Showing posts with label Middle Ages. Show all posts
Showing posts with label Middle Ages. Show all posts

Monday, February 25, 2013

APHRODITE AND THE JOY OF THE BODY

Aphrodite of Rhodes, 3rd Century BCE
 

APHRODITE

Beauty is more profound than truth.   ~ Oscar Wilde

“All men will disappoint you,”
said a man I loved madly,
the way you can love only once.
“This will lead you to God.”

His words branded me like lightning.
I knew he was right. 

The Prince turns into a frog,
the dream house burns down.

But God also disappoints,
senile mumbler in the sky.

If only my prophet said:
to beauty. To Aphrodite –

quivering drops of light
startled with delay, delight.

Faith is the opposite of fate –
luxurious, lavish, arguably right.

But my lovers were as ruthless
as Zen masters. The youngest,


God’s severe critic,
the one who committed suicide,
shouted, “Why should we hide
our private parts? Let’s expose
 

ourselves every chance we get.
Confront him with the mess
he made! Asshole!”
He shook his impotent 


fist toward the sky. “At least
you’re on talking terms,”
I enviously sighed.

But not with Aphrodite, no. 

Kallipygos,
“of the beautiful behind.”



~ Oriana © 2013

*

I admit I was startled to hear my beloved call god an asshole (he actually did it multiple times that day, each time bringing up yet another problem with “intelligent design”). In retrospect I think it’s common to feel angry at god, and even to hate god (I imagine only too clearly how different childhood would have been if I were allowed to hate god . . . or at least not trying to force myself to love him.) 


It's easy to feel a burning anger at god, a bitter rage and resentment, especially if you still semi-believe in an omnipotent being who did a poor job creating the world, with all its built-in problems. He's either an actively evil Godzilla or a passive deity who couldn't care less, who remains silent and inactive, not lifting a finger to prevent tsunamis or genocide, much less help with one’s personal problems. Hence the Yiddish proverb: “If god lived on earth, people would break his windows.”

It’s only when atheism becomes complete that the anger (sometimes even vehement rage: asked to meditate on divine love, one woman cried out, “Where was divine love when I was raped?”) disappears. After all, non-existence is the perfect excuse. 



Another man not on good terms with Aphrodite

There has been much talk about the “culture wars.” Conservatives sense that they have lost: the nineteenth century really is over. But it’s the second half of the nineteenth century that introduced the idea that Western culture is a difficult fusion of the ancient Hebrew and ancient Greek values (Hebraism and Hellenism, as Matthew Arnold put it in his famous essay). It was easy to guess that Hellenism -- beauty and intellectual freedom -- held more appeal to the educated.


Later a bolder formulation was born: the quarrel between Jerusalem (faith, obedience) and Athens (reason, beauty). At this point, hellenistic values seem to be winning. Can you imagine “Follow your bliss” as the motto of the Victorians, much less during the Middle Ages?

I am not sure about the Protestant churches (though it’s common knowledge that old-time Calvinism was extra-grim, with its doctrines of Total Depravity and Limited Election). Thanks in part to my grandmother, I do know that old-time Catholicism glorified suffering. Suffering was good for you: “God sends suffering to those he loves.” Suffering here on earth meant fewer centuries in the fires of Purgatory. Even minor suffering, a headache, say, was an occasion for NOT taking aspirin. Suffer now so you can suffer a bit less in the afterlife: what's a headache next to a century of purgatorial fire? Catholic chic was to suffer NOW.


Goya: A procession of flagellants, 1812

Getting back to “Jerusalem versus Athens,” I need to clarify that it means not so much ancient Jerusalem as Christianity, especially its Puritan or fundamentalist version, including what I call “old-time Catholicism.”

(Shameless digression: I always thought that Matthew Arnold was in love with Hellenism and its pursuit of intellectual and aesthetic delight, “seeing things in their beauty and essence.” Then he’d catch himself and assert that Hebraism gave us ethics -- as if morality existed only within Hebraism, and the ancient Stoics, for instance, did not have a stern ideal of conduct.)

But let us focus on the triumph of Hellenism. In what ways have the hellenistic values won? Here is the pronouncement of an eminent Polish historian of Ancient Greece:

I bring joyful news: the gods are back! Let me summarize it in four major points:

1. the joy of the body, games, sports.

2. the joy of sex between consenting adults. In the eyes of the immortal gods, sex is good; it’s not a sin.

3. the joy of knowledge, meaning freedom of inquiry and the true cult of science. We have finally dropped the idea that the ultimate truth comes from revelation. We use our limited mind, the faint lantern of our reason, to light up the surrounding darkness. For fifteen centuries Christianity managed to prevent the progress of science. Since truth is contained in revelation, what’s the point of seeking it? Religion is not just irrational; it's anti-rational. But slowly, slowly, since the Renaissance we’ve been returning to the idea that all we have is our reason. And we are discovering the magnificence of the Universe.

4. the joy of democracy. It was created in ancient Greece and grafted onto Rome, which remained a republic for several centuries. Now we claim that democracy is the best political system, and it should be adopted everywhere --  including the Catholic church. But it will be most difficult to democratize the church, since the church is anti-democratic; it stands for theocracy and feudalism, left over from the Middle Ages.


~ Aleksander Krawczuk, interview in Pantheleon, December 29, 2009; translated by Oriana

Yes, that’s the main the subversive idea of hellenistic values: that life should be a joy, that we should be happy here, on earth, rather than focused on suffering and doing penance for sins (e.g. the contemplation of the five wounds of Christ; see the Brigidine Sisters). Furthermore, the anti-rational and anti-democratic (hierarchal) attitudes of organized religion seem more and more out of touch with the reality of the modern world.

I wouldn’t go as far as agreeing that “the black is worse than the red,” the slogan of the Polish anti-clerical liberals, the black standing for Catholic clergy and the stranglehold of the Catholic church over the nation. True, the intrusive power of the church is the prime reason I could no longer live in Poland, but if by “the red” we mean communism rather than democratic socialism, then the crimes of Moscow-controlled dictatorships cannot be so easily forgotten. Nor can the crimes of the church.

The chief crime of the church, as I’ve come to see it, has been the manipulation of the believers through the fear of hell. If you make a child believe that s/he is a terrible sinner and needs redemption to avoid being punished in hell for eternity, you paint god as a cruel tyrant. When a Methodist told me, “I was taught that god loved me and would help me if I needed help,” I was totally envious. As a child I had some hope that Mary might help me -- only Mary seemed to be a true figure of mercy -- but Mary’s power was limited by the monstrous god of wrath, the Old Testament Godzilla.

True, the church has relaxed its doctrines so as to allow non-Catholics to enter heaven, for instance. There isn’t quite the old emphasis on sin and hell, and the radical idea, “God loves you,” can be heard from a priest. I don’t remember ever hearing it in my childhood, but I did hear it from one American priest (and no doubt many others say it too; I suspect it’s one way the church wants to become like the Protestant churches it would like to absorb). And the infallible new definition of hell stresses that it’s a state of mind rather than an actual place with fire and brimstone and devils with pitchforks pushing the damned deeper into the huge cauldrons. And yet, for all the progress, I just came across a long comment from a Christian who cited “fire insurance” as the main reason to believe.

(Shameless digression: in my brain, everything connects with everything else, so I suddenly remember St. Paul’s “It’s better to marry than to burn” -- a sad reason for getting married.)

On the whole, the church is still a reactionary institution, anti-life, anti-sex, anti-woman, pro-blind obedience and anti-free inquiry. It’s just that, as Milosz observed, it’s not really possible to tell a modern person that real life begins only after death. As in antiquity, we have come to value THIS life rather than a vague afterlife, “doing nothing for ever and ever.” We have also come to see the body and sexuality as good and natural (how did THAT happen? It’s silly to point to Freud, who himself was quite repressed and by no means in favor of a liberated libido), rather than as evil and sinful. Yes, the gods have returned.

**


SAINTS? OR ANOREXICS AND SELF-MUTILATORS?

It’s almost too much fun writing about sin, the concept which poisoned my childhood. What strikes me now is that sin was not defined as hurting someone, but as offending god. Thus, not going to church on Sunday was a sin; falling asleep during prayers was a sin. Not feeling love for god -- worse, doubting his existence -- was a sin so profound that it called up images of the desert hermits “mortifying the flesh” in the hope of attaining grace: beating their breasts with a rock, whipping themselves with very nasty “disciplines,” depriving themselves of sleep, wearing itchy hair-shirts and belts woven of thorns, fasting. They were the ultimate, I think, in their obsession with sin and self-punishment. 


Why the cruelty to the self? Aside from the church’s constant preaching about sin and the call to penance, what we see here is probably the phenomenon of internalization. The times were cruel, and child-rearing was harsh. A child who experiences a lot of punishment is likely to start punishing himself.

Today these self-mortifying saints would be classified as suffering from a variety of mental disorders, but centuries ago they were considered holy men and women. It’s not clear what sins they were trying to atone for -- most likely the original sin of being human. Again, we see a terrific change in attitudes across the centuries, though it is only recent decades that made “follow your bliss,” “live in the moment” and “enjoy” into mottos that eclipsed skulls, whips, and rocks for mea-culpa breast beating (or, if you were a Protestant, enduring three-hour sermons on falling into the hands of an angry god).

Only in our times could this poem about Saint Jerome be written:

Jerome in Solitude

To see the lizard there,
I was amazed I did not have to beat
My breast with a stone.

If a lion lounged nearby,
He must have curled in a shadow of a cypress,
For nobody shook a snarled mane and stretched out
To lie at my feet.

And, for a moment,
I did not see Christ retching in pain, longing
To clutch his cold abdomen,
Sagging, unable to rise or fall, the human
Flesh torn between air and air.

I was not even
Praying, unless: no,
I was not praying.

A rust branch fell suddenly
Down from a dead cypress
And blazed gold. I leaned close.
The deep place in the lizard’s eye
Looked back into me.

Delicate green sheaths
Folded into one another.
The lizard was alive,
Happy to move.

But he did not move.
Neither did I.
I did not dare to.

~ James Wright

The most telling part of the poem is

I was not even
Praying, unless: no,
I was not praying.

~ it’s the “unless” that turns to a different definition of prayer: paying complete and non-judgmental attention to the moment. That is the modern definition of the state of grace and paradise: seeing the beauty of things right now, in this life; the “eternal moment” of looking into the lizard’s eye -- “delicate green sheaths / folded into one another.” 



Leonardo da Vinci, St. Jerome, 1480 (yes, that is a chest-beating rock that Jerome is holding in his right hand)

**

NOT ONLY SCIENCE, BUT ALSO ART

Most people assume the progress of science is the chief factor undermining religion. But since the Renaissance, there has been another force working in favor of the “joy of the body” and the joy of life: the visual arts.

Since its inception, the Catholic church correctly saw that art could be made to serve religion. What the church failed to foresee was the emergence of secular art that celebrated the human. It’s the kind of art that is an example of “practical atheism” -- it’s not “anti-theist,” but religion is simply absent. At this point we are so used to secular art that we need to go to a museum to be reminded how medieval art was pretty much exclusively religious, and how stiff and awkward the figures were before Leonardo’s and Raphael’s beautiful madonnas.

By banning from churches images other than the cross, Protestantism reinforced the secular trend in art. When Dutch painters painted the sky, they painted wonderful clouds without god or the angels. “Above us, only sky” -- John Lennon’s “Imagine” was prefigured by landscape painters.

As for the objection that those painters were believers, I am tempted to reply that a true artist worships only art, never mind how jealous god might be. But a more interesting issue here is “practical atheism.” Unlike militant atheism, practical atheism is not expressed through debunking the alleged proofs of god’s existence. Rather, it ignores religion. Practical atheism celebrates the world and the human. A milkmaid becomes a fit subject for a painting since she too is beautiful in the light. 


Vermeer: Milkmaid, 1657

But let us leave the most famous (if anonymous) milkmaid in the world to enjoy another such image: Girl Chopping Onions, by Gerrit Dou (1646). Yes, even servants and onions were to be celebrated. The secret was out: life was beautiful and to be enjoyed. 


*

FALSIFYING THE SECOND COMMANDMENT

How come the Catholic church allowed statues and paintings, in blatant violation of the Second Commandment?

You shall not make for yourself any graven image, or any likeness of what is in heaven above or on the earth beneath or in the water under the earth. You shall not worship them or serve them [i.e., the graven images]; for I, Yahweh your God, am a jealous God, visiting the iniquity of the fathers on the children, on the third and the fourth generations of those who hate Me, but showing lovingkindness to thousands, to those who love Me and keep My commandments.” (Exodus 20:4-6, adapted from the NASV)

Thus, to make a graven image is to “hate” Yahweh. Punishment for doing so will be “visited” not only on the image makers, but also to their descendants, even the fourth generation. The Catholic church had to find a way out of this, so it moved away from the image-less god of Sinai and introduced the Trinity: the anthropomorphic Father and Son, and the Holy Spirit symbolized by the dove (a nice concession to the animal kingdom; never mind that the dove used to be sacred to Aphrodite).


But the text of the Second Commandment remained a problem, so the church simply changed it to “You shall not take the name of the Lord your God in vain.” The way the nun explained it to us in catechism classes, this was a prohibition of swearing and bad language in general, even if god’s name was not directly invoked.

We were amazed that using swear words was such a bad sin. Whose father didn’t swear multiple times a day? And what about us children, letting a “bad word” escape our lips when we happened to stub a toe, for instance? Were we doomed to hellfire for this? Today it seems silly, but at the age of eight and nine I agonized even over euphemisms. God would not be fooled by euphemisms, I knew that.

But swearing as a sin is a minor issue next to the falsification of the Second Commandment. The church knew that it would be hard for the average Christian to “relate to” an image-less deity, what with the beauty of polytheistic art still around in the early centuries. And art, with its emotional power, could be used to serve the church. In addition, most of the faithful were illiterate, and art could teach them the stories of the Gospels.

What the church did not predict was the Renaissance and the art that followed. Once human beauty was re-discovered and rendered in painting and sculpture, it would become a good thing in itself. When the plate-like solid halos go and the Madonna is presented as a beautiful young woman, it’s not a big step not only to secular portraits of beautiful women, but to Aphrodite. I’ll skip Boticelli’s famous Birth of Venus and the plump fleshpots by Titian and Rubens in favor of the little known Venus by Cranach -- talk about a fashion plate! (1531; Cupid is holding a honeycomb)



My favorite is still the graceful Aphrodite of Rhodes. How could such beauty, once rediscovered, remain non-subversive? Would we not rather look at Aphrodite than contemplate the five wounds of Christ?

Like Krawczuk, I admire the ethical teachings of Christ. What I condemn is the old-time Catholic cult of suffering and rejection of the world and the human body. I’ve added “old-time” because I realize that I speak of the past. The culture wars are not over, but it’s already certain which side is going to win: the pagan joy of life is back. The joy of the body is back. The gods have returned. 


** 

Post-script:

Here is a quotation from an earlier blog post about Milosz's two souls (one Catholic, the other pagan):

In A Year of the Hunter, Milosz reminisces: “I had even published in Verbum [a liberal Catholic periodical, in contrast to “the hideous Catholicism of The Knight of the Immaculate Virgin”]. Jerzy Andrzejewski [the author of Ashes and Diamonds] and I used to go retreats there, without any good results, but at least we honestly confessed to each other that the ascetic, prayerful atmosphere produced in us a wild craving for vodka and steak.” (p. 197) This craving for sensory satisfaction, rejected by Catholicism as sinful, is part of the pagan love of life, of carpe diem rather than the hope for heaven, which another liberal Catholic described as “only another hell, a hell of boredom” (Karol KoniƄski, quoted on p. 193).

And I was reminded of what Mary Krane Derr (now sadly gone from us) said: the life-hating, body-hating theology grew out of historical trauma, e.g. the Great Famine in Ireland. I think it didn't take anything as extreme as the Great Famine or the Black Death, though such disasters certainly induced the most theological cruelty, since disasters were seen as divine punishment. But let’s face it, in the past, everyday life was full of suffering (frequent war, disease, children dying; a lot of dying all around). Life was “short and brutish,” especially (but not only) for the poor, that religion naturally focused on the afterlife, rejecting the earth and the body as evil.

It's interesting, though, that the Greco-Roman civilization gave us the alternative: love of this life. The pagan gods were happy; no deity was centered on suffering.  

Hyacinth:

Just finished a biography of Tolstoy, and in the photos he appeared tall and in this he appears short. I picture him as commanding.

I liked the faint "lantern of our reason." When we are so soaked in our respective religions the reason is indeed faint and discouraged. I strongly believe life should be full of joy and laughter (the best medicine) and the arts bring me joy even the works based on religions. They are still beautiful  and treasures.

Even as a child I had difficulty accepting a cruel and jealous god and hell. Self-torture and punishment are so distasteful to me. I think of Dimsdale and the Scarlet Letter. Sickening.
 


Oriana:

The photo I used shows Tolstoy in old age. He was pretty tall for his times, and certainly long-lived. But note how miserable he looks. Here is another photo of him in old age, scowling:

 
Tolstoy at 80, Yasnaya Polyana

Though my mother, intimidated by my iron-willed grandmother, let me be raised as a Catholic, when I was ten or so she said, out of nowhere (perhaps she was reacting to my obvious anxiety and brooding), “There is no hell. God wouldn’t be so cruel.” I realized this was a huge blasphemy, and not believing in hell would be enough to doom you to hell for eternity. The pious view was that god would indeed be so cruel, except that the word for it was “just.” Even now, I think, many people speak of “justice” when they mean “vengeance.”

Religion of course has a vested interest in putting down reason.
At first the church wasn't entirely against reason; during the Middle Ages it even encouraged learning, based on the naive idea that reason would provide proofs of god's existence (and medieval scholars did come up with some, easily refuted). And the church was a patron of the arts, which eventually blew up in its face.

I too love beautiful churches and beautiful religious art. Most religious art is awful, but the masterpieces are ours to enjoy forever.

It took cruel men to invent a cruel god. The idea of compassion took a long time to evolve -- and even now cruelty is a heavy problem (Islam, Christian fundamentalists who do not “spare the rod” and carry posters threatening hell). Nietzsche: “Religions are, at bottom, systems of cruelty.”

Hyacinth:

I had problems with the threats in the Bible. Sounded too much like bullying. As for swearing I'm the worst though I did it silently when my children were little but that is what I heard growing up and even though my mother washed my mouth out with soap the words were there. Now I voice my frustration with the inability to do the most normal things such as opening a can or peeling an apple.  I do it a lot. Dropping thing brings on a swathe of bad language. I'm not proud of it but it's a fact, especially if it makes a mess to clean up, as in knocking over a pitcher of OJ.

 
Oriana:

The threats: let’s face it, religion works through intimidation more than anything else. Keep them scared, and you don't really need to invent an attractive heaven. Just make sure that hell is vivid. Monotheism in particular is fear-based, hell-based. As that Christian correspondent put it, he believes because faith is “fire insurance.” How pathetic!


In a matter of half a century, we have indeed moved a long way toward the joy of life, toward tenderness. As for swearing, what's so terrible about that? Is this a sin for which you’d send anyone to hell for eternity? It’s just so ridiculous, the things that got called a sin. I hope the word eventually disappears from the language.

But I used to worry for real. After communion you're supposed to be in the state of grace, and in old-time Catholicism, you went to communion only if you were in the state of grace, and not in the state of sin. But within a few days I might slip and fall, use a bad word, and oh, no! Sin! I'm back to being a wretched sinner! A child doesn't have a clear understanding of what constitutes "sin." I assumed that pretty much everything was sin. I was reluctant to get out of bed because I thought oh, no! soon I'll be sinning again! Funny now, but it was truly distressing back then.

Luckily for us, the gods have returned.



Scott:

Enjoyed your blog as usual, always thought provoking. Especially enjoyed the pictures and commentaries on Tolstoy. I have a book of his writings that has the picture you have of him, seated, on the cover. He is a source of endless fascination to me; rich, titled, talented, long life, loving wife, large family, fame in his own lifetime.....and utterly miserable! His many attempts at piety; no sex, no meat,  no smokes, making his own shoes, his strict code of ethics all failed to satisfy and reduced him to fleeing the safety and love of family to die in a train station...horribly tragic. As much as I admire Melville, he too was always running from wife and family; several sea voyages, a romp through Virginia during the Civil War and his latter years spent in a morose solitude...though he did write his best poetry in that period.


Oriana:

Both Melville and Tolstoy had not only discordant marriages, at least in later years, but also what I’d call “unresolved metaphysical obsessions.” Dostoyevski was blessed with a wonderfully supportive second wife with whom he remained passionately in love; he adored his children also, and they him. True, he admitted to being a doubter, but because of his personal attachment to Christ he managed to have a lot of positive emotions. And he freely expressed his doubt through some of his most memorable characters, so there was the joy of constant inspiration.

Running away from his wife and dying at a train station as a closure to a great writer’s life -- I know what you mean. I want to produce that blog I’ve been thinking about since my e-apocalyptic summer: The Day Dostoyevski Died. It’s an amazing story, filled with love.


Charles:

The quarrel between (faith, obedience) and (reason, beauty) is more complicated than what it appears on the surface.

"One man's freedom fighter is another man's terrorist" is not a Judeo-Christian value but that is what is taught in public schools today. Is that reason?

This concept of not knowing the difference between good and evil is winning in this world we live in. That can't be a good thing.

On the other hand, putting the fear of God in the mind of a child is child abuse.

After reading this blog it would be very difficult for an open-minded person to still be a believer in the doctrines of the church.

Looks like St. Jerome pounded a stone in his own chest.

My favorite section in the blog is NOT ONLY SCIENCE, BUT ALSO ART.

"Practical Atheism" is an entire book.

This is one of my favorite blogs. Congratulations.


Oriana:

I especially agree that indoctrinating a child with “the fear of God” is child abuse.

I also agree that Jerusalem versus Athens oversimplifies the conflict, and we most definitely need clear ethics. I am not a moral relativist. There is absolute evil, and we must not be silent about it.





Saturday, May 12, 2012

WINGS OF DESIRE

















Fra Angelico, 1437

Last week’s highlight was a visit with a friend to a wonderful local museum in San Diego, the Timken Gallery. One of the things that struck me this time is how up to a certain point all the paintings are religious. It seems that back then whole life turned around religion. Not until the Renaissance did art take the first steps away from that exclusive emphasis, giving us secular works that include Mona Lisa and The Birth of Venus. The Renaissance humanized art. Even in religious paintings, suddenly there is realism rather than pious stiffness; there is a delight in human beauty and subtlety of facial expression. There is sensuality.





















And then after a certain point there is no great religious art; the great painters paint landscapes, portraits, mythological scenes, domestic scenes, still lives. Suddenly those with greatest talent in the visual arts are simply not producing crucifixions and Last Judgments, much less Assumption of the Virgin (that’s in the body, let’s not forget). That’s left to mediocre painters.



























Nicholas Poussin: Return from Egypt, 1627

Poussin’s painting has its virtues (ahem), but is still mediocre in that the religious element seems tacked on, and the chubby toddler reaching his arms toward the cross in a gimme-gimme way that anyone can recognize as human and charming, but forced into some crazy scenario. And the cherubs – cute, but ridiculous and clichĂ©. John Guzlowski made a very good observation about the piety of early works versus the clutter of angels and symbols later on – religious clichĂ©s.

John:

Interesting painting. What jumps out at me is the blue of Mary's robe, the crisp lines. That's what the artist seems devoted to.

Oriana:

Even a wonderful painting like the Sistine Madonna is mostly about composition, the wonderful half-circle of the Madonna’s veil. We are thrilled by the ideal beauty – as well as charmed by the two cherubs. This is a triumph of art as art, a triumph of aesthetics. The stiff piety of Byzantine icons, where beauty is sacrificed to religiosity, is quite a contrast.

In early Western painting, we see a similar stiffness and awkwardness, the ugly, gloomy faces and misshapen, distorted bodies. Then, as we journey from the Middle Ages into the Renaissance, something amazing happens: the bodies and faces become realistic, and the Madonna is now a beautiful young woman. Once this trend toward realism and humanization becomes dominant, art tends to become less religious. It is now increasingly about composition, perspective, the harmony of colors. The halos, once large and solid as dinner plates, become faint rings and then disappear completely. There is less and less room for the supernatural.




























Raphael: Sistine Madonna 1513-1514

A parallel to this decline in religious art may be this: early on the church could attract brilliant minds like Augustine and Aquinas, but later the best and the brightest did not join the clergy (or if they did – I'm thinking of a couple of famous cardinals – they became famous for their shrewdness in managing the affairs of the state, not for their piety). Genius flowered in other fields. Milton is probably the last great poet who was still centered on religion and, like Dante, tried to integrate classical mythology into a Christian scheme. Blake, marvelously heretical, was a religious poet only to a degree, and anyway he was against organized religion (“Brothels are built with the bricks of religion”; “Milton was a true poet and of the devil’s party without knowing it”).

So secularization started way, way back – I think already in the High Middle Ages, with the cult of courtly love – and then proceeded by degrees. Athens began winning against Jerusalem. And that’s seen in the arts and literature more so than in the development of science, which didn’t affect the wider public until Darwin. Once we started seeing evolution not just in biology but in geology, cosmology, culture, sociology of religion, etc – pretty much in everything – it was a powerful alternative explanation, a different mind set.

It so happens that John recently sent me a poem that, at least in part, records the transition from religion-centered worldview to the modern mentality.

THE CARPENTER

He makes them with wood,
oak salvaged from crosses
left by the saints who've returned
to their bones to wait for the last part.

He pulls the nails out,
lays the plaster figures to the side,
washes the dark blood from the boards
and erases the shadows of sorrow
and those of redemption too. 
The boards are ready at last. Saved.

He stares into the sky and knows
each plank in his hands
is an orphan and a sparrow,
a prayer in his hands to Jesus
or Buddha or his dead father,

dead angels with rucksacks full
of sand and laughter on a road
that is always disappearing like snow
on red bricks in the sun.

Tomorrow he'll sit amid
apple blossoms and thunder,
among school children, and give
to each the bird feeders he’s made.

~ John Guzlowski © 2012

**

The recycling of old crosses into birdfeeders is certainly one use that seems to return to the earth that which is the earth’s. I love the “dead angels with rucksacks full of sand and laughter.” The sand could be an allusion to Waiting for Godot (Lucky with his suitcases filled with sand). And note that Jesus and Buddha and the carpenter’s dead father are pretty much interchangeable – a very modern element. This carpenter is “spiritual” in a broad way. We see a global fusion here: Buddha and Jesus, and also a kind of spiritual egalitarianism: a human being, here the carpenter’s father, is also divine, and vice versa: Jesus, Buddha, and the dead father are all human. As for the dead angels, they might stand for dead soldiers.

Any artist already has a religion – his art, so the subject comes after that. We know there was also the question of patronage, of paying Michelangelo his very high fees. And yet I do wonder – when secular art emerged, was it that religion no longer had the previous pull, and once the painters knew Greek mythology, they could see a certain equivalence? Michelangelo based his God the Father on the classical representations of Zeus, but that somehow still worked. Maybe as the knowledge of classical mythology spread, the thought that slammed the door of religion shut for me – “It’s just another mythology” – maybe that thought occurred to the painters as well?

John reminded me that T.S. Eliot, certainly regarded as a great poet, could also be called a religious poet. Yes, we have this exception. And Rilke too often deals with what might be called religious themes, but in a way that would be offensive to the more conventional times (to the Middle Ages for sure). In the previous post, we already have the discussion of my favorite “heretical” poem in his Book of Hours, but let me quote again at least the wonderful opening and the last line.

What will you do, God, when I die?
I am your pitcher (what if I shatter?)
I am your drink (what if I spoil?)
I am your garment and your trade.
When I am gone, you lose your meaning.
. . .
What will you do, God? I feel  afraid.

(tr. Mark Burrows)

The poem is a masterpiece of role reversal: god is the needy one, without meaning unless sustained by the human mind. Here it’s the speaker who is taking care of god, rather than have a parental figure take care of him – the opposite of the accepted idea. Stephanie Dowrick, in her narrow but interesting book, In the Company of Rilke, cites one of Rilke’s biographers, H.F. Peters: “While the Bible says that man is lost until God’s love finds him, Rilke implies that God is lost until man’s love finds him.”


Far from being omnipotent, this god is painfully needy. In The Soul’s Code, James Hillman says, “The old Greeks said of their gods: they ask for little, just that they be not forgotten.”Far from being omnipotent, this god is painfully needy. This is radical, given that the central theme of most Judeo-Christian prayers is “Lord, have mercy.” The faithful are humble petitioners, begging for god’s pity. In this poem we feel pity for this rather pathetic god – a lost and lonely god whose very existence depends on having worshippers.  

This is not as new as it might seem. In classical mythology, the gods needed humans, because who else would praise them and offer sacrifices? The gods were adored in hymns and ceremonies, but what they especially loved was animal sacrifice; the smell of the smoke rising from the altars was described as pleasing to the divine nostrils. (Why, if the gods consumed only the immortality-conferring nectar and ambrosia? Animal sacrifice probably comes from an earlier layer of archaic religion. In ancient Israel, animal sacrifice continued and the altars flowed with blood until the Romans destroyed the temple in 70 A.D.)







Arch of Titus  

It’s not easy to pin down Rilke’s ever-evolving metaphysics. He had a Catholic upbringing, but later he often proclaimed his dislike of Catholicism and all conventional Christianity. He was deeply influenced by Lou Andreas-SalomĂ©, who believed that all gods were created by men. Those man-made gods, however, did influence their own makers; even if we create our own beliefs, those beliefs, collective and individual, can have a strong impact. An older Rilke writes in a letter:

Let us agree that since his earliest beginnings man has shaped gods in whom here and there were contained only the dead and threatening and destructive and frightful, violence, anger, super-personal, tied up as it were into a tight knot of malice: the alien, if you like, but already to some extent implied in this alien, the admission that one was aware of it, endured it, yes, acknowledged it for the sake of a sure, secret relationship and connection . . . Could one not treat the history of God as a part, never before broached, of the human mind, a part always postponed, saved up, and at last let slip . . . (Dowrick, p. 76)

I was quite affected by this paragraph. It threw me back to my teens, when I tried to guess the real reason Catholics were forbidden to read the Old Testament. The official reason was that “the lay person might misunderstand” the ancient text (not even available in Polish when I was growing up). Later, when I did manage to read it, in English (that “key to the world”), I saw the archaic rage and violence and tribalism. It was a very different god-image than that projected by Christ, who preached “Love thy enemy.” The radical discontinuity pointed to “the history of God as part of the human mind,” in constant evolution.

At the same time, both Rilke and Lou were fascinated by religious questions. One of Rilke’s conclusions was that belief was beside the point; one needs to experience the divine. But even more important, in my view, is the distinction between Rilke’s prose and poetry. In prose we get the thinker, the intellectual; in poetry, we get Rilke’s more mystical and feeling self. Hence in the poems we encounter a god-image that may be regarded as external and closer to the conventional concepts. Still, it seems to me that Rilke saw god, even if it’s the god who exists only in the human mind, as immensely lonely. And Rilke had empathy for that loneliness.

And he obviously continued to have empathy for what might be called the poetics of religion. The poem below the image of the angel at Chartres (a replica of the one sculpted around 1528; the original is in the crypt oh irony) is another great favorite of mine:









ANGEL WITH THE SUNDIAL (II)


In the storm that rages round the strong cathedral
like a denier thinking through and through,
your tender smile suddenly engages
our hearts and lifts them up to you:

O smiling angel, sympathetic stone,
your mouth distilled from a hundred mouths:
do you not mark how, from your always-full
sundial, our hours slide off one by one –

that so impartial sundial, upon which
the day’s whole sum is balanced equally
as though all our hours were rich and ripe?

What do you know, stone-born, of our plight?
And does your face become more blissful still
as you hold the sundial out into the night?

~ Rainer Maria Rilke, tr, J. B. Leishman
   (slightly modified by Oriana)

**

John:

Interesting poem.  Reminds me of Wim Wenders’ Wings of Desire, the film about the angels who have to sit around with their sundials so to speak, watching the crushed lives of all us, the sorrow they feel. But some of them would give up eternity just to feel that sorrow – or sometimes joy – because they feel nothing.  












Here's a clip

http://www.youtube.com/watch?v=wY8uDNkOLHM

Oriana:

I saw Wings of Desire a long time ago, when it was first released in 1988. It’s an amazing movie, pitying the angels for not experiencing human joys and sorrows. What a startling change that is: pitying the angels! What an homage to humanity, without denying our sorrows.

In German the title of the movie is “The sky [heaven] over Berlin.” Hollywood translated the movie into “City of Angels” – a movie that had its comic moments (“Mr. and Mrs. Plate”), but lost of the poetry of the original.

John:

I saw the Wings of Desire fairly recently, maybe last fall. I had seen the American version with Nicholas Cage (City of Angels) and thought it pretty much Hollywood hokum, but the Berlin version really got to me. Maybe it was the sense of Berlin’s history, the war, that shadowed the black and white images. The film seemed to have more gravity. 

Oriana:

The Berlin setting brings in history to the movie, and thus the dark side of human experience. This makes the protagonist-angel’s decision to become human all the more poignant. Wim Wenders was born in 1945, so the shadow of the war hung over his childhood. And the movie was made before the fall of the Berlin Wall.

But my favorite image from Wings of Desire is the angels in the library. That is timeless and universal. And the modern viewer can identify with the protagonist-angel’s desire “to live not forever, but now.”

The inspiration for the movie was probably the passage in Genesis in which some angels, finding the “daughters of men” beautiful, procreate with them; the offspring are giants (Nephilim). The idea that angels have sexuality is startling to us, since the Abrahamic god, unlike pagan deities, appears to be non-sexual (Kabbala later tried to imagine a divine consort who visits Yahweh on the Sabbath, but this never became mainstream belief). Yet some have argued that if man was created in the image of god, then god too must have genitals and sexuality. This is not something that organized religion, typically sexually repressive, is willing to touch with the proverbial ten-foot pole.)

That reminds me of my own “Angel Envy”:

ANGEL ENVY

“What is it,” the nun intones,
“that we envy angels?”
Angel-envying eight-year-olds,
we all shout, “Wings!”

“No, no, no,” the nun chides.
“Think about it: angels can
see God.” We think about it.
We still want wings.

“And what is it,” the nun presses on,
“that holy angels envy us?”
We squirm on the hard benches.
“Angels envy us our bodies.”

We almost stop breathing. 

*

“Angels are made of aura-like
material,” a New-Age half-nun
gasps in an ancient half-whisper.
“When two angels stand close,

their wings inter-penetrate.”
I think of Milton’s
Easier than Air with Air,
if spirits embrace, total they mix.

That’s what I always wanted –
blind Milton, how did you
divine – beyond the startling
rose of genitals, entirely

entering each other.

*

If spirits embrace . . . .

But can angels croon Mmmm . . .
Later, can they lazily
disentangle themselves
to get up and go pee?

Virgin nun of my childhood,
many years late I raise my hand.
In your black habit and unloved
black shoes,

how did you know
what the angels crave:
our bodies, soft as regret;
our laughter so much like pain.

*

While you sleep like Jacob
on his pillow of stone,
I still think about it:
we don’t want to see God.

We want wings.


~ Oriana © 2012

**


Hyacinth:

In your poem I love "god is not hard of hearing."

There is much to admire about the original ending. What was the objection to it? Maybe you could combine some of the lines??

Nature and god seem inseparable and mankind has always worshipped god through nature.

He or she seems more accessible and believable in nature. I have witnessed northern lights, green flash, double rainbows, geysers, icebergs, moons and sunsets to name a few and feel blessed by the sightings. Even Nature at its cruelest is astounding. Man's inhumanity is the exception.

“BLIND WORK” LIKE “BLIND FAITH”

Oriana:

The objections to the original ending of “God’s Hearing” were not clear to me. It was more the facial expressions, as if people were disappointed with it. It fell flat – perhaps because it departed from grandmother, god not being of much interest any more, an archaic ghost in a secular age. Maybe the “language of nature” ending made me seem religious and defending god's deafness? As if I were saying – and based purely on the text I can see how strangers might assume that – that god exists and is not hard of hearing, just replies in another language . . .  I guess that sounds weak when we contemplate the atrocities of the camps. When the inmates at Dachau watched the spectacular sunset, they didn’t think that god was trying to console them, or convey a message. But they saw how beautiful the world could be if only we eliminated human cruelty.

Humanity worshipped nature for thousands of years, but monotheism put an end to it. Nature was no longer sacred; man was to have “dominion” over it. The Romantics and Transcendentalists tried to restore the sacredness of nature, but what could they do against industrial capitalism and the kind of fundamentalist religion that sees environmental protection as contrary to the bible (think of Senator Santorum’s attack on environmentalism as a religion not based on the bible).

The insufficiency of nature as an object of worship was noted by Robert Frost in “The Most of It”:

. . . all the voice in answer he could wake
Was but the mocking echo of his own
From some tree-hidden cliff across the lake.
Some morning from the boulder-broken beach
He would cry out on life, that what it wants
Is not its own love back in copy speech,
But counter-love, original response.
And nothing ever came of what he cried

Nevertheless, the only notion of god that still makes some sense to me is simply equating god with the universe. Yes, nature is amazing, and beyond good and evil. Alternately, I might entertain the possibility of a meta-cosmos, something inherent in the universe that has some attributes that humanity traditionally bestowed on its gods. New Age people speak about “cosmic laws” and “cosmic intelligence” and “the Light” in this manner. They try to cobble together various world religions so that only the best is preserved. But it’s still wishful thinking with no supporting evidence. The Secret is the best-selling New Age bible (outselling Frankl’s book: no surprise).

Still, that “fusion of the East and West” approach had a lot of appeal for me until I went to a lecture on karma and saw the old idea of justice as vengeance, and the old dogmatism (during the Q&A period, questions about the validity of the concept of karma were not permitted), along with blaming the victim. The speaker (an American Jungian psychologist who’d lived in India for a while) seemed taken aback by how much the audience treasured THIS life, rather than being eager to die and experience the wonders of the astral world (I’ll never forget his saying, “The flowers here on earth are nothing compared to how beautiful astral flowers are”).

Re: Viktor Frankl. Is meaning necessary for survival? It helps a lot and it can work wonders (e.g. when I knew why I was working so hard to master English, and could see how exceptional effort leads to outstanding results). But then for almost 20 years I had only a weak and shifting sense of meaning -- and a haunting memory of how wonderful it was to have a strong sense of purpose, a powerful goal.

When I had my perception shift re: depression, I threw myself into work even though it had no meaning for me – practically none. I wanted to be productive rather than stagnate in despair. Productive for what purpose? I had no answer. I decided to do it blindly (e.g. write the blog), without allowing myself to wonder why I'm doing it (and a friend didn’t help by saying, “Enjoy writing your blog. That’s all it’s good for”). Normally people are sustained by meaning, but at that point I did not have a sense of meaning. Meaning emerged later. 

Those first months after closing the door on depression were very exhausting. It was work, work, work. Nothing gave me much pleasure, and my memories of positive experiences were still blocked. But working hard was the only thing I knew how to do. That particular summer was very rich and brought me much writing material, though I couldn't afford to think if anyone would ever want to read what I wrote. I said to myself, work blindly; don't ask why am I doing this, don't ask where am I going. Even though I’m extremely introverted, I managed to establish my no-thinking zones. I had to stop thinking, except in terms of what to do or write next.

So I both agree and disagree with Frankl: it's wonderful to have a meaning, but based on my experience I say that it's possible to survive without a meaning in life, at least for a time, if you throw yourself into work simply to be doing something and kill self-centered cogitation – the answer lies outside. When I focused on what lay outside the suffocating labyrinths of my psyche, I could function quite well. Even such "blind work" (maybe analogous to "blind faith") can be salvation. Meaning doesn't have to precede activity, but can emerge from it, and/or from the healthier state of mind brought about by being active.

Of course I was very lucky to have had the skill and to have forged my own venue. And to have the intelligence and the talent, both mostly genetic. Luck all around!

And that has been one of my life's great surprises: after having regarded myself as unlucky almost as long as I can remember (with two magnificent exceptions: the last year in Warsaw, and the last year in Los Angeles – the beauty of it before loss), I came to perceive myself as exceptionally lucky.

Charles:

I love that you are an atheist and the title of this blog is GOD’S HEARING. You quoted your grandmother and you are talking about God with love.

Love the portrait of grandmother Veronika, such a beautiful acknowledgement of her.

"The countries where life is most secure have the highest percentage of people who describe themselves as secular. " Yes, but I'd rather have less security and more liberty. Freedom from "security" makes me happy.

So brilliant how every paragraph brings a complete surprise and a different viewpoint. Great blog.

Oriana:

Just this morning I was pondering the idea, foreshadowed by Rilke and picked up by various writers and psychologists, that we each create our own personal god – though not out of nothing. Childhood indoctrination and other cultural influences certainly have a huge impact. So does our secular education, our peers, the books we read, the movies we watch, the popular culture and, to an extent that may be impossible to estimate, our life experiences (are we crying out for help?), and yes, especially in my case, family stories. For me god and Auschwitz were inextricably intertwined, though it wasn’t until adulthood that a thought ran through me, in response to “God will not allow it” – “If god allowed Auschwitz, god will allow anything.”

Hell and Auschwitz (Dachau, Buchenwald, RavensbrĂŒck, where one of my aunts died, Treblinka, Majdanek, and scores of other camps) were pretty synonymous: this was the heart of darkness, this was hell. In fact the camps provided more concrete imagery of suffering than paintings and descriptions of hell ever did. Instead of the stench of sulfur, there was the stench of bodies burning in the crematoria, the thick choking smoke that my grandmother saw already from the train. Yes, the camps outdid the depictions of hell, but hell had a special distinction: it had been created by an omnipotent deity, and the torture would last for eternity, non-stop. Pondering this, I knew: a deity that would design hell was not worthy of worship. That would be like worshipping Hitler, except far worse.

An answer to this might be that it’s humans who create hell, and I readily agree. Still, if we say this, we are rejecting the official view – not too clear in the Old Testament, but ingrained in Christianity, where the clergy used hell as their chief weapon of psychological terror. The more we go back in time, the greater the emphasis on hell – with the exception of early Christianity, where there were no images of hell and crucifixion and Last Judgment. In early Christianity, amazingly, we find an emphasis on paradise.

How different the Western culture would be if this emphasis had survived!

That paradise included brotherly love, agape. Many Christians know the word, but attempts to revive it have been few – perhaps it’s too late in history for that, and the figure of the punitive God the Father casts too heavy a shadow, overwhelming the charisma of gentle Jesus – who in any case is supposed to come again as a Judge, in spite of having preached non-judgment and forgiveness.

Only recently the church changed its official definitions of heaven and hell, designating them not as actual places (one in the clouds, the other inside the earth) but as states of mind. I am not sure if this has really registered on the collective psyche. And it’s possible that this comes too late to heal the massive problems that rose from “old-time religion.” At the same time, I can see how religious faith can sustain people in desperate situations. A lot of praying went on in Auschwitz and similar places, contrary to the prediction that the inmates would lose their belief.

But I digress. You are right that here I am, an out-of-the-closet public atheist who frequently writes on religious topics. I certainly am not about to deny that I had a devout grandmother and went through a period of being a devout Catholic myself. Considering my emotional intensity, it’s not all that surprising. The imprint on my psyche can never be fully erased. In some corner of my mind, I fully expect to go to hell because I have dared to think for myself. But that is a small, grimy corner. Love of life dwells elsewhere, in beautiful neural networks that could be called “many mansions.” 

**


Charles:

The first thing that I noticed about Poussin's painting is the blue robe of Mary too. She also looks like a nun there.

I love the look of the Cherubs in Raphael's painting, thinking, "To believe or not to believe...."

Love the concept that God needs man.

Oriana:

That’s a fabulous idea that Raphael’s famous cherubs are thinking, “To believe or not to believe . . .”

Yes, the blue is striking, but I couldn't get over the “gimme-gimme” look of baby Jesus stretching his chubby arms upward toward the cross. It was that familiar look of a toddler reaching for something, anything, in the aisle at a grocery market, driving the parent crazy.

What drives me at least slightly crazy was that this mediocre Poussin was the loan in exchange for Timken’s great Rembrandt.

As I say in the post, the ancients took it for granted that the gods needed man because who else was going to offer sacrifices. Christianity was uncomfortable with the idea that god needed anything, even though god’s apparent need for incessant praise is a constant theme in the bible. Naturally, we start thinking how lonely and boring it must have been for god, so perhaps he wanted some fellowship? He’s mentioned literally walking and talking with certain favorite humans. Certainly long chats with Moses on the mountain can easily be imagined. But it took Rilke to say something as radical as, “Once I am gone, you lose your meaning.” Who says poets are wimps.