tag:blogger.com,1999:blog-89940136406931640052024-03-20T19:24:30.630-07:00The Carmelite LibraryKerrie Burnhttp://www.blogger.com/profile/12888794413710300097noreply@blogger.comBlogger510125tag:blogger.com,1999:blog-8994013640693164005.post-81946805712438192052023-09-19T16:07:00.002-07:002023-09-19T16:08:02.822-07:00Notes towards a paper on ‘The Cloud of Unknowing’<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfo5LBheg3exvhHa_1K5zKm7MeyNfoVl9kVxMtEntAdXDU48lbmkXfwqdkpYUzwHGuZAAmsJr__JO3FKxojHEZDWQWrSR4pu1yVSbV5WebvnOqrISscCv-db1j4gc-7yg5dpfcdPHu7lpimWNhUU30F4RJ2nbACP3yGDha5NHotKPIG-V-uGQyDzul5UI/s1600/the%20cloud%20of%20unknowing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfo5LBheg3exvhHa_1K5zKm7MeyNfoVl9kVxMtEntAdXDU48lbmkXfwqdkpYUzwHGuZAAmsJr__JO3FKxojHEZDWQWrSR4pu1yVSbV5WebvnOqrISscCv-db1j4gc-7yg5dpfcdPHu7lpimWNhUU30F4RJ2nbACP3yGDha5NHotKPIG-V-uGQyDzul5UI/w300-h400/the%20cloud%20of%20unknowing.jpg" width="300" /></a></div> <span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"> <br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><i>Philip
Harvey’s introduction to his presentation on ‘The Cloud of Unknowing’, given at
Spiritual Reading Group in the Carmelite Library, Wednesday the 20<sup>th</sup>
of September 2023.</i></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"> Today
we spend some time looking at a book about contemplation.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Contemplation
of God.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Contemplation
is the Middle English word used by its author.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">We
don’t know the name of the author or their exact identity. </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
name of the book is ‘The Cloud of Unknowing’.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">In library
cataloguing the anonymous author is called ‘The Author of The Cloud of
Unknowing’ because he (they are fairly certain it’s a he) wrote other works in
similar vein that have been identified as his.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">When
I was a teenager, I remember trying to read this short book.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">I
didn’t have a clue, or at least not very many clues.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">At
least I was trying, which is what I find now is the ideal reader of this book.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Someone
who wishes to live a more contemplative existence.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Because
the author is a spiritual director whose job is to introduce the novice in
religious life into contemplation of God.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Where
to start?</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Today
I can see that ‘The Cloud of Unknowing’ is not something you sit down and read
from cover to cover.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">In
fact, as I read each short chapter I keep stopping and spending time on a
single sentence.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Just
one of its 75 short chapters is enough to keep me going all day.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Perhaps
we should have 75 spiritual reading group sessions, one devoted to each
chapter.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Progress
is wherever you are up to in contemplation at the time.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">We
do what we can with what we’ve got, but we must have an intention towards God
in order for anything to happen.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">As
a teenager I was much too impatient to notice any of this.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">You
have to work with whatever you’ve got at the time.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Reading
‘The Cloud’ you are made aware of its immediacy of language, like listening to
someone sitting opposite you.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">You
are also aware of its time period, it is a short medieval guidebook to the practice
of the contemplation of God. </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
book is written in Middle English, and sometimes there are words in the
original that speak volumes about contemplation, words no longer in use.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
word ‘stirring’ is a good example, the author encouraging us to be stirred by
the Spirit, to be attentive to this stirring. </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">A
testament to the book’s popularity are the many modernised versions of the
text.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">New
translations appear fairly regularly over the decades.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Scholars
think it’s likely the book is written in the vernacular because the novice in
question is a local who cannot read Latin.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Many
of the essential directions are derived from other medieval and earlier
spiritual writers, writing in Latin.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
anonymous author turns these into his own English.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">He arranges
them in sequence following his own pattern of spiritual direction, his own understanding.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">In
this way, he succeeds in communicating with the young novice.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">It
is the freshness and immediacy of his language that speaks also to us today.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">I
began reading Carmen Acevedo Butcher’s recent version.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Over
some weeks I slowly got through the book’s 75 chapters.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Slowly,
because the whole time I had no idea how I was going to talk about
contemplation.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Let
alone contemplation as directed by the Author of the Cloud of Unknowing.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">I
became aware of my complete lack of ability in talking about prayer.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">In
fact, each chapter, though simplicity itself in terms of expression, was
overwhelming to me in terms of what I could possibly say about it.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">In fact,
I may as well have been a novice.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">It
dawned on me after completing this deceptively simple book, that this book is
not a novel or other text that we read for fun and profit.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Or
even just out of interest, or for self-improvement.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">In
fact, if I was paying attention to even one brief sentence, that might be
enough for now.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">It
was necessary to improve my knowledge by reading ‘outside the text’.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Some
scholars think the author was a Carthusian.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
novice he is training in prayer wishes to become part of the Order and live a
daily life of contemplation.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Carthusians
are a silent order and interested in anonymity.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">This
is another reason why they think the author is a Carthusian, he’s not
interested in making a name for himself.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Indeed,
who he is is beside the point, in this context.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
focus is entirely upon our relationship with God.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Other
scholars list some of the writers they identify as being quoted by the Author,
or influencing him.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Dionysius
Areopagite, St Bernard of Clairvaux, and other spiritual teachers inform parts
of the thinking in ‘The Cloud’.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Yet,
for all that, it is the writing of this into original English and the Author’s
own take on them and on the spiritual life itself that makes the book special. </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">It
was less important who thought what first, as that the thoughts are all there
in one place for our own growth.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">I
found that early parts of the book are penitential, they are about
self-awareness and bringing oneself to account.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Then
there are chapters that face up to distractions, to lapses and doubts of all
kinds.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">All
of this is reassuring and instructive for someone liable to distractions,
lapses and doubts.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Other
chapters teach about attention and not giving up, but also about living in a
state of yearning, what he calls being bound by a “leash of longing”.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Gradually
I found that although the book tracks progressions, it is not systematic, as
the author returns to earlier directions.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">After
a while the book gives the impression of being the experience of a guide working
with a pupil, a director working with a directee, as they makes advances only
to have to go back to basics again from time to time.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Towards
the end, the Author of The Cloud of Unknowing confides that he cannot think of
anyone less suited or able to teach on this practice of contemplation of God,
than himself.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">This
was very reassuring, given I myself felt I must be the most unsuitable and incompetent
person alive to talk on this practice.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Indeed,
so complete was my feeling that I would come to spiritual reading group with
nothing to say, that I became quite anxious that the whole session would be an
hour and a half of pregnant pauses and useless statements and vague promises
and false starts and awkward claims.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">While
I thoroughly enjoyed everything I saw in ‘The Cloud’, and related to some of it
in my own experience, who was I to tell anyone else how to do all of this?</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">I
noticed it was much the same feeling being expressed by the author of ‘The
Cloud’.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">I
had reached a halt.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">As happens
in reading, the resolution to my quandary came when I picked up another book
from the stack beside me.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">It
was Austin Cooper’s book ‘The Cloud’, published over 30 years ago now, in 1989.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
scholar Austin Cooper was deeply read in Christian spirituality.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">He
spoke everywhere about the spiritual life, including in this very space here in
the Carmelite Library.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">In
a tribute to him, Christian Fini OMI writes that “Austin Cooper has been an
outstanding priest and dedicated Oblate of Mary Immaculate.” He was “highly
capable as well as being a man of prayer and deep spirituality … inspirational
to many students with a great kindness and a lovely sense of humour.” (Fini) <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Fr
Austin was especially knowledgeable and insightful on the manifold English
traditions, including the great works of the English mystics of the 14<sup>th</sup>-century,
Dame Julian of Norwich, Richard Rolle, Walter Hilton, and the rest. </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Amongst
his many publications, ‘The Cloud: reflections on selected texts’ (Cooper) is a
work intended to speak to the modern reader about the practice of the contemplation
of God, as explained in ‘The Cloud of Unknowing’.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Suddenly,
I had my own guide to this medieval work.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Furthermore,
Austin could be a guide for others.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">We
can hear his voice and thought absorbed in this marvellous work.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Reading
his book ‘The Cloud’, we meet regular translations of the original from Middle
English. </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">His
introduction lists three recommended translations (Underhill, Walsh and
Wolters), but we find under the two Early English Text Society versions of
Phyllis Hodgson this sentence in brackets: The translations in this commentary
have been made from these two works. (Cooper 12)</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
only conclusion we can make from this modest statement is that the translations
were done by Austin Cooper.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Who,
me?</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">So rather
than worrying about various translations and which one is best and all that, I
thought that we would listen to some of Austin’s modernisations, then hear what
he himself has to say about these passages.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">This
then is how we will proceed, by looking at some of the sentences in ‘The Cloud’
and how we can use them in our own lives.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">We will
listen to Austin’s own personal way of thinking about sentences in ‘The Cloud’,
using his own voice.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">This
session is also an opportunity to appreciate the work of two Melburnians,
recently departed, who wrote with insight about this spiritual classic, the
poet Jordie Albiston (1961-2022) (we will hear from Jordie at the conclusion
today) and, as I have said, the priest-scholar Austin Cooper (1931-2023).</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">This
session is offered in their memory.</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"> </span></p>
<p> </p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-68565144914111902992023-09-13T20:40:00.003-07:002023-09-13T20:42:08.060-07:00Reading Group on The Cloud of Unknowing<p></p><p><span style="font-family: helvetica; font-size: large;"> Spiritual Reading Group, Philip
Harvey on Ways of Reading ‘The Cloud of Unknowing’, Wednesday 20
September, 10.30am to 12.00pm</span></p><h1 class="entry-title"><span style="font-family: helvetica; font-size: large;">You are welcome to attend this session, which will be 'in person' in the Carmelite Library 216 Richardson Street, Middle Park.</span></h1>
<p><span style="font-family: helvetica; font-size: large;">‘The Cloud of Unknowing’ is a short medieval guidebook to the
practice of contemplation of God. Written in Middle English, the many
modernised versions of the text are a testament to the book’s
popularity. In this session, held ‘in person’ in the Carmelite Library,
we look at some of the sentences in ‘The Cloud’ and how we can use them
in our own daily lives. The session is also an opportunity to appreciate
the work of two Melburnians, recently departed, who read and wrote with
insight about this spiritual classic, the poet Jordie Albiston
(1961-2022) and the priest-scholar Austin Cooper (1931-2023).</span></p><p> https://www.thecarmelitecentremelbourne.org/events/philip-harvey-on-the-cloud-of-unknowing-20-september/</p><p><span style="font-family: helvetica; font-size: large;"> <br /></span></p><p><span style="font-family: helvetica; font-size: large;"> </span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-14272756568238429022023-08-28T16:19:00.002-07:002023-08-28T16:19:31.357-07:00Spinning Straw into Gold: the Rumpelstiltskin Effect: being an Overcomer (1) CECILY CLARK<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWWT3bYgb736ZE6TezDyFWhsG5ic4za_mp5ALNWQz7nIdwpOOXDw3TjE6hPoSWmV8w5C0nSMDP0kQdRTcKULxKNqxEpZOgc3owNG2iFnSM8cSk8-YFmSjdzNSUAqyG842DtEPd6EmBIa2Q_lHbPaL7wXiAjU4H4HLoAF4RSSDNtlEQoQd41C0Ac6paQ20/s252/rumpel%20ad%20(002).png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="252" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWWT3bYgb736ZE6TezDyFWhsG5ic4za_mp5ALNWQz7nIdwpOOXDw3TjE6hPoSWmV8w5C0nSMDP0kQdRTcKULxKNqxEpZOgc3owNG2iFnSM8cSk8-YFmSjdzNSUAqyG842DtEPd6EmBIa2Q_lHbPaL7wXiAjU4H4HLoAF4RSSDNtlEQoQd41C0Ac6paQ20/w400-h397/rumpel%20ad%20(002).png" width="400" /></a></div><!--[if gte mso 9]><xml>
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<p></p><p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">On
Wednesday the 21<sup>st</sup> of June Cecily Clark gave a Spiritual Reading
Group presentation on the story of Rumpelstiltskin. <span style="mso-spacerun: yes;"> </span>Here, in two parts, are Cecily’s notes for the
session. <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Introduction</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
inner meaning of ‘Rumpelstiltskin’</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Read
the story aloud</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
origin of the fairy tale Rumpelstiltskin</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
value and importance of fairy tales</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Archetypes
and symbols</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Jungian
Character archetypes</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Symbols
within the tale of ‘Rumpelstiltskin’</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Seven
Jungian story archetypes</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Symbols
and their meanings from a Christian mystic viewpoint</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Spinning
straw into gold inner meaning</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
Rumpelstiltskin Effect</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Share
your own ‘spinning straw into gold’ story and creative responses</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Inner
meaning of the fairy tale: “Rumpelstiltskin”</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">”When
life seems to hold no promise for tomorrow but loss or death; a locked door –
inside us or out – opens by itself. A curious-looking little man hobbles in and
sits down at the wheel to summon what we lack out of the dross that lies under
our feet, beneath notice. Straw is transformed into gold again. We grow closer
to what we hoped to be.” [“Spinning Straw into Gold” by Joan Gould] <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Once
there was a poor miller who had a beautiful daughter. As he wanted to become
more important, he went to the King and said to him, "I have a daughter
who can spin straw into gold."</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
The King replied, “If your daughter is so clever, bring her tomorrow to my palace
and I will put her to the test."</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
The miller brought his beautiful daughter to the King, who took her into a room
which was quite full of straw, gave her a spinning-wheel and said, "Now
set to work and if by to-morrow morning, you have not spun this straw into
gold, you must die." <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Then
the King locked the room and left her there alone. Having no idea how to spin
straw into gold, she began to weep.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
Suddenly, the door opened and in came a little man who said, "Good
evening, mistress miller, why are you crying so?" <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">"Alas,"
answered the girl, "I have to spin this straw into gold but I do not know
how to."</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>"What will you give me," said
the manikin, "if I do it for you?"</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>"My necklace," said the girl.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>The little man took the necklace, seated
himself in front of the wheel, and whirr, whirr, whirr, spinning and spinning
all night long, until the reels were full. In the morning, the straw had been
spun into gold. <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
next morning, when the King saw the gold, he was very astonished. But because
he was so greedy, he wasn’t satisfied. He took the girl into a much larger room
and commanded her to spin even more straw overnight, if she valued her life.
The girl was very upset. Once more, the door opened and the same little man
appeared saying, "What will you give me if I spin this straw into
gold?"</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>"The ring on my finger,"
answered the girl.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>The little man took the ring and began
spinning the straw again. By morning, he had spun all the straw into glittering
gold.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>The King rejoiced, but he still wanted
more gold. He took the girl into an even larger room full of straw and said,
"You must spin this, straw too, if you value your life. And if you
succeed, you shall be my wife." <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">When
the girl was alone, the manikin came for the third time and said, "What
will you give me if I spin this straw into gold?"</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>"I have nothing left to give
you," answered the girl.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>"Then promise me, if you should
become Queen, to give me your first child."</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>Not knowing what else to do, she promised
him what he wanted. Then the manikin once more spun the straw into gold.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>When the king arrived the next morning and
found all as he had wished, he took her in marriage. The pretty miller's
daughter became his Queen.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>A year later, she gave birth to a beautiful
baby girl. However, she had forgotten all about the manikin. Suddenly, he
appeared and said, "Now give me what you promised." <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Then
the horror-struck Queen began to lament and cry, so that the manikin pitied
her.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
"I will give you three days," said he, "and if by that time you
find out my name, then shall you keep your child."</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
The Queen sent out a messenger to enquire over the entire kingdom, hoping to
find out the manikin’s name. The next day when he came, she said, “Is it Caspar,
Melchior, or Balthazar?” </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">He
laughed and said,”No! They are not!" <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">On
the second day, the messenger gave her some more names. She said, “Perhaps your
name is Short Ribs, Sheepshanks, or Lace Leg?” But he answered, "These
aren’t my names either."</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
On the third day the messenger returned and said to the Queen, "I saw a
little house in the mountains and outside this cottage a fire was burning.
Round about the fire a ridiculous little man was jumping on one leg and
shouting -</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
'To-day I bake, to-morrow brew,</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
the next I'll have the young queen's child.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
Ha, glad am I that no one knew</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
that Rumpelstiltskin I am styled.'"</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
You may imagine how happy the Queen was when she heard the name. Now when the
manikin returned and said, "Well, mistress Queen, what is my name?" <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">At
first she said, "Is your name Conrad?"</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
"No."</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
"Is your name Harry?"</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
"No."</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
"Perhaps your name is Rumpelstiltskin?"</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">
"Some evil creature has told you that," shouted the little man. He
stomped and stomped about so angrily that he was swallowed by the earth and was
never seen again.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
origin of Rumpelstiltskin</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Originated
in Europe in the 16<sup>th</sup> Century by the French poet Rabelais and German
scholar Fischart (“Gargantua” 1577)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
name Rumpelstiltskin is believed to have come from an old children’s game
called ‘Rumpele stilt oder der Poppart’ (meaning ‘a little rattle stilt’ or a
goblin that makes noises)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Brothers
Grimm collected traditional fairy tales in 1812, including this tale.</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Durham
University researchers believe the origin of this tale is around 4,000 years
old.</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">References
to the tale can believed to be in “Dio of Halicarnassus’s Roman Antiquities”
(First Century AD)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">King
Midas and the Golden Touch (Greek Mythology: Second Century BC)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
Myth of King Midas and His Golden Touch (2<sup>nd</sup> Century BC) <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
summary of “King Midas' Golden Touch”</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“King
Midas and His Golden Touch” tells the story of a rich king who lived a long
time ago. He had a little daughter named Marigold, whom he loved very much, but
not as much as his gold. Even though he was very rich, he was still greedy for
more wealth. One day, he met a fairy boy in his gold room. The</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">fairy
gave him magic powers so that anything he touched would turn to gold. He was
very happy because his dream came true. However, he accidentally turned his
daughter into a golden statue. The king regretted his choice and called the
fairy back. He gave up his “golden touch” in exchange for his daughter. After
that, he never longed for more gold again.</span></p>
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<p></p><p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> Fairy
Tales</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“A
fairy tale is the simplest and purest expression of the collective unconscious
and thus offers the clearest understanding of the basic patterns of the human
psyche” (von Franz, 1978) <br /></span></p>
<p class="MsoNormal"><b><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Why
Fairy Stories?</span></b><span style="font-family: "Cambria",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Timeless
stories revealing timeless virtues and vices</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Contain
symbols and archetypes</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Symbols
are in: stories, characters and objects</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Beautiful
stories that embody timeless ideas that have a universal human appeal</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Provide
a guide for navigating our way through life’s problems, values, and challenges</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Nourish
the soul</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Solzhenitsyn
in his Nobel Prize speech, said: “Some things lead into the realm beyond
words…it is like that small mirror in fairy tales – you glance in it and what
you see is not yourself; for an instant you glimpse the Inaccessible….and the
soul cries out for it.” (J.C. Cooper in “Fairy Tales: Allegories of the Inner
Life”) <br /></span></p>
<p class="MsoNormal"><b><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
value of fairy tales</span></b><span style="font-family: "Cambria",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l7 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Definition
of fairy tale: “A fairy tale is a story in which truth is cloaked in symbolism
and metaphor. Extracting the essence and getting to the truth requires
penetrating the meaning of the symbols and the dynamics of the story.” (Seth
Isaiah, ‘Jung Journal: Culture & Psyche’)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l7 level1 lfo2; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“The
fairy tale reaches into a magical domain where opposites and contradictions can
coexist, and characters and situations may not be what they appear to be.”
(Seth Isaiah)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Archetypes
and Symbols</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">What
is the difference?</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Archetype:
a person, thing, action, or event which is recognizable by certain
characteristics, features, forms, or structures </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">An
archetype is a universally understood type or pattern of behaviour, a prototype
upon which others are copied, patterned, or emulated. </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Archetypes
are often used in myths and storytelling across different cultures.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Symbol:
an image that stands for or represents something else.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">A
symbol is a word or object that stands for an idea, concept or feeling.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Jungian
Character Archetypes</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">What
are the Jungian archetypes?</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Carl
Jung identified four main archetypes—</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">the
persona; enables an individual to interrelate to the surrounding environment by
reflecting on the role in life they’re playing</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">the
shadow; the shadow exists as part of the unconscious mind that is made up of
repressed ideas, weaknesses, desires, instincts, and shortcomings (it develops
as a result of our attempts to adapt to cultural norms and expectations)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">the
anima (feminine) or animus (masculine); the masculine and feminine parts of the
soul</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l2 level1 lfo3; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">the
self; the unified unconsciousness and consciousness parts of a person</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Jungian
character archetypes are a result of collective, shared ancestral memories that
may persist in art, literature and religion but aren't obvious to the eye.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Hero…..
The hero comes from a humble beginning and can appear ordinary. But they
possess a remarkable ability that sets them apart</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Mentor.
... They often help the Hero in the beginning but leave them to finish the
‘hard part’ on their own</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Herald.
...Ushers in a new message which the Hero cannot ignore</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Trickster.
...Represents the chaotic, irrational and unpredictable side of human thought
and behaviour</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Shapeshifter.
...Changes role or personality in significant ways and is difficult to
understand (often the Hero’s romantic interest)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Guardian.
...A watchman/body guard who blocks the way of the Hero in order to test their
ability to overcome something</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Shadow……..Part
of the unconscious mind with its repressed ideas, weaknesses, instincts, and
shortcomings</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Jungian
Character archetypes in Rumpelstiltskin:</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
Miller’s daughter – Hero; the maiden in distress; powerless and at the
mercy of the objectives of the miller, the king and Rumpelstiltskin; overcomes
the challenges and the demands of others</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
Miller – Guardian; a ‘banker’ in a medieval European village, who lives on the
town’s outskirts</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
King – Shadow; a figure of power, authority, and leadership, and hungry for
power</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><br />
Rumpelstiltskin – Trickster “points the way toward a deeper truth or reality”</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“enables
the maiden to complete her onerous task and achieve her goal” (Seth Isaiah
Rubin</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Symbols
and their meanings in the story:</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l8 level1 lfo4; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">A
spinning wheel – a symbol for transformation; spinning is generally a woman’s
work where fibres are transformed into thread; Rumpelstiltskin (a fairy
godfather) transforms the straw into gold, the girl into a Queen, and the wife
into a mother; but his motivation is not a good one as he wants the child and
being a magical type of character he could potentially transform the child into
something ‘evil’</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l8 level1 lfo4; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
number three – harmony, wisdom and understanding</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l8 level1 lfo4; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Straw
– of little value or significance; worthless</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l8 level1 lfo4; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Gold
–<span style="mso-spacerun: yes;"> </span>symbolizes wealth, riches, prosperity
and status</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l8 level1 lfo4; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Ring
– symbolizes connection</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l8 level1 lfo4; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Necklace
– symbolizes feeling values</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l8 level1 lfo4; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Future
Baby – symbolizes new life</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l8 level1 lfo4; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Tears
–<span style="mso-spacerun: yes;"> </span>reveal human emotion in response to an
impossible human task</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l8 level1 lfo4; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
process of naming – carries great power and significance</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Seven
Jungian Story Archetypes:</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l4 level1 lfo5; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Overcoming
the Monster…..is a story arc that follows a protagonist who struggles to
overcome an adversary/adversity</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l4 level1 lfo5; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Rags
to Riches…..a poor and derelict hero who gains something they lack (money,
power, love), loses it and then gains it back again</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l4 level1 lfo5; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
Quest….the hero must reach a certain location, attain a certain object, or
fulfil a certain objective while facing many obstacles along the way</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l4 level1 lfo5; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Voyage
and Return….the hero ventures into the unknown, which is at first fascinating
and exciting. The hero then faces challenges but overcomes them.</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l4 level1 lfo5; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Comedy….light
and humorous tone with a happy ending; there is also the triumph over adverse
circumstances resulting in a happy ending</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l4 level1 lfo5; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Tragedy……involves
a tragic hero and their downfall</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l4 level1 lfo5; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Rebirth…….a
renewal of personality and transformation of a person within their own lifetime</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><b><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Symbols
and their meanings in the story from a Christian Mystic perspective:</span></b><span style="font-family: "Cambria",serif; font-size: 14.0pt;"></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l3 level1 lfo6; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Rumpelstiltskin
represents the ‘false self’ – he has selfish reasons for wanting the baby; he wants
the child to control his destiny. (“Everyone one of us is shadowed by an
illusory person: a false self.” Thomas Merton)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l3 level1 lfo6; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
Miller’s daughter represents the ‘true self’ – she wants the baby to love; this
can be compared to the union of love between the mystic and God. (“If I find
Him I will find myself and if I find my true self I will find Him. The only One
Who can teach me to find God is God, God Alone.” Thomas Merton)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l3 level1 lfo6; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Tears
– reveal the purgation of the soul to find the ‘true self’ (“So one of the nights
or purification will be unspiritual…..The other night or purification is
spiritual…..” St John of the Cross)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l3 level1 lfo6; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
number three – represents the Holy Trinity (Father, Son, and Holy Spirit)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l3 level1 lfo6; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Spinning
straw into gold – spiritual transformation (St Teresa’s “The Interior Castle”
describes the spiritual transformation of the soul and union with God in
love,<span style="mso-spacerun: yes;"> </span>through the metaphor of entering
and travelling through the many rooms within a castle)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l3 level1 lfo6; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
greed of the King and the Miller – reveal Evagrius’s eight logisomoi - “First
is that of gluttony, then impurity, avarice, sadness, anger, acedia, vainglory,
and last of all, pride.” (Evagrius Ponticus)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l3 level1 lfo6; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
marriage of the Miller’s daughter to the King – Expresses the divine marriage
of the mystics (“Love causes the soul to become wholly assimilated to God…” St
John of the Cross)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Spinning
Straw into Gold: Deeper Meanings</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l6 level1 lfo7; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Can
be transformed from a quest from material gain to deeper wisdom or knowledge</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l6 level1 lfo7; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Spinning
is not a mindless task but requires focus so that the fibres don’t end up in a
mess or broken</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l6 level1 lfo7; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">It
shows that you can produce something of value from something very basic</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l6 level1 lfo7; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Where
Rumpelstiltskin didn’t have good ulterior motives in helping the Miller’s
daughter, good fortune came to her in the end. She was helped in a positive way
by Rumpelstiltskin despite him</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><b><span style="font-family: "Cambria",serif; font-size: 14.0pt;">What
is the ‘Rumpelstiltskin Effect</span></b><span style="font-family: "Cambria",serif; font-size: 14.0pt;">’?</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo8; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">In
this tale, “Rumpelstiltskin the manikin enables the maiden to complete her
onerous task and achieve her goal, but by threatening to take what is most
important to her, he evokes her cleverness when she is able to name him.” (Seth
Rubin)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo8; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“But
Joseph said to them, “You intended to harm me, but God intended it for good to
accomplish what is now being done, the saving of many lives.” Genesis 50:2b</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo8; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“And
we know that in all things God works for the good of those who love him, who
have been called according to his purpose.” (Romans 8:28)</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l1 level1 lfo8; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“If
God is for us, who can be against us?” (Romans 8:31b)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Activities
and Questions: </span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l9 level1 lfo9; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Share
your ‘Spinning straw into gold stories’</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l9 level1 lfo9; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Share
your creative responses to the fairy story “Rumpelstiltskin”</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l9 level1 lfo9; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">What
did you find most interesting about this fairy tale?</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l9 level1 lfo9; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">What
can you learn from it?</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Summary</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l5 level1 lfo10; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Being
an overcomer involves challenges that must be surmounted</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l5 level1 lfo10; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Being
an overcomer involves overcoming challenging people in our lives, who don’t
always have our best interests in mind</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l5 level1 lfo10; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Fairy
Tales express many of our deepest human experiences</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l5 level1 lfo10; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Archetypes
and symbols enlighten our understanding of the human condition and human
experience</span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l5 level1 lfo10; tab-stops: list 36.0pt; text-indent: -18.0pt;"><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">•<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“For
I know the plans I have for you, plans to prosper you and not to harm you,
plans to give you a future and a hope.” (Jeremiah 29:11)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">By
Cecily Clark 2023</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span></p>
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<p></p><p class="MsoPlainText"><span style="font-family: "Cambria",serif; font-size: medium;"> </span><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">An anthology of 100 poems
written in the past 100 years, with readerly responses on each from Rowan
Williams, is a kind of autobiography of the archbishop’s roving mind. Titled ‘A
Century of Poetry’, the book’s subtitle gets to the point with the claim that
we are “searching the heart.” This is not a best-of or my-favourites
collection, but one where poems “open the door to some fresh, searching, and
challenging insights about the life of faith.”</span><span face=""Calibri",sans-serif" style="color: #242424; font-size: medium;"></span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;"> </span><span face=""Calibri",sans-serif" style="color: #242424; font-size: medium;"></span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">The English poet Michael
Symmons Roberts opens ‘A New Song’:</span><span face=""Calibri",sans-serif" style="color: #242424; font-size: medium;"></span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">Sing a new song to the Lord,</span><span face=""Calibri",sans-serif" style="color: #242424; font-size: medium;"></span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">sing through the skin of your
teeth,</span><span face=""Calibri",sans-serif" style="color: #242424; font-size: medium;"></span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">sing in the code of your blood,</span><span face=""Calibri",sans-serif" style="color: #242424; font-size: medium;"></span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">sing with a throat full of earth</span><span face=""Calibri",sans-serif" style="color: #242424; font-size: medium;"></span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">To which Rowan asks, why do we praise?
Then answers, “praise is as inescapable as lament in the human world. The singing
evoked here is not a full-throated self-indulgent performance; it is what
manages to escape from choked and knotted insides because it can’t be
contained; and it names or at least points towards what can’t be named.” His
readings, over and again, are interested in the contradictions in our
inheritance, how questions keep rising up that must be asked and considered.
Roberts concludes</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">sing what you never could say,</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">sing at the fulcrum of joy,</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">sing without need of reply.</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;"> </span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">Rowan Williams is a maker of
poetry and this is a guidebook to the sorts of poems he would perhaps like to
make himself; we detect many of his own poetic interests and stylistic
tendencies in this admiring selection. For example, the Pakistani-Scots poet
Imtiaz Dharker’s poem ‘Prayer’ is not a world away from Rowan’s own manner:</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">The place is full of
worshippers.</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">you can tell by the sandals</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">piled outside, the owners’
prints</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">worn into leather, rubber, plastic,</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">a picture clearer than their
faces</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">put together, with some originality,</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">brows and eyes, the slant</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">of cheek to chin.</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">“What prayer are they
whispering?” she asks. Rowan writes, “the worn sandal as ‘the perfect pattern
of a need’ is the central image of the poem, Each of the sandals left at the
door of the mosque has a unique set of indentations, a unique history of being
pushed into <i>this</i> distinct shape by the unavoidable daily pressure of
keeping moving.” Each sentence of his reading extends the meanings and
ambiguities of Dharkar’s poem into a satisfying reflection on her own more
concise argument. One example: “Dharkar … gives us an austerely compelling
picture of what prayer actually is: it is something as inescapable as walking,
something that has to do not with anxious petitioning or ecstatic thanksgiving
but with the sheer hope of moving, or perhaps growing, into a future.”<span style="mso-spacerun: yes;"> </span></span></p><p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;"><span style="mso-spacerun: yes;"> </span></span></p><p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">Understandably, Welsh poets are well-represented.
Gwyneth Lewis, in ‘How to Read Angels’, writes of the encounter:</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">Yes, information, but that’s
never all,</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">there’s some service, a message.
A lie dispelled,</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">something forgiven, an alternative
world</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">glimpsed, for a moment, what you
wanted to hear <span style="mso-spacerun: yes;"> </span></span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">but never thought possible. You
feel a fool</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">but do something anyway …</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">Rowan identifies some rules of
thumb about angel voices: “Truthfulness, forgiveness, hope – these are reliable
signs that whatever has been sensed or guessed at is more than just the
contents of our own mind … What is convincing is the surprise that something we
wanted might after all be thinkable.” Discovering what might be thinkable is a
hallmark of this book.</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;"> </span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">The Indian novelist Vikram Seth
took up residence in the Old Rectory at Bemerton, outside Salisbury, the home
of poet George Herbert for a brief time in the seventeeth century. Rowan says Seth’s
background is Hindu, but in this context it’s true to say his background is
also decidedly Christian. His list poem called ‘This’ includes the following
items:</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">A beast of light; a blaze to
quench or stoke;</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;"><span style="mso-spacerun: yes;"> </span>Bread burst and burnt; sweet wind-fall;</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;"><span style="mso-spacerun: yes;"> </span>storm-cloud-milk;<span style="mso-spacerun: yes;"> </span></span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;"><span style="mso-spacerun: yes;"> </span>Hope raised and razed; skin-ploy; sleep-foil;</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;"><span style="mso-spacerun: yes;"> </span>steel-silk …</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">Seth once wrote a novel
composed entirely in Pushkin sonnets, so he is right at home here writing a
sonnet about love (the answer to the riddle) emulating Herbert’s about prayer. “Like
all good metaphorical speech, the succession of images sets out the
contradictions that push us into poetry,” writes Rowan, saying that Seth’s poems
“prompt some lingering on the frontier of ‘sacred’ and ‘profane’ experience,
some questioning about how porous those boundaries are.” This porousness is
something Rowan Williams explores again and again in this book, just as he does
in so much of his writing, and poetry. Poetry’s appeal to experience opens up
our shared knowledge, something being foregrounded here all the time. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;"> </span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">Australian Les Murray’s oft-quoted
‘Poetry and Religion’ goes</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">Religions are poems. They concert</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">our daylight and dreaming mind,
our</span></p>
<p class="xmsonormal" style="background: white; margin: 0cm;"><span style="border: 1pt windowtext; color: #242424; font-family: "Cambria",serif; font-size: medium; mso-bidi-font-family: Calibri; mso-border-alt: none windowtext 0cm; padding: 0cm;">emotions, instinct, breath and
native gesture</span><span style="font-family: "Cambria",serif; font-size: medium;"></span></p>
<p class="MsoPlainText"><span style="font-family: "Cambria",serif; font-size: medium;">into
the only whole thinking: poetry.</span></p>
<p class="MsoPlainText"><span style="font-family: "Cambria",serif; font-size: medium;">Rowan
applauds Murray’s avoidance of cliché, chiming in with his shared view that “poetry
aims to do in a small space what religion does in a large, communal and
historically extended space: to hold a mirror to a formidable range of shifting,
threatening, exhilarating ‘givens’ that require us to adjust to their presence
and make sense of them.” This is another way of meeting and enjoying the many ideas
and experiences offered here. I have briefly quoted just five poems that are
part of an ongoing conversation Rowan Williams generates in this book. The invitation
is there to pick up a line, a verse and see where it takes you. <span style="mso-spacerun: yes;"> </span></span></p>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-4600205193260049582023-07-24T18:46:00.002-07:002023-07-24T18:46:27.694-07:00The Library of Father Bob Maguire HUGE CLEARANCE<p style="text-align: center;"> <span style="font-size: x-large;"><span style="color: #222222; font-family: "Cambria", serif;">ALL STOCK MUST GO</span></span></p>
<p style="background: white; text-align: center;"><span style="font-size: x-large;"><span style="color: #222222; font-family: "Cambria", serif;">GIGANTIC BARGAINS</span></span></p>
<p style="background: white; text-align: center;"><span style="font-size: x-large;"><span style="color: #222222; font-family: "Cambria", serif;">The Library of Father Bob Maguire</span></span></p>
<p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14.0pt;">Next time you are in the Library you must check out the books of
Fr Bob Maguire. In May the Father Bob Maguire Foundation donated the religious
section of his impressive collection to the Carmelite Library. We have sorted those that
must be added to the Library collection, which leaves a sizable range that we
either hold already or that fall outside our scope. </span></p>
<p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14.0pt;">You will be pleasantly surprised at the range and depth of his
reading interests. Be the first person on your block to have a Maguire book, or
three, on your shelf. There’s some great value material. Each book has been marked
inside with a special identifying stamp. The books are displayed on the sale
shelves near the entrance to the Library, priced at $10, $5, and $2, with some
high quality material at $20. Cash preferred.<br /></span></p>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
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<![endif]--></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-20119140906057303932023-07-24T18:38:00.001-07:002023-07-24T20:12:50.309-07:00The Library of Father Bob Maguire<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg233nxc1AKS9bdhiDoap9xc5XAblHkh_NAp94T0agbukJOqsdyaZXMdEAhr0IOS-RaOS2jfPbYXq36KlKQoND9z1SDnzGjY4lznx8gjGoSYnzfILEGwaYX1wEovT24gyPSb3AQEC8eaC9etOCPcTjMQx71W-uN4_NLCQjmQo7LP7oBL2Oaabkqwq08dNA/s1024/bob%20books%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg233nxc1AKS9bdhiDoap9xc5XAblHkh_NAp94T0agbukJOqsdyaZXMdEAhr0IOS-RaOS2jfPbYXq36KlKQoND9z1SDnzGjY4lznx8gjGoSYnzfILEGwaYX1wEovT24gyPSb3AQEC8eaC9etOCPcTjMQx71W-uN4_NLCQjmQo7LP7oBL2Oaabkqwq08dNA/w300-h400/bob%20books%201.jpg" width="300" /></a></div><!--[if gte mso 9]><xml>
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<p></p><p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14pt;"></span></p>
<p style="background: white; text-align: center;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14pt;">Written by Philip Harvey</span></p>
<p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14pt;">The phone call came through on Tuesday morning. Frank O’Connor,
former Mayor of South Melbourne, was sorting Father Bob Maguire’s library and
would the Carmelite Library take it? Everything had to be out of Fr Bob’s
shopfront charity service in Albert Park “by yesterday”, as they were
relocating to Port Melbourne. Intrigued by the very idea of what such a
collection might hold, never mind our open policy of receiving donations, I
answered Yes. Frank said he’d be around in the afternoon.</span></p>
<p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14pt;">Religion, as it is called, was the subject matter we were
interested in. Frank and his mate Tony arrived in different vehicles with
fifteen boxes of religion. This, I was told, was about a third of the
collection, the other two-thirds being divided into fiction and non-fiction.
Tony said they took some time to decide which category to place Fr Bob’s many
books on the Collingwood Football Club. Being Collingwood myself, I was quick
to respond that that is classified under Dream Literature. It’s an odd thing, I
thought to myself, that the Catholic parish priest synonymous with South
Melbourne would barrack for the Magpies.</span></p>
<p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14pt;">Come Thursday the staff had the chance to unpack the boxes to
see what we could see. The expectation of finding numerous titles on social
action and pastoral theology had to be put to one side. Bob’s library did not
hold much in the way of liberation theology or the works of Catholic
alternative social work, nor much of the literature of care and counselling
often to be seen on the shelves of a parish priest.<span style="mso-spacerun: yes;"> </span>Larrikinism was not on display.</span></p>
<p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14pt;">Instead, this was the collection of a well-read thinker, an
explorer of ideas and student of big subjects. We could track his interest in
public debates, knowledge of which he had immersed himself in while engaging his
own voice in those cultural engagements. Islam, for example, and Christian
relations with Islam were on show throughout his library. Also, the various
outpourings of atheist thought were well-represented and well-studied, source
material for his own conversations in that area of inter-religious dialogue. <span style="mso-spacerun: yes;"> </span></span></p>
<p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14pt;">Two overworked items have been picked out to help illustrate the life of
Fr Bob through his books. The first of these is the 2002 edition of Eugene
Peterson’s ‘The Message’, Large Print Numbered Edition. This is Peterson’s
celebrated and still contentious contemporary language translation of the
Bible, valuable for those who want the Scripture to talk direct to them in
no-nonsense terms, not so valuable for those who want the most accurate version
of the original. For some ‘The Message’ is more paraphrase than anything else,
speaking the sort of Message capital M that people like Fr Bob wanted to
deliver every week. His copy is falling apart. The spine has come away, with
haphazard repair jobs involving excess of black tape. Old bookmarks drop out
when you lift it up. This is a Bible that has been rummaged through with
familiarity for the duration of its two decade life.</span></p>
<p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14pt;">Another well-worn book that caught my eye, and one of the few signed ‘RJMaguire’
on the flyleaf, was ‘Revolution in a City Parish’, translated from the French
of Abbé Georges Michonneau (London, Blackfriars Publications, 1949). An Emerald
Hill Bookshop bookmark was positioned permanently at page 75, at the section
heading ‘Charitable Activities’. Here is just a little of what this priest had
to say to Fr Bob, and us, soon after the War: “Over and above this general
picture, there are certain peculiarities to be remembered in the exercise of
charity in a working-class parish, when that charity is meant to have a
missionary purpose. One is that this need not be intended as propaganda;
despite the apparent contradiction here, the statement is absolutely true. The
very fact that we love our neighbours will be a more powerful witness to Christ
than any attempts we might make to capitalize on it will be. If our motive for
practising charity is to draw others into the Church, the recipients will shy
away; they will realize that there are invisible strings on our gifts. If, on
the other hand, our motive is the love of God, that love will shine through the
gift and through the giver up to the very source of the love; we need not worry
about that. When we help anyone and then try to get that person to come to Mass
or to approach the sacraments, he cannot help but recognize our mixed motives; and,
usually, he refuses to be bought by our aid.”</span></p>
<p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14pt;">Frank O’Connor, it transpires, is on the Board of the Father Bob
Maguire Foundation. He is described as being a colleague and advisor to Fr Bob
for over 30 years. In his eulogy at St Patrick’s Cathedral he “told the service
the larrikin priest only wanted to make the world a better place.” (The
Guardian, Friday 5 May 2023) This struck a different note from the boisterous
anecdotal style of other eulogies at Bob’s funeral. “We know he’s done so much
and he’s inspired so many others to follow that path. The world is a better
place because of his work.” <br /></span></p>
<p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14pt;">A special sale of Fr Bob Maguire’s books is now happening in the
Carmelite Library, books being sold at $10, $5, and $2 each. You are invited to
visit the Library to claim some of these bargains. Each book is marked with a
memento stamp, as a reminder of a priest who thought before he spoke.</span><span style="font-family: "Cambria",serif; font-size: 14pt;"></span><span style="font-family: "Cambria",serif; font-size: 14pt;"></span></p><p style="background: white;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14pt;"> </span></p>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-87710206831216902023-06-20T19:11:00.001-07:002023-06-20T19:11:34.327-07:00R is for R**************<p><span style="color: #e69138;"><i> <span style="font-family: Cambria, serif; font-size: 14pt;">Two
essays written by Philip Harvey in response to the subject of the Brothers
Grimm fairy tale in Spiritual Reading Group on Zoom presented by Cecily Clark, Wednesday
21</span><sup style="font-family: Cambria, serif;">st</sup></i><span style="font-family: Cambria, serif; font-size: 14pt;"><i> of June, 2023</i>.</span></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">When
the crucial meaning of a story is a character’s secret name, a name no-one must
know, it seems a super-spoiler who uses the secret name for the story’s title. Even
to use the character’s initial R in re-telling the story is to limit the
possibilities of the secret name to one letter, rather than twenty-six. Be that
as it may, R raises all sorts of questions and conjectures, whether we know his
name or not. The original story is clear, he is a he. (Hehe!) R might be a
figment of the girl’s imagination. He may equally well be the unexpected answer
to her most desperate need. Unlike her, R can turn straw into gold. This is not
elemental monetizing for the girl, whose very life depends on being able to
turn straw into gold. Her interest is life itself, the desire to exist. So, as
well as his secret name, R could be called Saviour, the Tempter. He is the
Answer to her prayer, but he introduces his own Questions. R is a Q-figure, a mischief
maker who seems to hold the key to what will happen next. Problem being, her
father has actually claimed she can turn straw into gold. He is socially ambitious,
able to believe what he says at the time regardless of whether it’s true. The
king is very greedy. He is prepared to believe anything if it will extend his
power. He will kill the girl if she doesn’t turn straw into gold. That is a threat
and a promise. The king thinks this will make something happen, gold or death. Locked
in her room she weeps. Then R appears and turns straw into gold for her,
provided first she gives him her necklace, then her ring, and then a promise to
hand across her first-born child. Such is the king’s happiness at seeing so
much gold, he decides to marry the girl, poor though she be, and within a year
they have a child. Quite forgetting her promise, she encounters one day soon this
very same R, whose name may be Retribution or Repayment. She is even more
bereft at the thought of losing her child than of not turning straw into gold.
She, now the queen, had not imagined finding herself being in such a debt. This
is more serious than any riches. But R provides her with an Answer. If the
queen guesses his name, she keeps the child. Truly, it is extraordinary how
many names there are in the world, just starting with the letter R. Each one
possesses power well beyond its simple sound. For two days she comes up with an
abundance of simple sounds, but they’re all fool’s gold. He laughs, for none of
them are his name. On the third day a messenger tells the queen they had overheard
while walking in the forest a song about a name, sung by someone fitting R’s
description. It is the most extraordinary name and what were his parents thinking
at the time. When R returns the last time, she teases him with names like
Ruinator and Devil before spelling out this extraordinary name.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span><span style="font-family: Cambria, serif; font-size: 14pt;">R recoils in anger at being found out. He finds
himself being dragged into the earth, home of all that silent gold, and torn in
two. (Hehe!)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Skin
rumples that’s held tight by stilts, stilts of bones that may have known better
days, mobile maybe agile but somehow awkward and disjointed. Rumpelstiltskin
describes Rumpelstiltskin. Rumble of thunder, stilts of lightning, skeins of
sky. Etymology aside, the name sparks at nerve ends, reverberates a hundred
active verbs for danger. Though etymology is never simply an aside, as a name
radiates its own extraordinary connotations. Room pelt style scan. Ruin pulse
tilt skint. Rumpole Skilton. Always more than the sum of its parts. Germans
know no such thing as suffix-skin, skin a diminutive as we say munchkin.
Literally, as far as they’re concerned, rumpel rattle stilz post chen little
being something someone somehow makes noises with in the house, earth tremor
shakes, bumps in the night. The manikin of our undivided attention is a small
rattle, for a German, woodenly ringing the changes of those he chances upon.
His name is a child’s toy, he who would take a first-born child from its
mother’s care. A mother who would name her child more mellifluously than Romp
Bump Hell Stale Skimpy. What were his parents thinking? Throw the child a
rattle! That will keep him quiet, not. Keep him entertained for hours. Unforgettable
his name, actually, for a secret name no one’s supposed to know. Unforgettable
once you know the name, by which time its power has vanished, now you are left
with only the name, he having vanished into the earth. Again. Like a bedtime
story, once again. Like you, the child will live to tell the tale. Tell the
tale of the imp in all its simplicity. The imp with a limp, a chip on his shoulder,
a chimp of chance, a simple solitary alchemist. And how come he ended up like
that? Centuries later, still making trouble due to a lack of care?
Reepelsteeltje if you are Dutch, Rumplchimprcampr if you are Bohemian, Rompeltisquillo
if you happen to be Spanish, Europeans being as keen as anyone else to turn dry
grass into solid gold, fearful as anyone else to lose their child. Fearful of
being found out, fearful of things all falling apart. Ramble Steep Scorn. Well,
tell the bedside story again and overcome the fear. Great François Rabelais
(pseudonym, </span><span style="background: #F8F9FA; color: black; font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Arial;">Alcofribas Nasier)
invented the name, but who invented the story? </span><span style="font-family: "Cambria",serif; font-size: 14.0pt;">In Urdu they call him Tees Mar Khan and in
Hebrew, Ootz-li Gootz-li, the tiny terror who turns time’s turf to timeless
treasure and teases the tormented with tragedy tee-hee. She will live and
learn, she will be herself, she will trust to what’s best, she will trick him
at his own game, his fall will be fast. His name will be a by-word, it will go
up in lights, the movie of the book, the musical of the hit single, the author
will be signing copies during the launch. It will be a sensible name on that flyleaf,
with a joke anagram to help things along. Emit Skull Prints. <span style="mso-spacerun: yes;"> </span>Kismet Runt Spill. Lust Prism Tinkle. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-2457905681882241422023-06-16T16:10:00.008-07:002023-06-20T19:12:18.571-07:00The Rumpelstiltskin Effect<p><span face=""Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif" style="background-color: white; color: #050505; font-size: large; white-space-collapse: preserve;">You are all welcome to attend zoom Spiritual Reading Group, this coming Wednesday. Cecily Clark will takes us on an exploration of Spinning Straw into Gold – the Rumpelstiltskin effect, We read the fairy tale, then talk about what's going on. Wednesday 21 June, 10.30am to 12.00pm. </span></p><p><span face=""Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif" style="background-color: white; color: #050505; font-size: 15px; white-space-collapse: preserve;">Details here:</span> <a href="https://www.thecarmelitecentremelbourne.org/events/on-zoom-spiritual-reading-group-cecily-clark-on-spinning-straw-into-gold-the-rumpelstiltskin-effectwednesday-21-june-10-30am-to-12-00pm/">https://www.thecarmelitecentremelbourne.org/events/on-zoom-spiritual-reading-group-cecily-clark-on-spinning-straw-into-gold-the-rumpelstiltskin-effectwednesday-21-june-10-30am-to-12-00pm/</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSa6V2J1_fESvfXXBkwrKKEnANjL-afkbgljEJ5bWWvOBaASQ8shcJey4r4uOTVc_ng6pL0e63DDxIKCafABRTb3rQqSL6WTMP2qBtG7DlrAj3zspB_PKGBLwcxpjB--QSX5-ba_QQhVqq6Pm6qN9i-z7x9BOxOCrwxjrSdeXQrpipOSX53mGh6kD5/s252/rumpel%20ad.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="252" height="635" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSa6V2J1_fESvfXXBkwrKKEnANjL-afkbgljEJ5bWWvOBaASQ8shcJey4r4uOTVc_ng6pL0e63DDxIKCafABRTb3rQqSL6WTMP2qBtG7DlrAj3zspB_PKGBLwcxpjB--QSX5-ba_QQhVqq6Pm6qN9i-z7x9BOxOCrwxjrSdeXQrpipOSX53mGh6kD5/w640-h635/rumpel%20ad.png" width="640" /></a></div><br /><p><br /></p><p><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-5787114895984944752023-05-25T15:58:00.001-07:002023-05-25T15:59:53.025-07:00Carmelites' Archives and Library in Rome Opens to the Public<p style="text-align: center;"> <strong><span style="color: #222222; font-family: "Cambria",serif; font-size: 14.0pt; font-weight: normal; mso-bidi-font-weight: bold;">Days of Appreciation of the Ecclesiastical Heritage 2023</span></strong></p><p><strong></strong></p><div class="separator" style="clear: both; text-align: center;"><strong><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_swEfVsIJr5L9ZiBrzhNlFyUiy_TBo6bfWMoECTwNk5KYtvr_9newXIoCSEpxcuNsJXLYZ1OHPKKmVbGNzpNBXFDovChd0lbxXJlQqzG08hw7nserGPCPr2zvv7A7UngS7iobX5T6LPCYq4Ank9gPPU5WsrNWrZLiZ6qSRlqPxyLjHDracOwH68bT/s450/carmelite%20archive%20in%20rome.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="450" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_swEfVsIJr5L9ZiBrzhNlFyUiy_TBo6bfWMoECTwNk5KYtvr_9newXIoCSEpxcuNsJXLYZ1OHPKKmVbGNzpNBXFDovChd0lbxXJlQqzG08hw7nserGPCPr2zvv7A7UngS7iobX5T6LPCYq4Ank9gPPU5WsrNWrZLiZ6qSRlqPxyLjHDracOwH68bT/w400-h266/carmelite%20archive%20in%20rome.jpg" width="400" /></a></strong></div><strong><div style="text-align: center;"><strong><span style="color: #4a91c9; font-family: "Cambria",serif; font-size: 14.0pt; font-weight: normal; mso-bidi-font-weight: bold;">The Opening of the
General Archives and Library</span></strong></div></strong><p></p><p style="text-align: center;"><strong><span style="color: #4a91c9; font-family: "Cambria",serif; font-size: 14.0pt; font-weight: normal; mso-bidi-font-weight: bold;"> of the Order of the Carmelites to the Public</span></strong></p>
<p style="-webkit-text-stroke-width: 0px; background: white; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; widows: 2; word-spacing: 0px;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14.0pt;">The 2023 edition of the Days of Enhancement of Ecclesiastical
Cultural Heritage was held on May 13-21. Its theme was "Beyond the Slide.
Church Cultural Heritage: From Accessibility to Inclusion." The Carmelite
General Archives and Library took part with an event on May 19 at Centro
Internazionale San Alberto (CISA) in Rome. Both library and archives are houses
at CISA.</span><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14.0pt;">Three rounds of tours were given. Some 50 people attended,
including employees of the General Curia, professionals in the field, scholars,
as well as people curious to see the doors to the library on Via Sforza
Pallavicini open for the first time in 40 years.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14.0pt;">The tours consisted with the librarian and archivist, Mario
Alfarano, O. Carm., giving an introduction to the history and organization of
the archives and library. Sara Bischetti showed the library’s holdings and
research tools, highlighting some of the older items preserved in the library,
including incunabula (books printed before 1501) and <i>cinquecentine</i> (books
printed in the 16th century). The visitors were then able to explore the three
floors of the library holdings.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14.0pt;">In the archives, Simona Serci provided a short history and
evolution of the Order using a display of papal bulls and letters, records from
both general chapters and provincial chapters, documentation on the Carmelite
house at Traspontina, which was relocated decades after the unification of
Italy at what is now CISA but at the time was the International College of St.
Albert.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14.0pt;">The tours ended in the storeroom of the documentary section of
the General Postulation. This department is involved with the processes for the
causes of the Carmelite saints and blesseds. <o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14.0pt;">The visits ended with the blessing of the library by Tadeusz
Popiela, prior of CISA, inaugurating the new opening to the public.
Refreshments in the houses main hall followed with music by Loredana Birocci on
the piano. <o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14.0pt;">For 2023, 136 events took place around Italy. Thirty-nine of
these were done by museums, 33 by archives, 42 by libraries, 9 by churches, and
13 by dioceses. The days are promoted by the National Office for Ecclesiastical
Cultural Heritage and Worship Buildings of the Italian Bishops' Conference
together with AMEI - Association of Italian Ecclesiastical Museums, AAE -
Association of Ecclesiastical Archivists and ABEI - Association of Italian
Ecclesiastical Librarians and under the patronage of ICOM Italia (International
Council of Museums), ANAI- Italian National Archival Association and AIB -
Italian Library Association.<o:p></o:p></span></p><p class="MsoNormal" style="background: white; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="color: #222222; font-family: "Cambria",serif; font-size: 14.0pt;">-- CITOC 25 May 2023</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-9757069367697739752023-05-19T00:40:00.006-07:002023-05-19T00:41:43.971-07:00 WORLD, FAITH, CHURCH: The genius of THE TABLET John Tidey<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyHdq8ezV_x7eyyamxU921lVXcwCL1n5YUPXf7AWg77kDFcDdrHSTpL_mlU-2zobE_zo18AwJU08T3IyPIjo_2onFH-8fEoosoBqHxvATJ3Kq0awcXrpfqMUXWkDbGC817NeL76lXcphBIFmbnLY6nG5gcSDTbdaYjtWLyF7WUjyhRPuYIksxChVTc/s500/TABLET.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyHdq8ezV_x7eyyamxU921lVXcwCL1n5YUPXf7AWg77kDFcDdrHSTpL_mlU-2zobE_zo18AwJU08T3IyPIjo_2onFH-8fEoosoBqHxvATJ3Kq0awcXrpfqMUXWkDbGC817NeL76lXcphBIFmbnLY6nG5gcSDTbdaYjtWLyF7WUjyhRPuYIksxChVTc/w400-h400/TABLET.jpg" width="400" /></a></div><br /><p></p><p class="MsoNormal"><span style="color: red;"><i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;"><o:p> </o:p></span></i><span style="font-family: Cambria, serif; font-size: 12pt;">As part of the Spiritual Reading group program, John Tidey
delivered this paper on The Tablet of London at the Carmelite Library,
Melbourne, on Tuesday morning, the 16</span><sup style="font-family: Cambria, serif;">th</sup><span style="font-family: Cambria, serif; font-size: 12pt;"> of May 2023.</span></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">INTRODUCTION:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">My paper this morning has been a work in progress for 61
years. I arrived in England for the first time in 1962 and that was when I
encountered <i>The Tablet </i>through an organisation of Catholic journalists
and writers in London called <i>The Keys. </i>I didn’t meet the editor, Douglas
Woodruff, but I did meet Tom Burns, a future editor who would change <i>The
Tablet’s </i>direction and tempo; among others there at different times were
distinguished journalists of the calibre of Patrick O’Donovan (then a columnist
at <i>The Observer</i>) and Howard French, editor of <i>The Daily Sketch. <o:p></o:p></i></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">My recollection – at this considerable distance – is that <i>The
Keys </i>met regularly in a room at a pub called <i>The Cardinal </i>which was
not far from Victoria Station and Westminster Cathedral. I realised at the time
what a privilege it was for a 22- year- old from the south side of Brisbane to
be in such company.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>THE EARLY YEARS:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">After spending my working life in the newspaper industry I am
well aware of the collapse of trust and confidence world-wide in much of the mainstream
media. Painfully well aware in fact. And I agree with Tom Brokaw, the veteran
American journalist, when he said: ‘I think the most extraordinarily powerful
tool and the most destructive element in modern life is the current media.
Everybody has a voice ……but there is no way to verify what’s true and what’s
not.’<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Of course there are bright spots, among them magazines such as
the <i>Economist, Atlantic, The Spectator, The New Statesman. </i><span style="mso-spacerun: yes;"> </span>It may be in a smaller league, with a niche of
its own, but among the most admired and respected is <i>The Tablet, </i>the London
based international Catholic weekly. It is a gem. In print and digital
versions. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Last year a loyal reader wrote to <i>The Tablet </i>asking: ‘How
can one magazine cover the Catholic Church, in its beautiful and maddening
complexity, with such skill, such depth and such gorgeous prose and do so with
such a modestly -sized staff? <i>The Tablet </i>is a minor miracle and a
necessity for all thinking Catholics.’ <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">To some extent my remarks this morning are an attempt to
address that very perceptive question. <span style="mso-spacerun: yes;"> </span>I
am happy to email my paper to anyone who would like a copy.<span style="mso-spacerun: yes;"> </span><i><o:p></o:p></i></span></p>
<p class="MsoNormal"><i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">THE Tablet</span></i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;"> was founded in 1840 making it
the second oldest surviving weekly journal in the English language. [The <i>SPECTATOR
</i>appeared 12 years earlier and describes itself as ‘the oldest weekly
magazine in the world and the oldest general-interest magazine continuously in
print.’] <i>The Tablet’s </i>closest Catholic contemporary in the United Kingdom
is – or was – a weekly newspaper called <i>The Catholic Herald </i>which first
appeared in 1888. These days it is a monthly magazine titled, simply, <i>Catholic
Herald.</i><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">It is hardly surprising that in its 183 years of publication <i>The
Tablet </i>has had several changes of ownership and a number of “near death”
experiences. Throughout those years its position on the major issues of the day
has varied according to the stance of the editors, at least four of them
converts to Catholicism. In fact, <i>The Tablet </i>has had just eleven editors
– a number of them quite remarkable – and their legacy is the rich heritage of the
publication we know today. A glance at the style and contribution of each of
them helps explain how <i>The Tablet </i>survived - and why it survived.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">The first issue of <i>The Tablet </i>appeared on Saturday May
16, 1840, a decade before the restoration of the Catholic hierarchy in England.
The editor, Frederick Lucas, was a lawyer and a former Quaker and his creation
was a journal radical in politics but traditional in religion. It was Lucas who
chose the name and at 6d a copy it was an expensive purchase for that time. Just
in case anyone doubted its independence a quotation from the philosopher Edmund
Burke was inserted under the masthead of <i>The Tablet. </i>It declared: ‘My errors,
if any, are my own. I have no man’s proxy.’ <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">In its early years Lucas managed to fall out with the local
hierarchy, object to the establishment of diplomatic relations with the papal
states and successfully advocate the establishment in England of the recently
founded St Vincent de Paul Society. After a turbulent start the paper moved
from London to Dublin but its second proprietor and editor John Wallis (also a
lawyer and also a convert) brought it back to London where it remains to this
day. From the beginning <i>The Tablet </i>was robust, direct and a champion of
the underprivileged. But as Michael Walsh, author of the magazine’s
commemorative history noted, it was more remarkable for its invective than its
wit. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">[ Walsh’s history of <i>The Tablet </i>was published in 1990
and covered 150 years of struggle, achievement, turbulence and controversy.
Cardinal Basil Hume, Archbishop of Westminster at the time and a great admirer
of the magazine wrote the foreword. The commemorative history, he said, helped
dispel any lingering illusions about a united and confident pre-conciliar Church.]
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">In 1868 <i>The Tablet </i>was purchased by the Rev Herbert
Vaughan, just before the first Vatican Council which defined papal
infallibility. Vaughan – later Cardinal Vaughan – was a fairly well-to-do
member of an old Catholic family. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">At his death Vaughan bequeathed <i>The Tablet </i>to the
Archbishops of Westminster, any profits to be divided between Westminster
Cathedral and the Mill Hill Missionaries, the British Catholic missionary
society that he had founded. It would be nearly 70 years before the paper was
in lay hands again. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">From 1884 – 1920 <i>The Tablet </i>was edited by John George
Snead-Cox who occupied the chair for the longest period to date in the
journal’s history. It seems that his editorship consolidated the position of <i>The
Tablet </i>and raised it to the rank of a first- class periodical. As one observer
noted:<span style="mso-spacerun: yes;"> </span><i>The absolute and arbitrary
tone now disappeared altogether and the contents of the paper were
characterised by lucidity, courtesy and dignity.</i></span><i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;"><o:p> </o:p></span></i></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">In the 50<sup>th</sup> anniversary edition – 17 May 1890 –
Snead-Cox outlined the paper’s vision of its role and purpose when he wrote: <span style="mso-spacerun: yes;"> </span><i>The first object and the last – the only
reason for the existence of such a paper as The Tablet – is the hope that it
may render some humble but effective service for the cause of God’s church. </i><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">The Snead-Cox era saw a great strengthening of the
intellectual and literary content of <i>The Tablet. </i>The editor - by origin
an English country gentleman and a relative of the Vaughan family - was
naturally and by conviction a Conservative.<i> </i><span style="mso-spacerun: yes;"> </span>Controversies around “the Irish questions” of
those times resulted in many Catholics (‘particularly those of Irish origin or
Irish associations’) being strongly opposed to his views. Snead-Cox was also
strongly opposed to the <i>Women’s Suffrage Movement. </i>It seems that on all
major issues Snead -Cox as editor and Vaughan as proprietor were “in almost
instinctive agreement.” Snead-Cox also worked harmoniously with Cardinal Bourne
who followed Vaughan. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>By the early 1920s The
Tablet was in serious trouble – subscriptions drifted down, its financial
situation parlous and savage cuts in expenses considered necessary. In 1923 Snead-Cox’s
successor (James Milburn) died after less than three years in the chair and Ernest
Oldmeadow was named editor. In fact , G.K. Chesterton was (briefly) considered
for the role. <span style="mso-spacerun: yes;"> </span>In a previous life
Oldmeadow had been a non-conformist minister in Nova Scotia, wrote several
novels and founded a successful wine business. But the paper’s decline
continued. While The Tablet had never been “particularly sympathetic” to the
Church of England, under Oldmeadow it was even less so – scandalous on occasion
according to Walsh in his commemorative history of the paper.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Oldmeadow famously launched a savage personal attack on the
writer Evelyn Waugh, condemning his comic novel <i>Black Mischief. </i>Waugh
was a recent convert to Catholicism and Oldmeadow declared it ‘a disgrace to
anyone professing the Catholic name.’ But he refused to print the book’s title
or to name its publisher! A galaxy of Catholic writers and intellectuals rushed
to Waugh’s defence in <i>The Tablet </i>and elsewhere. People like the Jesuits
Martin D’Arcy and C.C. (Cyril) Martindale, as well as Eric Gill, Christopher
Hollis, Tom Burns and Douglas Woodruff. Eighteen months later Oldmeadow was at
it again counselling readers to spend ‘no money and no time’ in acquiring and
reading Waugh’s new novel, <i>A Handful of Dust.<span style="mso-spacerun: yes;"> </span></i><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">By 1936 Oldmeadow was gone (albeit unwillingly) and quite
suddenly <i>The Tablet </i>was back in lay hands; it was sold to a group headed
by Douglas Woodruff and Tom Burns – both of whom subsequently edited it,
Woodruff first. He had previously been on the literary staff of <i>The Times. </i>The
distinguished (London) <i>Observer </i>journalist Patrick O’Donovan said of his
old friend: ‘One thinks of him (Woodruff) as the great last survivor of the
Belloc, Chesterton and Baring group of joyous and combative and confident
Catholics who made being a Catholic for a time almost over-exciting and a
matter for the sort of pride that goes to support football teams. They made the
(Catholic) Church in England almost top heavy with lay brilliance.’</span><span style="font-family: Cambria, serif; font-size: 12pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Back in lay hands <i>The Tablet </i>became less “churchy.” The
paper took on a distinguished look, redesigned by Burns under the influence of
the typographer Stanley Morison. Leading Catholic writers, literary figures and
historians – both clergy and lay – appeared regularly, among them Graham Greene
and Evelyn Waugh, Hilaire Belloc, Ronald Knox, the historian Christopher Dawson
and the Jesuit Martin D’Arcy. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Waugh and Woodruff had met at Oxford and Waugh contributed
reviews, commentaries and letters to <i>The Tablet </i>while his friend was
editor. At the end of World War Two the first chapters of Waugh’s novel <i>Helena
</i>were published in <i>The Tablet. </i>After they appeared Woodruff urged him
to continue, declaring: ‘Ronnie Knox says it is the only book he has ever read which
gave him the feeling of what upper class 3<sup>rd</sup> Century life was like.’
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Waugh and Graham Greene had been friends since the late 1930s
– Oxford contemporaries, Catholic converts, their relationship “warmly formal”
according to the biographer Martin Stannard. When his novel <i>The Heart of the
Matter </i>appeared in 1948 Greene offended many Conservative Catholics but
Waugh presented a courageous response, defending his friend in <i>The Tablet. </i><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Greene’s contribution to <i>The Tablet </i>was quite substantial
and is preserved for the general reader in an attractive volume <i>Articles of
Faith: The collected Tablet journalism of Graham Greene. </i>His novel <i>Monsignor
Quixote </i>developed from a short story Greene gave his friend Tom Burns for a
Christmas edition of <i>The Tablet.</i> After Greene’s death Burns wrote of him:
‘It was always a stimulus to me that I had Graham’s moral support and general
approval throughout my editing of <i>The Tablet. </i>It was shown in
innumerable ways and not least by his agreeing to become a trustee of <i>The
Tablet </i>Trust.’ <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">In 1989, not long before Greene died, John Cornwell had interviewed
him for <i>The Tablet </i>on his faith, doubts and beliefs. He asked Greene: ‘What,
in the final analysis, does your religion mean to you”?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">‘It’s a mystery,’ Greene replied. ‘It’s a mystery which can’t
be destroyed, even by the Church.’ <i><span style="mso-spacerun: yes;"> </span><o:p></o:p></i></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Woodruff was to edit <i>The
Tablet </i>for 31 years. Every week it opened with what has been described as
‘a lengthy and magisterial survey of foreign affairs’ written by him. <span style="mso-spacerun: yes;"> </span>According to Woodruff there was not a British
embassy abroad nor a foreign embassy in London where the paper was not read. A
free copy was sent to the Pope each week via the diplomatic bag to Rome. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Under Woodruff the tone of the paper – and its politics –
could be described as conservative (with a small “c”) but he never let <i>The
Tablet </i>become a party political paper. By the 1950s <i>The Tablet </i>was flourishing
as never before. Circulation had crept up to 13,000. And how remarkable is
this? In 1951 the cover price increased for the first time since 1840 (sic). It
jumped from 6d to 9d a copy! <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Conservative or not, there was a storm of criticism when <i>The
Tablet</i> condemned the 1956 British and French invasion of the Suez Canal
zone, in concert with the Israelis. Woodruff insisted that the United Nations
was the appropriate forum to resolve the dispute with Egypt. The great event of
Woodruff’s final years as editor was The Second Vatican Council. He attended
every session, filing regular reports and commentaries. Yet as Michael Walsh
wrote in his commemorative history:<span style="mso-spacerun: yes;"> </span>‘Despite
all the positive reportage which <i>The Tablet </i>gave to the council under
Woodruff’s editorship, for him Vatican II destroyed the institution which he
had loved from his earliest years.’<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><v:rect filled="f" id="Ink_x0020_2" o:spid="_x0000_s1026" stroked="f" style="height: .3pt; margin-left: 11.25pt; margin-top: 10.85pt; mso-position-horizontal-relative: text; mso-position-horizontal: absolute; mso-position-vertical-relative: text; mso-position-vertical: absolute; mso-wrap-distance-bottom: 0; mso-wrap-distance-left: 9pt; mso-wrap-distance-right: 9pt; mso-wrap-distance-top: 0; mso-wrap-style: square; position: absolute; visibility: visible; width: .1pt; z-index: 251660288;">
<v:path fillok="f" insetpenok="f" o:extrusionok="f" shadowok="f">
<o:lock aspectratio="t" rotation="t" shapetype="t" text="t" v:ext="edit" verticies="t">
</o:lock></v:path></v:rect><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Tom
Burns was named editor of <i>The Tablet </i>early in 1967 despite attempts by
Woodruff to prevent the appointment. The two old friends fell out over the future
direction of the paper but Burns prevailed. As John Wilkins, the man who would
succeed Burns put it: ‘This was a springtime of the Church as renewal launched
by the Second Vatican Council took effect and Tom was in his element.’ Burns
had known both Chesterton and Belloc and loved to recall that part of his past.
But for him Vatican II was the fulfilment of his dreams for the Church.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Burns was 61 when he took charge.
He had spent his working life in publishing apart from wartime years in Madrid
where he was the British press attache. Woodruff, he thought , was not a great
editor ‘but as a leader writer he was beyond compare.’ Burns claimed that in those
final years of Woodruff’s editorship, which lasted through Vatican II, <i>The
Tablet </i>had failed to represent the emergent Church. <span style="mso-spacerun: yes;"> </span>Woodruff’s concern that the new editor would
change <i>The Tablet</i> radically turned out to be well founded. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">In the last issue before Burns
took over <i>The Tablet </i>had published a leaked copy of the report of the commission
that advised Pope Paul VI that the Church’s traditional ban on contraception
could not be sustained. The following year, 1968, Pope Paul set this conclusion
aside and restated the traditional teaching against contraception. <i>The
Tablet </i>respectfully disagreed in a powerful front page editorial entitled <i>Crisis
in the Church. </i>Years later Burns would write: I suppose that never in the
150 years of the paper’s existence has an editor of <i>The Tablet </i>been
presented with a problem of conscience and policy so grave as that which
confronted me with the publication of <i>Humanae Vitae, </i>the Pope’s final
word on birth control. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Yet Burns said that he had
received no word of reproof from Cardinal Heenan or any other authority in the
Church; and in his memoir, 25 years after the event, he noted: Catholics at
large have given their judgement. The question is now in the forum of
individual conscience. <i>The Tablet</i> Burns edited changed policy on both
Israel and Ireland, having previously been generally unsympathetic to both; and
it courted controversy with its position on the Falklands dispute (at least
until the shooting started) and the Nigerian Civil War of the late 1960s. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">After an upheaval in the holding
company of <i>The Tablet </i>the paper was sold to Burns in 1971, its
penultimate change of ownership before <i>The Tablet Trust </i>was established
as a registered charity. It was an indication of the paper’s authority and
respect – despite a worrying slide in circulation following the <i>Humanae
Vitae </i>editorial – that Burns was able to assemble an outstanding group of
trustees. The Trust was initially chaired by the Duke of Norfolk and included
in its ranks Sir John Hunt, the British Cabinet Secretary at the time, Graham
Greene and the writer and economist Barbara Ward. [The current Directors – 10
men and women – are listed on the title page of <i>The Tablet.</i>] <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">By the time Burns retired (at age
76) the paper’s circulation was creeping up again but the outlook was not good.
<span style="mso-spacerun: yes;"> </span>John Wilkins’ appointment as the ninth
editor of <i>The Tablet </i>probably saved it from closure. It was 1972 and not
only did he turn the paper’s fortunes around but it was said that his ability
to distinguish between news and Church PR made <i>The Tablet </i>essential
reading, even in the Vatican. Wilkins was a convert to Catholicism – like so
many of his predecessors – the difference being that he was inspired by Vatican
II. He had worked on <i>The Tablet </i>before spending ten years at the BBC and
then returning to edit the paper with great distinction. In his earlier years Wilkins
had served in Aden and Cyprus as a national service officer in The
Gloucestershire Regiment (he was an army boxing champion) and then read
classics at Clare College Cambridge. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Catherine Pepinster, the next
editor, found Wilkins a hard act to follow; his passion for his work and his
great pride in his writers were an inspiration to her. Pepinster was the first
woman to edit <i>The Tablet </i>and before her appointment in 2004 had been
executive editor of Fleet Street’s <i>Independent on Sunday </i>newspaper. She
was also well qualified academically: an honours graduate in economic and
social science with an M.A. in philosophy and religion from the University of
London. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">During her 13 years in the chair
Pepinster (remarkably) was responsible for <i>The Tablet’s </i>coverage of
THREE papacies: the death of John Paul II, the election of Benedict XVI and his
surprise resignation and the election of Pope Francis. And during her tenure <i>The
Tablet </i>was redesigned and – very important this – the paper’s online
presence greatly expanded and its social media arrangements created. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">As she left Pepinster told
readers: ‘It has been a pleasure and an absolute privilege to edit <i>The
Tablet </i>for the past 13 years. I have led a brilliant and committed team of
journalists who have reported as history is made in the Catholic Church. <i>The
Tablet </i>is able to draw on an unrivalled pool of writing talent from around
the world to explain to our readers what these changes mean and why they
matter.’ <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">For the past six years <i>The
Tablet </i>has been edited, with style and authority I would say, by Brendan
Walsh; the paper’s eleventh editor brought a formidable set of skills and
experience to the task. Walsh was a former Head of Communications for CAFOD the
Catholic Aid Agency, had been Publishing Director of Darton, Longman and Todd
and was for five years Literary Editor of <i>The Tablet. </i>On taking the
editorial chair he vowed: ‘I will do all I can to cherish and protect <i>The
Tablet’s </i>values and the quality of its journalism’. At this distance he
certainly appears to be doing so. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Pope Francis once described the
Church as “a house with open doors.” Walsh sees <i>The Tablet </i>in the same
way: taking a lively interest in everything and everyone. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">To deliver this vision he has at
his disposal a small tight knit team comprising a deputy editor, a chief
editorial writer (Clifford Longley) a couple of assistant editors, a full time
Rome correspondent (Christopher Lamb), a couple of production journalists, a
couple of reporters and arts, letters and literary editors. [The small
management team is headed by a Chief Executive Officer Amanda Davison-Young] <i>The
Tablet </i>correspondent in Australasia is Mark Bowling, an author and former
foreign correspondent who now works in Brisbane for <i>The Catholic Leader. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Part of the genius of <i>The
Tablet </i>– perhaps the most important part – is its ability to combine deep
affection and attachment to the Church while maintaining demonstrable independence.<span style="mso-spacerun: yes;"> </span>Nowhere has this been more in evidence than
in its coverage of the scandal of sexual abuse of children. Readers coming to <i>The
Tablet </i>for the first time might be surprised at the quality and extent of
its arts and book pages, an illustration of Walsh’s view that Catholicism is a
matter of the imagination, as much as of the intellect. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">As it has in the past <i>The
Tablet </i>is able to tap an outstanding stable of contributors, both writers
and reviewers: A.N. Wilson appears regularly. So do Mary Kenny, Paul Vallely,
Rupert Shortt and the Australian Jesuit Richard Leonard. There are dozens of
them from the UK and abroad. Guy Consolmagno SJ – Director of the Vatican
Observatory – is a regular columnist. Food for the spiritual journey (as
Brendan Walsh describes it) might be provided by Erik Varden, Sara Maitland or the
Dominican Timothy Radcliffe. John Haldane and James Alison write on philosophy
and theology.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">For well over 20 years Jonathan
Tulloch’s nature column <i>Glimpses of EDEN </i>has been published weekly, these
days on the back page. It is brilliant in its wonder and its simplicity and
more often than not is where I start perusing my print copy of the paper each
week. There are two pages devoted to readers’ letters each week and they
invariably illustrate what a broad readership <i>The Tablet </i>enjoys. I can’t
think of any other publication that publishes such a wide range of intelligent
views and opinions, many of them at odds with its own stated positions. In one
edition a few weeks ago those two pages included letters dealing with: The
hierarchy and the Latin Mass, the Ukraine conflict and the idea of a “just”
war, Scotland after Nicola Sturgeon, a plea for married clergy and – one on top
of the other – headings that noted “A season of joy” and “the nature of hell.”
Something for just about everybody there!<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">In 2017 <i>The Tablet </i>established
a Development Fund which has seen gifts and pledges targeted to projects
designed to strengthen and secure the paper’s future. One remarkable result is
that a complete archive beginning in 1840 is now available to subscribers. It
is easy to navigate and fully searchable. The Fund is also supporting major
investment in new digital products, outreach activities to schools and parishes
and a young journalist’s intern scheme. Frederick Lucas would surely be pleased
([perhaps surprised) to learn that after 183 years the future of his creation
seems assured.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">I will close by quoting from a
recent letter to <i>The Tablet </i>which illustrates how much and how widely <span style="mso-spacerun: yes;"> </span>this iconic <span style="mso-spacerun: yes;"> </span>publication is loved and appreciated. It
begins: <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt; text-indent: -36.0pt;"><i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">The Tablet has helped me greatly
in the different ministries in which I have served. It creates a space for
people to develop critical thinking that will enable them to see their faith as
a dynamic aspect of their life. I particularly appreciate how, in the spirit of
the Second Vatican Council, The Tablet looks at the issues facing the church
from an ecumenical perspective. It engages and challenges the reader to nurture
an authentic commitment able to stir up hope and communion in our divided
world. <o:p></o:p></span></i></p>
<p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt; text-indent: -36.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">The writer was Archbishop Ian
Earnest. He is Director of the Anglican Centre in Rome and the Archbishop of
Canterbury’s Personal Representative to the Holy See. THANK YOU. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt; text-indent: -36.0pt;"><span style="color: red;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">SOURCES fo</span><span style="font-family: Cambria, serif; font-size: 12pt; line-height: 107%; text-indent: -36pt;">r this paper include:</span></span></p><p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt; text-indent: -36.0pt;"><i style="text-indent: -36pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">The Tablet </span></i><span style="font-family: Cambria, serif; font-size: 12pt; line-height: 107%; text-indent: -36pt;">back
issues from the archives via Exact Editions.</span></p>
<p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt; text-indent: -36.0pt;"><i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">The Tablet</span></i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">: A
Commemorative History, 1840-1990 by Michael Walsh, <i>The Tablet </i>Publishing
Company, 1990.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt; text-indent: -36.0pt;"><i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">The Use of Memory: <span style="mso-spacerun: yes;"> </span></span></i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Publishing and Further Pursuits
by Tom Burns, Sheed & Ward, London, 1993.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt; text-indent: -36.0pt;"><i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Articles of Faith</span></i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">: The
collected <i>Tablet </i>journalism of Graham Greene. Edited with an
introduction by Ian Thomson. Signal Books, Oxford, 2006.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt; text-indent: -36.0pt;"><i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Evelyn Waugh</span></i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">: No
Abiding City 1939-1966 by Martin Stannard, J M Dent and Sons, London, 1992. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt; text-indent: -36.0pt;"><i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Patrick O’Donovan: </span></i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">A Journalist’s
Odyssey, Esmonde Publishing Limited, London, 1985. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt; text-indent: -36.0pt;"><i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Graham Greene – A vacillating
believer, </span></i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">by Ann M Begley in <i>America </i>magazine March 30- April 6,
2009. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: 36.0pt; margin-right: 0cm; margin-top: 12.0pt; text-indent: -36.0pt;"><i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">Celebrating 150 years of
continuous publication, </span></i><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;">by John Tidey, <i>The Catholic Leader, </i>Brisbane,
July 29, 1990. <i><span style="mso-spacerun: yes;"> </span></i><o:p></o:p></span></p>
<p class="MsoListParagraphCxSpFirst" style="margin-top: 12.0pt; mso-add-space: auto;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoListParagraphCxSpLast" style="margin-top: 12.0pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: Symbol; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-no-proof: yes;">John Tidey is a Melbourne
journalist and author and a parishoner at OLMC Middle Park. <span style="mso-spacerun: yes;"> </span></span><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top: 12.0pt;"><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 107%;"><o:p> </o:p></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-30680421214508982732023-05-14T15:32:00.002-07:002023-05-14T15:33:45.565-07:00Translations of Titus Brandsma into English<p> <b style="background-color: #fefefe; color: inherit; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;">Message from the Prior General of the Carmelite Order</b></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Verdana, Geneva, sans-serif; font-size: 12px;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 18px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Georgia, serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #e67e22;"><span style="border: 0px; color: inherit; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><b>The First Anniversary of the Canonization of St. Titus Brandsma</b></span></span></span></span></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span lang="EN-GB" style="border: 0px; color: inherit; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The 15th of May marks the first anniversary of the canonization of our brother Titus Brandsma, canonised along with nine other holy men and holy women, by Pope Francis in St. Peter’s Square in 2022. The memory of that celebration and the days that surrounded it still live in the minds and hearts of thousands of people all around the world. It was particularly moving for all of us who had the blessing of being in Rome when the event was taking place. </span></span></span></span></p><p style="background-color: #fefefe; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><span style="border: 0px; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span lang="EN-GB" style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Now one year later, we are aware of the good feeling that the memory, experience, and teaching of Titus has generated. </span><span style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #ffa400;">The work of translating his works into English continues, paving the way for many other translations in many other languages in the future.</span></span><span style="border: 0px; color: black; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> It is not that we want to be carried away only by this most recent to our long list of saints. It is rather that in these troubled times we take from Titus an assurance and a challenge. The assurance is that the way of life embraced by Carmelites in many different ways is “good and holy” (Rule Ch. 20). The challenge is to follow it in the selfless and knowledgeable way that Titus did. </span></span></span></span></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span lang="EN-GB" style="border: 0px; color: inherit; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">At this time, when war and violence are so much part of the headlines of every day, Titus reminds us of the awfulness of war, the awfulness of any kind of violence committed against the human person and the stark reality of a society that has lost the sense of any need of knowing God and his mercy. </span></span></span></span></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span lang="EN-GB" style="border: 0px; color: inherit; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Here again is the challenge to Carmelites, following the example of Mary our Mother, and of Elijah our disturber, and inspired by the life and example of Titus Brandsma, we will witness to the great desire of God for peace and unity in the world, a peace that comes from God, and that only God can give to those who are willing to receive it. </span></span></span></span></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span lang="EN-GB" style="border: 0px; color: inherit; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">May we see the end of all wars in our time and together build a world environment in which men and women of every age and nation and background will see that their dignity is respected and that with God’s grace they will grow to maturity, giving generously of their gifts for the building up of that world in which everyone can live a full and dignified life.</span></span></span></span></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px; margin-left: 40px;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span lang="EN-GB" style="border: 0px; color: inherit; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Miceal O’Neill, O. Carm.<br aria-hidden="true" />Prior General<br aria-hidden="true" />May 14, 2023</span></span></span></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-15255698346686347592023-05-11T21:55:00.003-07:002023-05-11T21:56:00.422-07:00Reading "Computers" by Judith Wright<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVLwqPdx-sznicQLenxEPeJ-_OukeO4Dr0K9XXWUSJ0rftgPjr2A2NRlNjy2lySJ8IFG-yBbAv36N2hqiYBvBj1pOoUWlWGi3hitXn-vuwJfIqUYy7g8SKiG3p_opzL93GlxIpMbBvYcu-uHgsOGhiDzdpCJ9EerDxLHa7Xo9VuxjLxJ77XiapS8H4/s1280/computers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="960" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVLwqPdx-sznicQLenxEPeJ-_OukeO4Dr0K9XXWUSJ0rftgPjr2A2NRlNjy2lySJ8IFG-yBbAv36N2hqiYBvBj1pOoUWlWGi3hitXn-vuwJfIqUYy7g8SKiG3p_opzL93GlxIpMbBvYcu-uHgsOGhiDzdpCJ9EerDxLHa7Xo9VuxjLxJ77XiapS8H4/w480-h640/computers.jpg" width="480" /></a></div><br /><p></p><p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">A
scrunched, fading bookmark fell from a book. It was a cutting, a newspaper poem
by Judith Wright entitled “Computers”. ‘Those things make me nervous/ but not
for the reasons you think,’ she begins, setting up the dichotomy that our ways
are not a poet’s ways. Notice her connection of ‘things’ with ‘think’. ‘Not because
they’ll take away our living;/ if we really liked living/ that wouldn’t matter,/we
could start living instead. You don’t need much money to live.’ She raises this
matter of ‘living’, which is about the most important subject in the world,
more important than computers. Notice how she introduces money from nowhere.
She seems to be making a link between computers and money, one that today has
become profound. Living, for Judith, is about creating, if we are to understand
the next verse aright: ‘Not because they’ll write poems or paint pictures;/ no one
who knows what poetry is/ or what pictures are/ could do more than laugh at
that one.’ This is a confident assertion of the originality of human creation,
made with a certainty based in experience. Laughter, by implication, is not a
computer’s forte. She turns her gaze to society and politics, as was oft her
wont: ‘Not because they’ll start breeding, set up an elite,/ exclude us, run
everything – /anyone who looks can see/ that’s happened already./ We could live
in the gaps between them.’ Judith doesn’t describe these gaps, though we can
intuit plenty of them in the lines of the poem. Instead, we have reached
halfway, which is when she turns to the true explanation of her nervousness. ‘No,
they make me nervous/ because they’re eating us;/ here a muscle, there a mind,/
an action or a vision.’ As elsewhere, she moves quickly from the particular to
the immensely general, invoking in spare lines an incipient negative mood formed
by computers. ‘See: when I said ‘vision’/ it made you smile./ No one now can
have a vision/ because They don’t have them.’ Her conversational mode works to
take us into her confidence. Then, having done so, goes up several registers: ‘We’re
ashamed to fall in love/ because They don’t do it. / We analyse poems instead
of reading them/ because that’s what computers do./ We think it’s square to be
human/ because They aren’t.’ Actually, it’s most computers that are square
(literally), not humans. But we grasp her meaning, computers are some irresistibly
cool invention we tell ourselves we cannot do without. ‘Square’ is the only
word that dates Judith’s poem, which googling reveals was published in the
Sydney Morning Herald on the 18<sup>th</sup> of June 1966. So, having assessed
the advent of computers, in a poem that bears close analysis, the poet does a
fresh turn of thought, leaving us fairly much squarely where computers started,
the root cause of the problem: ‘No, then it can’t be computers/ that make me
nervous./ It’s us. Perhaps we make them/ because we’re sick of humans.’ I smile
and pin Judith’s poem on the corkboard for further consideration.<o:p></o:p></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-80884686325443277392023-04-04T14:26:00.005-07:002023-04-04T14:27:19.590-07:00On becoming a Wikipedian<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiLrKDze8PxTcrcfdIluAJHtE1xsePLni1hj365IKpu7TJaPS4skF5M--Nb3EKeFxhPAtWoKa9__Q8_2fO-shD5DVhGstAtEbutdcFxQ6ZsobGZ-oKvCRmQXUMNzpsHrIZAsMesQ_INei2X4EqZmUf8PpHW6CL8SUyoQqcJwH8W397NzK_Fn4IH3kl/s700/escher%202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="700" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiLrKDze8PxTcrcfdIluAJHtE1xsePLni1hj365IKpu7TJaPS4skF5M--Nb3EKeFxhPAtWoKa9__Q8_2fO-shD5DVhGstAtEbutdcFxQ6ZsobGZ-oKvCRmQXUMNzpsHrIZAsMesQ_INei2X4EqZmUf8PpHW6CL8SUyoQqcJwH8W397NzK_Fn4IH3kl/w400-h266/escher%202.jpg" width="400" /></a></div><p class="MsoNormal"><i><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Original
photograph: Large room of the ‘Escher x nendo’ show called ‘Between Two Worlds’,
held between December 2018 and April 2019 at the National Gallery of Victoria.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></i><span style="font-family: Cambria, serif; font-size: 14pt;">The
other night I attended a zoom training session for novice Wikipedians. They are
the editors who create the phantasmagorical online encyclopedia from airy
nothing, make minute corrections, (Oxford comma) and spend hours ‘scraping’. We
were told by the Wikipedagogue, a word I just invented and probably should
patent immediately, there are 381,000 active editors at present, and that’s
just on the English language Wikipedia. This is but a fraction of those who
visit the behemoth each day, Wikipedia being the fifth biggest website in the
World.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">We
were introduced to different types of long-serving Wikipedians. For example,
there is the man with a bee in his bonnet about the use of ‘comprise’. He has
warrant. H. W. Fowler himself says the “lamentably common use of ‘comprise’ as
a synonym of ‘compose’ or ‘constitute’ is a wanton and indefensible weakening
of our vocabulary.” Our editor spends days correcting wrong sentence constructions
put together by hapless Wikipedians who seem not to know if ‘comprise’ refers
to the whole or parts of something. Some would describe his behaviour as
helpful, others as quixotic. This kind of personal mission though is not why any
of us were at the zoom class, even if we’re sticklers for grammar.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">We
were told that the editorial essentials comprise the following: it is an online
encyclopedia; entries have a neutral point of view and are factual; the content
is free; it does not have firm rules; and Wikipedians interact in a respectful
and civil manner. This last point might be assumed, but as the internet lacks
rules of etiquette, may be necessary. For every impeccable compiler of comprehensive
facts on the given subject, we could encounter a sensitivity reader, blinkered
historian, (Oxford comma) or vengeful cousin of the subject. Everything in entries
must be suitable for the public domain (no copyright), so must be suitably rewritten;
everything is referenced.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">All
of that sounds simple enough. The hard anonymous work begins collecting material
on the subject of our entry. This includes, but doesn’t comprise, the
aforementioned ‘scraping’. Those of us used to this being what corrupt
ex-presidents do with the bottom of the barrel, must adjust to its meaning as
the extraction of vast masses of data on websites and copying into other documents
and spreadsheets. We gaze at the prospect of ‘scraping’ for a living, even
though the work is voluntary, with results that comprise but a formal fraction
of the facts ‘scraped’. It dawned on us why the 19,000 articles devised in the
first year of Wikipedia (2001), have increased to 6 million by February of this
year. After one hour, armed with our own password, we could thus commence our
verbal re-arrangement of reality. If we are not side-tracked by our firm belief
in the Oxford comma, and the compulsion to add it to every article not currently
correct in that respect. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Report
by Philip Harvey</span></p><br /><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-65605092110163151022023-04-03T20:34:00.001-07:002023-04-03T20:35:14.885-07:00Meditative Silence WENDY BECKETT<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfYcRovi1M5BidUrSPaYghp7wDFvlJl2YHPZeVP1my3Z6QOax_8iu_IxuuqtyV7M1htdPldavNl-NcaRRambkREkxtA2REe0vCiMHHC-FHjq8M0TYDn-qilU5U0xz91fcCrdIUO7GUU2lOCymrUdd9sK3cYXcci4bxJcMky4E_SkX6Jn_3WBXiVTvP/s500/magdalen%20reading.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="427" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfYcRovi1M5BidUrSPaYghp7wDFvlJl2YHPZeVP1my3Z6QOax_8iu_IxuuqtyV7M1htdPldavNl-NcaRRambkREkxtA2REe0vCiMHHC-FHjq8M0TYDn-qilU5U0xz91fcCrdIUO7GUU2lOCymrUdd9sK3cYXcci4bxJcMky4E_SkX6Jn_3WBXiVTvP/w341-h400/magdalen%20reading.jpg" width="341" /></a></div> <span style="font-family: "Cambria",serif; font-size: 14.0pt;"> </span>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">‘The
Magdalen Reading’ by Rogier van der Weyden, circa 1435-38. <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“There
are layers of silence. Van der Weyden’s Magdalen is deeply silent, but she is
reading. Her mind is active, and willed into activity. This, then, is a
mitigated silence, since we are only receptive to the thoughts of what we are
reading. The Magdalen is obviously reading the scriptures, and meditating on
what she reads, but her silence can only be between passages of reading and
will be concerned with those passages. If we do not read with intervals of
silent reflection, we will understand only in part what we read. This is a
fractured silence, good but imperfect. We all need to read, to keep our spirit
alert, to have an inner texture, as it were, that can respond to the absolutes of
pure soundlessness, but this chosen, meditative layer, is the least
significant.” <br /></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Wendy
Beckett, in ‘Sister Wendy’s book of meditations’, Dorling Kindersley, 1998, pages
22-23. </span></p>
<p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-66837317094520753732023-04-01T14:43:00.005-07:002023-04-01T14:46:02.353-07:00NEW ONLINE CATALOGUE NOW AVAILABLE<p> <span style="color: #666666; font-family: Cambria, serif; font-size: 24pt;">The catalogue of the Carmelite Library is now available online again via our new system.</span></p><p><span style="color: #666666; font-family: Cambria, serif; font-size: 24pt;">https://divinity.on.worldcat.org/discovery</span></p><p><span style="color: #666666; font-family: Cambria, serif; font-size: 24pt;">Enter your search and then tick the </span><span style="color: #666666; font-family: Cambria, serif; font-size: 24pt;">Carmelite Library box to narrow the search to our collection.</span></p><p><span style="color: #666666; font-family: Cambria, serif; font-size: 24pt;">Circulation, however, is not yet 'live' and an in-house loans system is being maintained in the interim.</span></p><p><span style="color: #666666; font-family: Cambria, serif; font-size: 24pt;">For this reason, borrowers may receive overdue notices from the new system that are out of date. We ask for your patience with this minor glitch in the transition period from our old system to the new. </span></p><p><br /></p><p class="MsoNormal" style="background-color: white; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px;"><br /></p><p class="MsoNormal" style="background-color: white; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13.2px;"><br /></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-40091700795740168872023-03-19T16:48:00.006-07:002023-03-19T16:49:33.670-07:00Wisdom and Folly in William Shakespeare and the Book of Proverbs (1) CECILY CLARK<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj85w8v3sHanMBGxYcEk4YovuSE1U7pZnMkbmCWiH47_w4BtFXhve1_Hv3j5SHn1rnpP6yEkePq3aa6BurMGBUurgI0a0mf6nc1JyoTwTa-aVf7lXevx8AWHkrIAQYC8GnUTX13_Z7lPal0HsrH44piktwu7S3EZL6LlebXpjOtoS1CiVRpPuvS55dz/s859/shakespeare%20and%20proverbs.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="674" data-original-width="859" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj85w8v3sHanMBGxYcEk4YovuSE1U7pZnMkbmCWiH47_w4BtFXhve1_Hv3j5SHn1rnpP6yEkePq3aa6BurMGBUurgI0a0mf6nc1JyoTwTa-aVf7lXevx8AWHkrIAQYC8GnUTX13_Z7lPal0HsrH44piktwu7S3EZL6LlebXpjOtoS1CiVRpPuvS55dz/w400-h314/shakespeare%20and%20proverbs.png" width="400" /></a></div><br /><p class="MsoNormal"><span style="font-family: Cambria, serif; font-size: 14pt;">A
presentation to the Spiritual Reading Group given on the 15</span><sup style="font-family: Cambria, serif;">th</sup><span style="font-family: Cambria, serif; font-size: 14pt;"> of
March on Powerpoint via Zoom by Cecily Clark. Edited by Philip Harvey. © Cecily
Clark.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Despite
the relentless pursuit of knowledge in our troubled world with its wars, strife
and a pandemic, the question remains, “Has our knowledge really helped us? Is
knowledge different from wisdom?”</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">I
would like to consider how an understanding of Wisdom and Folly in William
Shakespeare and the Book of Proverbs can help us navigate our way through our
world. We will discover similarities and differences between Wisdom and Folly
in Shakespeare and Folly, and how they can enrich our own spirituality. By
reading aloud some of the dramatized texts and discussion, it is hoped people
will have a lived experience of Wisdom and Folly.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
Book of Proverbs. The Hebrew title misle, ‘proverbs of’, is an abbreviation of misle
slomo, ‘the proverbs of Solomon’. Proverbs is a guidebook for successful
living. Proverbs reveals how Israel’s distinctive faith affected their common life.
The purpose of the book is to instruct the pupil about the worth and nature of
Wisdom. It also warns the pupil about the dangers of Folly. Proverbs is a book
about sowing and reaping; those who sow Wisdom reap life while those who sow
Folly reap death.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">There
are three parts to the Book of Proverbs. (a) Chapters 1-16 The Proverbs of
Solomon (1015-975 BC); these chapters appear to be unrelated without any
grouping. (b) Chapters 17-22 The Words of the Wise (a collection of Israel’s
sages). They are grouped by theme: regard for the poor, respect for the king, discipline
of children, honour of parents, chastity. (c) Chapters 23-34 Additional Saying
of the Wise; theme: social responsibility.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">William
Shakespeare (26 April 1564, Stratford-upon-Avon-23 April 1616, Stratford-upon-Avon)
wrote 38 theatrical works, 154 sonnets, and two long narrative poems). The
majority of his works were written between 1589 and 1613. The plays between
1600 and 1606 are considered to be his most biblical (Hamlet, Antony and Cleopatra,
King Lear, Macbeth, Measure for Measure, Othello, Troilus and Cressida).
Contemporary audiences are becoming more biblically illiterate and often miss
his numerous biblical references, direct quotes or more attenuated.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">In
the Elizabethan era church attendance was compulsory. <a name="_Hlk130030442">Shakespeare
would have attended church regularly. </a>He was also familiar with several
Bible translations, especially the Great Bible of 1539 and the Geneva Bible of
1560. According to the scholar Emily Gray, there is also evidence that Shakespeare
would have studied the Bible independently of compulsory church services.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Other
influences on Shakespeare include the classical writers Cato, Cicero, Horace,
Ovid (Metamorphoses), Plautus, Seneca, Terence, <span style="mso-spacerun: yes;"> </span>Homer (The Iliad), Hesiod, and Virgil.
Classical Greek playwrights: Aeschylus, Sophocles, and Euripides. Plutarch
(46-199 CE) was the Greek philosopher who was the source for his Roman history
plays and the idea of the ‘tragic hero’. Petrarch (1304-1374) was the Italian
poet who laid the foundations for Renaissance Humanism and influenced
Shakespeare’s sonnets. Also the English poet Geoffrey Chaucer (1340-1400),
Spagnoli of Mantua (1447-1516), and Erasmus, in particular his comic
personification of Folly in ‘The Praise of Folly’ (1508). <span style="mso-spacerun: yes;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Shakespeare
frequently “quotes or adapts biblical phrases with the specific purpose of
strengthening the audience’s emotional reaction and deepening their investment
in the dramatic storylines, making extensive biblical knowledge crucial to
experiencing the emotional and thematic richness of his works.” (Noble in Gray)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">A
definition of Wisdom: “The fear of the Lord is the beginning of Wisdom, and
knowledge of the Holy One is understanding.” (Proverbs 9:10) A definition of
Folly: “Fear of man will prove to be a snare, but whoever trusts in the Lord is
kept safe.” (Proverbs 18:2)</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Further
definitions: “When pride comes, then comes disgrace, but with humility comes
wisdom.” (Proverbs 11:2) “Whoever fears the Lord walks uprightly, but those who
despise him are devious in their ways.” (Proverbs 14:2)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">In
‘As You Like It’, Shakespeare writes: “A fool thinks himself to be wise but a
wise man knows himself to be a fool.” Compare this with Proverbs 15: 2: “The
tongue of the wise commands knowledge but the mouth of the fool gushes folly.”
And here are more Shakespearean definitions of Wisdom and Folly:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“Give
every man thy ear, but few they voice.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“How
far that little candle throws its beams! So shines a good deed in a naughty
world.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“What’s
done can’t be undone.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“This
above all; to thine own self be true.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
devil can cite Scripture for his purpose.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“Sweet
mercy is nobility’s true badge.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“Talking
isn’t doing. It is a kind of good deed to say well; and yet words are not
deeds.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“Words
without thoughts never to heaven go.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“All
the world’s a stage, and all the men and women merely players. They have their
exits and their entrances; and one man in his time plays many parts.”</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">In
Proverbs, Wisdom and Folly are personified. Interestingly, thy are all female
characters. Lady Wisdom and Lady Folly are two examples. This makes an
interesting link with Shakespeare’s theatrical characters because they too are
shown to have personal features or characteristics.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Here
is a character of Wisdom in Proverbs 9:1-12<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>Lady Wisdom:<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Wisdom has built her
house; she has hewn out its seven pillars.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">She has prepared her meat
and mixed her wine; she has also set her table.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">She has sent out her
maids, and she calls from the highest point of the city.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“Let all who are simple
come in here!” she says to those who lack judgment.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“Come, eat my food, and drink
the wine I have mixed.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Leave your simple ways and
you will live; walk in the way of understanding.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Whoever corrects a mocker
invites insult; whoever rebukes a wicked man incurs abuse.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Do not rebuke a mocker or
he will hate you; rebuke a wise man and he will love you.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>Instruct a wise man and he will be wiser still;
teach a righteous man and he will add to his learning.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>The fear of the Lord is the beginning of
wisdom, and knowledge of the Holy One is understanding.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">For
through me your days will be many, and years will be added to your life.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">If
you are wise, your wisdom will reward you; if you are a mocker, you alone will
suffer.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Characteristics
of Lady Wisdom:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Hard
worker.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Shows
good judgement.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Calls
and instructs the simple ones in understanding and wisdom.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Doesn’t
correct those who mock because they will retaliate.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">A
wise person will accept correction.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">A
wise person will increase in their wisdom and understanding through instruction.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Fearing
the Lord is Wisdom.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Knowledge
of God is understanding.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">A
wise person prospers while a foolish one suffers.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Comparing
Lady Wisdom with Silvia from ‘Two Gentlemen from Verona’. This play is a comedy
that centres on two pairs of lovers, Proteus and Julia, and Valentine and
Silvia. When the play begins, Valentine leaves Verona for Milan while his best
friend Proteus stays behind to woo Julia. Silvia. Daughter to the Duke and beloved
of Valentine, also sought after by Proteus and Thuria. Silvia commiserates with
Sebastian over the wrong that Proteus has done to Julia. She escapes her father’s
palace with the help of Sir Eglamour, who abandons her at the sight of the
outlaws.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaus3_nxPYYDuarZnrIJDia-TFwG50fA_3q51t1HZ_QI55XnM6cLCltMj_WAvR34grLfNcdMTr3paZwsY43E5UEgQTxb2CBU_A-RgllWY5z85JiDKFkbP3jK_OA0LQBfzlhLbyDG2LyrJX0nPToyv12ZgqbklzM3A-WrkimPsoQ-6aKfDwvXs21KIV/s1001/silvia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1001" data-original-width="748" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaus3_nxPYYDuarZnrIJDia-TFwG50fA_3q51t1HZ_QI55XnM6cLCltMj_WAvR34grLfNcdMTr3paZwsY43E5UEgQTxb2CBU_A-RgllWY5z85JiDKFkbP3jK_OA0LQBfzlhLbyDG2LyrJX0nPToyv12ZgqbklzM3A-WrkimPsoQ-6aKfDwvXs21KIV/w299-h400/silvia.jpg" width="299" /></a></div><br /><p></p>
<p class="MsoNormal"><span style="font-family: Cambria, serif; font-size: 14pt;">Summary
of Wisdom in Silvia:</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Holy
and wise.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Shows
beauty in kindness.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Helpful.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Shows
humility even in success and popularity.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Shows
boldness but also loyalty.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Shows
morality and fidelity.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">And
comparisons with Proverbs:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“Charm
is deceitful, and beauty is vain, but a woman who serves the Lord is to be
praised.” (Proverbs 31:30)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“Don’t
ever forget kindness and truth. Wear them like a necklace. Write them on your
heart as if on a tablet. Hen you will be respected and will please both God and
people.” (Proverbs 3:3-13)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“She
opens her mouth with wisdom, and the teaching of kindness is on her tongue.”
(Proverbs 31:26)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Wisdom
characters in Shakespeare are found, for example, in the paradoxical nature of
the tragic heroes – both noble and yet flawed. The flawed hero is biblical, consider
Moses, King David, and Jonah. Marcus Brutus in the play ‘Julius Caesar’ is
shown as ethical, patriotic, reasonable, and shows selflessness. Banquo in ‘Macbeth’
is shown as suppressing ambition.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Wisdom
in Folly. There is a range of fools in Shakespeare, purely for entertainment,
laughable, incompetent, mischievous. The purpose of the wise fool however is
that “they confound and confuse; they encourage speculation; they serve as
mediator between play and audience; they expose follies and faults in other
characters … The wise fools both mock and criticise the flaws of other
characters and of society; often, ‘in the laughter of fools the voice of wisdom
is heard.’” (Brudevold)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Continued
at (2)<o:p></o:p></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-33028407201131593732023-03-19T16:44:00.002-07:002023-03-19T16:45:10.787-07:00Wisdom and Folly in William Shakespeare and the Book of Proverbs (2) CECILY CLARK <p><span style="font-family: Cambria, serif; font-size: 14pt;">A
presentation to the Spiritual Reading Group given on the 15</span><sup style="font-family: Cambria, serif;">th</sup><span style="font-family: Cambria, serif; font-size: 14pt;"> of
March on Powerpoint via Zoom by Cecily Clark.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p><p> Continued from (1)</p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">‘Twelfth
Night’ is a romantic comedy. The twins Sebastian and Viola are separated in a
shipwreck and find themselves on an island called Illyria. Orsino is in love
with Olivia but rejects his advances. He sends Cesario (really Viola) with love
letters to woo Olivia on his behalf. Unfortunately for the Duke, Olivia is
taken in by Cesario’s disguise and falls in love with him. Sebastian arrives,
causing a flood of mistaken identity and marries Olivia. Viola then reveals she
is a girl and marries Orsino.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">In
Act 1, Scene 5 Antonio is brought to talk with Orsino an upon seeing Cesario,
accuses him of betrayal. Sebastian arrives and apologizes for fighting with Sir
Toby. The twins discover they are both alive. Orsino’s fool, Feste brings a
letter from Malvolio, and on his release, Maria’s letter is revealed as fraudulent.
Feste is a character of Wisdom in Shakespeare.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Feste:
Wit, an’t be thy will, put me into good fooling!<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Those
wits, that think they have thee, do very oft<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">prove
fools; and I, that am sure I lack thee, may<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">pass
for a wise man: for what says Quinapalus?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">‘Better
a witty fool, than a foolish wit.’<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">[Enter
Olivia with Malvolio]<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">God
bless thee, lady!<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Olivia:
Take the fool away!<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Feste:
Do you not hear, fellows? Take away the lady!<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Olivia:
Go to, you’re a dry fool; I’ll no more of you:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">besides,
you grow dishonest.</span></p><p class="MsoNormal"><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">In
summary, Feste is a Wisdom figure in ‘Twelfth Night’ as:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">He
refers to Olivia, a wealthy, beautiful and noble Illyrian lady, as a fool; in so
doing he is sending up the class system.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">He
challenges what Wisdom and Folly really are; people who consider themselves
wise because of their social standing but lack insight or substance are shown
to be foolish.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">People
who may not have social status can have more insight and substance and can be
considered to have more wisdom.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
biblical view of Wisdom in Folly:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“True
wisdom comes only from God, and is virtually opposed to the worldly wisdom
which man uses to justify his own fallen nature.” (French)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“But
God hath chosen the foolish things of the world to confound the wise, and God
hath chosen the weak things of the world, to confound the things which are
mighty.” (1 Corinthians 1:20)</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">‘The
Merchant of Venice’ was written between 1596 and 1598. A merchant in Venice
(Antonio) defaults on a large loan provided by a Jewish moneylender (Shylock).
Antonio, who is antisemitic, takes a loan from Shylock to help his friend to
court Portia. As Antonio is unable to repay the loan, Shylock mercilessly
demands a pound of his flesh. The heiress Portia, now the wife of Antonio’s
friend, dresses as a lawyer and saves Antonio.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">In
Act 4, Scene 1 Antonio and Shylock come face to face in a courtroom in Venice.
Antonio has failed to pay back the money on time and according to the terms of
their agreement, Shylock is now entitled to take a pound of Antonio’s flesh.
Shylock insists on this pound of flesh and insists that if the Duke refuses him
it will make a mockery of Venice and its entire justice system. The Duke
insists that the court hear the opinion of a young and learned lawyer named
Balthazar. Portia enters disguised as Balthazar and tells Shylock that Venetian
law is on his side but begs him to show mercy in her ‘mercy’ speech. <o:p></o:p></span><span style="font-family: Cambria, serif; font-size: 18.6667px;">Portia’s speech:</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvy9mVa2lWd6JT68UqFrNlTCrl1udCEw3Wfkw7LbnVZ3gq0w-_9tD0fcI-z1DDpYHkS27VxOCEHfuHmsFgDEMtR5ZIo3KXBeoBaTEk4g1X-Z6ugLyCjYRueeXVPxdraoaQRbdoMUhSor29AtQIPPqoR8Be9c1D-yQQm19Kei6rZIKqQ6rvxOJFuMDE/s512/portia%202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="512" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvy9mVa2lWd6JT68UqFrNlTCrl1udCEw3Wfkw7LbnVZ3gq0w-_9tD0fcI-z1DDpYHkS27VxOCEHfuHmsFgDEMtR5ZIo3KXBeoBaTEk4g1X-Z6ugLyCjYRueeXVPxdraoaQRbdoMUhSor29AtQIPPqoR8Be9c1D-yQQm19Kei6rZIKqQ6rvxOJFuMDE/w400-h400/portia%202.jpg" width="400" /></a></div><br /><p></p>
<p class="MsoNormal"><span style="font-family: Cambria, serif; font-size: 14pt;">Characteristics
of Wisdom in the character of Portia:</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Delivers
the value of Godly Wisdom in the notion of Mercy.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Mercy
is not forced.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Mercy
is from God.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Explains
that earthly power can create fear whereas Mercy is from heaven and is
necessary for all people.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Earthly
power is temporal whereas power that displays Mercy reveals Godly Wisdom.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Then
there is a character of Folly in Proverbs 9:13-18<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Lady
Folly:<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The woman Folly is loud;
she is undisciplined and without knowledge.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">She sits at the door of
her house, on a seat at the highest point of the city,<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>Calling out to those who pass by, who g
straight on their way<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“Let all who are simple
come in here!” she says to those who lack judgement.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“Stolen water is sweet;
food eaten in secret is delicious!”<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -18.0pt;"><!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 14.0pt;">But little do they know that
the dead are there, that her guests are in the depths of the grave.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">There
are other personifications of Wisdom and Folly in Proverbs. Wisdom is the wife
of noble character (Proverbs 31). She can be both literal and representative of
the faithfulness of God’s people to Him. Folly is seen in the adulteress and
harlot (Proverbs 7). Biblical harlotry represents people’s unfaithfulness to
Yahweh, e.g. Jerusalem as an adulteress wife (Ezekiel 16), Hosea marrying the
prostitute Gomer (Hosea), and the harlot of Babylon (Revelation 7).</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Other
characters of Folly in Shakespeare include the tragic heroes, Hamlet, Othello, Macbeth,
and King Lear. The word ‘tragic flaw’ is from the Greek idea of hamartia, used
by the philosopher Aristotle in the Poetics. A ‘tragic flaw’ in Shakespeare is
a character or personality trait of a protagonist that leads to his or her
downfall. This ‘folly’ leads to death whereas in Proverbs wisdom leads to life,
but folly also leads to death in Proverbs. Villains are characters of Folly,
e.g. Iago, Richard III, Claudius, Proteus, Regan, Lady Macbeth, and Angelo. As
well as lovesick lovers like Malvolio, whose words and actions are socially
inappropriate and socially challenged.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Tragic
heroes display Folly. It is as though the tragic heroes were destined to fail
because of their tragic flaws; this displays the notion of Fate. Hamlet’s flaw
was procrastination and he was killed by Claudius. Othello’s flaw was that he
had internalized the prejudices of those who surrounded him and as a result of
his jealousy murders Desdemona then kills himself. Macbeth’s flaw was ambition
and he was killed by Macduff. King Lear’s flaw was that that he valued
appearances above reality and he died from grief at the loss of his beloved
daughter.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">The
tragic characters are controlled by Fate. Philosophy on the concepts of destiny
and fate has existed since the Hellenistic period with groups such as the
Stoics and Epicurians. In Greek mythology, the Fates were divine beings who
personified the birth, life, and death of humankind. The Ancient Greeks
believed that the actions of humans were predestined. Even though humans had
free will, the Fates knew their ultimate choices and actions. Hamlet will say
to the ghost of his father: “Haste me to know’t; that I, with wings as swift as
meditation or the thought of love, may sweep to my revenge.” (Act 1, Scene 5)</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Conclusions
about Wisdom and Folly in Shakespeare and Proverbs:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Central
to Wisdom in Proverbs is the fear of the Lord, which leads to life, rather than
fearing man.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Folly
in Proverbs is when people don’t fear God or his ways.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Shakespeare
appears to be a Renaissance Humanist where man takes centre stage rather than
God.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">While
Shakespeare’s works reveal that he has been immersed in the Bible, scholars say
his faith is elusive.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">I
believe he saw himself as having Wisdom in his own insights about human nature,
the human condition and in creating plays with spectacular word plays.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">He
also seems to see paradox and contradictions in many people and situations.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">In
the Book of Proverbs and the Bible in general, God gives us hope even when we
fail, through his grace and through redemption.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Shakespeare
reflects something closer to Fate, which leaves one with less hope.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-family: Cambria, serif; font-size: 14pt;">What
can we learn from Proverbs and Shakespeare about facing “the slings and arrows
of outrageous fortune”?</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">From
Shakespeare:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">A
wealth of wise words.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">We
can learn about human personalities and behaviour and the consequences of actions
and thoughts on people.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
role of the artist creatively communicating Wisdom and Folly through drama.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">From
Proverbs:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">We
can learn to honour God and his guidance for our lives; this helps us to reap
health, life and His protection.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">We
can learn to care more about what God thinks about us than people, following
Him more than people.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“There
is surely a future hope for you, and your hope will not be cut off. (Proverbs
23:18)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">©
Cecily Clark 2023<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">SOURCES<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Siri
M. Brudevold. The wisdom in folly : an examination of Shakespeare’s fools in
Twelfth Night and King Lear. Scripps Senior Theses, 2015: <a href="https://scholarship.claremont.edu/scripps_theses/681/">https://scholarship.claremont.edu/scripps_theses/681/</a>
<span style="mso-spacerun: yes;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="background: white; color: #242424; font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Carolyn French. Shakespeare's
"Folly": King Lear.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="background-color: white; color: #242424; font-family: Cambria, serif; font-size: 14pt;">Darryl J. Gless,
Shakespeare, biblical interpretation, and the elusiveness of meaning.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Emily
Gray. </span><span style="border: 1pt none windowtext; color: #201f1e; font-family: Cambria, serif; font-size: 14pt; padding: 0cm;">The Bard and the Word : the influence of the
Bible on the writings of William Shakespeare. Thesis at the University of Tennessee
at Chattanooga, 2018: <a href="https://scholar.utc.edu/honors-theses/133/">https://scholar.utc.edu/honors-theses/133/</a></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="background-color: white; color: #242424; font-family: Cambria, serif; font-size: 14pt;">Martin Lings. Shakespeare's
window into the soul: the mystical wisdom in Shakespeare's characters.</span><span style="background-color: white; color: #242424; font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="background: white; color: #242424; font-family: "Cambria",serif; font-size: 14.0pt; mso-bidi-font-family: Helvetica;">Peter Milward. Shakespeare's
religious background.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-89254650397808539002023-03-19T14:42:00.000-07:002023-03-19T14:46:20.740-07:00How to catalogue a chatbot<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja23tAwZwl-JTSI_JVifkkLWv48Uu2ufydnLZAOgGtwfJFzCN8N927q-qjnhHlqzCbHAXTuPtIxk2W2cD6mqVF7BjrcUw-52w3SMRJYiToaIzUZQPPLTxyyQoN9We9tfB-yIHhpFHrgDIhddZCRj54JxN9wXaX5cdp0xGCjMRUuyjz3sI-x4R7bmYX/s1280/Iso-mandala%20No.%2033a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="960" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja23tAwZwl-JTSI_JVifkkLWv48Uu2ufydnLZAOgGtwfJFzCN8N927q-qjnhHlqzCbHAXTuPtIxk2W2cD6mqVF7BjrcUw-52w3SMRJYiToaIzUZQPPLTxyyQoN9We9tfB-yIHhpFHrgDIhddZCRj54JxN9wXaX5cdp0xGCjMRUuyjz3sI-x4R7bmYX/w300-h400/Iso-mandala%20No.%2033a.jpg" width="300" /></a></div><br /><p> Some thoughts after reading a couple of questions on an e-list:</p><p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">How
would a student reference online forms of AI if allowed to use them? What is the
citation format? This was never a question until this year because this year is
the lift-off, the launch without champagne breaking on the bow, of the chatbot.
The chatbot generates human-like text prompted, we believe, by actual humans.
Poetry, which makes what is plain, mysterious and what’s mysterious plain, reads
of this invention with the same mixture of consternation and curiosity as other
fields of human enquiry. While cataloguers, those pre-eminent practitioners of
citation, ask the very pre-2023 question, who is responsible for the work in
hand? Anecdotal evidence in these early stages of launch suggest that
AI-generated texts are, at best, co-authored; the two authors being human and
machine. This simple equation breaks down as soon as we see that the machine
contribution may be drawn from any number of unknown and unacknowledged authors
who produced their own sentient sentences decades or even centuries before they
were chatbottled. Is the catalogue record going to include all of them? Is the
thesis bibliography about to list single citations as long as your arm? The
solution in the launch period is to cite the link, but what happens when link
goes clink? Authorship is sacrosanct, certainly now since it is being found
that its sanctity is under attack. When I apply AI to the sermons of John Donne,
it would take a Donne-like ego to claim they were my words, or his for that
matter. The one responsible for the work in hand (or screen, perchance) is the
mysterious third person, or in fact non-person, that convention calls
Anonymous. Chatbots are generating more anonymous material in a short time than
every town crier and pamphleteer recorded in state libraries worldwide. Respectability,
or simple honesty, might like to attach Pseudonymous to its text-based
productions, though pseudonyms are one of a cataloguer’s most time-consuming rabbit
holes. It’s quite enough trying to deal with the Revd. Charles Lutwidge Dodgson’s
never-ending mathematical games with words anyway, without having to work out
when or if he’s Lewis Carroll as well. Pseudonyms will proliferate, each more
difficult to trace than the last one, until libraries will be required to
advertise for a Pseudonyms Cataloguer, or similar. Chatbots might be in the
honeymoon period, but ask not for whom the bell tolls. The anonymous chatbot
cannot speak for you, but can only generate what it has been told. For this
reason it is not a human with a name and the gift of knowing past, present, and
future. Once a sentient human has used the pseudonym Frumious Bandersnatch for their
co-authored chatbot essay, can anyone else use Frumious Bandersnatch, or will
that cause a clash of name authorities? <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIVwwKWt5uYMUEXIyz8Kn4717J3hwlkqats6iV7N1q92nbgfQAj_KtTUb3r92RCP_XtoLzphklutV9-u-bjpOHRGq5-DvNCp_Q0PafgXYG0MgVG3bQWEANUZhI8B3cLlSQqBvOq-obRAoWqvfm8IepYjUyZvIGUKhh84OLFt1IfWEsMsiUneIfbmbS/s1280/Iso-mandala%20no.%2033b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIVwwKWt5uYMUEXIyz8Kn4717J3hwlkqats6iV7N1q92nbgfQAj_KtTUb3r92RCP_XtoLzphklutV9-u-bjpOHRGq5-DvNCp_Q0PafgXYG0MgVG3bQWEANUZhI8B3cLlSQqBvOq-obRAoWqvfm8IepYjUyZvIGUKhh84OLFt1IfWEsMsiUneIfbmbS/w400-h300/Iso-mandala%20no.%2033b.jpg" width="400" /></a></div><br /><p></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-3854568229838072522023-03-15T22:02:00.000-07:002023-03-15T22:03:09.915-07:00 Activities of the Carmelite General Library<p> from <span style="background-color: white; color: #424242; font-family: "Segoe UI", "Segoe UI Web (West European)", "Segoe UI", -apple-system, BlinkMacSystemFont, Roboto, "Helvetica Neue", sans-serif; font-size: 20px; font-weight: 600;">36/2023: CITOC online Update - March 15, 2023</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Rp1iGi_WiDxBs0XuEwlVGS-W7kEsAxBilARJ3SbXz7yJsLf1SppKAwiYUjju46ABTY0MJ8coABZzy93dIXR3RdsfW4x4h-9WA-0ewuFA9b-rRkChVsnr6bbE_aJP7J11_p3Se8nkdEdukapYLnh3f-j79xyYjqYZsvjkDXsIguZ9LoA0_-hUi23t/s560/Library.General.Rome.7.13.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="318" data-original-width="560" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Rp1iGi_WiDxBs0XuEwlVGS-W7kEsAxBilARJ3SbXz7yJsLf1SppKAwiYUjju46ABTY0MJ8coABZzy93dIXR3RdsfW4x4h-9WA-0ewuFA9b-rRkChVsnr6bbE_aJP7J11_p3Se8nkdEdukapYLnh3f-j79xyYjqYZsvjkDXsIguZ9LoA0_-hUi23t/w400-h228/Library.General.Rome.7.13.png" width="400" /></a></div><strong style="color: #222222; font-family: Montserrat, Verdana, Geneva, sans-serif; font-size: 15.2px;"><span style="border: 0px; color: #e67e22; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 18px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Georgia, serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><p><strong style="color: #222222; font-family: Montserrat, Verdana, Geneva, sans-serif; font-size: 15.2px;"><span style="border: 0px; color: #e67e22; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 18px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Georgia, serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><br /></span></span></span></strong></p>Activities of the Carmelite General Library</span></span></span></strong><p></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: white; border: 0px; color: #222222; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Carmelite General Library (BiGOC), resulting from the merger of the General Library and the Carmelite Library located at the International Center of St. Albert (CISA), was enrolled in the Registry of Cultural Assets and is present on the BeWeb portal of the Italian Bishops' Conference (CEI). This enrollment made it possible to join the CEI's projects, particularly the computerized cataloging system, which will replace the two previous catalogs.</span></span></span></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: white; border: 0px; color: #222222; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">BiGOC is now offering new services to users: a) the updated Regulations </span><em style="color: #222222; font-family: Montserrat, Verdana, Geneva, sans-serif; font-size: 15.2px;">ad experimentum</em><span style="background-color: white; border: 0px; color: #222222; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> on access and consultation; b) the BiGOC website: <a class="ms-outlook-linkify" href="http://www.bibliotecaocarm.com/" style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">www.bibliotecaocarm.com</a>; c) the mailing list to inform about the latest acquisitions (books and journals) and BiGOC activities. </span></span></span></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: white; border: 0px; color: #222222; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: Montserrat, Verdana, Geneva, sans-serif; font-size: 15.2px;">Those who would like to be added to the mailing list can write to the BiGOC email: </span><span id="cloak93a93470dbafb422173bbd4212734d36" style="float: none; font-family: Montserrat, Verdana, Geneva, sans-serif; font-size: 15.2px; margin: 0px; padding: 0px;"><a href="mailto:biblioteca.carmelitana@gmail.com" style="color: #4a91c9; text-decoration-line: none;">biblioteca.carmelitana@gmail.com</a> </span></span></span></span></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px; text-align: center;"><strong><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 10px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">+ + +</span></span></strong></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><strong><span style="border: 0px; color: #e67e22; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 18px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Georgia, serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Actividades de la Biblioteca General Carmelita</span></span></span></strong></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">La Biblioteca General Carmelita (BiGOC), nacida de la fusión de la Biblioteca General y la Biblioteca Carmelita en el Centro Internacional San Alberto (CISA), ha sido inscrita en el Registro de Bienes Culturales y está presente en el portal BeWeb de la Conferencia Episcopal Italiana (CEI). Esta inscripción ha permitido adherirse a los proyectos de la CEI, en particular al sistema de catalogación informatizada, que sustituirá a los dos catálogos anteriores.</span></span></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 14px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: white; border: 0px; color: #222222; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-ligatures: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">BiGOC ofrece nuevos servicios a los usuarios de BiGOC: a) el Reglamento ad experimentum actualizado sobre acceso y consulta; b) el sitio web de BiGOC: <a class="ms-outlook-linkify" href="http://www.bibliotecaocarm.com/" style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">www.bibliotecaocarm.com</a>; c) la lista de correo para informar sobre las últimas adquisiciones (libros y revistas) y las actividades de BiGOC. </span></span></span></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px; margin-left: 80px;"><span style="color: inherit; font-family: Verdana, Geneva, sans-serif; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Para</span><span style="color: inherit; font-family: Verdana, Geneva, sans-serif; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"> </span><span style="background-color: white; border: 0px; color: #222222; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">ser incluido en el correo electrónico de BiGOC: </span><a data-auth="NotApplicable" data-linkindex="6" data-safelink="true" href="mailto:biblioteca.carmelitana@gmail.com" rel="noopener noreferrer" style="border: 0px; color: #4a91c9; font: inherit; margin: 0px; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank">biblioteca.carmelitana@gmail.com</a></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px; text-align: center;"><strong><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 10px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Verdana, Geneva, sans-serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">+ + +</span></span></strong></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><strong><span style="border: 0px; color: #e67e22; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 18px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: inherit; font-family: Georgia, serif; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Attivitá della Biblioteca Generale Carmelitana</span></span></span></strong></p><p style="background-color: #fefefe; color: #0a0a0a; font-family: Helvetica, Arial, sans-serif; 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One: The Lives of Mantuan</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">A
Carmelite Conversation conducted by Philip Harvey on Zoom on Wednesday the 1<sup>st</sup>
of March 2023<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfVLL3g1drGn5D1pyhBGJ2fR18NQZpAXfB0YtQz6tGfuNafrYwJ10KopoWpNcT7V-XjEwDOkyS876d9EEPoDzcCqSZBClLXgKckmu2RAWHgNtKMHGN8lsuFfbcF4JO_Gbf5g7pmoQENtC-hWutdzr-Yau0Nru8MnUDmu2KeUJBoMxIWY9QdSDd4GaU/s814/mantuan%201%20isabella%20by%20leonardo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="814" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfVLL3g1drGn5D1pyhBGJ2fR18NQZpAXfB0YtQz6tGfuNafrYwJ10KopoWpNcT7V-XjEwDOkyS876d9EEPoDzcCqSZBClLXgKckmu2RAWHgNtKMHGN8lsuFfbcF4JO_Gbf5g7pmoQENtC-hWutdzr-Yau0Nru8MnUDmu2KeUJBoMxIWY9QdSDd4GaU/w295-h400/mantuan%201%20isabella%20by%20leonardo.jpg" width="295" /></a></div><div style="text-align: center;"><span style="font-size: 14pt;">Isabella d'Este, a drawing by Leonardo da Vinci made circa 1499-1500</span></div><p></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
most famous writer born in the region of Mantua in northern Italy is the Roman
poet Virgil. Two of his works are the Georgics, and pre-eminently the Aeneid.
Virgil was born about seventy years before the birth of Christ, a date to keep
in mind when reading another of his most famous poems, the set of pastoral
dialogues called the Eclogues. This was a form of poetry he more or less
invented himself based on the Greek Theocritus. Their influence on Western
poetry ever since has been sizable. Of especial interest is Eclogue IV.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Sicelides
Musae, paulo maiora canamus…<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Sicilian
Muse, I would try now a somewhat grander theme.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Shrubberies
or meek tamarisks are not for all : but if it’s<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Forests
I sing, may the forests be worthy of a consul.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>Ours is the crowning era foretold in prophecy
:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Born
of Time, a great new cycle of centuries<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Begins.
Justice returns to earth, the Golden Age<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Returns,
and its first-born comes down from heaven above.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Look
kindly, chaste Lucina, upon this infant’s birth,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">For
with him shall hearts of iron cease, and hearts of gold<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Inherit
the whole earth – yes, Apollo reigns now.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">And
it’s while you are consul – you, Pollio – that this glorious<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Age
shall dawn, the march of its great months begin.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">You
at our head, mankind shall be freed from its age-long fear.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">All
stains of our past wickedness being cleansed away.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">This
child shall enter into the life of the gods, behold them<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Walking
with antique heroes, and himself be seen of them,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">And
rule a world made peaceful by his father’s virtuous acts.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">(Virgil
Day-Lewis 18)</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">This
translation of the opening of Eclogue IV by Cecil Day-Lewis, father of the
actor, shows why interpretations vary: the poem never names “the first-born”,
the Wunderkind who has come in present time to inaugurate the new Golden Age.
We may read the poem as a simple celebration of peace breaking out, or as a political
expression of eternal recurrence with Virgil acclaiming the power clique of the
day. However, early Christians read Eclogue IV as a prophecy of the Messiah, as
though the poet were another Isaiah. This reading, right or wrong, took such
hold in late Antiquity that it has become inseparable in later reception of Virgil
in general. As another translator puts it, “The Church, as it gained strength
in Rome, was quick to claim Virgil as one of nature’s Christians before the
time of Christ. When the Emperor Constantine in the 4<sup>th</sup> century
established Christianity as the state religion, he identified the Child of
Virgil’s prophecy with Christ; and much later Dante made it clear that he
regards Virgil as the next best thing to a Christian.”<span style="mso-spacerun: yes;"> </span>(Virgil Rieu 142) It is this big picture setting
that illuminates the adulatory Renaissance knowledge of Virgil 1500 years later
and its creative imitations of his poetry, not least his Eclogues. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Other
poets hailing from the region of Mantua are the 13</span><sup style="font-family: Cambria, serif;">th</sup><span style="font-family: Cambria, serif; font-size: 14pt;">-century Provençal
troubadour Sordello, later the subject of a long poem by Robert Browning. And
the 15th-century Carmelite humanist Baptist Spagnoli, the subject of today’s historical
Entertainment. He was born in Mantua on the 17</span><sup style="font-family: Cambria, serif;">th</sup><span style="font-family: Cambria, serif; font-size: 14pt;"> of April 1447. As
his name announces, his ancestors were Spanish, his father being a nobleman
serving at the Mantuan court of the formidable Gonzaga family. Johannes
Baptista Spagnolo and other variants are common, variations on his name
accelerating after he becomes a household name associated with his hometown:
Baptista Mantovano, Baptista Spagnuoli Mantuanus, and Battista the Mantuan.
Such was his fame through the next two centuries that this became The Mantuan, or
simply Mantuan, as we might refer to Prince or Madonna. Or the way we refer to
Andrew Barton Paterson simply as Banjo. Mantuan is what I will call him throughout
this paper.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Mantuan
was writing from an early age. His youthful discovery of poetry manifested
itself in the composition of eclogues, the form developed fifteen centuries
earlier by Mantua’s most famous poet. The ten eclogues that have come down to
us were written at different times in his life and they express those changing
times in his life in ways that could be construed as a biography. That is how I
am going to read them.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Una
puellares inter pulcherrima turmas virgo erat…</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Among
a company of young women there, one girl was most beautiful: blond, taller than
the others, some twenty years old, able with her radiant face to vie with and
overcome the nymphs of the day. The fringe of her veil, glittering with gold
flecks, was pulled back toward her temples and fell on a breast enclosed by the
bronze clasp of her robe; a clasp of polished iron squeezed together her waist;
and a pleated border of fresh white linen hung down at her feet. When the lad
saw her, he perished. Beholding her, he drank in love’s flames and swallowed down
its unseen fires into his heart, fires that can be neither extinguished by
water nor lessened by shade or herbs and magical murmurings. Forgetting his
herd and the losses to his household, he was wholly consumed by the fires of
love and spent his bitter nights in sorrow.</span><span style="font-family: Cambria, serif; font-size: 14pt;">(Piepho1
17)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Eclogues
are pastoral dialogues, conversations between shepherds about a chosen subject.
This was Virgil’s classical example and during the Renaissance the eclogue enjoyed
a huge vogue across Italy, and later in places like England. Mantuan is one of
the preeminent practitioners of the eclogue at this time, as well as its
populariser. Here in his Eclogue II, ‘De amoris insania’ (‘On Love’s Madness’),
two shepherds named Faustus and Fortunatus reflect in turn on the passions of
young love. Their opinions swing between understanding how such passions are aroused,
the risks of dishonour and foolishness that can result, the root causes of
passion that can destroy a person if gone unchecked, the difficult outcomes of
envy that develop once pleasure alone must be satisfied. </span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span><span style="font-family: Cambria, serif; font-size: 14pt;">Although we know little about Mantuan’s early personal
life, that the three opening eclogues focus on this theme of honour and madness
in love tells the reader something about Mantuan’s own preoccupations at the
time. In Eclogue III (‘The Unhappy Outcome of Mad Love’), the shepherds Faustus
and Fortunatus agree that “Love is common to all of us, an interest shared by
all young men … Often grief and other feelings unhinge our judgment. Troubled
words oft issue from a troubled mind.” (Piepho1 23). But Fortunatus is out of
sympathy with the young man Amyntas and his insane love, which portends self-harm
and even suicide.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">A
shock occurs at Eclogue IV ‘De natura mulierum’, in which Mantuan indulges in
invective against women, a poem that is misogynistic and temperamentally alien to
the other eclogues. This relentlessly negative attack on the character of women
does not bear recitation here but must be acknowledged and placed in its
context. What happened? Critics skirt around this eclogue, yet to me the poem
speaks of possibly some unresolved conflict in his life that needed
unburdening. Is Eclogue IV simply a rant, an exercise in unpleasantry? Or is it
a clue to his decision to enter the Carmelite Order in Ferrara in the year
1463? Evidence in his later life tells us that Mantuan enjoyed the company of
women, worked well with women, and was respectful of their power and role in
society. </span><a name="_Hlk127975538" style="font-family: Cambria, serif; font-size: 14pt;">Yet Eclogue VII is a poem about a young man who
enters a religious order, who has chosen a world of male relationships. The poem
opens by speaking of his calling to be a shepherd in the literal pastoral care
sense of the Gospel, the clergy who tend their flock: “When Christ was born in
a stable, heavenly spirits sang to the shepherds in their sheepfolds of the birth
of God the Son … God called Himself too a shepherd, and he called sheep those
men of mild disposition and tranquil mind.” (Piepho1 63). </a><span style="font-family: Cambria, serif; font-size: 14pt;">Yet unusual
details, regarded by many as drawn from Mantuan’s own personal life, are listed:
</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Durus
et immitis pater …</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">His
stern, harsh father and domineering stepmother burdened Pollux sorely in his
youth when that fresh time of life is wont to prompt sweet thoughts. And since
his patience, weak from this longstanding burden, failed him and by no stratagem
could he gentle their hatred, he resolved to attempt his escape. But one thing,
though he wished to go, long held him: he loved too impetuously, for love is
the universal error of youthful years. Love is a strong force, but cruelty a
stronger. He went, and departing … with a mournful look he lamented in words
such as these: “Ah, my girl, will you allow tears to flow from your eyes when
you see that you have been left behind by your lover, so dear to you?<span style="mso-spacerun: yes;"> </span>Will you sigh at all at my leaving? By chance
will you ever cruelly forget me? Will your heart be able to grow so cold – that
heart that has so often filled my eyes with tears?”</span><span style="font-family: Cambria, serif; font-size: 14pt;">(Piepho1
63-65)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">There
is conjecture about whether Mantuan was born illegitimate, but whatever the
case, these lines describe a youth at pains to separate himself from difficult parents
and an unhappy love affair, his desire being met in a remarkable vision of
Mount Carmel, first home of the original hermits known as Carmelites who lived
there in Palestine amidst the ongoing crusades sometime in the 12</span><sup style="font-family: Cambria, serif;">th</sup><span style="font-family: Cambria, serif; font-size: 14pt;">-13</span><sup style="font-family: Cambria, serif;">th</sup><span style="font-family: Cambria, serif; font-size: 14pt;">
centuries. Remarkable, first as a paradisal vision of Carmel, a heavenly home
that meets the needs of the person in search of complete meaning. Remarkable
second, because the vision itself is delivered by a nymph, in keeping with the pastoral
poetic tradition of Virgil, “a virgin crowned with a girls’ coronet” who could
be construed as Blessed Virgin Mary or a messenger of the goddess Aphrodite.
Such is the multicultural world of Humanist Mantua, where Christianity and
Classicism speak virtually with one voice.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Hic
ad opem vigilo indefessa ferendam …<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Therefore
put an end to your delay. Flee the alluring palace of an imminent death. Seek a
secure, secluded seacoast where, facing Idalian waves, in my honour Mount Carmel
raises high in the air its head wreathed in green trees. To the patriarchs of
old this place first provided caves and houses of trees within a grove thick
with ilex. From this peak reverence for God comes, led off into your mountains,
just as streams issue from an unceasing fount or many descendants from a single
sire. Within the woods of this peak where the silver fir rises high, where the
bark of the rich pitch-pine and terebinth oozes with resin, after you have
successfully led a life of innocence, your youth will soon be renewed with the
change of years. To a better place forever green shall I raise you. You will be
the gods’ immortal companion. You will be allowed to move through Heaven … and
be permitted to learn of the heavens both above and below. </span><span style="font-family: Cambria, serif; font-size: 14pt;">(Piepho1
67)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">In
1483 Mantuan was first elected vicar-general of his congregation of reformed Carmelites.
He anticipates, in some ways, the major reforms that took place in the next
century under Teresa of Avila and others. Like significant leaders through the
history of the Order, he strove to return to the basics of a simple life and a
simple rule. As an inheritor of the Mantuan reform within the Order, which gave
Mantuan Carmelites autonomy and a certain self-direction, he carried an
independence of spirit. For example, in his first term of office Mantuan was active
in the debate over the controversy of the correct colour of the habit: Mantua
wore grey, the rest of the Order still wore black. A papal bull promulgated in
that year (1483) reaffirmed the black habit, very much against the views of
Mantuan and his friends, who insisted the original colour of the habit had been
white, light brown, or grey. Mantuan appealed the case before Pope Sixtus IV
(Piepho1 xxix) which led to the adoption of an undyed grey habit for all
members of the Order. We feel a sense of bemusement about this argument, until
we reflect that people today likewise can fight tooth and nail over the correct
colour of their organisation, school, or football team. Like those imbroglios,
the real point is about some larger issue. The 1483 dispute was over a return
to the austere origins of the Order and its Rule and a rejection of the decadence
into which some parts of the Order had fallen, symbolised in their black habit.
As Mantuan remarked later in life, “we were wearing white, that true and ancient
colour: the others continued just as they sought to be – utterly blackened.” </span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span><span style="font-family: Cambria, serif; font-size: 14pt;">(Piepho1 xxx)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">We
tend to forget, reading history, that people are not the sum of their
controversies. In 1489, for example, Mantuan visited Loreto, the flying house
that landed near the Adriatic coastline, the shrine of Our Lady of Loreto. </span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span><span style="font-family: Cambria, serif; font-size: 14pt;">The purpose that he and his companions had was
to take responsibility for this significant place of worship on behalf of the Carmelites,
but also the Church in general. During the plague of 1482, when he lived in
Bologna, he “vowed to go on pilgrimage to Loreto if the plague should quickly
cease, which it did. [Mantuan] himself was present for the installation of the
new community at the shrine.” (Sewell 3) He also wrote a history of this famous
shrine.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">His
regular re-election to governance of the congregation, and appointment to
political summits to sort out state conflicts, even wars, tells us he was a
capable, trusted and popular administrator. During all of this time he wrote
and published other poetry, as well as discourses, much of which remains
unavailable to us to this day because it’s all in Latin. Proper translation of
his spiritual discourses is overdue. Mantuan composed poems about the saints, which
would have been used as fresh versions of their lives for daily worship. He
also composed a long Marian poem entitled Parthenice Mariana. In 1493 he was appointed
Director of Studies at the Carmelite Monastery in Mantua, all of which was
happening when the Gonzaga court was at the height of its authority in Italy. Sometimes
reading his life we are given the powerful impression he was the right person
in the right place at the right time.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Eclogue
VI is an unusual use of the form to discuss the relative merits of city and country
life. He takes the unusual non-Virgilian step of prizing the country over the city.
It is unclear if the poem is not devised to prompt opinions from listeners,
though it must give something of Mantuan’s perspective on city life:</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="background-color: white; font-family: Cambria, serif; font-size: 14pt;">To note the Cities Follies, lest thine
eye</span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Deceiv'd (perhaps) with shews,
should'st these men hold<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">More wise, more happy that in burnish'd
gold,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Rich Purple, or fine Skarlet
glitt'ring shine,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">I many men have seen with these mine
eine<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">In brave apparrel with Majestick pace<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Walking about the publick Market
place,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Whom secret hunger and domestick want<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Have sorely pinch'd, as if concomitant.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Doubtlesse in this the greatest
follies lie:<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">For feyned wealth is reall poverty:<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">And what doth sloth of life, or
sluggishnesse<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">But madnesse in reality expresse?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">…<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">And ther' another kind of fools, a
sort</span><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt; mso-fareast-language: EN-AU;"><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Immedicable, yet of great report,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Lawyers, Court brawlers, pleaders of a
cause,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Skill'd to gain money, Tyrants of the
Laws.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">They sel their Patronage for golden
pay,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">To trifle Causes out with long delay,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">To make them long depend with a
dilemme,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">A vanity is, a Vintage is to them<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">...<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">They that are rulers of the people,
they</span><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt; mso-fareast-language: EN-AU;"><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">That govern others, making them obey,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">The more command, the more of pow'r
they have,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">The more insultingly they rage, they
rave.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">O where are pious Rulers now, O where<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Do pieties and justice Friends appear,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Whom (once) our Fathers sitting by the
fire<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Were wont to name, remember and
admire.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">All things go now to wrack: the
Temple's spoil'd<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Demolish'd, ruin'd, robb'd, defac'd,
defil'd,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">And of the wrongs complains: the poor
lament,<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Sigh, groan: The widows weep with
discontent.<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">But what's the cause which doth these
mischiefs cause?<o:p></o:p></span></p>
<p class="MsoNormal" style="background: white;"><span style="color: black; font-family: "Cambria",serif; font-size: 14.0pt;">Because base Lust doth rule in stead
of Lawes.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">(Harvey
57-61)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Mantua
was one of the decisive cities of Renaissance times, standing “between the
frontiers of Milan and Venice, and it was in the interests of both to see an
autonomous Mantuan territory, guaranteeing, even if it taxed, their riverine
trade, its rulers available for hire to either side as military commanders.”
(Hale 200) The court of the Gonzaga family, established generations before, enjoyed
immense prestige. When the Gonzagas were not engaged in military contests of
varying success, they were employing statecraft to resolve conflicts by
diplomacy, or were promoting civic achievement at home, which meant cultural pursuits
of all kinds, including writing, writers enjoying the court’s special
protection.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Central
to our Entertainment today is a woman from the ducal family of Ferrara, by name
Isabella d’Este (1474-1539), a classically trained patrician who cultivated Humanist
interests in Mantua, extending patronage in all directions. Isabella’s portrait
by Leonardo da Vinci was made at the turn of the sixteenth century. It is enough
to say that Mantuan was one of her inner circle, in order to understand the
respect in which he was held in that society. Such was his social standing in
the city, he delivered the funeral oration for Isabella’s mother, Eleonora of
Aragon. </span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span><span style="font-family: Cambria, serif; font-size: 14pt;">He participated in an informal
academy founded by Isabella, the Accademia de Santo Pietro, overseen by such authors
as Baldassare Castiglione, who produced ‘Il Cortegiano’ (‘The Courtier’), one
of the most celebrated works on court life, manners, diplomacy, and the new social
philosophy of the Italian Renaissance. He counted amongst his friends the
artist Andrea Mantegna and both the Pico della Mirandolas, Giovanni and
Gianfrancesco. We gain deeper appreciation of Mantuan’s confidence in rewriting
his Eclogues by reading of his patron’s own cultural outlook. As Werner
Gundersheimer writes:</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><a name="_Hlk128511304"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“[Isabella d’Este] saw nothing inconsistent about
combining a devout Christianity with her classical and even pagan interests.
She supported convents and monasteries, and took a keen interest in recruiting
singers for the ducal chapel. Some of these, however, may have doubled in
service as performers of the secular songs (frottola) composed at Mantua by
Cara and Tromboncino. Any more than it stood in the way of her festive life at
Mantua, her piety did not interfere with her anti-papal policy, designed to
prevent threats to the autonomy of Mantua and Ferrara.”</span></a><span style="font-family: Cambria, serif; font-size: 14pt;"> (Hale 127) </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">This
last point is worth keeping in mind when reading his poems attacking Rome.
While they are appeals to reform in the church, their most immediate concerns
are personal to do with Italian politics and rivalries, rather than the big
picture of European affairs. Mantuan’s skills as a negotiator and peacemaker
were bolstered by being at the court. He was invited to broker the peace
between Francis I and the Duke of Milan, but age and ill-health stopped him from
travelling. In 1513 he became Prior General of the Carmelite Order, but again
it may have been age and ill-health that prohibited his attendance at the Fifth
Lateran Council of reform in Rome. Historians to this day are divided over this
question. Brocard Sewell draws strength from somewhere when he says, “[Mantuan]
attended the Council of the Lateran, where it is said that his vast learning
and wonderful; knowledge of theology commanded the attention of the whole
assembly, that no question was decided without taking his opinion, and that the
pontiff himself seemed to pay special regard to all that he had to say.”
(Sewell 4) This glowing report must be put beside the view held by others that
there is no actual proof of Mantuan ever attending the Lateran Council. More
work has to be done on his role in the Council, as between these two positions
falls the shadow. It is worth noting certain outcomes of the Council in this
context. </span><span style="background: white; color: #202122; font-family: Cambria, serif; font-size: 14pt;">A requirement that a
local bishop give permission before the printing of a new book. A call to all
philosophy teachers to complement any lesson that contradicts the Christian
faith with "convincing arguments" from the Christian point of view. Requirement
for documented competence in preaching. (Lateran)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">As
it turned out, due to age and illness Mantuan died in 1516 in his namesake city.
The Lateran Council continued a while longer on its list of reforms, closing
just seven months before Martin Luther posted his advertisement for a lecture
of 95 theses on a church door in Germany.</span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-61391362346350084002023-02-28T23:38:00.007-08:002023-02-28T23:39:41.092-08:00The Lives and Afterlives of Blessed Baptist Spagnoli of Mantua, known as Mantuan (2) : a Renaissance Entertainment<p> <span style="font-family: Cambria, serif; font-size: 14pt;">Part
Two: The Afterlives of Mantuan</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">A
Carmelite Conversation conducted by Philip Harvey on Zoom on Wednesday the 1<sup>st</sup>
of March 2023<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg-K5CHGxcfJfYYxo7wtA-RQtS7xMGXfyId4ZmShjJ6g_jO-_gLNcV4Q2Rp_7XIRuW9AcFxW7aIX7VBzrZiOVeNsG7OXSupXsJdPBYPwwEi0MZCOmTHU3nUjbu73r8cQwRtuyue7qmISZVN5JD3daiK-A4fCbDzkpUzYRRFQi8wtWE75E6yHNBvosE/s1132/mantuan%202%20portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1132" data-original-width="684" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg-K5CHGxcfJfYYxo7wtA-RQtS7xMGXfyId4ZmShjJ6g_jO-_gLNcV4Q2Rp_7XIRuW9AcFxW7aIX7VBzrZiOVeNsG7OXSupXsJdPBYPwwEi0MZCOmTHU3nUjbu73r8cQwRtuyue7qmISZVN5JD3daiK-A4fCbDzkpUzYRRFQi8wtWE75E6yHNBvosE/w241-h400/mantuan%202%20portrait.jpg" width="241" /></a></div><br /><p></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Mantuan
dies in Mantua on the 22<sup>nd</sup> of March, 1516, the year before the
outbreak of the Protestant Reformation in Germany. He himself represents the
reforming spirit within the church itself. His life is an example of reform coming
from within the institution, both the church and the Carmelite Order. He was not,
however, a quiet administrator, as is evidenced by the social criticism evident
in Eclogue IX:</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Hoc
est Roma viris avibus quod noctua…<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Rome
is among men what the owl is among birds. She sits on a tree trunk and, as if
she were the queen of birds, summons the multitude from afar with her haughty
commands. Ignorant of her deception, the crowd assembles. They wonder at her
large eyes and ears, foul head, and the hooked point of her menacing beak. And
while their nimble lightness bears them here and there on the trees’ twig
growth, a string ensnares the feet of some, twigs smeared with birdlime hold
fast others, and all become spoils to be roasted on willow spits.</span><span style="font-family: Cambria, serif; font-size: 14pt;">(Piepho1
85)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">This
poem could easily have been penned by a radical Protestant and in fact Eclogue IX
was quoted by them in argument, Mantuan being adopted posthumously as one of
theirs, as a critic of church corruption. A picture is created in pastoral manner
of Rome being the cause of famine and drought, a desperate situation both
political and spiritual brought about by Rome’s insatiable centralisation of
power. The dialogue is contrived by a poet who knows well from experience the
state divisions of Italy and their continual conflicted relationship with the
Papacy. Magnify these perceptions to a European scale and we can see how the same
arguments applied for reformers of whatever stripe outside of Italy, as well.
Mantuan, meanwhile, appeals to the local for spiritual meaning and belonging.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Heu
pecus infelix, o laevo sidere pastor huc avecte…<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Alas,
unfortunate flock! Oh, shepherd borne hither by an unlucky star! More excellent
far were it not to have known of this land, better to have passed my days
securely in my father’s house. Better to have grown old within the cool caves;
and on the banks of the Po or in Adige’s fields or where the Adda floats along
in its glassy course, better far to have settled down and pastured my flocks on
wholesome grass.</span><span style="font-family: Cambria, serif; font-size: 14pt;">(Piepho1
87)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Mantuan
seems to be speaking from experience. He, and some of his friends, have been
burnt by their encounters with Rome; he finds his meaning at home in the north
of Italy, an experience recorded all too frequently by Italians through time.
Faustulus responds to Candidus thus:</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Te
tua credulitas, et me mea fallit in horae…<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Your
credulity deceives you and mine deceives me from hour to hour. I myself have
seen men who used to dwell on fortune’s peak fall when they sought things of
praise and never rise from their troubles. Experience makes these men cautious.
They explore matters beforehand and follow everything that men don’t extol: for
those things that are better are wanting in praise.</span><span style="font-family: Cambria, serif; font-size: 14pt;">(Piepho1
87)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Another
reason to understand why Eclogue IX became a centrepiece of Protestant polemic
is found in its conclusion. After criticising various bad shepherds on grounds
of neglect, poisoning, and corruption, the poet presents the reader with “a
shepherd to help us” (“pastor adest quadam ducens”), a man who “exceeds other
Latians in every virtue as much as the Po exceeds the Tiber.” Very clearly
drawing on his predecessor and inspiration Virgil, Mantuan champions a figure
called Falco.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Hic
ovium custos ipse vigilantior …</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">This
guardian of the flock is more vigilant than Argus himself, more skilled not
only than Daphnis but him who is said once to have pastured Admetus’ flock in
the fields of Thessaly; worthy to watch over the whole flock of that master
from Jerusalem and to succeed that father of old who, forsaking his nets, was shepherd
of the Assyrian flock. This man has the power to protect the flock, dispel
sickness, moisten the ground, bestow pasturelands, release springs, appease
Jupiter, and keep away thieves and wolves. If he smiles with favour, stay. But
if he denies his favour, drive forth your flock, Candidus, and seek greener
pastures.</span><span style="font-family: Cambria, serif; font-size: 14pt;">(Piepho1
89)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Mantuan
draws strongly on the tone of Virgil, appealing to both Classical authority,
Argus, Daphnis and Apollo, and biblical authority, “the master of Jerusalem” (Solymi
magistri) being Christ and “the shepherd of the Assyrian flock”, the apostle
Peter, over the ways of the Curia at Rome.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">We
cannot know which way Mantuan may have gone when the Reformation hit Europe,
but we can be sure he would have been deeply antipathetic to attacks on religious
life within the Orders. The Dissolution of the English monasteries in 1536, 20
years after his death, would have been for Mantuan an incomprehensible
travesty. Yet in 1541 we find the first evidence of the Archbishop of
Canterbury Thomas Cranmer’s introduction of Mantuan’s Eclogues into the
curriculum of the newly reinstituted cathedral schools of England, after the
Dissolution. In other words, Mantuan’s Latin poems came to be read for their
excellence, example, and clarity by everyone in schools across England right
through the 16<sup>th</sup> century, just as they were read in Europe across
the Protestant/Roman divide. This was the logical outcome of the classical
Humanist project that had made possible something like Mantuan’s Eclogues in
the first place. It’s why subsequent generations of English poets imitated him
both in English and Latin, his influence borne of instant familiarity.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Not
that everyone was thrilled with the fashion for just anyone copying Virgil. The
Venetian wit Pietro Aretino (1492-1556), in a celebrated letter to Lodovico
Dolce written in June 1537 describes the literary revolution that Mantuan
helped start, but then couldn’t stop:</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“I
tell you plainly that Petrarch and Boccaccio are properly imitated by the
writer who expresses his ideas with the beauty and skill which they used to employ
when they so beautifully and skilfully expressed their own ideas, and not by
someone who plunders them not only for ‘hence’s’ and ‘thence’s’ and ‘ofttime’s’
and ’graciles’ but for whole verses.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“And
if it should happen that the devil tricks us into filching from someone else,
let’s make sure we behave like Virgil who looted Homer, and Sannazaro who
purloined from Virgil, who both paid their debt with interest; and then we’ll
be forgiven.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“But
our pedantic poetasters turn imitation into bombast, and when they screech about
what they’ve written in their notebooks, they change it into gobbledegook, as
they tart it up with their sickly platitudes. O you blind fools, I tell you
again and again that poetry is one of Nature’s joyful flights of fancy, and if
the vital poetic fury is lacking the poet’s song becomes a broken tambourine,
or a tower that’s lost its bell. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“It’s
for that reason that anyone not gifted with poetic talent when still in his
swaddling-clothes who yet wants to write verse is a complete numbskull. If you
won’t accept that, let the following convince you. The alchemists, using all
possible skill and effort to gratify their patient avarice, never made gold but
only what looked like gold. But Nature, without the least effort, brings forth
pure and beautiful gold.”</span><span style="font-family: Cambria, serif; font-size: 14pt;">(Aretino
102)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Pietro
Aretino is not attacking Mantuan, quite the opposite. The implications here are
that a poet like Mantuan often comes close to the Virgilian ideal, free of any bombast,
overblown language, or clichés. Mantuan spins something golden from his
materials But neither is Aretino as adulatory (we imagine) as the great Erasmus
of Rotterdam, who went so far as to dub Mantuan “Christianus Maro”, i.e. “the
Christian Virgil”. This is a title almost impossible to claim for anyone, and
some scholars conclude Erasmus is thinking of Mantuan’s that would be
impossible for almost anyone to claim.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>Despite criticisms of his poetry, notably Scaliger’s
attack of 1561, Mantuan’s star continued to rise through the 16<sup>th</sup>
century. In 1567 the Eclogues were translated in full into English by George
Turberville and in 1579 ‘The Shepherd’s Calendar’ was published by Edmund
Spenser, a series of pastorals in some ways a tribute to Mantuan and strongly
inspired by him.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Here
is Edmund Spenser writing, not of Roman clergy like Mantuan, but English
Protestant clergy in Elizabeth’s time. Spenser did not invent this kind of invective;
it is in fact taken directly from Mantuan’s example: <o:p></o:p></span></p>
<div align="center">
<span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"></span><table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="background: white; mso-cellspacing: 0cm; mso-padding-alt: 0cm 0cm 0cm 0cm; mso-yfti-tbllook: 1184;">
<tbody><tr style="mso-yfti-firstrow: yes; mso-yfti-irow: 0;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><a name="_Hlk128509488"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">I thought the soyle would have
made me rich;</span></a><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt; mso-fareast-language: EN-AU;"><o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="78"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 1;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">But nowe I
wote it is nothing sich.<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="79"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 2;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">For eyther
the shepeheards bene ydle and still,<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;" valign="top">
<p align="right" class="MsoNormal" style="text-align: right;"><span style="mso-bookmark: _Hlk128509488;"><a name="80"><i><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;"> </span></i></a></span><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;"><o:p></o:p></span></span></p>
</td>
</tr>
<tr style="mso-yfti-irow: 3;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">And ledde
of theyr sheepe what way they wyll,<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="81"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 4;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">Or they
bene false, and full of covetise,<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="82"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 5;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">And casten
to compasse many wrong Emprise.<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="83"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 6;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">But the
more bene fraight with fraud and spight,<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="84"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 7;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">Ne in good
nor goodnes taken delight,<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;" valign="top">
<p align="right" class="MsoNormal" style="text-align: right;"><span style="mso-bookmark: _Hlk128509488;"><a name="85"><i><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;"> </span></i></a></span><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;"><o:p></o:p></span></span></p>
</td>
</tr>
<tr style="mso-yfti-irow: 8;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">But kindle
coales of conteck and yre,<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="86"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 9;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">Wherewith
they set all the world on fire:<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="87"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 10;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">Which when
they thinken agayne to quench,<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="88"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 11;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">With holy
water they doen hem all drench.<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="89"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 12;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">They saye
they con to heaven the high-way,<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;" valign="top">
<p align="right" class="MsoNormal" style="text-align: right;"><span style="mso-bookmark: _Hlk128509488;"><a name="90"><i><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;"> </span></i></a></span><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;"><o:p></o:p></span></span></p>
</td>
</tr>
<tr style="mso-yfti-irow: 13;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">But, by my
soule, I dare undersaye<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="91"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 14;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">They never
sette foote in that same troade,<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><span style="mso-bookmark: _Hlk128509488;"><a name="92"></a></span></td>
</tr>
<tr style="mso-yfti-irow: 15; mso-yfti-lastrow: yes;">
<td style="padding: 0cm 0cm 0cm 0cm; width: 339.25pt;" width="452">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">But balk
the right way and strayen abroad.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"><span style="color: #000020; font-family: "Cambria",serif; font-size: 14.0pt;">(Spenser
282)<o:p></o:p></span></span></p>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;">
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></span></p>
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509488;"></span><span style="mso-bookmark: _Hlk128509488;"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></span></p>
<span style="mso-bookmark: _Hlk128509488;"></span></td>
</tr>
</tbody></table>
</div>
<span style="mso-bookmark: _Hlk128509488;"></span>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Sometime
in 1594-95 William Shakespeare composes ‘Love’s Labour’s Lost’. It is certain
that Shakespeare read Mantuan from an early age in the original at King Edward
VI School in Stratford, as part of the standard humanist coursework of his
time. It is this complete familiarity with the Italian poet that explains the cosy
reference to him in the play by Holofernes, a schoolteacher.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><a name="_Hlk128509556"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">HOLOFERNES (to himself) ‘Facile precor gelida quando
pecas omnia sub umbra ruminat’, and so forth. Ah, good old Mantuan! I may speak
of thee as the traveller doth of Venice:<o:p></o:p></span></a></p>
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509556;"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>Venezia, Venezia,<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509556;"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>Chi non ti vede, chi non ti prezia.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="mso-bookmark: _Hlk128509556;"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Old Mantuan, old Mantuan –
who understandeth thee not, loves thee not. (He sings) Ut, re, sol, la, mi, fa.
(To Nathaniel) Under pardon, sir, what are the contents? Or rather, as Horace
says in his – what, my soul – verses.</span></span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<span style="mso-bookmark: _Hlk128509556;"></span>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Holofernes
is daydreaming while Nathaniel prepares to read a love poem in a letter that
has fallen accidentally into the wrong hands. Of which more anon, but first let’s
look at this daydream. He quotes Latin, or rather misquotes the Latin, which
happens to be the very opening line of Mantuan’s Eclogues. All of the educated
members of the audience would have laughed at this misquote, because they all
knew the line, a line that took them back to their schooldays, a time of first
love, mad love, and conflicting feelings of the kind they first experienced at
school while reading about them in Mantuan’s poetry. That Holofernes misquotes
the line only shows up his pedantry and loose memory, a further cause for
hilarity.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Speaking
with fondness, he then paraphrases an Italian saying about Venice which in effect
means you cannot value Venice if you have not seen Venice, which he turns into
seeming praise of Mantuan, you cannot love him if you cannot understand him, a feeling
common to secondary school students of any time period or year level trying to
translate a difficult poem. It is not too far-fetched to imagine Shakespeare himself
recalling this humorous view of Latin class from his own schooldays. That he
puts the saying into the mouth of a Latin teacher this further compounds the
absurdity. Holofernes then sings the Solfège scale, a reminder of elementary
music training in such a school. All of Holofernes’ conversation is an over-the-top
satire of grammar school teaching in Elizabethan England, played to an audience
whose memories of those days are being prompted by the playwright. Holofernes
is, indeed, an archetype of the pedantic, otherworldly academic or schoolmaster,
lost in a maze of declensions and conjugations, mansplaining things in elevated
language that could be said much more simply, an accepted eccentric on the landscape
rather than in the Italian mode, a pitiable <i>dottore</i> or mere figure of
fun. This is because he represents the big world outside school for his
students.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Language
and how we use words is, in fact, a central preoccupation of ‘Love’s Labour’s
Lost’. Honorificabilitudinitatibus, the longest word in Shakespeare, appears in
this play, the supercalifragilisticexpialidocious of the Elizabethan stage. The
play also has the longest speech and the longest scene (915 lines in the Clarendon
edition of 1986) in Shakespeare.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
earliest known performance of ‘Love’s Labour’s Lost’ is at Christmas in 1597,
at the Court before Queen Elizabeth. It was very much an entertainment to the
London elite, most all of whom would have recognised lines of Mantuan, direct
and indirect, so Shakespeare is also flattering their sense of being
well-educated. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">At
that time (circa 1600) more than 600 editions of Mantuan’s works had been
published. He was a bestseller, and yet it is in ‘Love’s Labour’s Lost’ that we
also identify the beginnings of his changes of fortune. First and foremost is
the gradually diminishing use of Latin in everyday life. Unlike in parts of continental
Catholic Europe, the liturgy of the church had changed from Latin to the vernacular,
with Thomas Cranmer instrumental in making English the language of the church. Although
Latin held sway as a language of the royal courts, it was increasingly the
language of gentlemen and diplomats. Writing poetry in Latin continued for centuries
as a feather in the cap of a practising poet, but it was not going to be his or
her first language. The poems written by the young lovers in the play are in an
elevated English. The way they speak the rest of the time, no such matter.</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Then
there is the gradual transformation of pastoral poetry, right up into the 20<sup>th</sup>
century, that made redundant the mode of rustic shepherds discussing
philosophical truths in an orderly fashion. But that Shakespeare knew a little
Latin is seen and heard in the closing Winter song of the play, regarded as a
take from the opening of Mantuan’s Eclogue VI:</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Ninget
hiems, mugit Boreas …<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Winter’s
snows have come, the north wind is bellowing, and icicles hang from the roof.
Having bedded his oxen the plowman is resting, and the ground lies asleep. His
sheepfold shut up, the shepherd, snug in his cloak, idly beguiles the time, and
seated before the hearth, sooty Neaera is cooking polenta. Now we commend the
summer season, intolerable to us before; and wintertime, commended once in
summertime’s irksome heat, we now find displeasing.</span><span style="font-family: Cambria, serif; font-size: 14pt;">(Piepho1
49)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Which
Shakespeare, following Mantuan’s lead that “every season has its own delights
and joys” transforms into something new and very English, at the close of Love’s
Labour’s Lost:</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">When
icicles hang by the wall<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>And Dick the shepherd blows his nail,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">And
Tom bears logs into the hall,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>And milk comes frozen home in pail;<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">When
blood is nipped, and ways be foul,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Then
nightly sings the staring owl:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Tu-whit,
tu-whoo! – a merry note,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">While
greasy Joan doth keel the pot.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">When
all aloud the wind doth blow,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>And coughing drowns the parson’s saw,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">And
birds sit brooding in the snow,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span>And Marian’s nose looks red and raw;<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">When
roasted crabs hiss in the bowl,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Then
nightly sings the staring owl:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Tu-whit,
tu-whoo! – a merry note,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">While
greasy Joan doth keel the pot.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">(Shakespeare
346)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Shakespeare
dies exactly a century after Mantuan, in 1616, but it is John Milton, a Puritan
polemicist who wanted to latinize English, who is the last major influence we
hear today. Mantuan’s Latin verse and ideas are identifiably present throughout
Milton’s poetry, including ‘Paradise Lost’. The most overt example was written
in 1637, an eclogue soliloquy called ‘Lycidas’. The poem employs the requisite Virgilian
practice of shepherds sharing thoughts. Sometimes the levels of reference
become so elevated we need a handbook to decode them all and it must be
admitted that ‘Lycidas’ is a mysterious hybrid. A large part of the poem
describes a shipwreck in the Irish Sea, making it an English precedent for ‘The
Wreck of the Deutschland’. However Milton is not lamenting the loss of a group
of nuns, but his close friend the Reverend Edward King, an evangelical pastor.
While grief is a prevailing emotion of the poem, it turns at certain moments
into a polemical attack on church corruption. The irony of this attack is not
lost on historians, because while Mantuan’s Eclogue IX is written by a Carmelite
criticising Roman clergy, and Spenser’s ‘September’ is written by an Anglican
criticising other Anglicans, Milton’s eclogue ‘Lycidas’ is written by a Puritan
criticising Anglican clergy.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">With
indignant fervour, Milton heightens his sense of personal loss by casting
stones at what he sees as the general corruption of the English clergy. Even St
Peter himself is enlisted to damn the Anglicans for some time to come. He is described
here not as the “shepherd of the Assyrian flock” but as the mitred “pilot of
the Galilean lake”. The poem recalls the Cambridge of his youth, that hotbed of
English religious difference before the Civil War:</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Next
Camus, reverend sire, went footling slow.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">His
mantle hairy, and his bonnet sedge,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Inwrought
with figures dim, and on the edge<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Like
to that sanguine flower, inscribed with woe.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Ah!
who hath reft, quoth he, my dearest pledge?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Last
came, and last did go,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
pilot of the Galilean lake;<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Two
massy keys he bore of metals twain;<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
golden opes, the iron shuts amain:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">He
shook his mitred locks, and stern bespake:-<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">How
well could I have spared for thee, young swain,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Enow
of such, as for their bellies’ sake<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Creep,
and intrude, and climb into the fold!<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Of
other care they little reckoning make,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Than
how to scramble at the shearers’ feast,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">And
shove away the worthy bidden guest!<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Blind
mouths! that scarce themselves know how to hold<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">A
sheephook, or have learn’d aught else the least<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">That
to the faithful herdman’s art belongs!<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">What
reeks it then? What need they? They are sped;<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">And,
when they list, their lean and flashy songs<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Grate
on their scrannel pipes of wretched straw:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
hungry sheep look up and are not fed;<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">But
swoln with wind, and the rank mist they draw,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Rot
inwardly, and foul contagion spread:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Besides
what the grim wolf with privy paw<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Daily
devours apace and nothing sed:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">But
that two-handed engine at the door<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Stands
ready to smite once, and smite no more. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">(Milton
612-614)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">In
1656, Mantuan’s Eclogues were translated into English by Thomas Harvey. Although
this major pastoral form continues to be imitated, revived and revised, and
tested right up to this day in styles that include the anti-pastoral, Harvey’s
translation is the last flourish of the strict Mantuan method. Pastoral is famously
a form in 18</span><sup style="font-family: Cambria, serif;">th</sup><span style="font-family: Cambria, serif; font-size: 14pt;"> century Augustan verse, however the devoted copying
of the shepherd idyll as popularised by Virgil and then at the Renaissance by
Mantuan, goes out of fashion. The changes are rung by no less a figure than
Samuel Johnson, who is openly hostile to this outmoded manner of speech. He complains
that rustics do not discuss higher church politics and that this kind of verse
is unreal, a case of shepherds talking like priests. Johnson’s opinions reveal
how distant the Catholic Church had become from English life, but that he says
this at all indicates </span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span><span style="font-family: Cambria, serif; font-size: 14pt;">that Mantuan was
still being read in Latin classes well into the 18</span><sup style="font-family: Cambria, serif;">th</sup><span style="font-family: Cambria, serif; font-size: 14pt;"> century.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">I
wish to conclude by identifying at least two other afterlives of the Carmelite
poet. The first is the actual legacy of spiritual writing, as distinct from
eclogues, that Mantuan left to the Order. Scholars are in agreement that it is
his religious verse, sermons, and discourses that prompted Erasmus to call him
the ‘Christian Virgil’, not simply the achievement of his Virgil-like poetry.
It is a corrective to everything said up to this point, for example, to listen
to Mantuan himself in De patientia speak of the Bible:</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">“You
will find that the reading of sacred scripture is a great and powerful remedy
against bodily suffering and depression of mind. In my opinion, thee is no
other writing, no matter how eloquent and stylish it may be, that can bring
such peace to our minds and so thoroughly dissolve our cares as sacred scripture
can.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">“I
speak from personal experience: for there have been times when I was beset with
anxieties, the worst of which came from the experience of my own weakness, and
if on such occasions I sought relief in the scriptures, the hopes and desires
that led me there were never disappointed. The word scripture proved to be a
solid bulwark against my anxieties and a relief to my troubled spirit.”</span><span style="font-family: Cambria, serif; font-size: 14pt;">(Carmelite
quotes website)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Mantuan’s
Latin prose writings would have remained a regular source of inspirational
reading within the Order itself, whatever the fortunes of his poetry. We can
conclude that his writing continued to be read by Carmelites and non-Carmelites
even into the 20</span><sup style="font-family: Cambria, serif;">th</sup><span style="font-family: Cambria, serif; font-size: 14pt;"> century, anyone that is who had a good grasp of
Latin.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">The
second afterlife is the enduring legend of Mantuan, especially in Italy and
within the Order, leading in 1890 to his beatification by the Church. There is
not opportunity to look at this in detail here, one reason being the great
store of information about his legend written in languages other than English.
Mantuan’s feast day was declared the 23</span><sup style="font-family: Cambria, serif;">rd</sup><span style="font-family: Cambria, serif; font-size: 14pt;"> of March. His remains are
held at St Peter’s Cathedral in Mantua, the town of his birth, life, and death.</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-11457919629532450292023-02-28T23:30:00.000-08:002023-02-28T23:46:01.402-08:00The Lives and Afterlives of Blessed Baptist Spagnoli of Mantua, known as Mantuan : a Renaissance Entertainment SOURCES<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhl30WXlo334qne8PedYqrsrjDTv9UjXyqKZGrUJ0dWD_V-4aIXlzbpCn0ytQE5FiuJvbrjMwBNqCNDmJxOWUTipJ6IpBivReiAGOaoIMPksymNo0ZCVvECCOmoWFOYS2wksDogFriNaWHb6WpQ6PoG3FUyjerc75rRaGBsVvJ9DQJZkH3cY_rzhQF/s1287/holofernes.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1287" data-original-width="1280" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhl30WXlo334qne8PedYqrsrjDTv9UjXyqKZGrUJ0dWD_V-4aIXlzbpCn0ytQE5FiuJvbrjMwBNqCNDmJxOWUTipJ6IpBivReiAGOaoIMPksymNo0ZCVvECCOmoWFOYS2wksDogFriNaWHb6WpQ6PoG3FUyjerc75rRaGBsVvJ9DQJZkH3cY_rzhQF/w398-h400/holofernes.webp" width="398" /></a></div><div style="text-align: center;">Holofernes and Sir Nathaniel in 'Love's Labour's Lost'</div><p></p><p class="MsoNormal"><br /></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Collected
together by the presenter, Philip Harvey</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Pietro
Aretino. Selected letters. Translated with an introduction by George Bull.
Penguin Books, 1976</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Carmelite
quotes website: <a href="https://carmelitequotes.blog/2021/04/16/spagnoli-read-scripture/">https://carmelitequotes.blog/2021/04/16/spagnoli-read-scripture/</a></span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">Cecil
Day-Lewis. The buried day. Chatto & Windus, 1960</span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">‘Fifth
Council of the Lateran’, in Wikipedia: <a href="https://en.wikipedia.org/wiki/Fifth_Council_of_the_Lateran">https://en.wikipedia.org/wiki/Fifth_Council_of_the_Lateran</a></span><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">J.
R. Hale (editor). A concise encyclopaedia of the Italian Renaissance. Thames
and Hudson, 1981<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Stephen
Hinds. ‘Pastoral and its futures : reading like (a) Mantuan’, in Dictynna: revue
de poétique latinem 14, 2017: </span><a href="https://journals.openedition.org/dictynna/1443?lang=en" style="font-family: Cambria, serif; font-size: 14pt;">https://journals.openedition.org/dictynna/1443?lang=en</a></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Baptista
Mantuanus. Adulescentia : the eclogues of Baptista Mantuanus (1498). 2nd ed. A
hypertext critical edition by Lee Piepho. The Philological Museum, 2009,
online: </span><a href="https://philological.cal.bham.ac.uk/mantuanus/" style="font-family: Cambria, serif; font-size: 14pt;">https://philological.cal.bham.ac.uk/mantuanus/</a></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span><span style="font-family: Cambria, serif; font-size: 14pt;">Baptista
Mantuanus. Adulescentia : the eclogues of Mantuan, Baptist (Spagnuoli) Mantuanus.
Edited, with an English translation, by Lee Piepho. Routledge, 2018 (Piepho1)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Baptista
Mantuanus. The bucolicks of Baptista Mantuan : in ten eclogues. Translated out
of Latine into English by Tho[mas] Harvey Scan of: Printed for Humphrey Moseley
…, 1656. i.e. 1655, online:</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><a href="https://quod.lib.umich.edu/e/eebo2/A93591.0001.001?view=toc">https://quod.lib.umich.edu/e/eebo2/A93591.0001.001?view=toc</a>
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Baptista
Mantuanus. The eclogues of Baptista Mantuanus. Edited, with introduction and
notes, by Wilfred P. Mustard. The Johns Hopkins Press, 1911</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Baptista
Mantuanus. The eclogues of Mantuan. Translated by George Turberville (1567);
edited by Douglas Bush. Scholars’ Facsimiles & Reprints, 1937</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">John
Milton. The poetical works of John Milton. Edited by Sir Egerton Brydges. New
edition. William Tegg, 1862</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Lee
Piepho. Holofernes’ Mantuan : Italian Humanism in early modern England. Peter
Lang, 2001 (Piepho2)</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Louis
Saggi & Valentine Macca. Saints of Carmel : a compilation from various
dictionaries. Carmelite Institute, 1972</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Brocard
Sewell. Blessed Baptist of Mantua : Carmelite & Humanist, 1447-1516. St.
Albert’s Press, 1957</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">William
Shakespeare. The complete works. General editors, Stanley Wells & Gary Taylor.
Clarendon Press, 1986</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Joachim
Smet. The Carmelites : a history of the Brothers of Our Lady of Mount Carmel.
Volume 1. Revised edition. Carmelite Spiritual Center, 1988</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Edmund
Spenser. The poetical works of Edmund Spenser, volume IV, in The Aldine edition
of the British poets. William Pickering, 1852</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Virgil.
The Eclogues, Georgics and Aeneid of Virgil. Translated by C. Day Lewis. Oxford
University Press, 1966</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span><span style="font-family: Cambria, serif; font-size: 14pt;">Virgil.
The pastoral poems : the Eclogues. The text of the Eclogues with a translation
by E. V. Rieu. Reprinted with Latin text. Penguin Books, 1954</span></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-44071020391796752862023-02-24T02:11:00.003-08:002023-02-24T02:12:26.446-08:00 Ultima Thule Restored. Henry Handel Richardson Comes Home.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihaRNuAznSzF1hewMjc78sUersExzBpAMAOYF_fFXkHmWVyqsdLbGZj7Sx9jqqgP35OyRBL0idfC8yRPP9RiaI4Yq4puPd_3r_wjjMXxd_Nako4SqOghRUpsVhklzpeaSxSNgmVk3sgpVq8vLJKaSRFeUwgXYRU2ojkJd3eEGjoPI0iegUiII2VpGz/s1280/ultima%20thule%202.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihaRNuAznSzF1hewMjc78sUersExzBpAMAOYF_fFXkHmWVyqsdLbGZj7Sx9jqqgP35OyRBL0idfC8yRPP9RiaI4Yq4puPd_3r_wjjMXxd_Nako4SqOghRUpsVhklzpeaSxSNgmVk3sgpVq8vLJKaSRFeUwgXYRU2ojkJd3eEGjoPI0iegUiII2VpGz/w400-h300/ultima%20thule%202.JPG" width="400" /></a></div><p><span style="font-size: 14pt;">On
March the 3</span><sup>rd</sup><span style="font-size: 14pt;"> 1945 the Battle of Manila ended in Allied victory and
the Germans launched Operation Gisela, an aerial strategy against RAF bombers that
ended in failure a day later. On a more mundane note, ‘Ultima Thule’ by Henry
Handel Richardson was due to be returned to the Carmelite Library in Port
Melbourne. An impressive red stamp inside the back page warned:</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Any
member who fails to return<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">this
book after the date mentioned<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">will
be fined 3d for first <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">week
and 1d per day thereafter.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">On February
the 23<sup>rd</sup> 2023, a visitor to the Carmelite Library in Middle Park
returned the book, which he said he had bought for two dollars in January from
the Vinnies Op Shop in his home town of Warragul. ‘Ultima Thule’ has been unavailable
for almost 78 years. This totals 28,490 days, so if 240 pence are in a pound
(pre-1966 decimalisation) the borrower owes the Carmelite Library about 118
pounds. This figure in 1945, converted into Australian currency today and
allowing for inflation over time means the borrower owes the Library $9,554,
give or take a few bob. We could round it out to the nearest thousand, but the unknown
reader of ‘the Third Part of the Chronicle of the Fortunes of Richard Mahony’
will be relieved to read that today the Carmelite Library does not issue fines.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">One
encounters stories of overdue books returning to libraries decades or even
centuries later, but never expects it to happen in one’s own life. The book in
hand is the March impression of the 1929 first edition. The book must have been
selling like the proverbial, because the flyleaf tells us there had already
been a January and February impression. Impressions count for a lot, which is
why our copy will go direct into the rare books collection.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
big question being, what was the Carmelite Library of Port Melbourne? The oval red
library stamp of ownership is unfamiliar. I’m not sure I have ever seen one
before. The visitor to the Library, Andrew Wrathall, a book lover, devotee of
the book industry, and currently manager of Wrathall Books online, conjectured
that this copy of ‘Ultima Thule’ may have been part of the Carmelite house
established in Beaconsfield Parade in 1886. While the book was plainly part of a
library in a Carmelite house, it remains an open question if it belonged in
that one. While not impossible, the Order at some time gave the house into the
hands of the Brigidine Order, where a school was founded. Too, the house was in
Albert Park.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The
book may have spent time at Beaconsfield Parade, but it is more likely to have
been part of a parish library for the use of the parishioners of St Joseph’s,
Port Melbourne, especially when the Depression took hold and locals relied on
free reading materials. I say this because the Carmelites had just such a
library in the Carmelite Hall of their other Melbourne parish, Our Lady of
Mount Carmel in Middle Park. Many titles survive from that collection, replete
with bookplates to that effect, resting quietly in the present-day Carmelite
Library, a collection transferred from the Province’s monastery in Donvale in
2002. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">This
leaves us with concrete evidence that the Order was managing several libraries
of different kinds from at least the 1940s, if not earlier. The HHR in hand is
dated 1929 and carries the number inked into the oval of ownership: 1243. If we
assume, and with some confidence, that this is its accession number, then the
Port Melbourne library was one of respectable size for the purpose, with
quality reading in mind, and a diversity of holdings. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">-- </span><span style="font-size: 14pt; text-indent: -18pt;">Philip Harvey</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRNSb10mEG9FVHp-ABguKaRT9jd-TC46KFC3O_dsEW3W1WVnNYxgPlMaUGlS_wibDxUUR7_-SXtQWGEBUTbTqmfv1_hV6tVRnO9DRxj8a86REYNDvh_W-H8oiTXBDO36voGYuxdiC1oPQyQMm_NX7ZbAc0aiGn76Re4q-xUw5sBWhkmwrYtbMmJpQ6/s1280/ultima%20thule%201.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRNSb10mEG9FVHp-ABguKaRT9jd-TC46KFC3O_dsEW3W1WVnNYxgPlMaUGlS_wibDxUUR7_-SXtQWGEBUTbTqmfv1_hV6tVRnO9DRxj8a86REYNDvh_W-H8oiTXBDO36voGYuxdiC1oPQyQMm_NX7ZbAc0aiGn76Re4q-xUw5sBWhkmwrYtbMmJpQ6/w400-h300/ultima%20thule%201.JPG" width="400" /></a></div><br /><span style="font-size: 14pt; text-indent: -18pt;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><o:p> </o:p></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8994013640693164005.post-68366521004972650382023-02-11T02:33:00.003-08:002023-02-11T02:34:05.131-08:00Reveries of libraries, the forty-fifth: The Antilibrary<p><span style="font-family: Cambria, serif; font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMNhBwYbfu1FCKdEOwChvvtPxJvDtKyAH1bGLA3tM1sptc2KzpyNtRWXD553OSIA2fKUeldGLK-0wuCv4_cV9OSRrSLMzQUK0RaqdmCG8u0gW5PK_-t1ZcohBYYVZG6xyi9iU32gsBEcltlpAFFTgbdrxUYRGvFTT7vV9URaQ1mMtvTsMyu4e1yOeq/s1280/antilibrary.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="960" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMNhBwYbfu1FCKdEOwChvvtPxJvDtKyAH1bGLA3tM1sptc2KzpyNtRWXD553OSIA2fKUeldGLK-0wuCv4_cV9OSRrSLMzQUK0RaqdmCG8u0gW5PK_-t1ZcohBYYVZG6xyi9iU32gsBEcltlpAFFTgbdrxUYRGvFTT7vV9URaQ1mMtvTsMyu4e1yOeq/w300-h400/antilibrary.jpg" width="300" /></a></div><br /><p></p>
<p class="MsoNormal"><span style="font-family: "Cambria",serif; font-size: 14.0pt;">The
entry for ‘Antilibrary’ on Wikipedia exposes the pitfalls of Wikipedia. The
term ‘antilibrary’ is said to be coined by Umberto Eco: “A collection of books
that are owned but have not yet been read.” But the paragraph following that claims
antilibrary was coined by Nassim Nicholas Taleb, inspired by an idea of Umberto
Eco’s. Books may have to be opened to resolve the coinage question. Homework so
far indicates that Taleb takes his lead from Eco who, listening to visitors to
his private library (thirty thousand books) either went wow have you read all
these books, or else said they get it, it’s not an ego trip, a library is about
research. This is where the non sequitur occurs. Taleb jumps to the conclusion
that read books are far less valuable than unread books. “The more you know,
the larger the rows of unread books,” Taleb conjectures. As a concept this is
valuable, we ought to be open to the unknown. As a statement about our history
of reading, it denies the extraordinary value we have already gained from the
books we have read to this moment in time. I do wonder if this is what Eco had
in mind. As well, where is the knowledge we have lost in information? as T.S. Eliot
asks. That said, Taleb then introduces the word antilibrary, which is precisely
the sum of the books we have not yet read. The prefix is being employed in a
positive sense, anti- being the books available to us that we have not yet
read, whether at home or away. It offers promise. For some of us, this is in fact
the feeling we have any time we enter an actual library, a place that contains
more books we haven’t read than books we have read, so maybe our local library is
an antilibrary anyway. This is not abstruse thinking but has become fashionable,
at least while ‘Better Homes and Gardens’ (21 February 2018) assures us not to
worry about the piles of unread books mounting on all sides because they represent
“curiosity, potential learning and inspiration.” Who can disagree? Stop and
smell the roses. All of this becomes complicated by Wikipedia’s statement that
the concept that antilibrary describes has been compared to the Japanese tsundoku.
This turns out to be a narrow definition (“Books that have been purchased but
not yet read”), if our broad definition of tsundoku is “the practice of buying
more books than you can read.” Oddly, this only serves to describe the world
most of us inhabit most of the time: a world where for every book we have available
there is a related book we have yet to read, more than likely close to hand. It
is this antilibrary of everything we have yet to read that tests our
intellectual and emotional lives, if we are readers. Time will always be making
available a book we cannot resist, a book that will improve or expand our awareness
and enjoyment of existence. Though how we got to this point has much to do with
the books we have already read, not the ones we haven’t.<o:p></o:p></span></p>Unknownnoreply@blogger.com0