Archive for February, 2024

Stoppard: Travesties

February 28, 2024

Travesties
Tom Stoppard
(Grove, 1975)
99 p.

Travesties takes us to Zurich in 1917, a time when (according to the play, at least) three well-known men were living there. James Joyce was spending a good deal of time at the library, combing through the Dublin Street Directory for 1904 and consulting Homer’s Odyssey. Vladimir Lenin was in exile from Russia but hoping to return, especially with the news of a nascent social revolution taking off. And Tristan Tzara, the founder of Dada-ism, was loitering in the city, cutting up Shakespeare’s sonnets and pulling the pieces out of Joyce’s hat. These three are all characters in the play.

But the central character, in a certain way, is a lesser-known, though still real, figure: Henry Carr, a British consular official. Most of the play is told to us in flashback, as Carr, as an elderly man, recalls his time in Zurich and the days he spent in the company of his more famous contemporaries. The play is playful with this trip-down-memory-lane premise, frequently spinning out of control in a kind of manic daydream-logic, and then re-setting itself, replaying previous scenes with variations. Here it breaks into Shakespearean language; there erupts in Joycean word-play. This is the way it is with memory; sometimes it’s hard to recall exactly what happened, or to refrain from imagining how it might have been otherwise.

Some of the material in Travesties reminded me of Artist Descending a Staircase — another instance, it seems, of Stoppard raiding his radio and TV work for the benefit of the stage, as he did previously when Another Moon Called Earth was renovated and repurposed for Jumpers. Some of the ideas about, and skepticism about, modern art that featured in the earlier work reappear here.

TZARA: Doing the things by which is meant Art is no longer considered the proper concern of the artist. In fact it is frowned upon. Nowadays, an artist is someone who make art mean the things he does. A man may be an artist by exhibiting his hindquarters. He may be a poet by drawing words out of a hat.

CARR: But that is simply to change the meaning of the word Art.

TZARA: I see I have made myself clear.

It’s a play that is fairly deeply in conversation with a set of other literary works, especially Joyce’s Ulysses, the manner of which it occasionally apes, Homer’s Odyssey, which is much on Joyce’s mind, and Wilde’s The Importance of Being Earnest, a performance of which Joyce is trying to put together in Zurich. The first two I had the good fortune to have in my back pocket, their being either currently or recently on my night-stand, but I really wish I’d known that Wilde’s play would be so central, as I’d probably have tried to read it first as a refresher. I believe I’d have caught more jokes.

Beyond question this is one of Stoppard’s major statements, a play of confidence, joy, and high spirits, and also of potent feeling. The wit is sometimes dizzying, the creativity dazzling, but it has a heart, especially through the character of the aged Henry Carr, who looks back with wistful remembrance at his young self, and knows his age. I would love to see it on the stage someday. It had a high profile revival in New York City a few years ago, the playwright in attendance, and the reviews are worth reading.

Pieper: Reality and the Good

February 20, 2024

Reality and the Good
Josef Pieper
(Ignatius, 1998) [1967]
81 p.

All obligation is based upon being.

Pieper’s books could not usually be described as “easy”, but few of them, in my experience, are as tough to crack as this one. Based, I believe, on his doctoral work in Germany in the 1930s, Reality and the Good attempts to describe how St Thomas Aquinas understood the structure of the moral life, and in particular how morality is grounded ultimately in the world of objective things. “Reality is the foundation of ethics.”

“Reality” might be taken in two senses. On one hand, it might refer to that which (to employ the usual Aristotelian distinction) is actual in contrast to that which is only potential. In this sense, to say that “reality is the basis of the good”, as Thomas does say, means that to be good is to be directed toward actualization of a being’s potential. Goodness is derived from directedness toward flourishing as the kind of thing a substance is. “Every being is perfect insofar as it is realized.” (ST I, II, 3, 2)

But “reality” might also be considered under the aspect of experience, in which case it might refer to everything presented to our senses and cognitive faculties. In this sense, to say “reality is the basis of the good” means that to be good is to be in harmony with objective being. “The good is that which is in accord with objective reality.”

Speaking for myself, I find the bridge between the first sense of “reality” and morality to be relatively easy to find and cross. I find the same bridge much obscured when “reality” is considered in the second sense. Pieper, to my surprise, focuses almost entirely on this second sense, which has, for me, added significantly to the difficulty of the argument.

To attempt to clarify the argument in my own mind, I’ll consider the outline of the Thomistic understanding of the structure of moral acts. We’ll describe it while keeping an eye on where and how it connects to “objective being”.

A moral act is grounded, most basically, in an apprehension of the good. This apprehension is cognitive, and belongs to what Thomas calls theoretical reason. Our minds are receptive, and *what* we think about comes to our reason from the world outside ourselves, from reality. (On the other hand, *that* we think belongs to an intrinsic faculty of our minds, and is not received from outside ourselves.) Our apprehension of the world is in the indicative mood: it is simply descriptive.

Next in the structure of a moral act comes a basic act of will: loving the good. This inclination to love the good is rooted in what Pieper (and presumably Thomas) calls the “primordial conscience”; it is the natural awareness of the natural moral law. It is at this step that the action takes on a specifically moral aspect, for the instruction of the “primordial conscience” is the most basic moral awareness: we should love and do the good, and avoid evil. It introduces the most basic presuppositions of morality. The mood switches from indicative to imperative: we must love the good. In a metaphysics in which natures act to fulfill their being, the rudimentary command of the “primordial conscience” amounts to a basic affirmation of the world: it is good that things fulfill their natures.

Next, the theoretical reason, informed by the primordial conscience, shades into what Thomas called practical reason. Practical reason is, essentially, reason considered under the aspect of acting and making. Practical reason, in view of the good apprehended, considers what should be done in order to promote the good. It is a consideration of means in relation to an end, and involves evaluation of options, then judgment, and finally deciding, or willing a particular course. If the command of conscience is “the good must be”, then the command of practical reason is “this good must be”. A moral act culminates in a command to the will: “use these chosen means”.

If we consider a concatenation of links, then, we start with reality, which is apprehended by the (theoretical) reason, which, informed by the primordial conscience with the most basic presuppositions of morality, turns to a consideration of ends and means under the jurisdiction of practical reason, which issues, after a process of discerning, judging, and deciding, a command to the will. In this way, the moral act in which the series culminates is ultimately rooted in reality.

It is worth mentioning that in Thomas’ understanding the primordial conscience is inerrant. Its most foundational imperative, to love good and avoid evil, is unchanging and always right. Moral error and disagreement are introduced in the consideration of means and prudential judgements that are part of practical reason.

*

This account of moral acts, as I have outlined it, is unsatisfactory in some ways. I am especially puzzled by the question of exactly where, and how, “the good” enters into the realm of apprehension. If “the good” means flourishing of a thing according to its nature (the first sense I described above), then I can understand how reason can discern it, but if we’re just talking about apprehension of objective being apart from teleology, then what is “the good”? The being of the thing? I’m not sure.

It’s also a problem, maybe, that the account relies so heavily on Thomistic psychology: theoretical reason, practical reason, etc. Probably it is possible to reframe the description without using this language, should one wish to do so.

I’ve a question, too, about the point of the whole argument. Why is it so important that our moral reasoning be rooted in objective being? Why is practical reason, which is the faculty that links objective being to moral acts, the central concept of classical Christian ethics (as Pieper says it is)?

We can perhaps attempt to answer this question by considering what else morality might be rooted in. Pieper makes an explicit contrast with a morality rooted simply in conscience. In that case morality doesn’t find any reference points outside of human psychology. The good cannot be in the world, but only in our minds or emotions. It would make it very difficult to imagine, for instance, a way to unite people in a common moral framework, if each makes moral judgments with reference only to an interior faculty.

But if conscience alone is not the fundamental ground of morality, we nonetheless have to avoid being oversimple. In Pieper’s own account of moral acts conscience does play a crucial and nearly fundamental role, second only to basic apprehension of the objective world. And if that apprehension is the only thing preventing conscience from being the foundation of morality, I have to wonder what it would really mean to say that conscience is the foundation. Would it mean that we would make moral judgments absent any experience of reality? If so, then Pieper’s insistence that actually objective being is the ultimate foundation of reality begins to look sound, but rather trivial, for of course we cannot reason without something to reason about.

It looks less trivial, though, when we contrast with theories that would found morality on, for example, emotion, or desire, or animal instinct — something that pertains to our animal rather than our spiritual nature. Such theories are, arguably, dominant today. The Thomist view emphasizes, against them, that morality is cognitive and rational; it involves moral reasoning that has an objective basis. This is why prudence has always been considered the most fundamental of the classical virtues: because it demands that we strive to assess the situation in which we must act with as much objectivity and clarity as we can muster, purified of our own distorting desires.

*

As I said at the outset, this is one of Pieper’s more difficult books, one in which the material’s academic provenance has left its mark on the prose. I’m not at all sure that I’ve understood the details of the argument, nor even grasped the nettle. I suppose the subject matter might be considered recondite. But grappling with St Thomas’ thinking is almost without fail an occasion to learn something. I am impressed again by his confidence in reason, his conviction that morality has a rational foundation that renders it shareable, that we have a basic, ineradicable orientation to what is good and true, and that morality is based, fundamentally, on an affirmation of the goodness of the world.

***

[Subjectivity and progress]
“Every epoch which is in the process of retrogression and disintegration is subjective, but all progressive epochs have an objective trend.” [Goethe]

Conrad: Lord Jim

February 20, 2024

Lord Jim
Joseph Conrad
(Doubleday, 1917) [1900]
309 p.

A few years ago I saw a film called Force Majeure in which a family on a skiing vacation was threatened by an avalanche; as they sat at a table on the deck of the ski lodge, they saw the avalanche first in the distance, a thunderous white cataract, and then, with sudden horror, saw it plunging toward them with breathtaking speed and power. The father of the family, in that moment of terror, leapt from the table and ran, leaving his family seated behind. The avalanche stopped short of reaching them, and the remainder of the film was an exploration of his guilty conscience and his suddenly unveiled weak character: he was a man whose instinct was to save himself instead of his family.

That film could be seen as a riff on Lord Jim, which is similarly about a man who makes a decision in a moment of crisis and then, distressed by what he has done, has to grapple with his conscience and his self-understanding afterward.

It is a novel of the sea, and Jim is a sailor:

“How steady she goes,” thought Jim with wonder, with something like gratitude for this high peace of sea and sky. At such times his thoughts would be full of valorous deeds: he loved those dreams and the success of his imaginary achievements. They were the best parts of life, its secret truth, its hidden reality. They had a gorgeous virility, the charm of vagueness, they passed before him with an heroic tread; they carried his soul away with them and made it drunk with the divine philtre of an unbounded confidence in itself. There was nothing he could not face. He was so pleased with the idea that he smiled, keeping perfunctorily his eyes ahead; and when he happened to glance back he saw the white streak of the wake drawn as straight by the ship’s keel upon the sea as the black line drawn by the pencil upon the chart.

But imaginary achievements evaporate in the heat of a crisis. One day Jim’s ship, riding the swells with 800 souls aboard, strikes something under the surface and sustains damage to the hull. The damage is contained, but it looks for all the world as though it won’t last. The captain and a few others climb into a lifeboat to flee. Jim, by an accident of timing, happens by as they make their escape, and, misapprehending his identity, they call to him to jump aboard with them. He jumps.

He had landed partly on somebody and fallen across a thwart. He felt as though all his ribs on his left side must be broken; then he rolled over, and saw vaguely the ship he had deserted uprising above him, with the red side-light glowing large in the rain like a fire on the brow of a hill seen through a mist. “She seemed higher than a wall; she loomed like a cliff over the boat … I wished I could die,” he cried. “There was no going back. It was as if I had jumped into a well — into an everlasting deep hole…”

As it turns out, the ship does not sink; all 800 souls are safe. But Jim has jumped into a well nonetheless, “into an everlasting deep hole” of another sort, for he is tormented by his act. Why did he abandon the ship and its passengers? Should he not have stayed aboard and alerted them, doing his duty to get them into lifeboats? How could he have behaved so shamefully?

He goes on the run, moving from port to port, ever eastward, trying to escape the sailors’ tales about the man who fled to save himself from a ship that wasn’t sinking. If he has found work in an obscure location and a man comes in telling stories about the incident, Jim drops everything and moves on, trying to outrun his own feelings of humiliation and inadequacy. Of course he can’t do it. Wherever you go, there you are.

Eventually Jim finds himself on a small island where, because of his own talents and natural amiability, he earns “the trust, the love, the confidence of the people”. The natives appreciate him, see his goodness, and grow to admire him, calling him “Tuan Jim”, “Lord Jim”. He wins the love of a woman, and seems to be re-establishing his life on solid ground, safe in a place where no-one knows his history and where he finds good work to do in the service of others, a place of penance in which he can expiate his former sin.

Yet even here the furies will not let him rest:

“Upon my soul and conscience,” he began again, “if such a thing can be forgotten, then I think I have a right to dismiss it from my mind. Ask any man here” … his voice changed. “Is it not strange,” he went on in a gentle, almost yearning tone, “that all these people, all these people who would do anything for me, can never be made to understand? Never! If you disbelieved me I could not call them up. It seems hard, somehow. I am stupid, am I not? What more can I want? If you ask them who is brave — who is true — who is just — who is it they would trust with their lives? — they would say, Tuan Jim. And yet they can never know the real, real truth …”

At the risk of spoiling a novel over a century old, Jim ultimately proves unable to outrun his sense of having a damaged or ruined soul. His end comes not at his own bidding, but somehow welcomed all the same. It’s an equivocal death.

It’s an equivocal life too. We are puzzled, perhaps, at the persistence and power of Jim’s self-condemnation. True, he did jump and abandon the ship. But it was unpremeditated, in a moment of panic, regretted at once. But the spontaneity of the act is itself part of Jim’s problem, for it showed, perhaps, his true character, unmanaged. The problem lies too deep for him to fix it by conscientiousness or discipline. He cannot forgive himself. Perhaps he needed to go to confession, poor soul. I mean that seriously.

Jim’s feelings would be understandable if the ship had gone under, taking its passengers with it. Who could withstand such a calamity? But because Jim’s moment of crisis happens under a misjudgment about the actual danger, there are no bad consequences to focus upon, but simply his own response to his situation. The calamity affects him and him alone.

**

It is, therefore, a serious and even profound book of moral and psychological portraiture, executed with considerable subtlety. It is also gorgeously written. Conrad is one of those authors who seem blessed by the literary gods beyond all reasonable measure. As if to add insult to injury of all aspiring writers, English wasn’t even his first language, yet he spins out sentence after sentence of beautifully wrought music. This reader, at least, was often content to just luxuriate in it, drifting on the current, and heedless, sometimes, of the direction in which it was going.

Which is another way of saying that I fairly frequently lost the thread of the plot. In fact, it’s been a long time since I had such a difficult time keeping up with a story. Again and again I was brought up short in the middle of a chapter to ask myself, “Who is this character?”, or, “What is going on?” It was an odd experience for which I don’t have an especially good account. Unlike, say, The Sound and the Fury, the book presents no obvious difficulties on its surface, but somehow the plot is partially submerged in this book, sunk into the music of the prose, and prone to be overlooked by the nodding reader. It’s true that Conrad introduces numerous narrators who relate, sometimes at second or third hand, the story of Jim’s life, so perhaps that tangle of hearsay was part of my trouble. In any case, the problems were not fatal; intermittent consultations of a plot summary were enough to set me right again.

This was my third novel by Conrad, after Heart of Darkness and The Secret Agent, but the first on a nautical setting (unless you count Heart of Darkness‘s river voyage; I don’t), which I gather was one of his specialties. Despite the peculiar difficulties I had, here and there, with Lord Jim, I’m keen to return to Conrad again in the near future.

***

[a gale at sea]
There are many shades in the danger of adventures and gales, and it is only now and then that there appears on the face of facts a sinister violence of intention — that indefinable something which forces it upon the mind and the heart of a man, that this complication of accidents or these elemental furies are coming at him with a purpose of malice, with a strength beyond control, with an unbridled cruelty that means to tear out of him his hope and his fear…

[fighting to the death]
A certain readiness to perish is not so very rare, but it is seldom that you meet men whose souls, steeled in the impenetrable armour of resolution, are ready to fight a losing battle to the last; the desire of peace waxes stronger as hope declines, till at last it conquers the very desire of life.

Molière: The Misanthrope

February 15, 2024

The Misanthrope
Molière
Translated from the French by Richard Wilbur
(Library of America, 2022) [1666]
104 p.

A play called The Misanthrope sounds like it might be a character study, and an unpleasant one too, but nothing could be further from the truth, on either count. This comedy again finds Molière stirring up a collection of crisscrossed love affairs, romantic rivalries, and misunderstandings, and letting them create the energy that drives the play forward.

The misanthrope of the title is Alceste, a man in love with a beautiful woman, Celimene, but who otherwise holds the world in contempt:

ALCESTE
My God! It chills my heart to see the ways
Men come to terms with evil nowadays.
Sometimes, I swear, I’m moved to flee and find
Some desert land unfouled by humankind.

In his own eyes, his objections to his fellow are moral, but Celimene attributes his grouchiness to a contrariness rooted in pride:

CELIMENE
What other people think, he can’t abide;
Whatever they say, he’s on the other side;
He lives in deadly terror of agreeing;
‘Twould make him seem an ordinary being.
Indeed, he’s so in love with contradiction,
He’ll turn against his most profound conviction
And with a furious eloquence deplore it,
If only someone else is speaking for it.

As Wilbur remarks in his introductory notes, it is not just a play about a critic of society, but also about impurity of motive in a critic of society. Those who might be inclined, from time to time, to criticize society can take Alceste as a model of how not to go about it.

Though the play is named for Alceste, in a way Celimene is the central figure. Many men are in love with her, and she keeps them all on strings, not wanting to declare outright in favour of any of them, or, when pressed, at least unwilling to declare against any of them. The final Act of the play has a splendidly conceived arc that begins with Celimene surrounded by a crowd of her suitors and proceeds, by a series of revelations and realizations, to her steady abandonment, the stage gradually thinning out until just a few characters remain — and not the ones we might have expected.

Alceste’s surly presence gives the play a little more sober heft than some of the earlier comedies, but it’s not an especially weighty play. Indeed, I could imagine Alceste being played as a straight comic character, and I think it would work well. The play is a frivolity, and a delightful one.

This was actually Richard Wilbur’s first translation of Molière, made in the 1950s. It was so successful that he went on to translate nine others over his long and distinguished life.

Berton: The Arctic Grail

February 12, 2024

The Arctic Grail
The Quest for the North West Passage
and the North Pole, 1818-1909

Pierre Berton
(McClelland & Stewart, 1988)
672 p.

Canada is a northern country, but perhaps non-Canadians don’t know that most of our population lives along a ribbon a few hundred kilometers wide that hugs the southern border with the US. North of that there’s a whole lot of north, inhospitable much of the time, and mostly empty. There are people who live there, and have for centuries, but until the Europeans arrived there were no maps, and little long-distance travel through those wastes.

Pierre Berton’s book attempts to narrate the history of how those lands were explored by European and American explorers, and how the elusive path across North America above the Arctic circle — the famous North West Passage — was searched for and finally found, and then of how a few groups of intrepid men made attempts to reach the North Pole.

**

The history of European exploration of the north began in the Elizabethan age. In the 1570s Frobisher made three voyages in search of a possible route to the Pacific, though without much success. Some years later John Davis led an expedition that discovered Greenland. In 1610 Henry Hudson was the first to sail into Hudson’s Bay (though he didn’t make it out again). In 1616 an Englishman named William Baffin piloted a ship that went 300 miles further north than any previous vessel, and he discovered the island that now bears his name.

After that initial flurry of activity, though, there was a lull. To be sure, in the 1700s Samuel Hearne made an overland journey in which he followed the Coppermine River north to the Arctic Ocean. But no sailing expeditions were organized, and in time even some discoveries that had been made were forgotten: by the early 1800s all that remained on the maps were Hudson’s Bay and part of Baffin Island.

Arctic exploration began again in 1818, and the burden of Berton’s book (try saying that three times fast) is to narrate, in detail, the many expeditions that went north between that year and 1910, when both the North West Passage and, it was believed, the North Pole had been conquered. It is a remarkable story with many twists and turns, many eccentric personalities, and, unfortunately, many dead explorers.

I’m not going to attempt anything like a thorough review of all that Berton describes; it’s far too plentiful and intricate a tale. But I would like to sketch out the basic shape that the exploration took, and then to highlight some of my favourite stories from this long Arctic saga.

*

What kickstarted Arctic exploration in 1818 was, perhaps surprisingly, Napoleon. More specifically, it was Napoleon’s defeat at the Battle of Waterloo. The wars were over, and Britain ruled the seas. The trouble was, there was nothing for the Royal Navy to do. Naval command decided that sending a few expeditions to search out the hypothetical North West Passage would keep its men busy, provide (if successful) an economic boon, and foster national pride as well. “It would be somewhat mortifying if a naval power but of yesterday should complete a discovery in the 19th century which was so happily commenced by Englishmen in the 16th,” wrote the Admiralty.

For the next forty years, Britain dominated exploration of the Arctic. Those early expeditions were characterized by a lack of preparedness for the cold; the Navy’s men just wore their issued uniforms, augmented by wool and flannel. They never constructed a purpose-built vessel for Arctic exploration — one designed for ice-breaking, for instance. They were strangely impervious to learning from whaling crews who operated in the north, and especially from the native Inuit whom they began to encounter. For them, exploration was a sideshow, not their main business, and when it came to clothing, shelter, and food, they did it the Navy way.

***

Among the most important Arctic explorers of the nineteenth-century, and almost certainly the best known, was John Franklin. He went north in 1819 on an expedition that mapped the northern coastline of North America west of Hudson’s Bay. It was in most respects a disaster; Berton calls it “probably the most harrowing overland journey in Arctic history.” Eleven of his twenty men died, and there were suspicions of murder and cannibalism. Franklin himself testified that he had to eat his own boots to stay alive, and this little detail made him rather famous upon returning to England.

But his most famous expedition, the most famous in the annals of Arctic exploration, was his fourth (and decidedly final) expedition of 1845. Indeed, this expedition — usually just “the Franklin expedition” — is in many ways the centerpiece of the whole history of Arctic exploration. His two ships, manned by 128 officers and crew, left England with “all the accoutrements of nineteenth-century naval travel: fine china and cut glass, heavy Victorian silver, testaments and prayer books, copies of Punch, dress uniforms with brass buttons and button polishers to keep them shiny, mahogany desks, slates, arithmetic books…”, were seen by a whaling ship in Baffin Bay, but then simply disappeared, never to be seen again.

The reason why the Franklin expedition was so important for Arctic exploration was not, then, on account of what it accomplished. It accomplished very little. But the search for Franklin consumed vast resources, involving many subsequent expeditions over the next decade, and resulted in a huge area of the Arctic being explored and mapped.

It took years, and great effort, to gradually piece together what had happened to them. Nothing at all was known for several years. A few artifacts — buttons, spoons — were found in the possession of Inuit groups, who related tales about white men walking south. But not until 1859 was the first, and still only, written evidence about the fate of the expedition found. A note had been left in a rock cairn at Victory Point, King William Island, and it told a mysterious tale. The first part of the document, dating from 1847, gave an account of their first two years sailing, and professed them “all well”; the expedition was frozen into the ice for the winter, as expected, and was looking forward to the thaw. An addendum, written in 1848, stated that Franklin had died and that the decision had been made to abandon the ships. But that was all.

Subsequently a sledge was discovered nearby, complete with several skeletons. The sledge was a monstrous thing, weighing 650 lb, loaded with a boat and all kinds of supplies, including novels (“The Vicar of Wakefield”). It gave a clue to what might have happened to the men.

Gradually more evidence was found: buried corpses, more physical artifacts here and there. The fate of the men seems to have been various. Autopsies have revealed that they were suffering both from scurvy and from lead poisoning, the latter likely due to substandard soldering of their tinned food supply. There were fragments of testimony from the Inuit claiming that small groups of men had been seen trekking southward, apparently for years afterward. But none of them ever reached safety. The last days of the Franklin expedition, writes Berton, gave us “a picture of inadequately clothed, badly nourished men, dragging unmanageable loads down the bleak coast of an Arctic island.”

(There is an addendum: Franklin’s two ships were discovered only in the last decade, both sunk off Prince William Island, and diving expeditions are currently underway to explore them. We may learn more in coming years.)

***

Franklin’s ships were frozen into the ice through the winter; this was a common occurrence during expeditions to the north. The ice would typically set in around October, and would not thaw until July or August, which made for a short exploration season. Indeed, sometimes, as in the case of Robert McClure’s expedition of 1851, the ice did not thaw at all, so that the sailors were confined to the ship and its immediate environs for years on end, much of it in darkness, of course.  “A few fluttering candles, rationed carefully to one inch a day, flickered wanly in the polar night to mark the one point of civilization that existed in a frozen realm almost as large as Europe.” Good captains planned ahead, and had their men stay occupied with games, dramatic productions, and even the publishing of newspapers during the long winter months. Bad captains didn’t, and the men, reasonably enough, suffered terribly from loneliness and idleness. Isaac Hayes, an American who went north in 1860, wrote evocatively of the silence he experienced while frozen in the ice through the winter:

“an endless and fathomless quiet … Silence has ceased to be negative … I seem to hear and see and feel it. It stands forth as a frightful spectre, filling the mind with the overpowering consciousness of universal death … Its presence is unendurable…”

It’s easy to imagine how this experience, coupled with darkness and isolation, would be psychologically difficult for many people. And it was.

***

The search for the North West Passage continued in the wake of the loss of the Franklin expedition, and the existence of a passage was eventually confirmed in 1850 by Robert McClure who, instead of sailing into the Arctic from the east as most had done, sailed all the way around the Cape of Good Hope in order to approach from the west. Although he couldn’t make it through the ice, he got far enough to reach waters that had previously been visited from the east, thus confirming that a passage existed and was navigable, even if it had not been navigated end-to-end.

The first complete traversal of the (or a, as there are more than one) North West Passage was done in 1903-1906 by none other than our old friend Roald Amundsen. I had forgotten that he was one of the big achievers in Arctic exploration. In a purpose-built vessel he successfully navigated through, east to west, without any significant problems. He was good at what he did. It was over 30 years before another managed the same feat.

Berton sums up the quest for the Passage, and Amundsen’s achievement, in this way:

For more than three centuries, since Martin Frobisher’s day, the North West Passage had defied the efforts of the world’s best seamen, to become a graveyard of broken ships. John Barrow had once thought it could easily be conquered in two seasons. But eighty-eight years had gone by since John Ross, glimpsing a phantom range of mountains, had failed to penetrate the mysterious archipelago at the top of the world. Parry had almost made it in 1819 — only to be blocked by an implacable wall of ice. Franklin’s men had actually located the Passage, only to die before they could reach it. McClure had managed to get through — but only by sledge. For three decades, since Allen Young’s last failed attempt in 1875, the Arctic had been silent and the Passage remained unchallenged. Now, through careful planning, some luck, great common sense, and, perhaps more important, the example of the Eskimos, Roald Amundsen had snatched the prize of centuries from the greatest navy in the world.

***

When the Passage was achieved, attention turned to reaching the North Pole. For me this is the more attractive prize, and I was surprised to learn how long it took for serious efforts in that direction to be launched. Expeditions to achieve a “farthest north” had had a certain caché in the nineteenth-century, but not until late in the century did they take center-stage. The British never really made serious effort in that direction, and initially it was Scandinavians who made the greatest progress, often with unconventional ideas.

In 1893, a Dane named Fridtjof Nansen, for instance, instead of considering the ship-confining ice as an impediment decided to use it to his advantage. There is no solid land around the North Pole, and the ice moves because of ocean currents. Nansen sailed north in the Fram with the intention of getting frozen in and letting the ice carry him wherever it would. His plan worked: he was carried by the ice for 3 years before the ice released him, but in the process he achieved a new record for “farthest north”: 86°13.6′N.

A few years later Salomon Andree, a Swede, had the curious idea to launch a hydrogen balloon and sail it over the North Pole. His crew of three men launched from the Norwegian Svalbard islands on July 11, 1897. They disappeared over the horizon, and their disappearance sadly turned out to be of long duration.  Thirty years later three skeletons were discovered on Franz Josef Land, along with journals. The balloon, the journals revealed, had flown, badly and bumpily, for just three days, covering about 200 miles, before it collapsed. The three men had tried to walk back across the ice, but had run out of food before they could reach civilization.

In 1900, Umberto Cagni of the Italian Royal Navy established a new “farthest north” by reaching latitude 86° 34′N. Berton doesn’t describe this effort for some reason, so I can’t say more about it. But, regardless of the details, the Pole remained as an outstanding challenge.

***

It was in 1907 that two separate expeditions made an attempt on the Pole, and both claimed victory, though both are open to doubt. The expeditions were led by Robert Peary and Frederick Cook, respectively, both Americans.

Cook claimed to have reached the Pole in 1908. He was an accomplished Arctic explorer who had trekked across Ellesmere Island, a journey that Berton describes as having “no parallels in polar annals”. He passed one winter at Cape Sparbo, living off the desolate land, “a masterpiece of Arctic survival”. Earlier in life he had achieved fame as the first to summit Mount McKinley, North American’s highest peak.

Cook failed to document his claim on the Pole. When he returned home, he came without journals, papers, or any supporting evidence, saying that he had left them behind with an Inuit friend for safe-keeping. Later he claimed that this was a ruse to prevent them being stolen, but that he couldn’t produce them because he intended to donate them to a university archive in Scandinavia. When he did give papers to the university they were judged wholly inadequate to support his claim: no instrument readings, no journals, just a typewritten story about what he claimed to have done. His claim itself was implausible, as his alleged speed of travel over the ice was judged unreasonably fast. Meanwhile he was on the lecture circuit making money as the putative first to reach the Pole. In time several men came forward claiming he had hired them to forge documents to support his claim, and his star fell.

As the controversy swirled, evidence was produced that he had also faked his summit of Mount McKinley. It is now generally accepted that his claim on the Pole was a false one, and it’s a shame. His real achievements are overshadowed by his lies.

Robert Peary, who claimed to have reached the Pole in 1909, fared better initially but not latterly. He was an Arctic veteran who had made several failed attempts on the Pole before his alleged success. He was a difficult man; of all those with a claim to fame in the north there was, says Berton, “no other as ruthless, as arrogant, as insensitive, or as self-serving”. In the public square his claim was favoured over Cook’s; for a long time he was credited with being the first to reach the Pole. Even Roald Amundsen believed him; he cancelled his scheduled attempt in 1910 and went to the South Pole instead in 1911.

But Peary’s claim, too, is riddled with problems. Peary’s expedition was organized such that a large group of people set out, but in stages sub-groups turned back, and only a few men, Peary included, covered the last leg to the Pole. It is the last leg, the last 300 miles or so, that is at issue. During this stage he claimed to have travelled at three times his normal pace. He took with him only men who were unable to use the instruments for calculating longitude and latitude. His journal for the days surrounding the claimed success is empty; he recorded no data that would have allowed him to calculate his position. Even the route he claimed to have followed was implausibly direct, given the usual hazards and obstacles encountered on the Arctic ice. These details, Berton concludes, “pose unanswerable questions” about his claim to have reached the Pole.

Both of these expeditions, therefore, were compromised by “lack of scientific proof, reported excessive speeds over the ice, reluctance to release observations, [and] absence of corroborative witnesses”. My view, on considering the evidence, is that both claims are implausible. Yet Peary, even if he cannot be granted the frozen laurel that he wanted for himself — wanted very badly, as his journals make clear, and needed very badly too, as he was facing bankruptcy if he failed — he nonetheless can be credited with establishing a new “farthest north” (though nobody can be quite sure where exactly he got to) and also with being the first and still the only man to have led an expedition to the Pole that went there (or thereabouts) and back without mechanical aids. (Subsequent expeditions to the Pole have all used air support for supplies and for transport out.)

***

Embroidering the main story are numerous tales of Arctic adventures, ill-fated and otherwise, undertaken by a wide variety of explorers. Among the many, I’ll note a couple of my favourites.

In 1871 a ship called Polaris went north under the command of Charles Francis Hall in what was meant to be one of the early attempts on the North Pole. However, Hall died under mysterious circumstances, and before long both discipline and morale had eroded on board. The ship began to return southward, but off the coast of Greenland was beset by ice and crushed, forcing the crew to abandon it. In the confusion, a group of nineteen people were separated from the others on the ice, and then, to their horror, the ice broke free from the pack and began to drift away.

They drifted out of sight of the main party, and continued to drift. Thankfully the floe on which they were stranded was about a mile across, and it so happened that some food supply had been stacked on it when it broke free, so they had rations. Incredibly, the floe drifted south for a distance of nearly 3000 km over the next six months until its stranded passengers were finally rescued off the coast of Labrador. All nineteen souls survived. It’s an almost unbelievable tale.

*

Far less fortunate was the ill-fated Greely expedition of 1881, which Berton describes as “the most appalling tragedy since the loss of John Franklin and his men”. Greely had set out for Lady Franklin Bay on the northern tip of Ellesmere Island. His expedition was conceived as a multi-year effort to establish a weather station in the far north, and to attempt a new “farthest north” record. By a series of mischances, however, their resupply ships could not get through to them in 1882 or 1883, and their food supply ran dangerously low.  In the fall of 1883 Greely decided to abandon their camp and walk south to pre-arranged depots where food was supposed to have been left for them.

However, the resupply ships had been unable to reach even those more southerly positions, and when Greely and his crew arrived at the cairn in October 1883 they found only enough food for forty days’ rations. With winter bearing down on them, they could travel no more. This small amount of food would have to last at least six months. They faced a long, dark winter of starvation.

Berton quotes from the personal journal of one of Greely’s men, James Lockwood, who through that long winter filled his pages with lists of food:

“… Virginia Indian corn pone, turkey stuffed with oysters, chives with scrambled eggs, pumpkin butter, corn fritters, bacon in cornmeal, oatmeal muffins, sugar-house molasses, fig pie, coffee cake, apricot paste, Maryland biscuit, Boston pilot bread, smoked goose, spiced oysters, leaf dough biscuit, hot porter with nutmeg and sugar, hog’s marrow, blood pudding, cracked wheat with honey and milk, cranberry pie, corn pudding, bannock cake, green tomato pie, macaroni pudding, charlotte of apples…”

I can’t imagine what that must have been like. As it turned out, they were unable to move from their site until they were rescued in June of 1884, after fully nine months of starving. Only seven of the expedition’s 25 men survived the winter, and there is credible evidence that at least one of the crew engaged in cannibalism. It was a horror.

**

I’ve struggled for a long time to cultivate an interest in Canadian history. I don’t remember studying it in school, and because Canada has, for as long as I can remember, aspired to be a colourless, odourless space without any real character, its history has seemed hardly worth bothering about. But I know that that can’t really be true. At the very least, our history is rooted in the histories of England and France, which are real places with real substance.

Anyway, it occurred to me that my slightly-back-burner interest in exploration, especially polar exploration, could be a good entry point. Even affiliation with Les Trudeaux cannot entirely smother the national pride one feels on contemplating the vast, desolate landscape that stretches out above us on the map. This year I very nearly had the opportunity to go north myself, to Cornwallis Island, and it was that opportunity that spurred me to tackle this big book at this time. (As it turned out I did not go; maybe next year.)

Whatever the reasons for my taking up the book, I’m glad to have done it. It really is a fascinating story, with an inspiring main trunk and so many intriguing branches. Berton is an excellent historian, and the book, despite its length, reads easily. It was the perfect companion through the darkest days of a Canadian winter.

Hamilton: The Greek Way

February 5, 2024

The Greek Way
Edith Hamilton
(W.W. Norton, 2017) [1932]
272 p.

Though I’ve been reading the Greeks mainly through primary sources, there is room here and there for a modern overview, and in The Greek Way we have a lively and informative appreciation of the legacy of the ancient Greeks for the modern West.

It is very appreciative. Edith Hamilton clearly loves the Greeks, knows them well, and wants to convey her enthusiasm to us. The book can be roughly divided into “general” appreciations, such as her accounts of Greek art, or Greek religion, and “specific” appreciations, which focus on individual Greek authors.

*

To rejoice in life, to find the world beautiful and delightful to live in, was a mark of the Greek spirit which distinguished it.

This remark, made in the context of a description of Greek games, gives a sense of the lavish praise she thinks the Greeks warrant, and also illustrates, I think, how such praise can lack nuance. Yes, the competitive games of the Greeks might have been inconceivable in Egypt or Mesopotamia, and the spirit of the games differed radically from, for instance, Roman games, so they do show us something distinctive about the Greeks, but, still, I’ve a nagging doubt that maybe this sunny appraisal is a little too simple and rosy.

In the arts, she praises their achievements in sculpture and architecture, which have been so massively influential on us that we feel immediately at home with them. They invented comedy as an art form. They invented tragedy, and their achievements in this genre have since been challenged, really challenged, only by one playwright.

In politics, they — or, the Athenians at least, and it is worth noting that the distinction between the Greeks and the Athenians is sometimes elided in these pages — we owe them a debt for establishing and articulating an ideal of freedom. “They obey only the law.” They granted one another a wide latitude for freedom of speech (as is well evidenced by the plays of Aristophanes). Plato said that Greeks were distinguished from other nations by “love of knowledge” instead of money or power. Their ideal was “freedom strictly limited by self-control”, which is indeed a precious bequest, one that the American founders appropriated: freedom upheld by virtue.

She has some interesting things to say about Greek religion, the nature of which has often been a puzzle to me. They had no authoritative Scripture, no creed, no dogmas. They had gods and temples and priests, but their priests were not powerful in society. Greek religion seems to have been something that happened in temples, and mostly stayed there. At least that’s what she says. Yet this is not to say that they were irreligious. The altar which St Paul found in Athens dedicated “To An Unknown God” could, she says, “only have been raised by men who had gone beneath the pleasant surface of comfortable orthodoxies and easy certainties”. It sounds good, and there may be something in it, but we should also remember that the Athenians put Socrates to death for not believing in the gods of the city, so maybe the idea that they had no orthodoxies is, again, too simple.

Here, I think, she evinces a tendency which you might have seen before: the easy, too easy, bridging of ancient Greece and modernity. To have “gone beneath the pleasant surface of comfortable orthodoxies and easy certainties” is one of the things modernity likes to claim for itself with a certain pride, and I’m afraid that often, or at least sometimes, the attribution of such views to the Athenians is more projection than discovery. The whole cultural narrative of ancient Greece — Christianity — Dark Ages — Middle Ages — Renaissance — Modernity is reared on this claim of kinship betwixt the first and last terms in that series, but, while acknowledging the influence they’ve had on us — and I am temperamentally very given to filial piety in this regard — I doubt that the bridge can be built so easily.

Sometimes her tendency to attribute distinctively modern views to the Greek is implicit, as when she remarks that “symbols are always real things invested with unreality”. Oh really? Or when she says, in regard to Greek religion, that “thought and mysticism never go well together”. Oh really? I wonder what Plato would have said about that.

And sometimes she is quite explicit, practically staging a parade on the bridge between them and us, as when she argues that the Greeks invented “the modern spirit”. “There is an order of mind that is perpetually modern,” she says, “and all those possessed of it are akin.” (It’s telling, I suspect, that despite the alleged symmetry of the kinship she didn’t claim this spirit was “perpetually ancient”.) This spirit is, inter alia, rebellious against authority, destructive and critical of received truths, suspicious of religion. She celebrates these things, and claims the Greeks as her allies, but, though, again, there were indeed aspects of Greek thought that answered to this description, I think it would be foolish to say such things were characteristic of them.

*

Yet when we turn from generalities to her comments on specific Greek writers, these dubious claims appear less frequently, and I greatly enjoyed her commentary on the tragedians, on Aristophanes, the historians, and the poets. About Greek literature in general she says that their style has been relatively uninfluential. That style, she argues (presumably on first-hand knowledge), tends to be cold and unadorned, “fancy on a tight rein”. They preferred simplicity and clarity to sensuousness or “effect”. I’d never heard anyone comment on this before, and I wonder how widespread her views are among classical scholars.

I had a terrible time reading Pindar a few months ago, and so was disproportionality pleased to find her agreeing that “of all the Greek poets he is the most difficult to read, and of all the poets there ever were he is the most impossible to translate.” His manner, she says, is hard and remote, poetry that “glitters but never warms”. I was certainly left cold.

Reading Aristophanes, who has also given me a good deal of trouble, she compares to reading the morning comics. His is a comedy of street life, of scandal and folly, that thrived on current events. She likens him to Shakespeare; both poets exhibited, she says, “the same tremendous energy and verve and vitality; the same swinging, swashbuckling spirit; the same exuberant, effervescing flow of language; the same rollicking, uproarious fun.” It might be so, and I’ll note, somewhat in passing, that some of Shakespeare’s comic scenes are also hard to follow and kind of not funny.

Of the tragedians, too, she has interesting things to say. She sees them as having quite distinct personalities, which intrigues me because personally I’ve had trouble telling them apart. Perhaps this is one of the disadvantages of reading in translation; the original voice gets homogenized when filtered through a translator. Each of them she associates with another author in our tradition as sharing certain defining characteristics: Aeschylus with Shakespeare, Sophocles with Milton, and Euripides with Isaiah. (And Aristophanes with W.S. Gilbert, of Gilbert & Sullivan.) I was grateful to learn something of the personalities of these playwrights; Sophocles, apparently, was beloved of the Athenians for his “tender and gentle spirit”, and Euripides was regarded as gloomy and averse to society.

The aim of Greek tragedy, she thinks, is to portray “the suffering of a soul that can suffer greatly”.  A tragedy can be made on Hamlet, but not on Polonius. We witness a great man suffering terrible things, and it evokes in us pity and awe. Of course much ink has been spilled over the centuries to expound the dynamics of Greek tragedy, what it does and how. Aristotle apparently thought it aimed at catharsis, whatever was meant by that. Somebody thought it was about showing the consequences of a fault in the tragic hero. I’m not sure what to think about it. To be honest, I find Greek tragedy less engaging than Shakespearean tragedy, and I don’t know why. Hamilton’s thoughts on the matter are at least worth considering alongside the others.

*

I found the book consistently engaging, often informative, and occasionally fatuous. It’s written with verve and love, with no scholarly stuffiness. I am surprised to learn, from the author’s Wikipedia page, that it was her first book, published at age 60, after a long career as headmistress at an elite girls’ school in the Northeastern US. She went on to write several more books about the Greeks and Romans, and her volume Mythology seems to be her most popular. Perhaps we’ll look at it someday.

Molière: Don Juan

February 1, 2024

Don Juan
Molière
Translated from the French by Richard Wilbur
(American Library, 2020) [1665]
80 p.

I knew that the Don Juan story was an old one, but still I was surprised to find that Molière’s, which appeared on the stage well over a century before Mozart’s, is substantially the same as that more famous version. That is, not only is Don Juan mostly the same, but so is Don Juan: the situation, the supporting characters, and the story arc. Once again we find the Don on the run from Donna Elvira’s family, and, looming in his future just over the horizon, the revenge of the Commander.

It’s little wonder that he had such a stable career on the stage, for he is just about perfect in conception. A courageous and irrepressible rake, he is, as his servant says in this play,

the greatest scoundrel who ever walked the earth, a mad dog, a demon, a Turk, a heretic who doesn’t believe in Heaven, or Hell, or werewolves even. He lives like a brute beast, an Epicurean swine, an absolute Sardanapalus, closing his ears to all reproaches and treating all our noblest credences as nonsense.

Don Juan, for his part, takes a more admiring view of his own conduct, or at least puts the best construction on it (since self-admiration is antipathetic to his unreflective, spontaneous nature). His relentless pursuit of women, without regard to station or state of life, is, he says, a tribute to beauty:

All fair women have the right to enchant us, and the fact that we’ve met one of them first shouldn’t deprive all the rest of their just claim on our hearts. For myself, I’m ravished by beauty wherever I find it, and I yield at once to the sweet violence with which it takes us captive.
[…]
There’s nothing sweeter than overcoming the resistance of an attractive woman, and I bring to that enterprise the ambition of a conquering general, who moves on forever from victory to victory, and will set no limit to his longings. Nothing can withstand the impetuousness of my desires: I feel my heart capable of loving all the earth; and, like Alexander, I wish that there were still more worlds in which to wage my amorous campaigns.

As the play progresses, he is offered various opportunities to repent and reform, including supernatural interventions (“neither will they be persuaded if one rise from the dead”), but all of them he declines:

DON JUAN: Whatever may happen, it won’t be said of me that I stooped to repentance.

The tragic character of such statements can obscure for us the fact that the Don, like his play, is comedic. He is comedic, for instance, because although he is much the cleverest man in the play, he is too stupid to see that God will not be mocked. His play is comedic because it ends happily, with an irreformable character justly punished. Just think how good and right it feels when his comeuppance arrives.

It’s a good play, then, though, for reasons that Kierkegaard articulated well, it is now overshadowed by Mozart’s rendition of the tale. It is also, sadly, written in prose rather than verse, and I must admit that this deprived me of much of the pleasure Molière’s plays have been giving me heretofore. I don’t know why Molière chose prose, but I hope he didn’t choose it too often in other of his plays.