X Day
From the website Scotland: St. Andrew —
| Saint Andrew is the Patron Saint of Scotland, and St. Andrew’s Day is celebrated by Scots around the world on the 30th November. | |
 | The flag of Scotland is the Cross of St. Andrew, and this is widely displayed as a symbol of national identity. |
Xangans without Scots ancestry may still celebrate by displaying the following symbol:
Archetypal Criticism
My previous note includes the following:
“For a… literary antidote to postmodernist nihilism, see Archetypal Theory and Criticism, by Glen R. Gill.”
This week’s |
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Carl Gustav Jung, from a strongly Protestant background, has been vilified as an “Aryan Christ” by Catholics and Jews.
To counteract this vilification, here are two links:
“A bridge to Jung for the Tolkien fan” — Craig Duncan. Tolkien was, of course, a devout Catholic.
The author, Timothy O’Neill, seems more worthy of respect than the author of a (lapsed) Catholic attack on Jung, Richard Noll.
(See also “Tolkien: Archetype and Word,” by Patrick Grant, Cross Currents, Winter 1973.)
The author, Sanford Drob, seems more worthy of respect than the author of a Jewish attack on Jung, Hannah Newman.
A Logocentric Archetype
Today we examine the relativist, nominalist, leftist, nihilist, despairing, depressing, absurd, and abominable work of Samuel Beckett, darling of the postmodernists.
One lens through which to view Beckett is an essay by Jennifer Martin, “Beckettian Drama as Protest: A Postmodern Examination of the ‘Delogocentering’ of Language.” Martin begins her essay with two quotations: one from the contemptible French twerp Jacques Derrida, and one from Beckett’s masterpiece of stupidity, Molloy. For a logocentric deconstruction of Derrida, see my note, “The Shining of May 29,” which demonstrates how Derrida attempts to convert a rather important mathematical result to his brand of nauseating and pretentious nonsense, and of course gets it wrong. For a logocentric deconstruction of Molloy, consider the following passage:
“I took advantage of being at the seaside to lay in a store of sucking-stones. They were pebbles but I call them stones…. I distributed them equally among my four pockets, and sucked them turn and turn about. This raised a problem which I first solved in the following way. I had say sixteen stones, four in each of my four pockets these being the two pockets of my trousers and the two pockets of my greatcoat. Taking a stone from the right pocket of my greatcoat, and putting it in my mouth, I replaced it in the right pocket of my greatcoat by a stone from the right pocket of my trousers, which I replaced by a stone from the left pocket of my trousers, which I replaced by a stone from the left pocket of my greatcoat, which I replaced by the stone which was in my mouth, as soon as I had finished sucking it. Thus there were still four stones in each of my four pockets, but not quite the same stones….But this solution did not satisfy me fully. For it did not escape me that, by an extraordinary hazard, the four stones circulating thus might always be the same four.”
Beckett is describing, in great detail, how a damned moron might approach the extraordinarily beautiful mathematical discipline known as group theory, founded by the French anticleric and leftist Evariste Galois. Disciples of Derrida may play at mimicking the politics of Galois, but will never come close to imitating his genius. For a worthwhile discussion of permutation groups acting on a set of 16 elements, see R. D. Carmichael‘s masterly work, Introduction to the Theory of Groups of Finite Order, Ginn, Boston, 1937, reprinted by Dover, New York, 1956.
There are at least two ways of approaching permutations on 16 elements in what Pascal calls “l’esprit géométrique.” My website Diamond Theory discusses the action of the affine group in a four-dimensional finite geometry of 16 points. For a four-dimensional euclidean hypercube, or tesseract, with 16 vertices, see the highly logocentric movable illustration by Harry J. Smith. The concept of a tesseract was made famous, though seen through a glass darkly, by the Christian writer Madeleine L’Engle in her novel for children and young adults, A Wrinkle in Tme.
This tesseract may serve as an archetype for what Pascal, Simone Weil (see my earlier notes), Harry J. Smith, and Madeleine L’Engle might, borrowing their enemies’ language, call their “logocentric” philosophy.
For a more literary antidote to postmodernist nihilism, see Archetypal Theory and Criticism, by Glen R. Gill.
For a discussion of the full range of meaning of the word “logos,” which has rational as well as religious connotations, click here.
Waiting for Logos
Searching for background on the phrase “logos and logic” in yesterday’s “Notes toward a Supreme Fact,” I found this passage:
“…a theory of psychology based on the idea of the soul as the dialectical, self-contradictory syzygy of a) soul as anima and b) soul as animus. Jungian and archetypal psychology appear to have taken heed more or less of only one half of the whole syzygy, predominantly serving an anima cut loose from her own Other, the animus as logos and logic (whose first and most extreme phenomenological image is the killer of the anima, Bluebeard). Thus psychology tends to defend the virginal innocence of the anima and her imagination…”
– Wolfgang Giegerich, “Once More the Reality/Irreality Issue: A Reply to Hillman’s Reply,” website
The anima and other Jungian concepts are used to analyze Wallace Stevens in an excellent essay by Michael Bryson, “The Quest for the Fiction of an Absolute.” Part of Bryson’s motivation in this essay is the conflict between the trendy leftist nominalism of postmodern critics and the conservative realism of more traditional critics:
“David Jarraway, in his Stevens and the Question of Belief, writes about a Stevens figured as a proto-deconstructionist, insisting on ‘Steven’s insistence on dismantling the logocentric models of belief’ (311) in ‘An Ordinary Evening in New Haven.’ In opposition to these readings comes a work like Janet McCann’s Wallace Stevens Revisited: ‘The Celestial Possible’, in which the claim is made (speaking of the post-1940 period of Stevens’ life) that ‘God preoccupied him for the rest of his career.’”
Here “logocentric” is a buzz word for “Christian.” Stevens, unlike the postmodernists, was not anti-Christian. He did, however, see that the old structures of belief could not be maintained indefinitely, and pondered what could be found to replace them. “Notes toward a Supreme Fiction” deals with this problem. In his essay on Stevens’ “Notes,” Bryson emphasizes the “negative capability” of Keats as a contemplative technique:
“The willingness to exist in a state of negative capability, to accept that sometimes what we are seeking is not that which reason can impose….”
For some related material, see Simone Weil’s remarks on Electra waiting for her brother Orestes. Simone Weil‘s brother was one of the greatest mathematicians of the past century, André Weil.
“Electra did not seek Orestes, she waited for him…”
– Simone Weil
“…at the end, she pulls it all together brilliantly in the story of Electra and Orestes, where the importance of waiting on God rather than seeking is brought home forcefully.”
– Tom Hinkle, review of Waiting for God
Compare her remarks on waiting for Orestes with the following passage from Waiting for God:
“We do not obtain the most precious gifts by going in search of them but by waiting for them. Man cannot discover them by his own powers, and if he sets out to seek for them he will find in their place counterfeits of which he will be unable to discern falsity.
The solution of a geometry problem does not in itself constitute a precious gift, but the same law applies to it because it is the image of something precious. Being a little fragment of particular truth, it is a pure image of the unique, eternal, and living Truth, the very Truth that once in a human voice declared: “I am the Truth.”
Every school exercise, thought of in this way, is like a sacrament.
In every school exercise there is a special way of waiting upon truth, setting our hearts upon it, yet not allowing ourselves to go out in search of it. There is a way of giving our attention to the data of a problem in geometry without trying to find the solution….”
– Simone Weil, “Reflections on the Right Use of School Studies with a View to the Love of God“
Weil concludes the preceding essay with the following passage:
“Academic work is one of those fields containing a pearl so precious that it is worth while to sell all of our possessions, keeping nothing for ourselves, in order to be able to acquire it.”
This biblical metaphor is also echoed in the work of Pascal, who combined in one person the theological talent of Simone Weil and the mathematical talent of her brother. After discussing how proofs should be written, Pascal says
“The method of not erring is sought by all the world. The logicians profess to guide to it, the geometricians alone attain it, and apart from their science, and the imitations of it, there are no true demonstrations. The whole art is included in the simple precepts that we have given; they alone are sufficient, they alone afford proofs; all other rules are useless or injurious. This I know by long experience of all kinds of books and persons.
And on this point I pass the same judgment as those who say that geometricians give them nothing new by these rules, because they possessed them in reality, but confounded with a multitude of others, either useless or false, from which they could not discriminate them, as those who, seeking a diamond of great price amidst a number of false ones, but from which they know not how to distinguish it, should boast, in holding them all together, of possessing the true one equally with him who without pausing at this mass of rubbish lays his hand upon the costly stone which they are seeking and for which they do not throw away the rest.”
– Blaise Pascal, The Art of Persuasion
Andante Cantabile
As we prepare to see publicity for Russell Crowe in a new role, that of Captain Jack Aubrey in “The Far Side of the World,” based on Master and Commander by Patrick O’Brian, we bid farewell to Patti LaBelle and her Ya-Ya, and say hello to a piece more attuned to Aubrey’s tastes. This site’s background music is now Mozart’s Duo for Violin and Viola in Bb, K.424, 2, andante cantabile.
Notes toward a Supreme Fact
In “Notes toward a Supreme Fiction,” Wallace Stevens lists criteria for a work of the imagination:
For a work that seems to satisfy these criteria, see the movable images at my diamond theory website. Central to these images is the interplay of rational sides and irrational diagonals in square subimages.
“Logos and logic, crystal hypothesis,
Incipit and a form to speak the word
And every latent double in the word….”
– “Notes toward a Supreme Fiction,” Section 1, Canto VIII
Recall that “logos” in Greek means “ratio,” as well as (human or divine) “word.” Thus when I read the following words of Simone Weil today, I thought of Stevens.
“The beautiful in mathematics resides in contradiction. Incommensurability, logoi alogoi, was the first splendor in mathematics.”
– Simone Weil, Oeuvres Choisies, éd. Quarto, Gallimard, 1999, p. 100
In the conclusion of Section 3, Canto X, of “Notes,” Stevens says
“They will get it straight one day at the Sorbonne.
We shall return at twilight from the lecture
Pleased that the irrational is rational….”
This is the logoi alogoi of Simone Weil.
Dancing about Architecture
The title’s origin is obscure, but its immediate source is a weblog entry and ensuing comments: “Writing about music is like dancing about architecture.”
A related quote:
“At the still point, there the dance is.”
– T. S. Eliot, “Burnt Norton” in Four Quartets
“Eliot by his own admission took ‘the still point of the turning world’ in ‘Burnt Norton’ from the Fool in Williams’s The Greater Trumps.”
– Humphrey Carpenter, The Inklings (1978), Ballantine Books, 1981, page 106. Carpenter cites an “unpublished journal of Mary Trevelyan (in possession of the author).”
The following was written this morning as a comment on a weblog entry, but may stand on its own as a partial description of Eliot’s and Williams’s “dance.”
Three sermons on the Fool card, each related to Charles Williams’s novel The Greater Trumps:
To Play the Fool,
Games “Not Unlike Chesse,” and
Charles Williams and Inklings Links.
“Here is the Church,
Here is the steeple,
Open the door and see all the People.”
For some architecture that may or may not be worth dancing about, see the illustrations to Simone Weil’s remarks in my note of November 25, 2002, “The Artist’s Signature.”
ART WARS
Driving the Point Home
From
SUSAN WEIL
From Finnegans Wake,
by James Joyce, p. 293:
The Vesica Piscis,
also known as
The Ya-Ya:
See also the
Geometries of Creation
art exhibit at the University of Waterloo.
Swashbucklers and Misfits
There are two theories of truth, according to a a book on the history of geometry —
The “Story Theory” and the “Diamond Theory.”
For those who prefer the story theory…
From a review by Brian Hayes of A Beautiful Mind:
“Mathematical genius is rare enough. Cloaked in madness, or wrapped in serious eccentricity, it’s the stuff legends are made of.
There are brilliant and productive mathematicians who go to the office from nine to five, play tennis on the weekend, and worry about fixing the gearbox in the Volvo. Not many of them become the subjects of popular biographies. Instead we read about the great swashbucklers and misfits of mathematics, whose stories combine genius with high romance or eccentricity.”
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Russell Crowe, |
Marilyn |
Hollywood has recently given us a mathematical Russell Crowe. For a somewhat tougher sell, Marilyn Monroe as a mathematician, see “Insignificance,” 1985: “Marilyn Monroe on her hands and knees explains the theory of relativity to Albert Einstein.”
For a combination of misfit and swashbuckler in one Holy Name, see today’s earlier note, “The Artist’s Signature.”
See also my note of October 4, 2002, on Michelangelo, and the description of “the face of God” in this review.
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