I read this twice, which was a good thing, because the first time, I just had no time for it. Fan of his poetry, by his Ars Poetica or Art of Poetry simply didn’t speak to me.
Even on second reading, this is not going to be my go to resource, but I liked it much better. Mostly, I enjoyed his wit, which is the best part of his poetry. But it’s no Poetics (the Aristotle one; which I also read recently and am kind of over it; yes, he is arguably the greatest thinker who ever lived, but I am just not seeing anything more for me when I re-read The Poetics).
But, I appreciate his modulated advice to write what you emotionally know, to not let correctness lead your to smooth all the roughness which gives a poem emotional power, and also be sure that you know your audience when you read aloud.
Nope, not talking about particles or science, but about the minor dialogue by Plato, wherein Socrates interrogates a rhapsode name Ion on his vocation.
Generally, a rhapsode was someone who memorized an epic poem or myth and was an expert on reciting it. Ion specialized in Homer. He says that he also comments on it, but that doesn’t quite track, not in the least because Socrates’ questioning more or less positions as a sort of idiot savant who is able to recite Homer’s epic poems so well because, in the moment, he is divinely inspired. Socrates shows this by arguing that you could only speak well on, to use one Socrates’ example, horsemanship if you were also an expert horseman. He then, rather meanly, shows up Ion as a bit of dolt, which leads Socrates to conclude that Ion is divinely inspired and, by implication, all such performers who reach the highest levels of their profession.
I won’t write too much here, mostly because I’m thinking about doing something longer on this work, which inspired me in an unexpected way.
I was supposed to read Joseph Ratzinger’s book of the same name, but accidentally purchased this one and am very glad that I did. Especially because it feels especially relevant in light of His Holiness’ statement on the use of the Latin or Tridentine mass as a tool of division by groups that are sometimes referred to as Radical Traditionalists or ‘Rad Trads’ (which is stupid, so don’t use it).
Like the Symposium, I am enamored of The Phaedrus as a work of imaginative literature. Any contemporary writer would be jealous of how he draws and manipulates his characters, exposing them for the reader.
But again, his hatred of rhetoric, as something whose danger as a tool for demagogues makes it too dangerous, cannot be suppressed. And in that, a critique of democracy as something which killed his teacher Socrates.
Poor Quintillian, I see how he felt the need to defend his career from such complaints.
I re-read this again, again. I’m not actually sure how many times I’ve read it, but I was happy to do so one more time.
But it’s not my favorite Platonic dialogue, though it is my second favorite depiction of a classical party after the one in Cicero’s On the Nature of the Gods. I will also digress to say that Iearned that the traditional Greek symposium in classical Athens featured very shallow bowls for drinking, instead of cups. Part of attending such a drinking party was a test of one’s ability to hold your liquor; being able to hold and drink from your bowl and not spill it was a sign of manhood and maturity. You were in control of your emotions and body (incidentally, that is why the statues of male figures from that time can feel… inadequate; priapism was a sign of a man whose rational mind was not in charge; conversely, a resolutely unaroused member was the sign of a real man).
In this and in the Phaedra’s, I find myself less tolerant of Plato’s anti-democratic tendencies seeping through, like water from a leaky pipe into the walls and ceiling. I was accused of always thinking that Plato is writing political philosophy, which is resolutely false. But I feel that that democracy and it’s susceptibility to demagogues, for which he blames Socrtes’ death, is his bête noire and it bubbles up in his diatribes against popular rhetoric, which appear not just in the Gorgias, but throughout his works.
Ten years ago, if you had told me that I would have read this much Fukuyama, I would have laughed at you. Though, I should hedge that ‘this much’ – most of his recent books have been pretty short.
He suggests he is making an argument for classical liberalism, but I would suggest that he’s really making the argument for liberal democracy. I say that because he is not deeply interested in economic issues.
It’s a short and useful read. While not its purpose, the book makes another argument that the American right is unknowingly carrying the banner for postmodernism and French theory, most recently for mimicking Foucault’s theory of power and science in its arguments again mask mandates and vaccines.
I am done with these Witcher novels. I’m enjoying the Netflix series. I tried playing the video game, but just wasn’t up for learning anything new on that front.
I will simply repeat what I’ve said before: the titular Witcher, aka, Gerald of Rivia, is much better as the star of short stories than as the protagonist of a novel.
This book should probably be assigned to high school seniors. From debunking the image of Sam Adams as a rabble rousers and pointing out that everything in Massachusetts besides Boston had been in revolt and not under British control for a year prior to ‘shot heard ’round the world.’ The bit that was new to me was that Patrick Henry’s ‘Liberty or death’ speech was written by a guy named William Wirt, who wrote Henry’s biography in the early nineteenth century and reckoned with the fact that Henry didn’t write much down, including his speeches.
Raphael brings up that we really do not teach the Revolutionary period of American history after the fifth grade in the United States. I’m not sure if that tracks for my experience, but it sounds about right. And part of the problem is that teaching fifth graders, he argues, plays into a more binary sense of morality.
Anyway. Read it.
What a terrible disappointment. Gabriele, an interesting, traumatized young woman with dual U.S-Italian citizenship who works at a bookshop in Berkeley, California becomes powerfully intrigued by a customer named Giordano Vietri. Vietri orders from his apartment in Rome huge numbers of books on academic and mystical topics. Eventually, our protagonist feels compelled to track him down, leaving her boyfriend and aimless life in California to go to her mother’s homeland. She reconnects with family while she attempts to track down the mysterious Vietri.
He had been captured by the British in World War II, he had been the neighbor of a painter who was also a journalist and anti-fascist activist. What was he searching for in these books? Who was he?
We never know, because she decides it is less important than… I don’t know. I don’t feel I got a better answer than “I met a nice guy who is better and more mature than the young men I have been casually hooking up with.” I don’t really care who she sleeps with, though her attitude towards sex seems portrayed as being an expression of maternal trauma (her mother was schizophrenic).
I do care that this story is much less interesting than the tease of the mysterious Giordano Vietri, who is dropped as if the author got bored of writing the book looked for an excuse to end it.
The second novel of the Witcher series, it’s better than Blood of Elves, but not as good as Last Wish nor Sword of Destiny, which were a short story collections. If you’re watching the series, the second season diverges strongly from the books (the first season pulled heavily from the short stories), though viewers of both will pick up on something that was mentioned at the end of the second season and is clearly foreshadowed in the book (though I might not have guessed had I not seen the series).
One interesting thing is that the titular Witcher, Geralt of Rivia, is made smaller. He is badly injured by the end and is also portrayed as being relatively small compared to the power wielded by wizards (including his sometimes lover, Yennefer).