Apology of Socrates

(Απολογια  Σωκρατους)

Plato

4th century BC

(An innocent man delivers an inspiring speech to the court before he is executed.)

Jacques Louis David’s neoclassical masterpiece The Death of Socrates (1787), which can be seen at the Metropolitan Museum of Art, New York.

Socrates is a bit of a mystery, if you insist on being a real evidentiary hardliner.  He wrote nothing himself, so we have to rely on others’ characterizations of him.  Xenophon paints him as the conventional wise man of the day.  Aristophanes deems his philosophizing empty and ridiculous.  Plato’s conception, the fullest and most detailed, is of a man worthy of admiration, even awe, both for his intellect and his noble spirit.  Plato’s Socrates seeks truth despite fashion or convention; he is imaginative, reverent, humble, perceptive, eloquent, and sharp as a razor.  I’ll go with Plato, not just because his picture is most complimentary, but because Xenophon’s is simplistic (in fact it suggests that Xenophon—with all due respect—knew Socrates only casually, but wished to write as though he knew him well); and Aristophanes did nothing more than exploit a famous name, attaching it to a caricature for effect.  In fact there were many philosophers in Athens who were very much like those “Sophists” Aristophanes pillories in his play The Clouds.  Socrates was the most famous philosopher around at the time, and he certainly would have associated and debated with the general run of them.  His was probably a household name, to be thrown about as representative of the lot of lounging jabberers even though– to one who actually listened to him– he towered above the rest.

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A Sand County Almanac

Aldo Leopold

1948

(An ecologist contemplates and celebrates the land, and recommends an expansion of our moral world.)

Aldo Leopold in Mexico, 1938.  Courtesy of the Aldo Leopold Archives at the University of Wisconsin.

In today’s courses on ecology, forestry, conservation, environmental philosophy or land use, three personalities are routinely introduced as the fathers of modern concern for nature, the three who first and most strongly urged us to enlarge our conception of what in this world is a proper object of moral consideration: Henry David Thoreau, John Muir, and Aldo Leopold.  Contemporary American (and to some extent world) culture has been impacted by A Sand County Almanac, as by Thoreau’s Walden, to such an extent that we cannot yet begin to assess it. Nevertheless, I would argue that we as a culture have still not attended to the two main lessons A Sand County Almanac would teach us.

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“The Judgment”

(“Das Urteil”)

Franz Kafka

1912

(After treating a needy friend superficially for years, Georg finally pays the price.)

Crop of Charles Bridge (2009), by Paul Cook (accessed 2014; to my knowledge Mr. Cook no longer has an online presence).  Charles Bridge (Karlův most) lies over the Vitava River in Kafka’s hometown of Prague.

This is an existentialist horror tale about a man Georg who treats a distant friend superficially, then pays for this crime with his life.  The distant friend is sick, poor and unmarried.  Georg cannot think of what to say to him, so he writes only trivial things.  He offers no advice or heartfelt consolation.  He conceals his own prosperity and even (for a while) his own engagement.  His father, meanwhile, behind his back, has been revealing the truth about Georg to the friend, and has been lying in wait for Georg to raise the situation in conversation.  When Georg finally does broach the subject, his father condemns him as a betrayer of his friend and a selfish cold-hearted bum, and orders him to drown himself.  As elderly as the father is, he is stronger of will than his son, who feels himself urged out of the room and to a nearby bridge.  Georg flings himself to his death.

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The Travels

(Il Milione)

Marco Polo

(with Rustichello of Pisa)

1299

(An Italian explorer treks fearlessly into the unknown East, and discovers astonishing cultures and kingdoms no European had ever seen).

Marco Polo journeying to the East in the time of the Pax Mongolica, from the 1375 Catalan Atlas, housed at the National Library of France.

We are fortunate that Marco Polo lived long enough and expended the energy to record the greatest travels ever performed by any man to his time and for very long afterwards.  He dictated– apparently from memory– his adventures to a romance-writer Rustichello of Pisa while they were prisoners of war in Genoa.  No repetitive or trivial diarizing here—this is a very entertaining work, often fascinating and at times hilarious.  I am struck, as Polo was, by the variety of customs observed in the many areas through which he trekked.  I am also intrigued by the amount of wealth those in power were able to amass; such wealth that Kublai Khan, for the prime example, could romp in several sumptuous palaces with manicured grounds and scenic paths like those of the richest modern European monarch.  It surely seems that the book’s two repeated claims may well be true: that Marco Polo had traveled further and knew more of the world than any other man who had ever lived; and that the Mongol empire under Kublai Khan was the largest empire in subjects and geographical area ever to have existed.

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Go Down, Moses

William Faulkner

1942

(Vivid tales from the deeply rooted McCaslin family of Mississippi explore the human desire to dominate others.)

Crop of a print from an etching by Boyd Saunders illustrating Faulkner’s The Sound and the Fury. Accessed from a 2013 temporary exhibition of Saunders’ art at the Southside Art Gallery in Oxford Mississippi. The current location of this etching is unknown.

Faulkner raises a novel, especially Go Down, Moses, like a mountain range.  A small peak here, another one some indefinite distance to the side but nearer to the viewer, another apparently between them but actually much further in the distance.  The slopes are irregular in grade, no shape is symmetrical, no sequence predictable.  The greatest of the mountains has flanking foothills—here at least is order and intelligibility!  One is prepared for the most gigantic landforms.  Actually all of them, though apparently haphazardly arranged, are obviously part of a single landscape, each part depending on those around it for its qualities and significance.  The notion that each mountain be viewed as an isolated individual, despite distinctions of personality and structure, is ridiculous.  One best realizes this, perhaps, by receding somewhat from the view.  For when close to it, when stumbling over craggy outcrops and struggling to circumvent gorges, the scene seems hopelessly chaotic and fragmented.  Such is Go Down, Moses, a challenging and awesome range of tales.

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