet than man
His footsteps pass so perilously soft across the sea
in marble winter

The following illustration shows three other images from the book, one of a wedding cake in desolation, the second of cutlery flying apart under the influence of a thread (perhaps of fate), and the third of a horse upsetting a feast.

In addition, Carson sometimes includes commentary in the text. This brings the meaning up to date. In the original play just before Antigone exits to her death, the chorus provides a long discussion of the way in which fate has acted unfairly, quoting various stories from Greek mythology. A modern audience would not know these examples. In Antigonick Carson therefore replaces this choral ode by verse that slowly goes from mundane commentary to intense grief:

how is a Greek chorus like a lawyer
they’re both in the business of searching for a precedent
finding an analogy
locating a prior example
so as to be able to say
the terrible thing we’re witnessing now is
not unique you know it happened before
or something much like it
we’re not at a loss how to think about this
we’re not without guidance
there is a pattern
we can find an historically parallel case
and file it away under

Antigone buried alive Friday afternoon
compare case histories 7, 17 and 49

now I could dig up theses case histories,
tell you about Danaos and Lykourgos and the sons of Phineas
people locked up in a room or a cave or their own dark mind
it wouldn’t help you
it didn’t help me
it’s Friday afternoon
there goes Antigone to be buried alive
is there
any way
we can say
this is normal
rational
forgivable
or even in the widest definition just

no not really

(v) Zizek

In 2016 Slavoj Zizek, a provocative philosopher and communist, wrote a version of Antigone that provides three different endings. This idea of multiple endings came from Tom Tykwer’s film Run Lola Run (1998). The plot of Zizek’s Antigone proceeds as in Sophocles until Kreon sentences Antigone to death and is told by Tiresias that he has offended the gods. The first ending then follows as in Sophocles and results in the death of Antigone.

In the second ending the people of Thebes enflamed by the way Kreon offended the gods, rise up and murder him. They set fire to the city. Antigone survives though she is half-mad and does not understand why her simple act of defiance has led to such devastation. The chorus tells her that divine laws are not the ultimate authority:

A society is kept together by the bond of Word,
but the domain of logos, of what can be said,
and this mysterious vortex is what all our endeavours
and struggles are about. Our true fidelity
is to what cannot be said, and the greatest wisdom
is to know when this very fidelity
compels us to break our word, even if this word
is the highest immemorial law. This is where
you went wrong, Antigone. In sacrificing everything
for your law, you lost this law itself.

In the third ending Kreon and Antigone are reconciled, but the citizens of Thebes rise up against their rulers. Kreon is brutally executed because

Much greater evil than a lack of leadership
is an unjust leader who creates chaos in his city
by the very false order he tries to impose. Such an order
is the obscene travesty of the worst anarchy.
The people feel this and resist the leader. A true order,
on the contrary, creates the space of freedom
for all citizens. A really good master
doesn’t just limit the freedom of his subjects,
he gives freedom.

Antigone claims to be on the side of the revolution. But the leader of the people has her executed:

But the excluded
don’t need sympathy and compassion from the privileged,
they don’t want others to speak for them,
they themselves should speak and articulate their plight.
So in speaking for them, you betrayed them even more
than your uncle — you deprived them of their voice.

There is no catharsis. The revolution is brutal. The chorus attempts to excuse the horror by repeating the Ode to Man

There are many strange and wonderful things
but nothing more strangely wonderful than man

But one is left with the nightmare of revolutionaries settling scores by murder. One longs for the simplicity of Sophocles’s original wherein Kreon and Antigone were both striving to do what they thought was right. In Ziztek no one is right. Violence is the only outcome. Justice is not possible. This is not my idea of Antigone. Zizek has not found a way out of the conflict at the basis of the story. Nor has he, a committed communist, portrayed the necessity of revolution as in any way attractive.

Novels

Natalie Haynes has retold the stories of Oedipus and Antigone from the point of view of Jocasta and of Ismene in her novel The Children of Jocasta (2017). In Sophocles’ play Ismene, Antigone’s younger sister, is the only member of Oedipus’ family to survive. She initially serves as a foil for her sister, proposing compromise instead of defiance. Later she stands by her sister, though Antigone refuses her support. In Haynes’ novel the plot has changed from that of Sophocles’ plays, but the story still has its necessary confrontations and reconciliations. The plague plays the role of the Fates.

In Home Fire (2018) Kamila Shamsie has reinterpreted the story of Antigone in terms of Aneeka a young Englishwoman of Pakistani background. Her brother Parvaiz is recruited to ISIS and serves with the terrorists in Syria. Parvaiz is assassinated in Turkey when he tries to leave ISIS. The English government refuses to allow his corpse to be returned to England for burial, and arranges for it to be sent to Pakistan. Aneeka goes to Pakistan to protest this ruling but ultimately the body, the sister and her fiancé are blown to pieces in a suicide bombing.

The situation envisioned by Shamsie is clearly very possible. A citizen should have the right to be buried in his homeland. This right was recently tested in the case of Tamerlan Tsarnaev, one of the bombers at the Boston Marathon (Mendelsohn, 2013). No funeral director or cemetery in Massachusetts would accept his body. After much dispute, a Christian woman in Virginia intervened, and the body was finally buried in an unmarked grave in a small Muslim cemetery in Virginia.

Novels are discursive. They provide us with a wealth of detail, in terms of both things and thoughts. They can discuss what might have been as well as what was. They lack the harsh simplicity of a play.

A Play for All Time

Sophocles’ Antigone remains as a stirring invocation to do what is right. The world needs its Antigones. This was particularly evident in the days of Hitler (von Klemperer, 1992). Those who resisted Nazism did not succeed in changing their government. Yet they did show their countrymen that there were other ways to live and die than slavishly to follow a leader more concerned with power than with humanity.

Sophocles’ play returns time and time again. Whenever governments repress the conscience of their people. World War II generated the Antigones of Anouilh, Brecht and Orff. The situation in South Africa brought about Fugard’s The Island. The situation in Northern Ireland led to Paulin’s The Riot Act. Judith Malina translated Brecht’s Antigone while in jail in 1963 because her Living Theatre had run afoul of the US government.

The philosophy of Sophocles combines a respect for human morality and responsibility with an acquiescence to fate (Kitto, 1961, pp 123-127). In this recognition of the role played by fate, Sophocles differs from his predecessor Aeschylus:

The Aeschylean universe is one of august moral laws, infringement of which brings certain doom; the Sophoclean is one in which wrongdoing does indeed work out its own punishment, but disaster comes, too, without justification; at the most with ‘contributory negligence.’ (p 126)

Wonderful though man is he cannot control everything. This is most obvious in the fact of death. Yet before we die we can do what we believe to be right. This will not prevent our death but it will pay reverence to whatever ideas of transcendence we have conceived, be it the gods or the good.

We do not understand fate. I have already quoted the final words of Sophocles’ chorus – their praise of wisdom. Just before this they make two comments about fate. In reply to Kreon’s desire to die the chorus states

That’s in the future. We must do what lies before us.
Those who take care of these things will take their care.

And then when Kreon says that he prayed for what he longed for, they answer

Don’t pray for anything – for from whatever good
Or ill is destined for mortals, there’s no deliverance.
(Gibbons translation, ll 1334-5, 1337-8)

Sophocles is clear. Do what you think is right. Be open to the ideas of others. Do not expect reward. You will die. Life will carry on.

 

Texts

Note: the lines for the quotations in this posting are those in the original Greek (Brown edition) and may not fit the lines of the translations.

The Perseus Library Antigone has the full Greek text with translation and commentary by Richard Jebb (from the early 20th century).

Brown, A. (1987). Sophocles: Antigone. Warminster, Wiltshire, England: Aris & Phillips (Greek text and English translation on facing pages; good commentary)

Griffith, M. (1999). Sophocles: Antigone. Cambridge: Cambridge University Press. (Greek texts, extensive notes and commentary, but no English translation).

Performances

Orff, C., Hölderlin, F., (1949, CD conducted by Sawallisch, W., 1958, CD 2009). Antigonae. Neuhausen: Profil.

Tzavellas, G. [dir.] (film 1961, DVD 2004). Antigone. Kino International Corporation.

Translations

Carson, A., (2015). Sophokles Antigone, London: Oberon Books. This was performed at the Barbican with Juliet Binoche. It is a subdued version of Carson’s Antigonick.

Fagles, R., & Knox, B. M. G. W. (1982). The three Theban plays. London: Allen Lane/Penguin (a fine modern translation)

Gibbons, R., & Segal, C. (2003). Sophocles: Antigone. New York: Oxford University Press (a translation paying close attention to Greek poetic forms)

Heaney, S. (2004). The burial at Thebes: Sophocles’ Antigone. London: Faber and Faber. (perhaps the most beautiful of the translations)

Hölderlin, F. (1804) Sophokles Antigone. (This served as the basis for Carl Orff’s Antigonae). A translation of Hölderlin’s Antigone is available by David Constantine (BloodAxe Books, 2001). The German original is available

Paulin, T., (1985). The riot act: A version of Sophocles’ Antigone. London: Faber and Faber. (translation in modern colloquial English).

Young, G. (1906/1912). The dramas of Sophocles rendered in English verse, dramatic & lyric. Toronto: J.M. Dent & Sons. (the classical blank-verse translation). Available at archive.org

Adaptations

Anouilh, J. (1946/2005). Antigone. Paris: La Table ronde. (English translation by B. Bray & T. Freeman, Bloomsbury Methuen, 2000).

Brecht, B. (1948, edited by Werner Hecht, 1988). Brechts Antigone des Sophokles. Frankfurt: Suhrkamp. (English translation by Malina, J., 1990, Sophocles’ Antigone. New York: Applause Theatre Books).

Carson, A., (2012). Antigonick. (illustrated by Stone, B.). New York: New Directions. Carson and her colleagues presented a reading of Antigonick in 2012 at the Louisiana gallery in Denmark. The Chorus was read by Carson, Antigone by Mara Lee and Kreon by Nielsen.

Fugard, A., Kani, J., & Ntshona, W. (1974). Statements: Sizwe Bansi is dead. The island. Statements after an arrest under the Immorality Act. London: Oxford University Press.

Haynes, N. (2017). The children of Jocasta. London: Mantle Books.

Shamsie, K. (2017). Home fire. New York: Riverhead Books (Penguin)

Žižek, S. (2016). Antigone. London: Bloomsbury Academic

References

Burns, T. (2002). Sophocles’ Antigone and the history of the concept of natural law. Political Studies, 50, 545-557.

Camus, A., (1955, translated by Kennedy, E. C. 1968). On the future of tragedy. In Thody, P. (Ed.) Lyrical and critical essays. (pp. 295-310). New York: Knopf

Chancellor, G.  (1979). Hölderlin, Brecht, Anouilh: Three Versions of Antigone Orbis Litterarum, 34, 87-97

Grotius , H. (1625) De jure belli ac pacis (On the Law of War and Peace). Paris: Nicolaus Buon. (Preliminary Discourse XI) English translation available

Hegel, G. W. F. (1835, translated Knox, T. M., 1975) Hegel’s aesthetics: Lectures on fine art. Volume I. Oxford: Clarendon Press. Available 

King, M. L. Jr. (1963). Letter from a Birmingham jail. Available

Kitto, H. D. F. (1939/1961/2011). Greek tragedy: A literary study. London: Routledge.

von Klemperer, K. (1992). “What is the law that lies behind these words?” Antigone’s question and the German resistance against Hitler. Journal of Modern History 64, Suppi. (December 1992): S102-S111.

Maritain, J., (edited by Sweet, W., 2001). Natural law: Reflections on theory and practice. South Bend, IN: St. Augustine’s Press.

Mendelsohn, D. (2013) Unburied: Tamerlan Tsarnaev and the lessons of Greek Tragedy. New Yorker (May 14, 2013)

Nonet, P. (2006). Antigone’s Law. Law, Culture and the Humanities, 2, 314-335.

Reidy, D. A. (1995). Antigone, Hegel and the law: an essay. Legal Studies Forum, 19, 239-261.

Robinson, D. N. (1991). Antigone’s defense: a critical study of “Natural law theory: contemporary essays.” Review of Metaphysics, 45, 363-392.

Steiner, G. (1984). Antigones. New York: Oxford University Press.

Young, J. (2013). The philosophy of tragedy: from Plato to Žižek. Cambridge: Cambridge University Press.

 




Bruges-la-Morte

In 1892 Georges Rodenbach published a short novel entitled Bruges-la-Morte (“Bruges, Dead City”). Although the book deals more with internal emotions than external reality, Rodenbach included in his book 35 photographs of the city of Bruges (Flemish, Brugge). The city thus plays as much a part in the novel as its human characters. This was the first time that a work of fiction had been photographically illustrated.

The Author

Georges Raymond Constantin Rodenbach (1855–1898) was born in Tournai, Belgium. His French mother and German father soon moved to Gand (Flemish Gand, English Ghent) in the Flemish northern region of Belgium, not far from Bruges. Rodenbach studied law at the University of Ghent and practiced briefly before turning to poetry and journalism. He moved to Paris in 1888, where he married a fellow journalist, wrote for the Figaro and served as a correspondent for the Journal de Bruxelles, He became friends with the symbolist poet Stéphane Mallarmé, and participated in the literary salons of the day, where he met Edmond de Goncort, Auguste Rodin, the young Marcel Proust, and Odilon Redon. As the 1894 photograph by Nadar shows, Rodenbach became quite the dandy. Bruges-la-Morte was initially serialized in the Figaro and then published in book form by Flammarion.

Rodenbach died in 1898 from the complications of an appendicitis. He was buried in Père-Lachaise cemetery. His monument by sculptor Charlotte Dubray (1902) is outrageously romantic. A bronze likeness of the dead poet emerges from the shattered grave holding aloft a rose. Beauty triumphs over death! Joël Goffin suggests that the tomb alludes to various occult and gnostic ideas promoted by the Salon de la Croix+Rose (1892-1897) established by Joséphin Péladan.

 

The City

Bruges was a major city in the medieval County of Flanders in the northern coastal plain of what is now Belgium. Connected to the North Sea by the estuary of the River Zwin, Bruges became an important trading center, closely associated with England through the wool trade, and with Scandinavia and the Baltics through the Hanseatic League, which maintained a major office (Kontor) in the city.

The city promoted religion as well as trade. The Church of Our Lady has one of the tallest spires in Europe. The Basilica of the Holy Blood enshrines a relic of Christ’s blood brought back from the Holy Land after the Second Crusade. The city was home to one of the larger Béguinages, communities of lay religious women. Some say that these housed women of the middle and upper classes whose fathers or husbands had died in the crusades.

Religion and trade both fostered art. Two great Flemish painters of 15th Century, Jan van Eyck and Hans Memling, lived in Bruges. Within the Church of Our Lady is a sculpture of The Virgin and Child by Michelangelo, bought in 1504 by two wealthy merchants from Bruges.

Flanders changed hands several times during its golden age from the 12th to 15th centuries. At various times allegiance was paid to France, Burgundy, the Holy Roman Empire, and Spain. However, by the 16th century, the River Zwin had become too silted to allow the passage of merchant ships. Wars of religion and succession devastated the countryside and the city lapsed into obscurity.

 

 

In the late 19th century Bruges returned into the public eye as a center for tourism. Most of its medieval buildings remained intact. Most striking is the medieval bell tower on the main square with its carillon. The atmosphere of past glories evoked by the canals and cobblestones fit well to the melancholy sensitivity of the fin-de-siècle.

 

 

 

Bruges remains to this day a beautiful city. The following photograph (Emmanuel Parent, 2013, Flickr, cropped) shows the Spiegelrei canal looking toward the Jan van Eyck square and the Burghers’ Lodge (Poorterloge)

The Book

A brief summary of the plot of Bruges-la-Morte follows, with occasional quotations (from the Mosley translation) to illustrate the book’s poetic style.

Five years after the death of his beautiful young wife in Paris, Hugues Viane remains in mourning. He has moved to the city of Bruges, whose quiet melancholy suits his persisting sadness. He tries to remember all he can about his wife. He does little else. Every day he walks around the city:

In the mute atmosphere of the lifeless waters and streets Hugues felt his heartache less, and he could think more calmly about his wife. In the line of the canals, he was better able to see and hear her again, to discover her Ophelia face floating along, to listen to her voice in the high-pitched song of the carillon. (p. 18)

In a special room in his house Hugues keeps mementos of his wife: several portraits, furniture on which she had sat, cushions that she had embroidered, curtains that she had hung. The most treasured of these objects is a plait of her golden hair, displayed in a crystal case.

On one of his walks, Hugues sees a young woman who looks exactly like his dead wife. Entranced he follows her until she enters the theater. She turns out to be Jane Scott, a dancer in the opera Robert le Diable (Meyerbeer, 1831). She plays the spirit of the abbess Helena who comes back to life in the graveyard of the cloister along with her nuns. Tools of the devil, they convince Robert to steal the sacred branch from the tomb of Saint Rosalie. This will give him magical but unholy powers.

Hugues meets Jane, and she soon becomes his mistress. Hugues installs her in a pleasant house on the outskirts of Bruges. The people of Bruges and Hugues’ housekeeper are scandalized by this affair. However, Hugues cares not. His sadness lessens. His memories have become a person.

When he took her head in his hands and brought it close to him it was to look into her eyes, searching them for something he had seen in others: a nuance, a reflection, pearls, even some flowers with roots in the soul. (p. 42)

After a while Jane tires of her sad and serious lover. She takes up with her old friends, though she keeps Hugues as her lover and financial support. One day she decides that she should visit his house, to assess his fortune and see what jewelry she might acquire. She cajoles him with

that tempting voice possessed by all women at certain times, a crystal voice that sings, swells into haloes, in eddies where men surrender, whirl around and let themselves go. (p. 88)

She visits Hugues on the day of the Procession of the Holy Blood through the streets of Bruges. Hugues is enthralled by the color and the music. Jane is bored, and jests about the mementos of Hugues’ wife. She pulls the golden braid out of the crystal case and plays with it, winding it around her neck like a scarf. Hugues tries to retrieve it. Jane resists. Hugues becomes incensed. He pulls the braid taut and strangles her.

She was dead – for having failed to guess the Mystery and that one thing there was not to be touched on pain of sacrilege. She had laid a hand on the revengeful hair, that hair which, as emblem for those who soul is pure and in communion with the Mystery – implied that the minute it was profaned, it would itself become the instrument of death. (p. 101)

The procession returns. The bells ring.

Hugues repeated incessantly, “Morte… morte… Bruges-la-Morte,” with a mechanical look, in a slack voice, trying to match “Morte… morte… Bruges-la-Morte,” to the cadence of the last bells: slow, small, exhausted old women who seemed languishingly – is it over the city, is it over a tomb? – to be shedding petals of flowers of iron.  (p. 102)

 

The Photographs

Rodenbach considered the photographs an essential part of his book. In his foreward he states that Bruges acts as a “main character, a city associated with states of mind, one that is able to advise, dissuade, induce action.” Since Bruges was not simply a back-drop but a force in the action, Rodenbach thought is essential to have the city “reproduced visually within the text: the quays, deserted streets, old residences, canals, Béguinage, churches, belfries, cult objects.”

The illustrations for Bruges-la-Morte were chosen from the catalogue of Lévy and Neurdein, who specialized in touristic photographs used for postcards, souvenirs and stereographs. Most of the chosen images contain no people.

The photographs are loosely associated with events occurring in the text. They show the reader with what Hugues might be seeing while the text describes what he is feeling. For Hugues, Bruges had become the incarnation of his lost love. Like his wife Bruges was once but is no more alive and beautiful.

But as evening fell, he liked to wander about, looking for resemblances of his sorrow in the lonely canals and the religious quarters of the city. (p. 18)

On the right is the illustration that faces the page containing this quotation. It shows the canals and the bridge leading to the entrance to the Béguinage.

The new art of photography was a way of fixing forever the essence of a person or a place – a way of stopping time. One of the main themes of the novel is that time can neither be stopped nor reversed. The dead do not return. Bruges-la-Morte is a novel about memory and representation. Does Jane represent Hugue’s lost wife or is she simply a resemblance? Photography is intimately related to memory. Old photographs are an aid to remembering the when and where of our past. Sometimes the photographs become our memories.

 

 

The canals in Bruges are a boon to the photographer. They allow the real and the reflected to be captured simultaneously. The images suggest another world in the reflection beneath the real.

The use of photographs in novels did not catch on. Readers thought that it was the writer’s responsibility to describe in words where things occurred as well as what was thought. Rodenbach himself noted in a later discussion about the concept of an illustrated novel that “even a mildly astute reader would always prefer to imagine the characters, since a book is only a point of departure, an excuse and a canvas for dreams.” (Dossier in Flammarion edition of Bruges-la-Morte, 1998, pp. 331-332). However, I believe he is more concerned in this comment with illustrations that depict the events and characters in a novel rather than just its setting.

Recently, W. G. Sebald has used photographs in his books Vertigo (1990), The Emigrants (1992), The Rings of Saturn (1999) and Austerlitz (2001). Like Bruges-la-Morte these writings deal mainly with states of mind. The low-resolution photographs provide a setting for the emotions.

 

Fernand Khnopff

Flammarion engaged the Belgian symbolist painter Fernand Khnopff (1858-1921) to provide an illustration for the frontispiece of Bruges-la-Morte. Khnopff had spent his early childhood in Bruges. His etching shows Hugues’ dead wife lying upon the waters of Bruges before the bridge leading to the Béguinage.

Her pose recalls the 1852 painting of Ophelia by John Everett Millais. This fits with the text

In the line of the canals, he was better able to see and hear her again, to discover her Ophelia face floating along, to listen to her voice in the high-pitched song of the carillon. (p. 18)

Secret-Reflet (“Secret Reflection”), one of Khnopff’s later works (1902), is in the Groeningemuseum in Bruges. It combines two images. The upper circular picture shows Khnopff’s sister and muse Marguerite touching a mask of Hermes, the messenger of the gods. The lower shows a pastel drawing of the houses of Bruges reflected in the canals. This is similar to the illustrations in Bruges-la-Morte. The painting alludes to a secret life beyond or beneath our transient reality. The symbolists were fond of the tradition of hermeticism, deriving from the writings of the mythical Hermes Trismegistus. These brought together various strands of mysticism and Gnosticism to suggest the idea of a secret world, of which only the esthetically sensitive were aware.

 

Meanings

Bruges-la-Morte can be read as a simple story of how a young dancer was murdered by her lover. As such it vividly depicts the mental and emotional state of the murderer. Most importantly it shows how the atmosphere of a place – the mist, bells, reflections, loneliness, and religious processions of Bruges – can accentuate the emotions of love and grief, and allow them to change into rage.

This is a prototypical symbolist novel. Literary symbolism was a reaction against the naturalism of Balzac and the realism of Zola. Rather than dealing with the external forces that control one’s life, the symbolists focused on the internal emotions and motivations that cause action. The protagonist is typically a solitary and sensitive individual, a precursor of the existential hero of the mid-20th century. And the story looks less at the events and settings and more at their effects on the mind. As Stéphane Mallarmé remarked the goal was ‘to depict not the thing but the effect it produces.’

A symbol is a way of representing the invisible. It combines concealment with revelation: an idea is reproduced only through allusion, and yet this allusion increases our understanding of the idea. The Symbolist Movement tended to spiritualism and the occult. More concerned with the ideal than with the specific, it was perhaps literature’s way of replacing the religion that science and realism had defeated.

In his introduction to The Symbolist Movement in Literature (1899/1919), Arthur Symons concluded

Here, then, in this revolt against exteriority, against rhetoric, against a materialistic tradition; in this endeavour to disengage the ultimate essence, the soul, of whatever exists and can be realized by the consciousness; in this dutiful waiting upon every symbol by which the soul of things can be made visible; literature, bowed down by so many burdens, may at last attain liberty, and its authentic speech. In attaining this liberty, it accepts a heavier burden; for in speaking to us so intimately, so solemnly, as only religion had hitherto spoken to us, it becomes ltself a kind of religion, with all the duties and responsibilities of the sacred ritual. (p. 9)

Much, then, rides below the surface in Rodenbach’s novel. The story alludes to various myths that tell of the return of loved ones after death, most importantly that of Orpheus and Eurydice. In the canonical version of the myth, Orpheus succeeds in convincing the gods to release Eurydice, but then disobeys their injunction not to look back to see that she is following him out of Hades, and she vanishes. Other versions (e.g. Plato) suggest that the returning Eurydice was only an apparition.

Rodenbach’s story is also related to the magical golden bough that mortals need to descend into Hades (e.g. Aeneid, Book VI, ll 171-203). Jane dances as one of the demonic nuns in Robert le Diable who convince the hero of that opera to take the magic branch from the tomb of the saint. The golden plait of his wife’s hair that Hugues has preserved has both magical and murderous properties. It maintains the memory of his love and acts as an instrument of death

 

Die Tote Stadt

Erich Wolfgang Korngold was impressed after reading a dramatic adaptation of Bruges-la-Morte that had been translated into German as Die stille Stadt (“Silent City”) or Der Trugbild (“Mirage”). In 1920 he completed an operatic version of the play – Die tote Stadt (“Dead City”). The libretto, attributed to a fictional Paul Schott, was actually written by Korngold and his father.

The operatic story differs for that of the novel. Hugues becomes Paul (P) and Jane becomes Marietta (M). Paul’s first assignation with Marietta occurs at his residence. She plays the lute and sings an old song, sounding exactly like his dead wife. The song itself is concerned with how love should persist after death. The singing becomes an ecstatic duet:

M: Glück, das mir verblieb,
rück zu mir, mein treues Lieb.
Abend sinkt im Hag
bist mir Licht und Tag.
Bange pochet Herz an Herz
Hoffnung schwingt sich himmelwärts.

P: Wie wahr, ein traurig Lied.

M: Das Lied vom treuen Lieb,
das sterben muss.

P: Ich kenne das Lied.
Ich hört es oft in jungen,
in schöneren Tagen.
Es hat noch eine Strophe—
weiß ich sie noch?

M & P: Naht auch Sorge trüb,
rück zu mir, mein treues Lieb.
Neig dein blaß Gesicht
Sterben trennt uns nicht.
Mußt du einmal von mir gehn,
glaub, es gibt ein Auferstehn

Joy, that near to me remains,
Come to me, my true love.
Night sinks into the grove
You are my light and day.
Anxiously beats heart on heart
Hope itself soars heavenward.

How true, a sad song.

The song of true love,
that must die.

I know the song.
I heard it often in younger,
in better days.
It has yet another verse—
Do I know it still?

Though sorrow becomes dark,
Come to me, my true love.
Lean (to me) your pale face
Death will not separate us.
If you must leave me one day,
Believe, there is an afterlife.

Paul falls passionately in love with Marietta. The rest of the story – the loss of love, the desecration of the golden plait, and Marietta’s ultimate murder – follow in a similar fashion to the novel. However, in the opera these events turn out to be a dream rather than reality, and Paul awakens to find that Marietta is still alive. His dream finally reconciles him to the death of his wife. He sings a new verse to the lute song, bidding her farewell until they meet again – not in this world but in the afterlife.

Harre mein in lichten Höhn –
hier gibt es kein Auferstehn

Wait for me in heaven’s plain –
here we shall not meet again.

The opera conveys the intense emotions of the original. However, the addition of music attenuates the sadness, and makes the story far more sensuous.

The following is a 1924 version of the duet Glück das mir verblieb with Richard Tauber and Lotte Lehman.

The duet is often sung as a solo concert aria. The following is a 1994 version by Anne Sofie von Otter with the accompaniment adapted for piano quintet.

 

Aria

In 1987, Don Boyd asked ten different directors to produce short films based on famous opera arias. These were put together to make the feature film Aria. Bruce Beresford visualized Glück das mir verblieb as an intensely erotic engagement between two young lovers (Elizabeth Hurley and Peter Birch) in the city of Bruges. The soundtrack is from the first recording (1975) of the full opera with Carol Neblett and René Kollo. Enjoy!

 

 

References

Texts

Rodenbach, G. (1892). Bruges-la-Morte: Roman. Paris: Flammarion.

The 1913 edition is available on archive.org

and also at Archives et Musée de la Littérature.

The 1998 Flammarion version reproduces the original text and photographs and contains extensive notes by J.-P. Bertrand and D. Grojnowski.

The illustrations are reproduced in Wikipedia Commons

My quotations are to the English translation by Philip Mosley, originally published in 1986, and reprinted in 2007 by University of Scranton Press. This has no photographs. Another English translation by Will Stone and Mike Mitchell, published by Dedalus Press in 2009, includes a series of photographs of present-day Bruges. Since the original illustrations were an essential part of the book, this seems inappropriate.

Bruges-la-Morte Website

Joël Goffin runs an impressive website Bruges-la-Morte, which is packed with information about the book and its author, and which presents his own book (2017) about the novel: Le Secret de Bruges-la-Morte.

Photographs

Edwards, P. (2000). The photograph in Georges Rodenbach’s Bruges-la-Morte. Journal of European Studies, 30, 71-89.

Elkins, J. Writing with Images. 3/1/ Georges Rodenbach, Bruges-la-Morte. Website

Fontaine, X. (2012). La photographie non identifiée de Bruges-la-Morte. Tentative de percée d’un mystère, lui-même fonction de l’interprétation du lecteur.In V. Lavoie ; P. Edwards ; J-P. Montier (Eds.) Actes du Colloque: Photolittérature, littératie visuelle et nouvelles textualités. NYU: Paris. Available online

Long, J. J. (2003) History, narrative and photography in W. G. Sebald’s Die AusgewandertenModern Language Review, 98, 117–37.

Wilson, M. G. (2013) Sheets of past: Reading the image in W. G. Sebald’s Austerlitz. Contemporary Literature, 54, 49-76.

Fernand Khnopff

 Dumont-Wilden, L. (1907). Fernand Khnopff. Bruxelles: G. Van Oest. Available at archive.org

The Bruges-la-Morte website has a section on Khnopff

Artifex in Opera Website discusses the painting Secret-Reflet

Symbolist Movement

Conway Morris, R. (2007). The elusive Symbolist movement. New York Times (March 16, 2007).

Olds, M. C. (2006). Literary Symbolism. In D. Bradshaw & K. J. H. Dettmar. A Companion to Modernist Literature and Culture. (pp 155–162). Malden, MA: Blackwell.

Ross, A. (2017). The occult roots of modernism: Joséphin Péladan’s mystical art exhibitions, in Paris, set the stage for everything from Kandinsky’s abstractions to Eliot’s “The Waste Land.” New Yorker (June 26, 2017).

Symons, A. (1899, revised 1919). The symbolist movement in literature. New York: E. P. Dutton. Available at archive.org.

 




Vanity of Vanity

The words of the Preacher, the son of David, king in Jerusalem.
Vanity of vanities, saith the Preacher, vanity of vanities; all is vanity.
(Ecclesiastes 2:1-2)

Thus begins Ecclesiastes, the most unusual book in the Judeo-Christian Bible. Unlike the rest of the Bible, this book claims that the nature of the world is neither revealed to us nor accessible to reason. The universe and its Creator pay us no particular regard. Man is not special. Heretical though these thoughts might be, Ecclesiastes contains some of the world’s most widely quoted verses of scripture. The words of the Preacher resonate through the seasons of our lives. This post comments on several selections from the book.

Qohelet

The author of the book is called Qohelet (קהלת in Hebrew). This word derives from a root meaning to “assemble” or “bring people together.” The name suggests a sage who teaches a group of disciples. The translators have taken it to mean someone who preaches in a church (Latin, ecclesia). Yet Qohelet was clearly neither priest nor preacher. He was a rich man, a master of estates and an owner of palaces. The title Ecclesiastes is inappropriate. As pointed out by Lessing (1998),

thus do the living springs of knowledge, of wisdom, become captured by institutions, and by churches of various kinds.

According to the first line of the book, its author was Solomon, the son of David and Bathsheba. However, although Qohelet may have been a descendant of David, linguistic evidence (reviewed in Bundvad, 2015, pp 5-9) indicates that he wrote in the 3rd century BCE during the Hellenistic period (323-63 BCE), some seven hundred years after Solomon. Other scholars have suggested that the author may have written several centuries earlier during the Persian period (539-323 BCE), but this would still be long after Solomon (10th Century BCE).

The first line of the book may have been added by a later editor who wished this scripture to partake of Solomon’s fame. More likely, it is original, indicating that Ecclesiastes is a fictional testament: an imagined description of what Solomon might have thought (see discussion in Batholomew, 2009, pp 43-54). However, the book is ambiguous in terms of its narration. As the book progresses Qohelet becomes clearly distinguished from Solomon. And even Qohelet vacillates between two minds: that of a Jewish believer and that of a Greek philosopher (Bartholomew, 2009, p. 78).

 

 

Ben Shahn (1971) imagines Qohelet as a simple teacher. Though once rich and powerful, his thoughts have led him to withdraw from high society. Although dismayed that he has not been able to understand its meaning, he still enjoys the life he has been granted.

 

 

 

Vanity

Qohelet’s summary of his philosophy is that “All is vanity.” Shahn (1971) presents the beginning of the second verse in calligraphy:

 

The full verse and its transliteration follows. Note that the Hebrew goes from right to left whereas the transliteration goes from left to right (As Qohelet later says, “The wind goeth toward the south and turneth about unto the north”):

הבל הבלים אמר קהלת הבל הבלים הכל הבל׃

havel havalim amar kohelet, havel havalim hakkol havel.

The sound of the Hebrew follows (just in case you wish to denounce the world’s latest frivolity out loud):

The key Hebrew word is havel (הבל). This

indicates the flimsy vapor that is exhaled in breathing, invisible except on a cold winter day and in any case immediately dissipating in the air (Alter, 2010, p 340)

The word can be directly translated as “vapor” or “breath.” Alter translates havel havelim as “mere breath.” It denotes something without material substance or temporal persistence. Many translators have characterized it in abstract terms: meaningless, transient, empty, useless, absurd, futile, enigmatic, illusory.

The word havel has the same letters as the name of Abel, the second son of Adam, slain by his brother Cain. Qohelet was likely aware of this association (Bundvad, 2015, pp 79-80). Abel was the first man to die. His life was fleeting and uncertain, his death unjust, his person only faintly remembered.

The King James Version of the Bible (1611) translates havel as “vanity.” This word comes from the Latin vanus meaning empty. The translators used “vanity” to denote a lack of meaning, value or purpose. The secondary, now more common, meaning for the word – self-admiration, excessive pride (the opposite of humility) – may have come about as a particular example of worthless activity.

At the time of the King James Version, the term vanitas was also used to denote a type of painting became popular in Flanders and the Netherlands in the 16th and 17th centuries. The example below is by Pieter Claesz (1628). These paintings arrange objects to show the transience of life, the limits of understanding and the inevitability of death. Despite their meaning, the paintings are imbued with sensual beauty:

The appeal of the vanitas painting tradition lies in its successful capture of the subtle balance between transient and joyful modes of living, so vociferously endorsed by Qoheleth. (Christianson, 2007, p 122).

Benefit

After introducing himself and summarizing his message, Qohelet poses the main question of the book:

What profit hath a man of all his labour which he taketh under the sun? (Ecclesiastes, 1:3)

The word translated as “profit” is yitron (יתרון). This word is only found in the Bible in Ecclesiastes. Perhaps “benefit” might be a better translation (Bartholomew, 2009, pp 107-108). The “labour” involves both physical and mental work. The idea is how best we should lead our lives.

The answer begins with the glorious poem

One generation passeth away,
and another generation cometh:
but the earth abideth for ever.

The sun also ariseth, and the sun goeth down,
and hasteth to his place where he arose.

The wind goeth toward the south,
and turneth about unto the north;
it whirleth about continually,
and the wind returneth again
according to his circuits.

All the rivers run into the sea; yet the sea is not full;
unto the place from whence the rivers come,
thither they return again.

All things are full of labour; man cannot utter it:
the eye is not satisfied with seeing,
nor the ear filled with hearing.

The thing that hath been, it is that which shall be;
and that which is done is that which shall be done:
and there is no new thing under the sun.

(Ecclesiastes 1: 3-9).

The poetry is beautiful but there is no profit in it. Human beings come and go. The human mind cannot gain sufficient knowledge of the world to understand its workings or to change it in any significant way. The world is as frustrating as it is beautiful. The more one knows, the more one is convinced of one’s transience:

For in much wisdom is much grief: and he that increaseth knowledge increaseth sorrow. (Ecclesiastes 1: 18)

Qohelet realizes that life can nevertheless be enjoyable.

There is nothing better for a man, than that he should eat and drink, and that he should make his soul enjoy good in his labour. This also I saw, that it was from the hand of God. (Ecclesiastes 2: 24)

This is the old man’s version of the Andrew Marvel’s “Gather ye rosebuds while ye may.” The sentiment is perhaps as old as poetry. The Roman poet Catullus in the 1st Century BCE also wrote how the sun arises after it goes down but man does not:

soles occidere et redire possunt;
nobis, cum semel occidit brevis lux
nox est perpetua una dormienda.
da mi basia mille, deinde centum

Walter Raleigh in his History of the World (1614) translated this as

The Sunne may set and rise
But we contrariwise
Sleepe after our short light
One everlasting night.

Raleigh does not translate the continuation of the poem wherein Catullus goes on to request a compensatory thousand kisses from his lover Lesbia.

Time

Qohelet has been considering the passage of time. The word used for time in Ecclesiastes – eth (עת) – generally refers to a moment of time. The other Hebrew word for time is olam (עולם) which takes all of time into account and is usually translated as “for ever” (as in Ecclesiastes 1:4). In the first chapter Qohelet contrasted world time with human time.

In Chapter 3, he considers a different aspect of time. God has ensured that events occur at their appropriate time. Eternity has been arranged in its proper sequence.

To every thing there is a season,
and a time to every purpose under the heaven:

A time to be born, and a time to die;
a time to plant, and a time to pluck up
that which is planted;

A time to kill, and a time to heal;
a time to break down, and a time to build up;

A time to weep, and a time to laugh;
a time to mourn, and a time to dance;

A time to cast away stones,
and a time to gather stones together;
a time to embrace,
and a time to refrain from embracing;

A time to get, and a time to lose;
a time to keep, and a time to cast away;

A time to rend, and a time to sew;
a time to keep silence, and a time to speak;

A time to love, and a time to hate;
a time of war, and a time of peace.

(Ecclesiastes 3:1-8)

 

 

 

Ben Shahn (1971) portrays the essence of these lines with a wheat field at harvest time:

 

 

 

These verses can be interpreted in two main ways. The first proposes that time has been pre-ordained to work out the purposes of God, that we cannot change these things, and that we should be resigned to what happens. Everything is for the best. The other interpretation uses these words to justify one’s actions. Martin Luther quoted these verses when the time had come to speak out against the Catholic Church (Christianson, 2007, p 166). Thus are human actions divinely justified. Luther believed in predestination. He spoke out not by choice but because he had no choice: he could not do otherwise.

These verses were set to music by the folksinger Pete Seeger in the late 1950s. His lyrics directly quote the King James Version using the first verse with the addition of “Turn! Turn! Turn!” as the refrain. After “a time of peace” Seeger added “I swear it’s not too late.” The song became an anthem of the peace movement. The following is an excerpt:

Qohelet recognizes the beauty of God’s time. Yet he is frustrated that he can never understand it:

I know that, whatsoever God doeth, it shall be for ever: nothing can be put to it, nor any thing taken from it: and God doeth it, that men should fear before him.
That which hath been is now; and that which is to be hath already been; and God requireth that which is past.
(Ecclesiastes 3: 14-15)

This idea of time as divinely ordered but incomprehensible to the human mind pervades T. S. Eliots’ Burnt Norton (1935) which begins:

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.

Qohelet goes on to state that since we cannot understand we are no different from other animals. We live, we die.

For that which befalleth the sons of men befalleth beasts; even one thing befalleth them: as the one dieth, so dieth the other; yea, they have all one breath; so that a man hath no preeminence above a beast: for all is vanity.
All go unto one place; all are of the dust, and all turn to dust again.
(Ecclesiastes 3:19-20)

These statements go against all previous Jewish teachings. Qohelet’s book

amounts to a denial of divine revelation, and of the belief that man was created as an almost divine being, to care for and exercise dominion over the other creatures and all the works of God’s hands. … In the final analysis man is like the animals rather than superior to them (Scott, 1965, p. 205)

Johannes Brahms was devastated when his friend Clara Schumann suffered a stroke in 1895 and was close to death. During this time, he composed his Four Serious Songs Opus 121. The first song is uses Luther’s translation of Ecclesiastes 3: 19-22. The following is the beginning (up to wird wieder zu Staub “turn to dust again”) as sung by Dietrich Fischer-Dieskau:

Denn es gehet dem Menschen wie dem Vieh; wie dies stirbt, so stirbt er auch; und haben alle einerlei Odem;und der Mensch hat nichts mehr denn das Vieh: denn es ist alles eitel.
Es fährt alles an einen Ort; es ist alles von Staub gemacht, und wird wieder zu Staub.

This first song is desolate – we die like beasts, our life is empty, we are made of dust. The later songs in the series progress from deep sadness to quiet resignation. The final song sets verses from the New Testament, among them

For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known. (I Corinthians 13:12)

Brahms called his songs “serious” (ernst) rather than “sacred.” This is a fitting description of the book Ecclesiastes.

Justice

After considering the inevitability of death, Qohelet turns to evaluate the course of human life. He finds that success does not necessarily reward those who most deserve it:

I returned, and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and chance happeneth to them all.
(Ecclesiastes 9:11)

A brief adaptation of this verse was included in the posthumously published Last Poems of D. H. Lawrence (1932). The poem Race and Battle is notable for its image of the “streaked pansy of the heart” which recalls the title of his earlier book Pansies, itself a pun on Pascal’s Pensées. Lawrence attempts to explain how to accept that life may be unfair and preserve a personal sense of justice.

The race is not to the swift
but to those that can sit still
and let the waves go over them.

The battle is not to the strong
but to the frail, who know best
how to efface themselves
to save the streaked pansy of the heart from
being trampled to mud.

Lawrence’s poem adds to Qohelet’s resignation some of the later teachings of Jesus – Blessed are the meek: for they shall inherit the earth… Blessed are the pure in heart: for they shall see God (Matthew 5: 5,8).

Instruction

Qohelet’s search for wisdom has led him to dismay. Death is inevitable and unpredictable. Life is without justice. Nevertheless, Qohelet urges us to enjoy our life:

Go thy way, eat thy bread with joy, and drink thy wine with a merry heart; for God now accepteth thy works.
Let thy garments be always white; and let thy head lack no ointment.
Live joyfully with the wife whom thou lovest all the days of the life of thy vanity, which he hath given thee under the sun, all the days of thy vanity: for that is thy portion in this life, and in thy labour which thou takest under the sun.
Whatsoever thy hand findeth to do, do it with thy might; for there is no work, nor device, nor knowledge, nor wisdom, in the grave, whither thou goest.
(Ecclesiastes 9:7-10)

White clothes are worn for festive occasions. Their whiteness contrasts with the black of mourning. Anointing one’s hair with oil is another sign of gladness. Yet the most important of Qohelet’s injunctions is to work at whatever needs to be done.

Qohelet’s advice is related to the philosophies of Epicurus (341-270 BCE) in its enjoyment of life and of the stoic Zeno (334-262 BCE) in its promotion of right action. If, as most scholars now believe, Qohelet wrote in the 3rd Century BCE, he could have been influenced by such Greek philosophies. He certainly based his search for truth on reason rather than on revelation. Yet his philosophy is his own. It is religious rather than materialist.

Scott (1965, p 206) summarizes Qohelet’s reasoning:

Thus the good of life is in the living of it. The profit of work is in the doing of it, not in any profit or residue which a man can exhibit as his achievement or pass on to his descendants. The fruit of wisdom is not the accumulation of all knowledge and the understanding of all mysteries. It lies rather in recognizing the limitations of human knowledge and power. Man is not the measure of all things. He is the master neither of life nor of death. He can find serenity only in coming to terms with the unalterable conditions of his existence, and in enjoying its real but limited satisfactions.

 

 

Ben Shahn presents the thoughts of Qohelet as balanced between his inability to understand and his realization that life can nevertheless be enjoyed:

 

 

 

Qohelet has much in common with the existentialism of the 20th Century. Albert Camus remarks in Le Mythe de Sisyphe (1942):

Je ne sais pas si ce monde a un sens qui le dépasse. Mais je sais que je ne connais pas ce sens et qu’il m’est impossible pour le moment de le connaître. [I don’t know whether this world has a meaning that transcends it. But I know that I cannot grasp that meaning and that it is impossible now for me to grasp it.]

Camus is much more tentative than Qohelet in his conclusion that we should nevertheless enjoy our life. He retells the myth of Sisyphus who was condemned by the Gods because he had tried to cheat death. He was made to roll an immense boulder up to the summit of a mountain, but every time he reached the top, the rock would roll back down and Sisyphus would have to begin his task again.

La lutte elle-même vers les sommets suffit à remplir un cœur d’homme; il faut imaginer Sisyphe heureux. [The very struggle toward the heights is enough to fill a man’s heart. One must imagine Sisyphus happy. ]

Bread upon the Waters

Qohelet presents us with multiple proverbial injunctions about how one should live one’s life. Perhaps the most quoted of these is:

Cast thy bread upon the waters: for thou shalt find it after many days.
Give a portion to seven, and also to eight; for thou knowest not what evil shall be upon the earth.
(Ecclesiastes 11: 1-2)

The verses have been interpreted in many ways. Merchants have considered them in terms of overseas trade. Christians have proposed that it means to spread the teachings of Christ throughout the world. This idea derives from Christ’s statement that he was the “bread of life” (John 6:35). Qohelet had neither of these ideas in mind. He was encouraging us to be generous, to provide for our fellows. He was suggesting that such human charity could compensate for life’s injustice.

In his own old age, the wise Richard Wilbur (2010) wrote a poem about these verses

We must cast our bread
Upon the waters,
as the
Ancient preacher said,

Trusting that it may
Amply be restored to us
After many a day.

That old metaphor,
Drawn from rice farming on the
River’s flooded shore,

Helps us to believe
That it’s no great sin to give,
Hoping to receive.

Therefore I shall throw
Broken bread, this sullen day,
Out across the snow,

Betting crust and crumb
That birds will gather, and that
One more spring will come.

 

Light and Dark

Qohelet reminds us that life brings both enjoyment and dismay. The verses are illustrated by Ben Shahn on the left.

Truly the light is sweet, and a pleasant thing it is for the eyes to behold the sun:
But if a man live many years, and rejoice in them all; yet let him remember the days of darkness; for they shall be many.
(Ecclesiastes 11: 7-8)

 

 

Remember Now

The last chapter of Ecclesiastes contains its most famous poetry. Qohelet, who has become old and wise, advises his youthful followers. He tells them to rejoice in their youth for life is beautiful. Yet they must always bear in mind that they must grow old and die:

Remember now thy Creator in the days of thy youth,
while the evil days come not,
nor the years draw nigh, when thou shalt say,
I have no pleasure in them;

While the sun, or the light, or the moon,
or the stars, be not darkened,
nor the clouds return after the rain:

In the day when the keepers of the house shall tremble,
and the strong men shall bow themselves,
and the grinders cease because they are few,
and those that look out of the windows be darkened,

And the doors shall be shut in the streets,
when the sound of the grinding is low,
and he shall rise up at the voice of the bird,
and all the daughters of musick shall be brought low;

Also when they shall be afraid of that which is high,
and fears shall be in the way,
and the almond tree shall flourish,
and the grasshopper shall be a burden,
and desire shall fail:
because man goeth to his long home,
and the mourners go about the streets:

Or ever the silver cord be loosed,
or the golden bowl be broken,
or the pitcher be broken at the fountain,
or the wheel broken at the cistern.

Then shall the dust return to the earth as it was:
and the spirit shall return unto God who gave it.

Vanity of vanities, saith the preacher; all is vanity.

(Ecclesiastes 12: 1-8)

Qohelet refers to God as the Creator (borador, בוראיך). This is the only time he uses this term; elsewhere he uses Elohim (אלהים). Qohelet is here invoking Genesis: we must view the end of an individual life in relation to the beginning of all life. Some commentators (Rashi; Scott, 1965, p. 255) have remarked on the relations of this word to bor (בור) which occurs in the 7th verse.  This means “pit,” in the sense of either a “grave” or a “cistern.” This verbal association also brings the end of life back to its source.

The poem is as enigmatic as it is beautiful. The initial verse of the poem clearly states that it is concerned with human mortality. Yet how the images relate to old age and death is as uncertain as the breath that ceases. And the poem ends on the words that began the book – all is vanity, merest breath.

A literal interpretation is that the poem describes a village or estate in mourning for a once-great person lately fallen on hard times. Perhaps Qohelet is foreseeing his own death. The windows of the house are darkened, the mill is quiet as the workers remember their late master, the mourners go about the streets, and finally dust is scattered over the body as it is buried.

A long tradition has provided allegorical interpretations of the images, relating them to the physical and mental decline that attends old age. The underlying idea is that the aging body is like a house in decay. For example, the commentary of the 11th-century Jewish rabbi Rashi suggests

the keepers of the house: These are the ribs and the flanks, which protect                                    the entire body cavity
the mighty men: These are the legs, upon which the body supports itself
and the grinders cease: These are the teeth
since they have become few: In old age, most of his teeth fall out
and those who look out of the windows: These are the eyes.
And the doors shall be shut: These are his orifices.
when the sound of the mill is low: the sound of the mill grinding the food in                                   his intestines, and that is the stomach

The problem with such specific allegories is that different commentators provide different meanings. Do the doors that shut denote the eyelids or the lips?

Other interpretations are more abstract. Does the pitcher broken at the fountain represent the bladder or the loss of the life force? Is the silver cord the spinal column or the genealogical tree that ends at the death of a person with no heirs?

Some Hebrew interpretations consider these verses as representing the desolation of Israel following the destruction of the First Temple by the Babylonians in 587 BCE. The image of the golden bowl might then represent the broken lamp that no longer lit the sanctuary.

Some Christian interpretations see the imagery as a vision of the end times that will precede the final judgment. This fits with the epilogue that follows the poem.

No single interpretation conveys the sense of the poem. All meanings overlap. The poem is better listened to than imagined. The following is by the YouTube reader who goes by the name of Tom O’Bedlam

Judgment

The book concludes with an epilogue that many take to be the words of a later editor. However, it rings true to Qohelet:

Let us hear the conclusion of the whole matter: Fear God, and keep his commandments: for this is the whole duty of man.
For God shall bring every work into judgment, with every secret thing, whether it be good, or whether it be evil.
(Ecclesiastes 12: 13-14)

Why else should one remember one’s Creator? Why else should one bear in mind one’s ultimate old age and death? The sentiment is similar to Marcus Aurelius (167 CE):

Do not act as if thou wert going to live ten thousand years. Death hangs over thee. While thou livest, while it is in thy power, be good.
(Meditations IV:17)

Qohelet is also proposing that to be good is to be truly human – “the whole duty of man.” Any judgment of us as human beings must rest on whether we have done good or ill. Qohelet’s instruction derives from man as much as from God.

The following presents the Hebrew (in Ben Shahn’s calligraphy) together with its transliteration and an audio version of Ecclesiastes 12:13

Let us hear the conclusion of the whole matter: Fear God, and keep his commandments: for this is the whole duty of man.

sovf dabar hakkol nishma eth ha’elohim yera eth mitzvotav shemovr ki zeh kol ha’adam.

References

Alter, R. (2010). The wisdom books: Job, Proverbs, and Ecclesiastes : a translation with commentary. New York: W.W. Norton & Co.

Bartholomew, C. G. (2009). Ecclesiastes. Grand Rapids, MI: Baker Academic.

Bundvad, M. (2015). Time in the book of Ecclesiastes. Oxford: Oxford University Press.

Christianson, E. S. (2007). Ecclesiastes through the centuries. Malden, MA: Blackwell.

Lawrence, D. H. (Edited by Aldington, R., & Orioli, G., 1932). Last poems. Florence: Orioli.

Lessing, D. (1998). Introduction. In Ecclesiastes or, the preacher: Authorised King James version. Edinburgh: Canongate.

Scott, R. B. Y. (1965). Proverbs, Ecclesiastes. (Anchor Bible Volume 18). Garden City, NY: Doubleday.

Shahn, B. (1971). Ecclesiastes: Or, the preacher. New York: Grossman.

Wilbur, R. (2010). Anterooms: New poems and translations. Boston: Houghton Mifflin Harcourt.

 




Stonehenge

Over five thousand years ago the Neolithic people of Britain began to erect a monumental stone structure known as “Stonehenge” on the Salisbury Plain. The name likely means “hanging” or “suspended” stones. The structure underwent several changes over the years of its construction, reaching its final form around 2000 BCE.

The stones are of two kinds. The largest are the sarsens, which have their origin in the hills about 40 km north of Stonehenge. The word “sarsen,” first used at the time of the Crusades, comes from “Saracen” and essentially means “pagan.”

The smaller bluestones come from the Preseli Mountains in Southwest Wales 240 km away. Most archaeologists currently believe that these were transported across the Bristol Channel and then overland to Stonehenge. The bluestones may have been used in several ways during the different periods of construction. In the final form of the monument they are arranged within the outer circle of sarsens and within the inner horseshoe of larger sarsens.

The monument has long been a symbol of ancient Britain. Over the years, however, our understanding of it has changed radically. This posting considers how Stonehenge has interacted with the British imagination. Because of its striking appearance, images are given as much space as words.

Past and Present Structure

The following figure shows a photograph of the monument taken from the Southwest by Diego Delso in 2014. A larger version of the photograph is available from Wikipedia.

stoneheng diego XB
In the center of the figure is a large standing stone – the only stone still upright from the great trilithon (“three stones” – two erect stones with a superimposed lintel). At its top is a small peak representing the tenon of a mortice-and-tenon joint that served to maintain the lintel on top of the two uprights.

tpmorticetenonBehind and to the right of this central stone can be seen the surviving arches of the outer sarsen circle. The lintels on this circle are held in position using tongue-in-groove as well as mortice-and-tenon joints. These techniques are similar to those used in woodworking (Chippindale, 2012, p 12; Johnson, 2008, pp 142-148). The figure on the right (modified from the English Heritage site) illustrates these procedures.

 

Many of the original stones have collapsed. Some fallen stones were probably long ago broken up and used for other buildings. Others lie on the ground; others are buried. Most of the sarsens on the south and west of the outer circle fell and vanished long ago. The following figure shows on the left a diagram of how the monument might have been in 2000 BCE (based on Johnson, 2008, p. 166). and on the right a plan of the present site (modified from the English Heritage Webpage).

tpstonehengeplan

The outer ring of sarsens with the superimposed lintels rose almost 5 m above the ground. The trilithons of the inner sarsen horseshoe varied in height: those at the open end of the horseshoe were about 6 m high, the adjacent trilithons a little higher and the great trilithon at the center of the horseshoe almost 7.5 m. The bluestones are much smaller and quite variable in size and shape. The illustration below shows a digital model by Hypnagogia of how the completed monument might have appeared as viewed from the Northeast at sunrise.

green model xbThe great trilithon collapsed long ago. The eastern upright broke in two over the altar stone. The western upright fell only halfway and was for many years held up at an angle by the inner bluestone. It was re-erected and stabilized in 1901. The first set of stones whose fall is historically recorded is the southwestern trilithon which collapsed in 1797. It was re-erected in 1958.

Stonehenge_render_labelled xb

As shown on the right, the standing stones are at the center of a larger circle marked by a ditch and by the Aubrey Holes. These are the oldest part of the monument, predating the sarsens by several hundred years. Parker Pearson (2012, pp 181-186) has suggested that the Aubrey Holes may have been the original location of the bluestones, which were later removed and placed within the sarsen monument.

Early Views of Stonehenge

BM egerton 3028 xb

 

One of the earliest accounts of Stonehenge occurs in Geoffrey of Monmouths’s History of the Kings of Britain (1136). Chapters 10 to 12 of Book 8 provide a fanciful tale of the stones being erected by giants under the supervision of Merlin, the sage of the Arthurian legends. The Egerton 3028 manuscript in the British Library contains an illustration of this story.

 

 

The first “realistic” depiction of Stonehenge was a 1575 watercolour by Lucas De Heere, a Flemish refugee in England. The painting shows the general size and arrangement of the stones as viewed from the Northwest but is woefully incorrect in its detail (Chippindale, 2012, pp 33-35). The most glaring error is that the monolith of the great trilithon is depicted as leaning outwards rather than inwards.

lucas SH xB
The great English architect Inigo Jones studied the monument in the 17th Century. John Webb collected Jones’ notes and published them posthumously in 1655 in a book entitled The Most Notable Antiquity of Great Britain, Vulgarly called Stone-Heng on Salisbury Plain. Jones thought that the stones were erected as a temple by the Romans during their occupation of Britain. He considered the ancient Britons too savage to have built a monument of such perfectly classical proportions.
jones stonehenge xbThis idea was disputed by John Aubrey, the author of the famous Brief Lives, who published his Monumenta Britannica in 1665. He made a careful study of the Stonehenge site and noted the circle of chalk pits around the stone monument, which are still called Aubrey Holes (Johnson, 2008, p. 57). He pointed out that the Britain and Ireland contained multiple Neolithic monuments and stone circles, and that many of these were in areas where the Romans had never penetrated. He therefore suggested that they were erected by the Britons as “Temples of the Druids” (Hill, 2008, p 33).

Aubrey’s proposal was promoted by William Stukeley, a friend of Isaac Newton. He published Stonehenge, A Temple Restor’d to the British Druids in 1740. Initially he had made some accurate observations of Stonehenge: he was the first to notice the “avenue” leading to Stonehenge from the Northeast (Chapter 8), and he noted that the monument and the avenue were oriented along a line pointing to the sunrise at the summer solstice (Chippindale, 2012, p. 75).

Imaginative Interpretations of Stonehenge

However, Stukeley soon let his imagination take over, and he concocted a narrative of how the Jewish patriarchs had visited England in ancient times with the Phoenicians (Chippindale, 2012, Chapter 8; Lewis Williams & Pearce, 2005, pp 169-172; Hill, 2008, pp. 39-49). This was all part of a grand universal history of humanity, with the pure original religion being initially subverted by idolatry and then restored by Jesus. He considered Stonehenge as a temple of this primordial religion, where divine observances were conducted by the Celtic Druids. Stukeley was so enthusiastic about these ideas that he took to calling himself Chyndonax, Prince of the Druids. His work has exerted a tremendous influence on the popular views of Stonehenge. Modern dating methods have shown that Stonehenge was built by Neolithic Britons more than a thousand years before the Iron-Age Celts (who only became evident in Britain by after 1000 BCE). Nevertheless, to this day druids still conduct services at Stonehenge on the days of the summer solstice.

Some of Stukeley’s ideas are present in William Blake’s poem Jerusalem:

And did those feet in ancient time,
Walk upon England’s mountains green:
And was the holy Lamb of God,
On England’s pleasant pastures seen!

And did the Countenance Divine,
Shine forth upon our clouded hills?
And was Jerusalem builded here,
Among these dark Satanic Mills?

Bring me my Bow of burning gold;
Bring me my Arrows of desire:
Bring me my Spear: O clouds unfold!
Bring me my Chariot of fire!

I will not cease from Mental Fight,
Nor shall my Sword sleep in my hand:
Till we have built Jerusalem,
In England’s green & pleasant Land

Hubert Parry’s 1916 musical setting of this poem has become an extremely popular anthem, traditionally sung with great fervor and flag-waving on the last night of the Proms.

blake milton xbBlake’s poem is contained in the preface to his illuminated book Milton a Poem (1811). The poem deals with the need for the creative imagination to liberate mankind from slavery to established morality. Some illustrations of megaliths (e. g. part of page 4 shown on the right) are included in this long poem, and at times Blake seems to suggest these as evidence of religion’s Satanic power over the people. Some interpreters have even considered the “Satanic Mills” of the second verse of the prefatory poem mean the established churches rather than the cotton mills of the industrial revolution.

However, Blake’s view of Stonehenge was ambiguous. The last page of a later illuminated book Jerusalem: The emanation of the giant Albion. (1821) contains a striking image:

blake jerusalem XB

The central male figure is Los, the personification of imaginative energy, with the hammer and tongs he uses to create. On the left is his spectre carrying the sun. On the right is his emanation, Enitharmon, the female personification of spiritual beauty. She holds what appears to be a spindle, from which descend the threads of life. Below them is a serpentine line of trilithons with a central circle similar to the Stonehenge. The meaning of this final image is not clear. In his notes to the facsimile edition of the book, Paley suggests that these structures may represent the creation of Jerusalem in England. However, the words of a prophet can be difficult to understand.

Romanticism

J. M. W. Turner visited Stonehenge in 1799. He made several drawings of the ruins. The following small sketch represents a view from the West.

turner stonehenge drawing 1799 xb

In 1827 he created a watercolor based on his earlier sketches. The final painting depicts Stonehenge during a storm. Lightning strikes the ground in the middle of the ruin, killing many sheep and the shepherd who lies in the right foreground. The shepherd’s dog howls disconsolately. An 1829 engraving of this image became very popular, appealing to the public’s new romantic fascination with the unrestrained power of nature:

turner stonehenge engraved robert wallis 1829 xb

John Constable’s 1835 watercolor of Stonehenge also sets the monument in a scene of great natural power. The view is from the South. In the North are dark storm clouds, onto which the sun has cast a double rainbow. At the time of this painting, Constable was grieving for his recently deceased wife. The painting is imbued with sadness; the rainbows are drained of color.

constable Xb

Constable (quoted in Chippindale, 2012, p 105) provided a caption when his painting was first exhibited:

The mysterious monument of Stonehenge, standing remote on a bare and boundless heath, as much unconnected with the events of past ages as it is with the uses of the present, carries you back beyond all historical recall into the obscurity of a totally unknown period.

Modernism and Stonehenge

The Romantic approach to Stonehenge does not do justice to its austere beauty. However, Modernism also fails to capture the essence of the site. The following is a 1935 painting by Paul Nash entitled Equivalents for the Megaliths. Large geometric shapes are set down in a stylized English landscape. The painting does not convey the power of Stonehenge or the other megalithic monuments, though it does suggest their incomprehensibility.

nash equivalents xb

John Piper’s ink-and-wash painting from 1981 is more successful. This considers Stonehenge form the point of view of a Romantic Modernist.

piper painting xb

Photographs of Stonehenge

Photographs provide a realistic view of Stonehenge. The following is the first known photograph, a calotype by William Russell Sedgfield in 1853 (copied from Chippindale, p.149). The view is from the west. A carriage stands by the leaning upright of the great trilithon.

sedge002xb

Photographs also provide a record of the reconstruction. The following photograph by John Piper shows the upright resurrected. This photograph was taken before the 1958 reconstruction of the southwestern trilithon (which can be seen in the 2014 photograph at the beginning of this posting).

piper stonehenge xb

piper photograph XB

 

John Piper in another undated photograph in the Tate Britain collection focuses on the surface of one of the stones. In so doing he captures their very tactile impression. Unlike other megaliths, the stones at Stonehenge were dressed using stone axes so that their inner surfaces were smooth. Over the years lichen have painted upon them in an abstract expressionist style.

 

 

 

 

caponigro xb

 

 

Photographs can give a sense of the place as well as providing a simple record. The photograph to the left by Paul Caponigro is entitled Inner Trilithon through Circle Stones, Stonehenge (1970). Caponigro published a large book of photographs of the Neolithic monuments in Britain, Ireland and France in 1986. The outer reaches of Europe contain numerous stone structures dating back to several thousand years BCE (Mohen, 1999)

 

 

 

 

Prints of the Stones

trevelyan xb

 

 

Print-makers have been very successful in capturing the form and feeling of Stonehenge. Perhaps they are more comfortable with stones, since they work closely with them in lithography. Their prints concentrate on how the light plays on the monument. They tend to consider the monument in part rather than in whole. On the right is a 1961 aquatint print by Julian Trevelyan.

 

 

 

Henry Moore made a series of lithographs of Stonehenge in 1973. All are available at the Tate Britain website. Below is Stonehenge IV:

moore SH IV XB

stevens 1974 XB

 

 

On the right is a 1974 intaglio by Norman Stevens. Stonehenge at night has a brooding majesty.

 

 

 

 

 

 

Nature of Stonehenge

What purpose did Stonehenge serve? Many fanciful explanations have been proposed with little support other than the imagination (Hutton, 2013). Any ideas that the site served as a place for living are completely dispelled by the lack of any archeological evidence for everyday life. The people who built Stonehenge lived nearby but not at the site of the monument. They stayed close to the River Avon in a place called Durrington Walls, where archeologists have found signs of ancient wooden buildings, and the refuse of everyday life (Parker Pearson, 2012). Some of the wooden buildings, such as Woodhenge, were circular. The people then used the techniques of the wooden buildings when constructing Stonehenge.

Why then did they build their great megalithic monument? Was it a place for meetings or a site for religious observances? One would have thought that the objects used in such meetings or rites might have remained, but the site is largely empty of anything unrelated to the stones or to the burials. Was Stonehenge a shrine where the sick went for healing under the benign influence of the stones? The human remains do not show evidence of obvious illness. Was Stonehenge a celestial observatory to help predict the seasons and eclipses (Hawkins & White, 1965)? When one stands at the base of the great trilithon at the summer solstice, one can see the sun rise over the Heel Stone. Although the monument is laid out along the line of the solstices, most archeologists now feel that this was more of gesture to the heavens rather than a way to measure them (Brown, 1976; Ruggles & Hoskin, 1999; Hutton, 2013)

Because of the cremated human remains found in the Aubrey Holes, Parker Pearson (2012) has suggested that the site was built as a monument to the dead, perhaps as a place to honor noble ancestors. He tells an intriguing story of how he was told by Ramilisonina, an archeologist from Madagascar, that people in his country spent their lives in wood structures, but gave their dead stone houses to last them for eternity. Other great stone monuments such as the Egyptian pyramids were certainly built as places for the dead, as were the British barrows and dolmens that predated Stonehenge.

Words

Thomas Hardy set the penultimate scene of his 1891 novel Tess of the d’Urbevilles at Stonehenge. Tess has killed Alec, her seducer and tormentor. Tess and Angel Clare are now fleeing at night across the Salisbury Plain. When they reach Stonehenge, Tess is too tired to go on, and she lies down on one of the recumbent stones. She asks Angel if he believes that they might meet again after they are dead.

Like a greater than himself, to the critical question at the critical time he did not answer; and they were again silent. In a minute or two her breathing became more regular, her clasp of his hand relaxed, and she fell asleep. The band of silver paleness along the east horizon made even the distant parts of the Great Plain appear dark and near; and the whole enormous landscape bore that impress of reserve, taciturnity, and hesitation which is usual just before day. The eastward pillars and their architraves stood up blackly against the light, and the great flame-shaped Sun-stone beyond them; and the Stone of Sacrifice midway. Presently the night wind died out, and the quivering little pools in the cup-like hollows of the stones lay still.

The great stones are silent about what happens after death. They persist through the centuries. They evoke memories of those who built them so that they might, themselves, remember and honor their ancestors. Yet the world has moved on and all those ancient people are no more.

References

Blake, W. (1810, facsimile with annotations by Paley, M. D. 1991). Jerusalem: The emanation of the giant Albion. Princeton, N.J: William Blake Trust/Princeton University Press.

Brown, P. L. (1976). Megaliths, myths, and men: An introduction to astro-archaeology. Poole, Dorset, UK: Blandford Press.

Caponigro, P. (1986). Megaliths. Boston: Little, Brown.

Chippindale, C. (2012). Stonehenge complete. 4th Ed. New York: Thames & Hudson.

Hawkins, G. S., & White, G. B. (1965). Stonehenge decoded. Garden City, N.Y: Doubleday.

Hill, R. (2008). Stonehenge. London: Profile Books.

Hutton, R. (2013). Pagan Britain. New Haven: Yale University Press.

Johnson, A. (2008). Solving Stonehenge: The new key to an ancient enigma. New York: Thames & Hudson.

Lewis-Williams, J. D., & Pearce, D. G. (2005). Inside the Neolithic mind: Consciousness, cosmos, and the realm of the gods. London: Thames & Hudson.

Mohen, J.-P. (1999). Megaliths: Stones of memory. New York: Abrams.

Parker Pearson, M. & Stonehenge Riverside Project (2012). Stonehenge: Exploring the greatest Stone Age mystery. London: Simon & Schuster

Ruggles, C. & Hoskin, M. (1999) Astronomy before history. In M. Hoskin (Ed.) The Cambridge Concise History of Astronomy. (pp. 1–17). Cambridge, UK: Cambridge University Press.