Harmless Pleasures

“Harmless pleasures” is a conventional phrase for the description of activities that are satisfying without imposing any harm on anyone. Hobbies such as stamp collecting or raising roses or following the fortunes of a baseball team are considered harmless pleasures, that taken as a term of praise given how many awful things happen in the world. Harmless pleasures are to be indulged because human action could also be malicious and destructive. Its companion term is “guilty pleasures” which are also for the most part minor but do carry at least some threat of doing some damage, probably in the long run, to the person indulging in them. Examples of these would be eating chocolates, which make you fat and raise your cholesterol levels but taste so good; enjoying pornography, which appeals to the male desire to look at naked female bodies but may weaken one’s appreciation for the personhood behind the body; or following gossip columns so as to be in the know about celebrities but also encourage a disrespect for the privacy of a person. Guilty pleasures won’t do much damage to your soul or your body but they address an indulgent side of yourself and so are, in some way, sinful. Smoking, however, has been moved in the past fifty years from being a guilty pleasure to being an out and out evil in that the practice is very highly correlated with the development of lung cancer and other diseases. The tricky issue are those cases where it is not at all clear whether a pleasure is harmless or guilty or downright bad. Clarifying the status of some test cases will allow elaborating what are the criteria by which a harmless or guilty pleasure turns into something else, something downright unacceptable. What are the additional circumstances which turn a harmless or guilty pleasure into something more momentous: a tragedy or a comedy or a history or a romance, to use Shakespeare’s categories?

Read More

The Fickleness of Women

Cosi Fan Tutte is one of a triptych of operas wherein Mozart (and de Ponte, his librettist) deal with the way sexual relations are connected to the question of liberty. The other two, The Marriage of Figaro and Don Giovanni, are concerned with the way aristocrats can have their way with women, and the two operas take the side of women, they to be treated more as equals rather than as objects of pleasure for the powerful, and so the two operas favor a revolution in morals that may require a political revolution, while Cosi inquires into the love between people who are social equals and so is about the universal characteristics of the sexes, what men and women are by their natures. In that, it joins with those other pre-revolutionary works, such as Dangerous Connections and Manon Lescaut, which use personal relations to reveal what an enlightened world would or would not be like and how sexual freedom points to what freedom in general means.

Read More

Life Before Death

Nature does not get what it wants because it doesn’t want anything. Nature has no intention and so cannot be seen as an antagonist. Things just happen.

Jonathan Swift, in the Seventeenth Century, got it wrong when he described people who got their lives extended as doddering wrecks. William Hazlitt, writing at the beginning of the Nineteenth Century, also got it wrong when he said most people are ready to die, look all played out, by the time they die. Modern medicine means that, to the contrary, you can live a comfortable life until you die, barring certain debilitating illnesses like cancer and ALS. Modern people want to go on as long as they can, doing the things they like to do, like reading or gardening, or taking walks and conversing with grandchildren, even though at any moment that comfortable if restricted way of life can be turned into a terminal illness by a fall, a cough that turns to pneumonia, the diagnosis of a deadly disease, and even then people want to continue as long as they can, so long as they have drugs to numb the pain and that do not render them incapable of appreciating their environment. People don’t want to give up even if they know that the burden of medical care and medical expenses takes place during the last two years of life. Their insurance companies and the government should spare no expense. After all, what do people have to look forward to once they are dead? It is an afterlife that has no substance and is therefore so far from what the present life is that it is the same thing as being dead is for a non-believer. If there is no walking on clouds or talking with angels, no sensation, then there is nothing at all. And those who cling to some substantive notion of an afterlife are merely being superstitious, having faith in eternal life because they have no reason to think there is any such thing.

I have joined the corps of people who are at age where health reverses are common rather than rare. My friends have withstood prostate surgery, multiple bypass surgery, the ravages of Parkinson’s disease, and some have died of cancer. And yet what is true of all the survivors is that they have not given up on living, have not had to combat despair because the amount of time left to them is limited, but think rather in terms of the practical things they can do to extend their comfortable lives. They go to their checkups regularly, increasing those to include podiatrists and dermatologists along with the cardiologists and neurologists they also consult. They take their medicines. They are not passive in confronting the inevitable; it is just that they are not in a war to survive. That talk is all metaphorical. The person who dies of cancer has not lost his battle; he has succumbed because nature does what it does. Nature does not get what it wants because it doesn’t want anything. Nature has no intention and so cannot be seen as an antagonist. Things just happen.

The remarkable thing is, I can report, how cheerful people can be while the sword of death hangs over them. Yes, they have their savings and pensions to live off; they have their past career successes to contemplate; they have the love of their spouses, friends and children and grandchildren to warm them. They can appreciate a sunny spring day or a chilly autumn afternoon, or the pretty, well dressed young woman who walks by. But this does not make sense to much of the literary imagination because a nemesis, such as is death, is supposed to engender fear and loathing. King Lear rails against his diminished condition of power and cognition even as he rages against the storm and his relatives, reconciled to nature only by the death of his daughter, which is heartbreaking and yet self condemning because why would it take that to pay him back for his grievances against the world and himself? Shakespeare may present Lear in this way because Shakespeare is always likely to show his tragic heroes in extreme and contrarian emotions. But, on the other hand, it may be that this view of old age is as old as the Christian tradition, which preaches that the wages of sin are death, and so suffering in old age is befitting as it harkens forward to the suffering that awaits most of us in Hell and Purgatory, given that we who all suffer from original sin deserve no better.  What I am always amazed by in Dante is that humans who have already suffered for many years the unrelenting tortures of Hell retain their most human attributes. They can conduct civil conversations during which they contemplate their lives on Earth. It makes me think that Dante did not really understand the suffering to which his characters were condemned and so his whole scheme is therefore false.

The ancients, for their part, might be thought to have seen the time before death differently. Cicero sees people as only fighting what nature has bestowed when they decry old age, when what is the case is that they can continue to exercise their powers to be wise or take political action even if they can no longer climb the riggings of ships. Old people can go on doing the important things they always did if they have the good character to do those things. The trouble with this argument, of course, is even that comes to an end, and so one can deplore the end of invention and of most pleasures, whenever that should come. It may be that we are so taken up with the Christian vision that we read life backwards, from its end to its beginning, and so insist that the final twist is the important thing, not the straightforward course of a life where one just is the kind of person one is.

But go even farther back, to “Oedipus at Colonus”. Oedipus has been beaten down and suffered from a crime which he insists was just an accident or coincidence. He is blind and weak, but he retains his verbal abilities, as those are supplemented by his daughter, and he continues to live in that he still wants and expects there to be dramatic events in his life which means that there will be reversals in the plot that are revelatory. In his case, that means that some religious and political authority will provide him with sanctuary so that he can consider himself redeemed. And Cicero was also assuming that people would go on exercising their powers to make a difference, to have change take place in their lives. And so it is with moderns, with actual oldsters, who cultivate new friendships, new loves, or a new found appreciation by others, or even just do that vicariously in that they deal with the ever unraveling and revealing world of politics that never stops having dramatic revelations take place in the lives of its leading characters and in the unfolding history of the nation. We moderns may not read life backwards, from ending to beginning, but we do read it as a never ending process of change, of new beginnings even at the end.

The difference between ancients and moderns, on the one hand, and Christians, on the other, may be this: ancients and moderns are engaged, amazingly, in a great game of denial whereby they put out of their minds that they will die. They go through this difficult process so that they do not have to experience the dread that would come from focusing on the fact of death and the simple reason for engaging in this difficult process is that to do otherwise would lead to all sorts of bad feelings: fear, paralysis, bad thoughts, Christians as a matter of fact may engage in the same sort of denial for the reason that they too don’t want to dwell on death even though they accept as true an ideology that treats death as a reward or the beginning of a punishment, rather than as an ending. Every person, Christian or secularist, just wants to get on with living as long as they can.

Sociologists were wrong to think that old people are disengaging from their lives, as if in anticipation of the fact that they will undergo the ultimate disengagement, which is from life itself. Rather, what old people do, and this is more and more true as we progress further in the age of enlightenment, is to alienate themselves from their disabilities. Those are just matters to be managed. A heart is just a pump, not the symbolic much less actual seat of emotions, and a breast is a mammary gland rather than the symbol of a woman’s femininity. People can be rid of the naturally occurring versions of these things and be fully human. To be human, what you need is the desire to manage those parts of life which are manageable, and take some cheer in that.

The Audience Is In Charge

There is something mysterious, peculiar and profound about the existential relationship between audiences for art, literature, music, theatre and also the modern media of television and movies, and the objects of their attention. Critics from Aristotle to Northrope Frye have tried to turn the arts into the subject of a scientific discipline, and to my mind have been largely successful. You know how to evaluate a play or a novel because you have learned the type of thing it is and so apply the relevant criteria. Shakespeare does tragedies and he also does problem plays and you are simply mistaken if you expect to get the same thing out of both. That is what a scientist does. But people resist this impulse, if that is what it is rather than a wrongheaded attempt to make art into something that is not. Rather, what people do is evaluate first and then find reasons to back up their judgments. You think of Romeo and Juliet as a gushy teenage romance and then you find things in the plot or the poetry to back that up and simply decide not to notice or just fail to notice the dark side of the play: that these teenagers are obsessed with one another to the point of suicide. You don’t like Jane Austen because you think she repeats herself in every book when in fact she tells a different story and evokes different emotions in every novel, all in the service of her overall plot form, which is how a woman finds a suitable husband, the mystery being to discover what makes him suitable for her. It isn’t that a more callow interpretation is so much wrong, “interpretation” the right word to describe the way a reader makes sense of a book, as it is that a callow interpretation is a premature judgment that can be changed when a person gives a more sophisticated judgment to bear and so can more clearly see a book for what it is. The wise come around to Jane Austen; the rest never do, even if they are enchanted by Regency manners and the Regency setting. How does this world work, in which the audience’s prejudices and perhaps callow judgments take precedence over what is actually there, on the stage or in the text? How is it that we learn from literature by imposing our will on it rather than being its students?

Read More

Gunk Literature

Literature is wonderful even when it does not nearly qualify as literature, at least according to the standards of most literary critics and most viewers, playgoers, or readers. But even then it can be gripping and so one has to turn to that great scientist of criticism, Aristotle, putting aside judgment so as to establish what is going on with this particular piece of junk that goes through the moves of being a narrative and so has to be understood as such, according to the elements of narrative first so elegantly laid out by Aristotle, who is the first and best of the Formalist critics, meaning by that the one who describes the mechanics through which a piece of literature or potential piece of literature creates its effects. I want to use as a case study a television series, “Grey's Anatomy”, which I have been binge watching over the past three days. I have clocked over fifty episodes, which means over 33 hours of viewing, which is enough time in which to read half a dozen major Shakespearean plays, though those are so taxing that one would have to slow down rather than switch to the next episode of an evening soap opera as quickly as the prior one ends. You have to concentrate more to get Shakespeare’s plot much less the complexity of the emotions he is depicting. I have gone through the binge process with other series. I watched what may well be the best television series ever, “The West Wing”, episode by episode, which means less than an hour a week, when it first came out, and then, years later, when discs became available, i watched the whole thing through, all six years of it, and thought it better than ever, its last season a spectacular prediction of a President who was a man of color running against a McCain type. But “Grey’s Anatomy” doesn’t come even close to that standard, and so I have to inquire carefully about what makes it gripping by coming up with Aristotle-like categories.

Read More

Shakespeare's Characters

Students of Shakespeare from William Hazlitt through Harold Bloom think of Shakespeare as someone who embraced the new philosophy of individualism by making each of his characters a unique personality, responsible to noone but his or her self. But a late medieval mind or an early Elizabethan one might have appreciated Shakespeare differently, his characters embodiments of abstract virtues and vices, Polonius of self-importance and pomposity, Macbeth of ruthless ambition, Romeo and Juliet of love heedless of its surroundings, very much like Dante’s Paolo and Francesca  who swirl around as the winds of Hell will carry them because they have no anchors. If that is the case, then Shakespeare stocked his plays with characters who acted according to the types of characters available to a playwright of the time. A way of bringing those two ideas together and which enhances not only our sense of Shakespeare but of modern psychology, is to realize that Shakespeare presented each of his characters as true to their own essence and, moreover, that they were each, deep down, what they each appeared to be. 

Read More

Nixon One Paragraph at a Time

Reading is a very complex process as the following examples try to show.

Every book is a genre all its own. It is a combination or play on some combination of other types of books, and so lives up to what is taken to be Polonius’s over the top statement in Act II, Scene ii of Hamlet about the players:

The best actors in the world, either for tragedy,

comedy, history, pastoral, pastoral-comical,

historical-pastoral, tragical-historical, tragical-

comical-historical-pastoral, scene individable, or

poem unlimited:

As usual, Polonius knows what he is talking about. Nobody composes afresh; everyone adapts the genres that are there. The writers of the Gospels were fresh in that they reworked the tale of a man going to meet his fate, as that might happen in a Greek tragedy, to Oedipus for example, into an exemplary and unique story, endlessly to be repeated, of a god-inspired personage working out the inevitabilities of his nature and his destiny in the course of his short and doomed ministry. And, at the more comic end of the spectrum, It is reported that Lucille Ball got wind of meetings where producers would ask for a Lucille Ball like comedy with someone else. Ball got the message and moved to television and became “Lucy”.

But that is not the whole of it. Every paragraph of a book is also a distinct entity. It has a structure and a tone different from that of the paragraphs which preceded it and which follow it. Part of the pleasure of reading is the interaction between the reader’s imagination, memory and analysis and what is there to be discovered in every paragraph. So while most literary remarks about a recent book, John A. Farrell’s “Richard Nixon: The Life”, might tell a reader that they can garner pleasure from a set piece such as Farrell’s clear retelling of the Alger Hiss investigation, or from Farrell’s not that well done overall presentation of Nixon as America’s very own Richard III, though I would let him off easy on that because he is competing with Shakespeare, let us attend, instead, to how just a few of Farrell’s paragraphs provide their pleasures.

Read More

Grief and Isolation

When I walked my dog in my old neighborhood, I would continually come across a young couple standing in front of a brownstone, good weather and bad, smoking up a storm, one of them doing so even if the other were absent. When together, they were in animated conversation, or looking into one another’s eyes, or just intruding into one another’s space, and so, as anyone else would, I thought them to be lovers who could not for one reason or another go inside, and it is always heartwarming to see young lovers. But I was also tempted to go up to them and say to them that they should stop smoking for one another’s sake so that they did not have to face my fate which was to be made a widower after forty-eight years of marriage because my wife had been a heavy smoker for fifty years even though she and I and all her friends had made the effort to get her to stop smoking. In the early years of our marriage I had even gotten her to try a woman’s pipe, which was a small and pastel colored thing to make it seem feminine, and was something of a fad at the time, but that hadn’t worked, and so by the time she died of lung cancer her only hope had become, as she said, that she would beat the odds. Nobody’s fault that she was dying; only a hope of rescue unfulfilled. But I never did intrude on the couple’s time or space. It was not that I am timid about expressing my opinions. It is rather that you respect the choices people make, however foolish they are, and also so as not to too much blame the addiction prone for their cravings.

Read More

Being Comfortable & Self-sufficiency

Dogs show themselves to be comfortable. My dog lies on his back under the air conditioner, the breeze going through his whiskers and onto the hairless part of his undercarriage. He has just been walked and so has relieved himself and he has been fed. His social nature is also satisfied in that I am present in the room with him while he stares out into space doing nothing but being comfortable. He exudes his comfort even though he doesn’t know he is comfortable, is not self-aware of his comfort. Maybe the dog is close to Nirvana, though I am not big on thinking it is better to be unconscious rather than conscious of one’s state. People, for their part, know when they are comfortable and knowing so is itself a pleasure and a satisfaction. I am ever more conscious of this self sufficiency as I get older even though I don’t think there ever was a time for me or for anyone else when we did not both sense and know when we were comfortable. I wake up in the middle of the night, aware of the silence, of the fact that I am breathing comfortably, that my bowels are untroubled, that the temperature is just about right, and that my thoughts can wander whichever way they care to. It is like when my wife slept next to me before she died though not as good as that, my listening to her unlabored breathing and touching her warm skin though not with so much pressure as to wake her.

Read More

Art, Entertainment & the Distinction Between

Renee Fleming was singing a second act aria during her well reviewed performance as Manon. A member of the Metropolitan Opera audience yelled "Spectacular!" after the first chorus; there was a brief murmur in the rest of the audience. The same man interjected another "Spectacular!" after the next chorus; the murmur in the audience was intense and unfavorable. Why criticize the man? After all, the stars pause after their arias to receive applause, and thereby break the notion that the audience is overhearing a story rather than present for the performance of a story. The singers also take bows after every act and the intermissions at the Met go on and on, breaking whatever mood might be sustained over a shorter intermission. What the man had done was break the conventions for suspending the performance, that's all, but in theatre, we abide by the conventions, for otherwise we would not know what we were up to.

 

 

Opera is a performance in that we have come to hear the singers do their stuff, whatever their material, and to take pleasure from their skill and only secondarily take pleasure from what is signified by the use of their skills, which is the experience and appreciation of the conventionalized sentiments that accompany the plot and the music. Music critics, by and large, accept the hackneyed or contrived plots or the melodramatic emotions so as to concentrate on the spectacle of the singing and the setting, mentioning the acting as an afterthought--this singer also something of an actress. Otherwise, it would not be possible to see these old warhorses--really, chestnuts--over and over again.

 

Read More