Aristotle’s Prime Mover

 Divine Love…Gravitational Attraction…

 The Circle of Love…in Dante, Boethius…

The Music of the Spheres as the Planetary Intelligences’ Hymn of Love to God…

God as Music-Love-Light…

     As Aristotle had explained in his famous doctrine of the Unmoved Mover, God does not cause the universe to move by communicating to it his own motion, for then He himself would be mobile and therefore changeable.  Rather, writes Aristotle in his Metaphysics, “He moves us as beloved”.  He moves other things, that is, as an object of desire moves those who desire it.

The love of the heavenly bodies for God functions as a kind of gravitational pull or “attraction”, to use the word in its ancient and modern connotation, that keeps them in their proper orbits:  “in check” as Boethius puts it, else they would “stray” from their “true path” and fly off centrifugally into oblivion, destroying the stable order of things.

This, too, is originally an ancient pagan theme, of which the Neoplatonists Plotinus, Prophyry, and Proclus rarely tired; and in due course, it matured into an enduring Christian topos:  one that envisages Love as flowing in a circuit, first emanating outward from its Centre and into the cosmos.  The superfluity of God’s Love and Goodness is the proximate reason that He must create:  so as to have an object for his Love.  That Love, still flowing outward, sustains creation in order and harmony; finally, in the form of the reciprocal love of creatures for their Creator, it loops backward toward and into its Source.

It is this yearning for reunion with the First Cause and Source of their being that the mystic experiences; and on the plane of cosmology, it is the same force that, in the end time, will bring about the ingathering and absorption of the world back into the divine womb from which it first emerged.

 

Now to speak of love “moving” the cosmos is, of course, to anthropomorphize (in the same way in which the mythic poets  anthropomorphize when they imagine stones and rivers responding to Orpheus’ music of the spheres).  In order for them to be moved by “love” for God, the planetary spheres must be conscious and intellectual beings, which they are, whether conceived as Intelligences (by Plato) or as Angels (by Christians).

The identification of the biblical Angels with the Platonic Intelligences that inhabited the heavenly bodies, in fact, plausibly led Christian theologians to argue that the music of the spheres was in fact the hymn of praise that the angelic choirs sang to God, as we’ll see in due course.  In any case, the indwelling spiritual personalities with which the planets are said to love God can only be understood as emanations of his own Being, as immanent particles of his own Intelligence and Love, whence that Love which flows outward from Him flows backward and inwards into Him again as an apocatastasis of his own substance.

Once again, that is, Love is another God-image–like Justice, Logos, Immanent Mind, Light, Musical Harmony, or whatever imagery happens to be favoured by poet, philosopher, or theologian–, another metaphor for the Divine Being that animates and ensouls the entire universe, from the music-loving rocks on the lowest rung of the ladder of existence, through the music-loving plants, the beasts, men, to the choiring angels and the planets in which they sing.  Suffused and sustained by his Love, all circle around God as around their Centre; all begin and end in Him.

 

The yearning love for the Divine Centre is the motive power that propels Dante’s ascent from Purgatory into Heaven, at the beginning of the Paradiso (as it propels all mystics upward to the vision of God and the mystic union into which they are blissfully absorbed).  While still in the Earthly Paradise atop the Mountain of Purgatory, Dante prays to the Divine Light to fill him with its music (another paradoxical conflation of the imagery of light and sound):

The glory of Him who moves all things so-ever
Impenetrates the universe, and bright
Thy splendor burns…
Within that heav’n which most receives His light
Was I…
O power divine, grant me in song to show
The blest realm’s image…

His prayer answered, Dante then feels himself “trans-humanized”, as he writes:  transformed or apotheosized, that is, into Paul’s new man; and having mystically ascended into Heaven, he credits the attractive power of God’s Love-Light:

…O Love that rul’st the height…
….that didst uplift me by Thy light.

Thereupon, predictably enough, he hears the harmony of the spheres, which, along with the Light, he says, has kindled his yearning to know the Source and Cause of All:

The wheel Thou mak’st eternal through innate
Desire of Thee, no sooner took mine ear
With strains which Thou dost tune and modulate…
The unwonted sound, the bright and burning beams,
Kindled my eagerness to know their cause
Beyond the yearning of my dearest dreams…

 

In the Commedia in general, and for his ascent to Heaven in particular, Dante was influenced above all by Boethius, and at the risk of repeating myself—but then, as I have said, the early poets and thinkers delighted avidly in repeating themselves–, I draw your attention to one final example from theConsolation, the magnificent hymn (metre 9) in book III that unites all of these images:

   Oh God, Maker of heaven and earth, Who govern the world with eternal reason, at your command time passes from the beginning.  You place all things in motion, though You are yourself without change.  No external causes impelled You to make this work from chaotic matter.  Rather it was the form of the highest Good, existing within You without envy, which caused You to fashion all things according to the eternal exemplar.  You who are most beautiful produce the beautiful world from your divine mind, and forming it in your image, You order the perfect parts in a perfect whole.

You bind the elements in harmony so that cold and heat, dry and wet are joined, and the purer fire does not fly up through the air, nor the earth sink beneath the weight of water.

You release the world-soul throughout the harmonious parts of the universe as your surrogate…to give motion to all things.  That soul…pursues its revolving course in two circles [i.e., outward and inward], and, returning to itself, embraces the profound Mind…

In like manner, You create souls…and, adapting them to their high flight in swift chariots, You scatter them through the earth and sky.  And when they have turned again toward You, by your gracious law of Love, You call them back like leaping flames…

…The sight of Thee is Beginning and End.

For Boethius, once again, Justice, Harmony, Fire, World-Soul, Eternal Reason, and Love are all cognate images of the Divine Mind or Soul that animates the universe, holds it together in order, and recalls all creatures back into Itself under the impulse of their own inborn yearning for God as their common Source.

Clement’s Orpheus-Christ…

The New Song as the Creator of Cosmic Order and Harmony…

Cosmogonic Love…

     Inevitably, as you won’t be surprised to learn, these ancient moral themes continued to be projected upon the cosmos throughout the Christian era.

Clement of Alexandria, for example, while reading all of the classical pagan motives we encounter in Ovid into the cosmogony in Genesis, writes that it is the New Song of Christ that fashions the world out of chaos.

The passage in question, not coincidentally, follows hard upon Clement’s comparison between Orpheus and David, and between Orpheus and Christ (the New David), in the first chapter of his Protrepticus or Exhortation to the Greeks.  Orpheus’ song, writes Clement, charmed the beasts, uprooted trees, and inspired even stocks and stones to follow him; but Christ has “tamed the most intractable of all wild beasts, man”, transforming his animal pleasures and passions into habits of self-mastery and gentleness, and raising up men of stony ignorance and hardened hearts “unto children of Abraham” (Matt. 3: 9).

In the usual way, then, Clement merely appropriates for the biblical Christ the whole Orphic mystique and power of music and poetry to temper the passions and ennoble the human soul.  And then, in the next paragraph, he inevitably modulates into cosmogony:

See how mighty is the New Song [i.e, of Christ].  It has made men out of stones and men out of wild beasts.  They who were otherwise dead, who had no share in the real and true life, revived when they but heard the song.  Furthermore, it is this which composed the entire creation into melodious order, and tuned into concert the discord of the elements, that the whole universe might be in harmony with it.  The ocean it left flowing, yet has prevented it from encroaching upon the land; whereas the land, which was being carried away, it made firm, and fixed as a boundary to the sea.  Aye, and it softened the rage of the fire by air, as one might blend the Dorian mode with the Lydian; and the biting coldness of air it tempered by the intermixture of fire, thus melodiously mingling these extreme [i.e., opposite] notes of the universe.  What is more, this pure song, the stay of the universe and the harmony of all things, stretching from the centre to the circumference and from the extremities to the centre, reduced this whole to harmony…The Word of God …by the power of the Holy Spirit arranged in harmonious order this great world, yes, and the little world of man too, body and soul together; and on this many-voiced instrument of the universe He makes music to God…

We see in this grand conceit nothing less than the grafting of the whole Hellenistic legacy onto the biblical root-stock.  The cosmogonic function of restraining the aggression of the elemental opposites, allocating them within their proper provinces, and thus ordering the universe in justice and harmony, which Ovid attributes to Nature, Clement now ascribes to the Spirit who brooded over the biblical abyss of Genesis 1 (duly identified with the Greek Chaos), and that Spirit is in turn identified with the Christian Logos.  The Logos is now the Pythagorean harmony of the spheres, the cosmic music that attunes the heavens, reconciles the opposites, and ensouls the world.  The mythological attributes and powers of Orpheus as the mythic incarnation of the harmonia mundi and the healer of men’s disordered spirits are also, once again, reinvested in the Christian Deity, and through Orpheus the biblical personality of Christ is not only enlarged but transformed beyond recognition.

 

The assimilation of this ancient imagery, begun in the Patristic period, is a major project of the Christian Middle Ages.  Here (at the beginning of the sixth century) is Boethius’ prayer in book I, meter 5 of The Consolation of Philosophy: 

Creator of the star-filled universe…, You move the heavens in their swift orbits.  You hold the stars in their assigned paths…When the cold of winter makes the trees bare, You shorten the days to a briefer span; but when warm summer comes, You make the night hours go swiftly. Your power governs the changing year:  in spring, Zephyrus renews the delicate leases that Boreas, the wind of winter had destroyed; and Sirius burns the high corn in autumn that Arcturus had seen in seed.  Nothing escapes Your ancient law; nothing can avoid the work of its proper station.  You govern all things, each according to its destined purpose.  Human acts alone, O Ruler of All, You refuse to restrain within just bounds…

O God, whoever you are who joins all things in perfect harmony, look down upon this miserable earth!…Ruler of all things, calm the roiling waves and, as You rule the immense heavens, rule also the earth in stable concord.

In book II, meter eight, we have another statement of the theme, in which the cosmic justice that binds the warring opposites together in concord and harmony is identified ultimately with Divine Love:

That the universe carries out its changing process in concord and with stable faith, that the conflicting seeds [semina = “elements”] of things are held by everlasting law, that Phoebus in his golden chariot brings in the shining day, that the night, led by Hesperus, is ruled by Phoebe, that the greedy sea holds back his waves within lawful bounds, for they are not permitted to push back the unsettled earth—all this harmonious order of things is achieved by love which rules the earth and the seas, and commands the heavens.  But if love should slack the reins, all that is now joined in mutual love would wage continual war, and strive to tear apart the world which is now sustained in friendly concord by beautiful motion.  Love binds together people joined by a sacred bond; love binds sacred marriages by chaste affections; love makes the laws which join true friends.  O how happy the human race would be, if that love which rules the heavens rule also your souls.

     In Edmund Spenser’s statement of the topos in his Hymn of Love, Love does not merely maintain the universe in order and harmony, but is in fact the Creator-God that plays the role of Ovid’s Nature in pacifying the aggression of the elemental opposites in the primordial Chaos.

The earth, the air, the water, and the fire
Then gan to range themselves in huge array
And with contrary forces to conspire
Each against other by all means they may,
Threat’ning their own confusion and decay:
Air hated earth and water hated fire,
Till Love relented their rebellious ire.

He then them took and, tempering goodly well
Their contrary dislikes with loved means,
Did place them all in order and compel
To keep themselves within their sundry reigns
Together linkt with adamantine chains:
Yet so as that in every living wight
They mix themselves and show their kindly might.

So ever since they firmly have remained
And duly well observed his behest,
Through which now all these things that are contained
Within this goodly cope, both most and least,
Their being have.

 

According to another, related commonplace, the divine Love that gave birth to the world, holds the warring opposites in its embrace, and regulates the harmonious succession of the days and seasons, also inflames that mystical yearning that draws back the entire creation into its Source.  Boethius, once again, provides a classic statement of the theme, in Consolation book IV, meter vi:

If you wish to discern the laws of the high and mighty God, the high thunderer, with an unclouded mind, look up to the roof of highest heaven.  There the stars, united by just agreement, keep the ancient peace.  The sun, driven by red fire, does not impede the cold circle of Phoebe.  Nor does the Great Bear driving its course at the world’s top, hide itself in the western ocean; it never wants to drown its flames [i.e., the elemental fire] in the sea [i.e., water]…The faithful Hesperus announces the approach of night at the assigned time; then, as Lucifer , it brings back the warming day.

Thus mutual love governs their eternal movement and the war of discord is excluded from the bounds of heaven.  Concord rules the elements with fair restraint; moist things yield place to dry, cold and hot combine in friendship; flickering fire rises on high, and gross earth sinks down.  Impelled by the same causes, the flowering year breathes out its odors in warm spring; hot summer dries the grain and autumn comes in burdened with fruit; then falling rain brings in wet winter.   This ordered change nourishes and sustains all that lives on earth…

Meanwhile the Creator sits on high, governing and guiding the course of things.  King and lord, source and origin, law and wise judge of right.  All things which He placed in motion, He draws back and holds in check; He makes firm whatever tends to stray.  If He did not recall them to their true paths and set them again on their circling courses, all things that the stable order now contains would be wrenched from their source and perish.

This is the common bond of love by which all things seek to be held to the goal of good. Only thus can things endure:  drawn by love they turn again to the Cause which gave them being.

As Priceton’s readers will know—as any life form more highly evolved than the amoeba will know–Canada’s Charter of Rights and Freedoms recently turned thirty.

To mark the day (April 17), and for weeks beforehand, there were festschrifts, symposia, features on the nightly news, inserts in the major newspapers, “Law Days” at the country’s law schools (other days during the school year being, presumably, “crime days”), books published on the Charter’s origins, and poems written by primary school children thanking Trudeau for bestowing upon Canadians, for the first time in their history, human rights and equality.   (Dear Kim, call your office; you’ve got competition.)

How, one wonders, will Canadians celebrate the Charter’s hundredth anniversary?  Hold a military parade with goose-stepping soldiers and a fly-past?

It has long been a national pastime in this country to make fun of American hand-over-the-heart, salute-the-flag jingoism.  Yet, from the day that Trudeau came down from the mountain with his rose in one hand and the sacred tablets in the other, Canadians have gushed reverentially over the Charter.

To those whose nativity occurred somewhat earlier than 1982, it is disconcerting to note how completely Trudeau and the Charter have supplanted Sir John A. and the BNA Act in the popular imagination.  From the foreshortened historical perspectives of the younger generation, the fact that Trudeau was a contemporary of the Beatles makes him ancient enough to be a Founding Father, I suppose.  But our improved and updated patriarchal narrative is also an index of the degree to which the original conception of Canada has been superannuated by a wholly novel one.

A typical encomium arrived during the week before April 17 from the pen of Irwin Cotler, in a column (“Myopic government ignores Charter anniversary”) published (where else?) in The Toronto Star, charging the Harper government with impiety for failing to perform the proper rites:

This momentous occasion deserves commemoration and observance…Regrettably [it] has gone without any remark or notice from the [Harper] government…continues a disturbing trend of the government marginalizing the Charter…Harper…conspicuously absent from the commemorative festivities…

Thereupon Cotler breaks out into all the symptoms of advanced Chartermania:

Under the Charter,…[i]ndividuals  moved from being the objects of rights to being subjects of rights, with the full panoply of fundamental rights and remedies that were unavailable in pre-Charter law.  Indeed, pre-Charter life and law is often a disturbing narrative of discrimination against, and marginalization, of vulnerable groups, including discrimination against aboriginal people, against racial and religious minorities, against women, against the disabled, against gays and lesbians, against immigrants and refugees, and the like.  But, if you go about the country—as I did while minister of justice—and ask Canadians if their rights are better protected now than they were 30 years ago, the answer is invariably yes…in the public opinion polls…the Charter has emerged as an icon of the Canadian political culture.

All right, we get it.  Before Trudeau and the Charter ushered us into the Promised Land of equality and human rights, Canadians laboured like the Hebrew slaves in the brickyards of Goshen.

 
I grant that many legal and moral documents in the history of civilization deserve our enduring respect:  e.g., the American Bill of Rights, Magna Carta, the Sermon on the Mount, Solon’s Athenian Constitution, the Ten Commandments, Hammurabi’s Code (in roughly reverse chronological order).  Trudeau’s Charter, however, is not one of them.  Come to think of it, the principal advantage of living in Canada under the Charter is the right not to be offended by the pinching prohibitions of these formerly revered but now outmoded moral codes.  The Charter has made it safe for students and defendants to walk into schools and courtrooms without having the words of such bronze-age survivals as the Ten Commandments glowering disapprovingly down upon them.

The Charter has brought us walk-in abortuaries, human rights kangaroo courts, campus speech codes, “diversity” police, and admission to the lady’s room for men now surgically transgendered at taxpayers’ expense.  It has fecundated a pullulant brood of professional malcontents, egalitarian bean-counters, and princess-and-the-pea takers-of-offense, whose pride bruises more easily than a hemophiliac’s shin.   At the same time, it has created ex nihilo a whole “panoply” (to use Cotler’s word) of pseudo-rights and special entitlements intended to placate the above, all the while trampling upon rights that have been recognized as fundamental since the twelfth century, and strangling natural human freedoms like serpents in the cradle of Hercules.  In 1987, Mme Justice L’Heureux-Dube proclaimed that Canada had “stretched the cords of liberty” more in five years than the U.S. had done in two hundred.  Only to a statist like L’Heureux-Dube would “the cords of liberty” not strike the ear as an oxymoron.  I don’t know about the “cords of liberty”, but the bands in which Canadian citizens are held by the progressive State have never been tighter.

Under the Charter, government departments have been permitted (say, rather, required) to advertise jobs with the express provision that no males or whites need apply.   Members of the same two groups–hopelessly out of favour with the Zeitgeist–have been denied jobs or admission to universities under Charter-approved “affirmative action” programs in both the private and public sectors.  (Logic ought to tell us that the State cannot “affirm” one group without denying another.   Hitler might have been more politically astute, perhaps, had he called his racial policy “affirmative action for Aryans”, but the consequences would have been no less negative for Jews and Gypsies.)   All in all, Canadians now blithely practise racism and sexism (with the Charter’s encouragement) on a scale that the Klan could only have dreamed of.

Freedom of Speech? Of religion?  For members of Wicca, perhaps, but hardly for mainstream Christians.  Canadians should certainly rejoice that witches can now cast spells without fear of being burnt at the stake (a regular occurrence, presumably, until 1982), Sikhs can carry daggers, and aboriginals can legally smoke peyote; but shouldn’t we repine that Christians are forbidden to express or live by the age-old teachings of their Faith?  Under the Charter, an Evangelical pastor has recently been fined for calling homosexuality a moral disorder in a letter to the editor of his local newspaper (merely repeating, that is, a longstanding Christian doctrine, not to mention a standard diagnosis in the psychiatric manuals) and forbidden to ventilate any further “hateful” opinions on that subject.  (In atheist circles, there is a creeping movement to ban the Bible and other traditional religious texts as “hate-speech”—book burning for liberals.)  A few years ago, a printer was forced by Canada’s guardians of Charter rights to accept a job, in violation of his own Christian religious conscience, producing a pamphlet of homosexual propaganda; and the Knights of Columbus (a Catholic charity) were compelled to rent their hall to the celebrants of a gay “marriage”.   In Canada’s public schools, children have long been taught that pre-marital sex is a healthy form of self-expression (so long as pubescents use school-issued condoms), and that all religions and “lifestyles” are equally valid.  Meanwhile, parents (Christian, Jewish, and Muslim) who have tried to shield their offspring from such relativist shibboleths have been told that their religious sensibilities are obnoxious to the Charter’s progressive ethos.  On campuses, in deference to the “rights of women” as defined by a permanently aggrieved feminist sisterhood, pro-life student clubs have been legally harassed or banned.   (Compare their treatment to that of Ontario Catholic school students, whose “right” to establish so-called Gay-Straight Alliances has recently been guaranteed by the Ontario Government.)   Note also that the hallowed freedom to engage in peaceful protest–protected even when protests become violent and criminal, so long as they are mounted by aboriginals (as at Caledon) or anti-capitalists (as at the G-20 or currently in Montreal)–is licitly denied to the opponents of abortion, who are forbidden on pain of imprisonment to pray within sixty meters of an abortion clinic.  If pro-life protesters had torched a few police cars, camped on private land, smashed a few corporate windows, and looted some chain stores, they’d surely get more respect.

In each of these cases (similar examples abound), the Charter’s equality provisions might as well have been written by the egalitarian pigs on Orwell’s Animal Farm.  Orwell’s pigs at least had no illusions that their grossly inequitable apportionment of equality to the diverse species on the farm was anything but arbitrary and self-serving.  Canada’s ruling class, on the other hand, imagines that it is fostering progress in advantaging certain groups (whom they regard as natural allies in the benignant cause of egalitarianism and “social justice”) while discriminating against others (whom they regard as its enemies).

In the pre-modern era of monarchy, theocracy, and aristocratic privilege, the arbitrary determinants of human value used to be class, religion, or race.  Little seems to have changed in the modern democratic Welfare State, except perhaps the winners and losers.  When in the name of human rights, governments deny Christians their fundamental freedoms of religion or speech, or White males their right to compete for jobs on colour-blind merit, our society is in principle no fairer or more just than any of those in that antediluvian epoch when women or certain racial or religious groups were denied the rights and liberties that accrued to everyone else.

Rather more dispositive than any founding document or legal code (however venerable), these days it is the progressives’ familiar victimological narrative that decides which group is in or out.  That narrative conceives of history teleologically, as a grand Manichean struggle between oppressors and oppressed, rich and poor, nativist majorities and alienated minorities.  Like all teleologies, it is a crude simplification of historical actuality.  In any case, its principal effect is merely to invert the old hierarchy, making new oppressors out of former victims and vice-versa.

Real victims and oppressors are, like prophets, never recognized in their own time (else there would be no injustice), but are identified only retroactively, through such anachronistic mechanisms as “affirmative action” and “reparations”.   The seemingly noble idea of “repairing” historical injustice demands that the surviving members of a group that had once been ill-treated be compensatorily advantaged today:  i.e., that living persons who themselves have never suffered from prejudice or discrimination be belatedly benefited merely for the achievement of belonging to the victim group.   Members of the historical oppressor group must then, willy-nilly, be penalized, even if they have never in their lives entertained a racist or sexist thought.  In all such schemes, one ought to recognize the reassertion of a repugnantly primitive ethos, according to which the miasma of sin is passed down the generations through the channels of race, religion, or gender, so that accidental group characteristics once again override the autonomy and dictate the moral valency of supposedly free individuals.  We used to denominate such ideas with words that end in ‘ism.

But there we are:  racists, sexists, and anti-Christian bigots all–and with the Charter’s good-housekeeping seal of approval, besides.  In the case of White European males, the historical enormities of patriarchy, colonialism, and slavery evidently continue to pollute them, even centuries after these practices were abolished.  As inheritors of the collective guilt of their forbears, Christians today are treated as if they are still tainted by the crimes of the Crusades and the Inquisition, and thus reflexive targets of progressive indignation and abuse.  (That the greatest atrocities in the history of mankind were perpetrated by such militantly atheist states as the Soviet Union does not fit well into the canonical narrative; accordingly, there is no enthusiasm in progressive circles for seeking “reparations” from today’s militant atheists or “affirming” Christians in compensation for the communist holocaust they recently suffered at atheist hands.)

Historical “oppressor” groups are thus under general suspicion in progressive societies, while official victims enjoy the unique right of accusation.   For the past generation, racial hucksters such as Al Sharpton, Jesse Jackson, and Jeremiah Wright (in the U.S.), self-appointed human rights watchdogs like Richard Warman (in Canada), along with innumerable organizations including the B’nai Brith and Anti-Defamation League for Jews, the NAACP for Blacks,  NOW and NARAL for women, EGALE for gays and lesbians, and the ACLU for everyone else, have been part of a standing constabulary of moral vigilantes–a human rights Stasi for sniffing out of racism, sexism, or economic inequalities.   The totalitarian implications of these permanent snooping agencies, and the pall that their ubiquitous presence casts upon freedom of thought and speech, ought to be alarming in a supposedly free and democratic society.  It is hardly a cause for rejoicing that there is as yet no Gulag for “racists” or Christians in the West.  We already have human rights tribunals which operate outside the normal rules of evidence or the presumption of innocence; and citizens have either been imprisoned or threatened with imprisonment for such thought-crimes as underestimating the numbers of Jews who died in the Holocaust or making fun of homosexuals. More important, whether guilty or not, the mere charge of racism, sexism, homophobia, or anti-Semitism brands the accused with the indelible mark of Cain.

It tells you something that you’ll never hear White males, property owners, businessmen, the “rich”, or conservative Christians celebrating when some new human rights legislation has just been passed.  They know intuitively that, with the promulgation of each new entitlement or equity measure, their own rights and liberties are about to be further curtailed.   The mere survival of these vestiges of the old White European order creates an atmosphere of malignant expectation.  That’s what liberals really mean when they allege that the West continues to be a “systemically” racist, sexist, or “classist” society.  There is no need for any empirical evidence to support such a claim (the actual evidence is entirely contrary); the mere presumption is enough to justify the progressive State’s never-ending campaign to silence offensive speech, or diabolize capitalist greed and excess.

Such efforts are, by both nature and design, unsuccessful:  there are always more offended minorities to appease, and more wealth to redistribute from the avaricious rich.  Affirmative action, you may recall, was first advertised as a “temporary” remedy.  But then, its eternization follows the immutable pattern according to which all temporary government programs, once inaugurated, become permanent.   The imperial Welfare State and its bureaucracy are like Patton’s Army:  it is a matter of honour for them never to surrender a beachhead once it has been captured.

With affirmative action still in full force after a quarter of a century, the late Joe Sobran once quipped that there were currently 1.6 officially accredited victims for every man, woman, and child in America.  Sobran’s unofficial census was confirmed by a grad school colleague of mine, who confided that in applying for an academic position, he once checked off a handful of the two dozen preferential categories on the affirmative action form that invariably comes with such applications.  Having represented himself as a “transgendered, homosexual, paraplegic of mixed African, Latino, and Aboriginal ancestry”, he promptly won one of the rare interviews to be had in an otherwise impossible job market.  His new problem, as he lamented, was hiding the fact that he was a white heterosexual male long enough to display his qualifications and win over his prospective employers.  I advised him to go to the interview in a burka.

It should at least strike the apparatchiks of the new human rights regime as mildly ironic that the human community is now more racially conscious and sectarian than ever before.  Progressive governments have succeeded in re-defining society as a “mosaic” of discrete interest groups in competition with one another for the same State-allocated spoils.  This has reduced civil life in Canada (as in most other social democracies) to something akin to Hobbes’ state of nature, and certainly made a mockery of the 1960s civil rights ideal of “colour-blindness”.   Even the benighted ancients abhorred the parochial tribalism to which humans are already prone by nature—needless of the State’s official encouragement of ethnic or gender consciousness–, arguing  (as did the Stoics, for instance) that beyond the accidental differences of ethnicity, nation, and cult, all men are unhyphenated members of the same universal fraternity of humankind.   Naturally, it has not been lost on those with even the most tenuous connection to one or other of the groups currently in ideological good odour that membership has its privileges.  (In the U.S., a prominent Democrat recently demanded special consideration because she was 1/30 Native American.)  Whereas in the racist past, citizens pleaded to be treated as individuals (i.e., not to be pre-judged on the accidental basis of their membership in certain groups), now it is an open secret that group identity confers its own benefits and powers.

The Image-Complex of Harmony, Justice, and Cosmic Order…

Shakespeare’s Ulysses on “Degree”

Ovid’s Cosmogony…

Music as the Substance of the Cosmos…

Music as the Cosmogonic God…

     The “reparation” paid by the tragic hero for the crime of aspiring above his mortal station is only the most spectacular instance of that distinctly unmodern respect for hierarchy and decorum that is extolled thoughout the history of Western literature and thought, in which there is nothing more sacred than what Ulysses describes in Shakespeare’s Troilus and Cressida as man’s obligation to observe “degree, priority, and place”.

     The man who fails to respect the social order commits an act of injustice that is as primordial as the elemental opposites’ overstepping of their bounds, and it has cosmic consequences for this reason:

The heavens themselves, the planets, and this centre [i.e., earth]
Observe degree, priority, and place,
Insisture, course, proportion, season, form,
Office, and custom, in all line of order.
And therefore is the glorious planet Sol
In noble eminence enthroned and sphered
Amidst the other; whose med’cinable eye
Corrects the influence of evil planets,
And posts, like the commandment of a king,
Sans check, to good and bad.  But when the planets
In evil mixture to disorder wander,
What plagues, and what portents, what mutiny,
What raging of the sea, shaking of earth,
Commotion in the winds, frights, changes, horrors,
Divert and crack, rend and deracinate
The unity and married calm of states
Quite apart from their fixture?  O, when degree is shaked,
Which is the ladder of all high designs,
The enterprise is sick.  How could communities,
Degrees in schools, and brotherhoods in cities,
Peaceful commerce from dividable shores,
The primogenity and due of birth,
Prerogative of age, crowns, scepters, laurels,
But by degree, stand in authentic place?
Take but degree away, untune that string,
And hark what discord follows.  Each thing meets
In mere oppugnancy.  The bounded waters
Should lift their bosoms higher than the shores
And make a sop of all this solid globe;

Strength should be lord of imbecility,
And the rude son should strike his father dead;
Force should be right, or rather right and wrong—
Between whose endless jar [i.e., discord] justice resides—
Should lose their names, and so should justice too.

Then everything include itself in power,
Power into will, will into appetite,
And appetite, an universal wolf,
So doubly seconded with will and power,
Must make perforce an universal prey
And last eat up himself.  Great Agamemnon,
This chaos, when degree is suffocate,
Follows the choking.
(Troilus and Cressida, I.iii, 85ff.; my italics)

      As usual, Shakespeare manages to compact the entire tradition into the narrow scope of these lines.  The violation of “degree” in the macrocosm reverberates into the microcosm, and vice-versa.  Should the planets “in evil mixture to disorder wander”–should, that is, they stray out of their proper courses into the orbits of each other–, all of nature is discomposed, and nature’s commotion soon infects the “unity and married calm of states”.  Conversely, should the hierarchical order of human society be disturbed, the string of the universe itself is “untuned”:  the elemental opposites of sea and land transgress their boundaries and invade each other’s provinces “in mere oppugnancy”, and everything dissolves back into chaos.

     Here, again, needless to say, one sees the assimilation into a unitary image-complex of the ideas of music, justice, and cosmic order.

     In these lines, Shakespeare is rehearsing a topos that is already two thousand years old, according to which the creation of the world involves the Deity’s imposition of order upon an original chaos in which the elemental opposites are at each other’s throats–a state perennially described as “war”, “strife”, “discord”, “disharmony”, or “injustice”.

     We have discussed it already, I know, but I must draw your attention one more time to that text at the beginning of Ovid’s Metamorphoses that so perfectly inflects the theme.

Before the sea was, and the lands, and sky that hangs over all, the face of Nature showed alike in her whole round, which state have men called chaos:  a rough, unordered mass of things, nothing at all save lifeless bulk and warring seeds of ill-joined elements [discordia semina rerum] …No form of things remained the same; all objects were at odds, for within the one mass cold things fought [pugnabit] with hot, and moist with dry, soft things with hard, heavy things with weightless.  God—or kindlier Nature—composed all this strife by restoring everything within its limit; for he rent asunder land from sky, and sea from land, and separated the ethereal heavens from the dense atmosphere.  When thus he had released these elements and freed them from the blind heap of things, he set them each in its own place and bound them fast in harmony [concordia].

     For Ovid, as for most of the later poets, Anaximander’s The Infinite is identified with Hesiod’s Chaos, a state in which the elemental opposites are interfused in a formless, homogenous mass.  Ovid describes them as being at war, invading each other’s provinces, until God or “kindlier Nature” restrains their aggression, separates them out of the fray, and sets them within their proper jurisdictions in justice, order, and harmony.

      In the language of poetry, what this means, of course, is that Justice, Order, and or Harmony–whatever name the poet confers upon it–is the very divine agency that creates the world.  That is to say, it is not merely that the universe exhibits the quality of justice, or that the orderly revolution of the spheres intones a kind of harmony that metaphorically evokes the order and harmony of their movements; it is rather that Justice or Music is the actual cosmogonic agent that brings the world into being.

     So, the seventh-century encyclopedist and biblical exegete Isidore of Seville writes that

Nothing exists without music.  For the universe itself is said to have been framed by a kind of harmony of sounds, and the heaven revolves under the tones of that harmony. (Etymologiae)

     As late as 1687, Dryden gave the idea its best-known rendering in English poetry, while cleaving strictly to the ancient pagan cosmogonic tradition that begins with Anaximander and has its locus classicus in Ovid:

From harmony, from heavenly harmony,
This universal frame began:
When nature underneath a heap
Of jarring atoms lay
And could not heave her head,
The tuneful voice was heard from high:
Arise, ye more than dead.
Then cold and hot and moist and dry
In order to their stations leap
And music’s power obey.
From harmony, from heavenly harmony,
This universal frame began;
From harmony to harmony
Through all the compass of the notes it ran
The diapason closing full in man.

     The world, then, is literally brought into existence by Music.  Music is the cosmogonic God, or at least an aspect of God the Creator, and in this, Dryden, once again, merely rehearses an ancient pagan tradition.

Music, Love, and Justice

Justice as a Concors Discordiae

The Law of Correspondence

The “Justice” of the Cosmos:  Homer, Anaximander, Greek Tragedy

Hybris and the Law of Compensation…

     The analogy between David and Orpheus as singers of cosmogony suggests the final and most symbolically resonant way in which the music of the spheres can reawaken the divine self that sleeps in the depths of the soul.

     To understand this we need to remind ourselves of the association of music with justice as we have encountered it so far.  Recall that the music of the spheres is invoked in Cicero’s Somnium in the context of a larger work, which like Plato’s Republic, sets itself the imaginative task of founding the Just City, and in the more specific context of a vision in which Scipio the Elder exhorts his grandson to dedicate himself to the just administration of the commonwealth, which he says is as one of the highest vocations of the wise man.  The just functioning of the commonwealth, says Scipio, depends upon the harmonious interaction of its various estates whose interests are often at odds.  It is, as such, as kind of concors discordiae—a harmony of discord.

     Remember too that in Lorenzo’s evocation of the theme, the contrast between the Justice of the Old Law and the Mercy of the New is obviously the central theme of Shakespeare’s play.  In the Christian dispensation, Justice and Love are opposites, while at the same time merely different aspects of the same quality; reconciled in the New Law, they produce, once again, a concors discordiae.

    For related reasons, Justice, Love, and the music of the spheres have always been symbolically assimilated.  The conflation of these concepts goes back, in fact, to the very beginning of Western thought.

     The music of the spheres is produced by the revolutions of the stars and planets, and as moderns we might wonder why these inanimate and impersonal bodies should behave as if they were living beings constrained by the same moral laws that regulate human society.  The short answer is that they areliving beings, celestial animals, as Plato calls them, whose spherical material bodies are animated by indwelling souls he calls Intelligences.  Indeed, the cosmos itself is, in Plato’s phrase, a divine animal, whose visible materia is God’s body, and whose invisible form is God’s soul–his “immanent Mind”, to use Virgil’s phrase.

     Such philosophical metaphors merely illustrate the habit of the primitive and mythogenic psyche to project itself into the material universe, finding there the fundamental human dichotomy between body and soul, and all the emotions, virtues and vices, qualities and conditions of ordinary human experience, including Justice, Love, and so on.  In later literature and philosophy, this reflex is rationalized as the law of correspondence, according to which everything in the great world (the macrocosm) exists in miniature in the little world of man (the microcosm).  The law of correspondence, therefore, suggests that the just, orderly, and harmonious operations of the human collective (the polis) and the human individual (the moral psyche) have their counterparts in the justice, order, and harmony that govern nature on a universal scale.  

     The idea of the “justice” of the cosmos also goes back to the very beginning of European thought.  Both Homer and Hesiod refer to the just and equal apportionment to Hades, Poseidon, and Zeus of the government of the four regions into which the universe is divided—the underworld allotted to Hades, the sea to Poseidon, and the heavens to Zeus, with the earth and Mt. Olympus shared amongst the brothers.

     This is the sacred decree that is alluded to in a famous passage–the subject of endless allegorical commentary–in Iliad XV, where Zeus, enraged at the meddling of Poseidon in the war between the Greeks and Trojans, sends a messenger to command him to withdraw from the Trojan plain.  To Zeus’ highhanded decree, Poseidon protests angrily:

No, no.  Great though he be, this that he has said is too much,
if he will force me against my will, me, who am his equal
in rank.  Since we are three brothers born by Rheia to Kronos,
Zeus, and I, and the third is Hades, lord of the dead men.
All was divided among us three ways, each given his domain.
I when the lots were shaken drew the grey sea to live in
forever; Hades drew the lot of the mists and the darkness,
and Zeus was allotted the wide sky, in the cloud and the bright air.
But earth and high Olympos are common to all three. Therefore
I am no part of the mind of Zeus.  Let him in tranquility
and powerful as he is stay satisfied with his third share.

The three brothers have been given their provinces by “lot”, that is, by Moira or Destiny, and therefore any encroachment upon the province of one by another is fiercely resisted as an injustice, insofar as it threatens the balance of power upon which the peaceful government of the cosmos depends.

     As you remember, Zeus, Poseidon, and Hades were, from the very earliest stages of Greek philosophy, conventionally interpreted naturaliter as allegorical symbols of the elements fire, water, and earth, respectively.   But even if as a rational philosopher (as opposed to a “lying poet”) you conceive of these as “inanimate” elements, they are, all the same, as bound as any Olympian god by the same sacred law of justice not to encroach upon the province of the other elements.

     Here is the teaching of the sixth-century B.C. Pre-Socratic philosopher Anaximander of Miletus, as outlined in a late-antique commentary by Simplicius on Aristotle’s Physics:

Anaximander…asserted that the source and element of existing things is “The Infinite” [to Apeiron].  He was the first to introduce this name for the source of all.  He says that it is neither water nor any of the other so-called “elements”, but of another nature which is infinite and eternal, from which all the heavens and the world-orders in them arise…

…He says that all existing things come into being and pass away according to what must be; for “they make reparation to one another for their injustice according to the ordinance of time”, as he puts it in somewhat poetical language. (On Aristotle’s Physics [6th A.D.])

 From other fragments preserved by later authors, we can piece together what this cryptic statement means.  According to Anaximander, before they are “separated out” of The Infinite into a world-order, the elemental opposites—hot and cold, wet and dry—are all mixed up together in a formless heap, a state of mutual aggression, in which they commit “injustice” by overstepping their bounds, invading each other’s provinces, for which they must eventually make “reparation” if the balance is to be restored.  The same principle governs the revolution of the seasonal year—the meaning of Anaximander’s phrase “according to the ordinance of time”–, in which the excessive heat of summer is forced to withdraw and “make reparation” to the advancing cold, and the excessive cold of winter must make reparation for the injustice it has done to the hot.  This is Anaximander’s moral “law of compensation”, and it governs the human microcosm as it does the macrocosm.

     In our first series of essays (Involuted Mysteries) on numbers, we discussed the law of compensation as it applies to the human body, which falls into disease whenever one of the opposites becomes dominant in the form of an excess of one of the humours, the health of the body depending upon the restoration of balance amongst all four. The same law of compensation governs human society.

     We see the dire consequences of its violation most dramatically in Greek tragedy, with its admonition against hybris, the tragic failure of the protagonist to recognize his proper place in the cosmos–to “think mortal thoughts”, as the Apollonian aphorism goes–, the inevitable consequence of which is his payment of reparation in being cast down even lower than the position from which he originally aspired.  As the Chorus admonishes at the end of Sophocles’ Antigone:

Above all, happiness depends
On wisdom.  It is never right
To sin against the gods.  Great blows
Repay great words of boasting men,
And teach us wisdom in old age.

      The fall of the tragic hero is just payment for his overweening pride, especially his lack of regard for the rights of the gods.  So Oedipus and Jocasta who once scoffed at the oracle are repaid; so Agamemnon, who destroyed the altars of the gods at Troy, pays the penalty at the hands of his wife Clytemnestra.

The Analogy between Orpheus and David…

Christianity as a Syncretistic Religion…

     Before we quite leave the orbit of his mythology, I need to mention one other narrative tradition about a legendary musician to whom Orpheus was habitually compared.

In his important early-sixth-century treatise The Institutes, Cassiodorus draws the analogy between the power of Orpheus’ lyre to soothe the breasts of wild beasts and that of David’s harp to “deliver Saul from the unclean spirit by means of his redeeming melody”.   In the Middle Ages, the identification of Orpheus with David, and with Christ (the New David), was one of a number of analogies between pagan mythology and biblical history that evolved into literary commonplaces:  image clusters or complexes that tended to promote a vision of the archetypal provenance and universal amplitude of the Christian story and its God, and at the same time to blur the edges of the heavily bibliocentric theology of early Christian polemic, in which the Truth of the Bible was seen in triumphant and disqualifying contrast to the falsity of pagan myth.

 

The origin of the David-Orpheus analogy is in fact pre-Christian, having been first brewed up in late Hellenistic times when pagan philosophy and mystery religion, esoteric Jewish theosophy, and nascent Christianity were in fertile contact with one another, giving birth in turn to any number of strange offspring, including Hermeticism, Gnosticism, and the Kabbala.

In an Essenian manuscript discovered at Qumran, for example, a poem is placed in the mouth of David that is fecund with Orphic initiatory formulas and detailed allusions to the myth of the Greek musician, in which the Israelite King was shown to be entirely fluent.  Knowing as we do (after the disinterment of Qumran’s treasures) how completely suffused with Orphic and Pythagorean ideas was the Judaism of the Essenes, we may appreciate that the author of this poem was ventilating a sort of theological joke.

According to the conventional Deuteronomic theology of kingship of which David was the embodied ideal, the supreme vocation of the Israelite monarch was to immunize the Hebrew faith against contamination from neighbouring pagan cults. But far from purifying the high places, David himself is here imagined to be a sort of Orphic priest or sage.  This early “Orphic David” seems to testify to that sinful Jewish habit of syncretism that was abominated by the Prophets and Kings of Israel throughout Old Testament history.   But since Christianity is nothing if not a syncretistic phenomenon, it is not surprising that the mind of the Christian Middle Ages was struck by and avid to rehearse the many parallels and points of contact between the legends of Orpheus and David.

Just as David had exorcised the malignant demon from Saul’s spirit, according to the Byzantine theologian John Tzetzes, Orpheus’ music drew the snake-venom from the body, and the moral poison from the soul, of Eurydice.  “Just as Orpheus played his lyre in hell”, wrote Bernard of Utrecht (an eleventh-century commentator on the school text, the Eclogue of Theodulus), “so David played before Saul; and just as Orpheus mollified the gods of the underworld with his lyre, so David pacified Saul’s evil spirit.”

In both the Eclogue of Theodulus and the voluminous fourteenth-century allegorical commentary on the Metamorphoses known as the Ovide moralise, the Davidic harp that delivers Saul from his demonic rage is said to have been the very lyre of Orpheus that had once uprooted trees, halted rivers in their course, set rocks to dancing, and civilized the wildness of ferocious beasts.

 

Finally, both Orpheus, in his hymns, and David in his Psalms, were celebrated as divinely inspired singers of the creation of the world, and so in his commentary on the six days of creation in Genesis, the seventh-century exegete George of Pisidia, drew the comparison, “For however much Orpheus smote his divinely tuned lyre, so too David, seeing the glory of the heavens as they stretched from the height to the depths of creation, sang out about them”.

And in the fifteenth century, testifying to the continuity of this tradition, the Middle English poet John Lydgate equates “The harpis most melodious/Of David and of Orpheous”, whose

melodye was in all
So hevenly and celestiall
That there nys hert, I dar expresse,
Oppressed so with hevynesse,
Nor in sorwe so y-bounde,
That he sholde ther ha founde
Comfort hys sorowe to apese…

 

The “melodye” of David and Orpheus is not merely figuratively but literally “heavenly and celestial”, of course; it is, that is, the Pythagorean harmony of the spheres, with which Orpheus’ lyre, and now David’s harp, reverberate.  Indeed, that Lydgate’s poem is entitled Resoun and Sensualite tells us, once again, that the doctrine of the harmony of spheres, along with its entire Orpheo-Pythagoreo-Platonic ethos, has long since been read into Christian biblical narrative and theology.

The Myth of Orpheus, continued…

Orphic Mythology in Medieval Christian Commentary:

Boethius; William of Conches; Bernardus Silvestris

     If Orpheus’ music could pacify the breasts of wild beasts, and cause even rocks to follow him, it must have been because these beings, like all things, were, as Virgil says, filled with soul.

This was the conviction of the Orphics, who taught a form of pantheism or hylozoism, according to which the entire material world was enlivened and alive with the One Soul-Substance, that of the Godhead itself, which underwent an endless series of transmigrations or reincarnations and yet remained the same.

Music, moreover, was the most potent way of reawakening the indwelling divine soul to an awareness of its celestial origins, nature, and unbroken connection with the Godhead, since, in its celestial pre-existence, the otherworldly harmony of the spheres was its birthsong.  Because the sensual din of the world and the physical senses inevitably drowns out this transcendental harmony, the duty of the Orphic is to stop up his outer ears, to mortify and anesthetize his physical senses, and cultivate instead the inner senses with which alone the heavenly music can be heard.

The Orphic way of the salvation of the soul is thus (as Socrates describes the life of the philosopher in the Phaedo) a withdrawing of the soul from the world and the body into the stillness of the divine world that resides in its own depths.  The Orphic becomes an immortal god because he has lived the Orphic life, the life of one who is aware of the celestial origins and essentially divine nature of his soul– his “self”, as both the Orphics and later the Gnostics called it–, an entity that therefore utterly transcends the mortal world.

It is this fundamental Orphic doctrine of man’s essential divinity that resonates in Scipio Africanus’ advice to his grandson at the end of the Somnium: 

Strive on indeed, and be sure that it is not you that is mortal, but only your body.  For that man whom your outward form reveals is not yourself; the spirit is the true self, not that physical figure which can be pointed out by the finger.  Know, then, that you are a god, if a god is that which…rules, governs, and moves the body over which it is set, just as the supreme God above us rules this universe.  And just as the eternal God moves the universe, which is partly mortal, so an immortal spirit moves the frail body.

The Orphic myth was, like all the myths of classical antiquity, the subject of a long and rich tradition of allegorical commentary in the Christian Middle Ages and the Renaissance.  Here, once again, its principal moral message of withdrawing the rational soul from the contaminating influence of the physical senses, the carnal passions, and the temporal things of this world was assimilated, more or less unaltered, into orthodox Christian soteriology.

In the twelfth meter of Book III of Boethius’ The Consolation of Philosophy, Lady Philosophy begins,

Happy is he who can look into the shining spring of good: happy is he who can break the heavy chains of earth…,

and then, after She narrates the myth of Orpheus in detail, the meter concludes:

The fable applies to all of you who seek to raise your minds to sovereign day.  For whoever is conquered and turns his eyes back to the pit of hell, looking into the inferno, loses all the excellence he has gained.

In the eleventh century, William of Conches (Christian Platonist and commentator on Macrobius’ commentary on the Somnium) explains:

Orpheus is used to designate any wise and eloquent man, and hence the name Orpheus is as if to say orea phone, or “best voice”.  His wife is Eurydice, or, that is, natural concupiscence which is joined to everyone…But this natural concupiscence is well named “Eurydice”, or “judgment of the good”, for whatever anyone judges to be good, whether rightly or wrongly, he desires.  This concupiscence while it wandered in the meadow was loved by Aristaeus. Aristaeus is used to represent virtue, for ares means “virtue”.  But this virtue loved that Eurydice, or natural concupiscence, as it wondered through the meadow, or through terrestrial things, which like a meadow now flourish and now dry up.  That is, virtue follows concupiscence always, because it needs to take it away from earthly things.  But Eurydice fled from Aristaeus, for natural concupiscence contradicts virtue, since it desires its own pleasure, which virtue forbids.  But then it dies and descends to Hell, or, that is, to delight in terrestrial things.  When his wife dies, Orpheus sorrows, because when a wise man sees his effort and delight residing in temporal things, he is displeased.  But even though he may overcome everything else with his wise music, he cannot overcome the sorrow for his lost wife, because even if a wise man with his eloquence and wisdom can overcome the vices of others, he cannot take away his own concupiscence from temporal things.  Hence he sorrows greatly. But Orpheus descends to Hell to remove his wife as a wise man descends to a knowledge of terrestrial things so that, having seen that there is no good in them, he may withdraw his concupiscence from them.  But a law is given to him that he must not look back, for “No man putting his hand to the plough, and looking back, is fit for the kingdom of God.” [Luke 9:62]

The imagery of this text should by now be familiar.  I draw your attention to three interesting points, however:

First, the incidental analogy to Jesus’ admonition to the plowman not to look behind him (i.e., not to shirk the duties of the Christian life), was indeed regularly linked to the myth of Orpheus looking back at Eurydice–both exemplifying the Orpheo-Platonic imperative, now identified with the Christian, to keep the eye of the soul trained upward upon the heavenly invisibilia.   With these two loci, moreover, the biblical narrative of Lot’s wife looking back at the burning city of Sodom and in punishment changed by God into a pillar of salt, was also often included as another admonitory tale about the perils of the same errant earthly attitude.

Secondly, one can see again (as we saw when discussing medieval marriage) that the mythical pairs Aristaeus and Eurydice, and Orpheus and Eurydice, are pre-eminently allegorical symbols of the male reason and female sensuality, whose hierarchical relationship is turned “upso-doun”, as Chaucer would say, when Eurydice flees Aristaeus-virtue and goes hankering after terrestrial things, from which Orpheus-reason must then rescue her.

The final point to note is the equation implicitly drawn by William between Orpheus’ reason/virtue/wisdom and his “wise music”, all of which are merely images for the same essential divine “self” which must assert itself against the downward gravitational pull of the world.

Another important allegorical interpretation of the Orpheus myth comes from the commentary on theAeneid of the great twelfth-century poet and doctor of the cathedral school of Chartres, Bernardus Silvestris—a text whose Platonic and Orphic afflatus is unmistakable:

The descent into Hell is quadriform:  there is a descent of nature, another of virtue, another of vice, and another of artifice.  The natural descent is the birth of man, for in that event the soul naturally begins to be in this fallen region and thus to descend to Hell, to recede from its divinity, and soon to bend toward vices and to consent to sensual pleasures.  But this way is common to all.  There is another descent of virtue which is made when a wise man descends to worldly things to consider them, not so that he may place his intention in them, but so that their fragility being known, he may cast them aside and hastily return to the realm of invisible things and know the Creator more clearly through a knowledge of the creatures [cf. Rom. 1:20].  In this way Orpheus and Hercules, who were called wise men, descended.  There is a third descent of vice, which is common, in which one is brought to temporal things in such a way that the whole intention is placed in them and they are served with the whole mind, nor is the soul moved from them any more.  In this way we read that Eurydice descended to Hell. Moreover, from this descent there is no return…

With the myth and its allegorical tradition in mind, one can see, as I said before, that Shakespeare’s allusion to the Orphic motives of music’s ability to tranquilize the passions of wild horses and mobilize trees and rocks is hardly merely decorative. As a symbol of the Old Law of Justice, the implacable Shylock would have been impervious to the efficacy of Orpheus’ music, though it moved even the vengeful fiends of Hell to mercy and love.  As Lorenzo implies, “he hath no music” in his immortal soul.  In Orphic terms, his soul is vacant of the divine music that is innate and immanent in all men–or ought to be–, and as such, his whole “intention” (to use Bernard’s noun) is upon worldly wealth.

Orphism…Its Origins and Continuing Influence…

Orpheus, Founder of Music…

His Myth…Orpheus and Eurydice…

Death at the Hands of  Dionysius’ Maenads…

     The reference to Orpheus in The Merchant of Venice, in the context of Lorenzo’s disquisition on the harmony of the spheres, is also conventional, but not merely so, since with it Shakespeare transports the reader back to the original religious matrix of all of these symbols and ideas.

The Orphic cult was centered in southern Italy in the sixth century B.C., where and when Pythagoras taught.  It is probable that Pythagoras was an initiate of the Orphic mysteries, and there is no doubt that he, his fellow philosophers Empedocles, Heraclitus, and Plato, as well as the poets Pindar, Aeschylus, Euripides, Apollonius of Rhodes (the author of the Argonautica), and Ovid (whose motive of “metamorphosis” is a literary conceit inspired by the Orphic doctrine of transmigration of souls), just to name a few of the ancients, were profoundly indebted to Orphic ideas.

We have already encountered, in our texts from Cicero and Virgil, direct evidence of that widespread indebtedness.  Orphic ideas continued to influence the Neoplatonists Plotinus, Porphyry, Macrobius, and Proclus in pagan late antiquity. And, indeed, they profoundly shaped Christian thought from the time of Clement and Origen in second-century Alexandria, through the Cappadocian Fathers of the third and fourth, the moral philosophy of Boethius and the mysticism of Pseudo-Dionysius in the early sixth, the Platonist revival of twelfth-century Chartres (especially the poetry and theology of Alan of Lisle and Bernardus Silvestris), and the overtly Orphic geography of the underworld and conception of the purgation of sins in Dante’s Commedia.

In the late-fifteenth century, the Florentine Christian Neoplatonists Marsilio Ficino and Pico della Mirandola expressly identified themselves as adherents of the so-called Orphic theology.  And in the early seventeenth century, the eminently sensible Mr. Shakespeare makes his King Lear an Orphic when he laments to Cordelia:

You do me wrong to take me out o’ the grave:
Thou art a soul in bliss, but I am bound
Upon a wheel of fire, that mine own tears
Do scald like molten lead.

 

In all references to the original corpus of Orphic texts (of which, of course, little survives), the same complex of doctrines and beliefs is always assumed:  the idea of the pre-existence of souls in a pure, disembodied state in the celestial aether; the doctrine succinctly expressed by the Greek formula sema soma (body tomb)–that is, the idea of birth in the world and the body as a fall, death, burial or imprisonment of the soul–; the necessity therefore of the soul to purify itself of the contaminating taints of the body and the senses both in this world and the next if it is to be saved; its expectation of a retributive afterlife in which the just will be rewarded with bliss and the unjust punished; the belief in transmigration of souls or metempsychosis, according to which the soul must undergo a series of incarnations in this world and purgations in the next before it may escape the “wheel of fire” and fly back into the pure aether whence it came.  This, of course, is the complex of ideas assumed and promulgated in Plato, in Cicero’s Somnium, as in Virgil’s sixth Aeneid.  And given that Pythagoras was a disciple of the Orphic cult, it is hardly, then, a coincidence that music played such a central role in his philosophy.

 

Orpheus is by tradition the original master of the humane art of music, and music is, accordingly, one of the leitmotives of Orphic myth.  In the usual manner of Greek myth, Orpheus is a demigod, half mortal and half divine, the son of a Thracian King and his queen Calliope (not coincidentally the Muse of epic song).  As his parentage would suggest, he was a great musician:  the culture hero, in fact, who was the first to bring the civilizing arts of both poetry and music to the rude Greeks of the pre-historic age.

Orpheus, we are assured, lived in the age of other heroes and demigods–in the generation before Odysseus and the Trojan War, to be precise.   He was not, of course, the originator of music—the gods were.  Athena had invented the flute, although she refused to play it lest in doing so her face should become unpleasantly contorted.  Pan is credited with the manufacture of the reed-pipe, and Hermes the shepherd’s pipe.  Hermes also invented the seven-stringed lyre (one string for each tone of the major scale), and presented it to Apollo, who drew from its strings sounds so entrancing that when he played, the gods of Olympus forgot all else; indeed, even Zeus paused from his philandering for a time.

But, among mortals, Orpheus was the greatest musician, and for good reason. Apollo himself presented him with a lyre, his Muse mother and her sisters instructed him in its use, and his fortuitous upbringing in Thrace (home of Dionysus) inevitably nurtured his young musical talent.

So accomplished did it become that it was said that when Orpheus played his lyre on the Thracian mountainsides, its sweet sound uprooted trees, caused rocks to move, deflected the courses of rivers, and pacified the wild beasts, all of which left their wonted habitats to follow him.  All of nature, animate and inanimate, sensate and insensate, seemed to be affected by his celestial melody.

 

After a visit to Egypt, Orpheus joined Jason’s Argonauts, and on several occasions saved the expedition from imminent disaster.  When the sailors became weary, he would strike his lyre and inspire them to row with renewed zeal.  If a quarrel threatened, he would play so tenderly that the most aggrieved spirits would be tranquilized and forget their anger.  Orpheus saved the Argonauts, too, from the Sirens.  Knowing that the sailors would be tempted to listen to their enthralling song, Orpheus took up his lyre and played a melody so beautiful and clear that it drowned out the sound of the Sirens’ fatal voices.  Thus the Argo was set back on course and the winds sped her away from that most dangerous of places.

 

On his return, Orpheus met and married Eurydice, but their joy was brief.  After the wedding, while walking with her bridesmaids and picking flowers in a pleasant vernal meadow, Eurydice was accosted by one of the guests, Aristaeus, who tried to force her; fleeing, she trod on a serpent and died of its bite.

Overwhelmed with grief, Orpheus determined to go down to the world of death and bring Eurydice back.  To enter where no mortal may, he struck his lyre and charmed both the ferryman Charon and the ferocious canine guardian of hell’s gates, the three-headed dog Cerberus.

As he passed through Tartarus, his music gave temporary respite to the suffering sinners:  for a moment, Ixion’s wheel ceased to revolve, Sisyphus sat peacefully upon his stone, and Tantalus listened, forgetting his hunger and thirst.  For the first time, the faces of the dread Furies were wet with tears, and even Hades and Persephone, king and queen of the underworld, were moved to pity.  With unwonted tears flowing down his cheeks, the implacable King of the Dead could not refuse Orpheus’ request, which he granted on only one condition:  that he not look back at Eurydice as she followed him, until they both reached the upper world.

The condition accepted, Orpheus re-ascended with Eurydice following close behind, guided through the darkness by the sound of his music. But he was all the while desperate for some assurance that she had not wandered into danger, and when, upon reaching the sunlight, he looked anxiously backwards, she was still in the cavern.  Thus, he lost her forever.

Orpheus tried to rush back into Tartarus after her, but he was prevented.  Though the exemption had been granted on a few occasions–to Hercules, Theseus, and now Orpheus himself–, no more than one descent into the underworld could be allotted to living mortals.

 

In utter desolation, Orpheus returned to earth alone.  In his bereavement, he forsook the company of men, and in fidelity to the memory of his dead wife, he brusquely rebuffed the advances of the women who hoped to replace her.  Comfortless save for his lyre, Orpheus wandered through the wild solitudes of Thrace,  playing for the rocks, rivers, trees, and beasts which were his only companions.

One day, when the jubilant mysteries of Dionsysus were being celebrated, Orpheus, in his grief and anger, neglected to honour the god.  Indeed, some say that he taught other sacred mysteries to the inhabitants of Thrace.  Thus, every morning he would rise to greet the dawn on the summit of Mt. Pangaeum, preaching that Apollo, the sun, was the greatest of gods.

Affronted, Dionysus set the Maenads upon him.  Offended not only by Orpheus’ insult to their god but his general rebuff to womankind, the Maenads waited until their husbands had entered the temple of Apollo where Orpheus served as priest; then they murdered them and tore Orpheus limb from limb.

Orpheus’ head was unceremoniously thrown into the river Hebrus; but it floated, still singing, down to the sea, whose waves carried it to the isle of Lesbos.  Eventually it was found by the Muses, and along with his limbs which they tearfully collected, it was buried at the foot of Mount Olympus, where to this day the nightingales sing sweeter than anywhere else in the world.

We flatter ourselves that we are very sophisticated about sex, but that sophistication is at most a technical one.  One hears parents boasting, ironically, that their teenagers know more about the birds and the bees than they ever did when they were young.  They boast of this in the same way that they boast about the younger generation’s precocious facility with computers (another dubious accomplishment, when the same children are unable to read, write, or do sums as well as their parents at their age, nor have they the minimal cultural literacy attained from having acquired an education in that antediluvian epoch when schools still taught the rudiments of history, philosophy, and literature).

What these proud parents really mean is that their children now have more experience with sex, not that they have any deeper understanding of what has, until recently, always been regarded as a mystery.  As Dr. Johnson has said, “Vulgar and inactive minds confound familiarity with knowledge”.  In spite of the word’s etymology, one doesn’t require experience with something to be an expert.  The best expert on drowning is the man who can swim; the man with too much experience of it will have nothing to say on the subject.

Today, our casual and routine familiarity with sex has bred a kind of childlike innocence about it.  In pagan antiquity, Eros was feared and respected as a capricious and omnipotent daimon (as Socrates describes him in the Symposium).  It was not until the Renaissance that he metamorphosed into the cuddly putto with whom we are still familiar from Valentine’s cards.  But even in the Renaissance, everyone knew that Cupid’s innocence was a sentimental snare.  With all our supposed modern skepticism and sophistication, we tend to take Eros and the erotic at face value.

Historically, the Sexual Revolution has ushered in an era of unprecedented ignorance about the deeper moral and philosophical meaning of human sexuality.  Social revolutions are almost always intellectually beggaring in this way, insofar as they require that revolutionary societies unlearn the accumulated moral and social wisdom of the immemorial civilization that preceded them, while rarely knowing how to replace that wisdom with anything wiser.  Revolutions are secular initiation rites, dromena of death and rebirth.  The religious mysteries of rebirth (of which social revolutions are pale ideological imitations) were salvific inasmuch as there remained a number of adults around (the elders of the tribe) to shepherd the neophytes prudently into mature membership in the community.  The revolutionary dromenon, on the other hand, too frequently begins by lining all adults over a certain age up against the wall, and ends when everyone in the revolutionary community has been turned, culturally and socially, into a prattling child again.  As in post-Maoist China or post-Soviet Russia, revolutionary societies have often to wait another civilizational epoch before they rediscover those sane and workable social arrangements (marriage, the family, democracy, the rule of law, the rights of the individual, the unhindered exchange of goods) that the revolutionary new-born have thrown out with the proverbial bathwater.  The essential fact about revolutions is that they revolve; they roll back the wheel of human progress to the point that they are sometimes forced to reinvent the wheel.

The Sexual Revolution’s intoxicating poetry of “freedom” and “liberation”, while the wonted historical language of revolution, ought to strike us in retrospect as at least paradoxical, if not positively Orwellian.   One remembers that the serial imposition around the world of Marxist tyrannies by the Soviet military was also described as movements of national “liberation”.   One recalls too that contemporary with the Sexual Revolution, the Civil Rights Movement in the United States appropriated the language and imagery of the Exodus, when Moses shepherded the Israelites out of bondage in Egypt to freedom in the Promised Land.   But whatever it was, it is hard to describe the condition in which mankind languished for all those millennia before we were delivered by our sexual emancipators as slavery, not to mention the place to which they have taken us as the Promised Land.  Forty long years in the wilderness is probably an optimistic description of life in America since Woodstock and Roe v. Wade.

Liberated from what, exactly?  I doubt that Americans or Europeans on the eve of the Summer of Love felt themselves sexually enslaved.  Those who promised emancipation were hardly responding to the seething discontent of ordinary folk who woke up in 1969 and could no longer tolerate laboring for one more day in the pharaonic brickyards of conventional courtship and marriage.  Whatever grinding servitude from which it affected to deliver mankind, the Sexual Revolution had nothing in common with the popular peasant and proletarian revolts of the early twentieth and previous centuries.  Even accounting for the rhetorical hyperbole of revolutionary propaganda, its prophets could never have brought themselves to say, except as a winking pun, “Chaste and abstinent of the world unite; you have nothing to lose but your chains.”

All populist political revolutions are to some extent aristocratically conceived and driven, but the Sexual Revolution was surely the most top-heavy amongst them.  Its exponents were a tiny intellectual and economic elite of moral bolshevists who had tasted the forbidden fruit of sexual “freedom” and were avid to democratize the pleasure.  “Free love” (as old as Caligula’s Rome, in fact) had always worked for them, inasmuch as they could afford to arrange for discreet abortions, or set up their mistresses in convenient pieds a terre, while packing off any illegitimate offspring to boarding schools.  Free love still works in this way for the rich and famous:  bored hotel heiresses, Hollywood stars and starlets, overpaid rock musicians and athletes, New World aristocrats like the Kennedys, French and Italian politicians, American presidents who mistake the Oval Office for the Playboy Mansion.  It hasn’t worked out quite so well for the urban Black underclass.

After the dismal track record of revolution in the first half of the twentieth century—with its gulags, re-education camps, purges, and mass murders–, one might have thought that when the sexual liberators came along at the end of the Sixties to offer us another one, we would have said, No thanks.   But insurrection was then in the air, and there’s nothing that an independent-minded free-thinker can resist less than the coquettish lowing of the herd of independent minds.  In retrospect, what strikes one most about the heroic non-conformity of the Sixties revolutionaries was their pusillanimous conformism.  It should have struck us right away:  Non-conformists do not generally wear uniforms.  Genuine dissidents risk ostracism, opprobrium, and jail; but no one advocating the joys of free love was incommoded in the least on account of his brave new ideas.  Neither Playboy nor Hustler had their offices raided or their presses shut down.  The smashers of sexual taboos were never forced to circulate their manifestoes in samizdat copies cranked out on old mimeograph machines in dank basements or dingy garrets.   The heroism of the sexual rebels was, in short, a completely dangerless heroism.  A Christian is at greater peril today of being hauled up before the authorities for calling sodomy a sin than anyone in the Sixties would have been for openly practising it.

 

No one denies that something radically new was fecundated in the mud of Woodstock.   But whatever it was, it was not from the marriage of true minds.   Taking their cues from the Orwellian discourse of revolution (war is peace; dictatorship is democracy; slavery is liberation), the sexual rebels prettified lust as love.  For all of their free-thinking and iconoclasm, they lacked the courage to forgo such a sentimental and bourgeois evasion.  Under love’s sweet auspices, they rehabilitated into a virtue what had always been regarded by men of self-reflection as either a resistible human frailty or a feral vice.

It was the ethical first principle of the Sexual Revolution that sexual pleasure is in itself a human desideratum, and from it have followed all of the arguments of our age in defense of unrestricted abortion, universal contraception, and homosexuality.  If the joy of sex is innocent, then it is every man’s “birthright”, as Joseph Sobran pointed out; and if it is “natural” (as the anthropologists of the period informed us with academic solemnity), it is man’s moral obligation to discover his sexual nature in his quest to discover who he really is.  No person, endowed with this right and seeking to fulfill his destiny, ought to be made to suffer hardship or impediment, not even if it is the direct result of his own actions.  Pregnancy or parenthood, when unintended, are extreme penalties for what is a perfectly “normal and healthy” human activity.  And if the pleasure of sex is a natural right, then freedom to experience it, scarcely different from freedom of speech or association, must be vigilantly protected and guaranteed.

It follows that birth control and abortion are not merely expedients to facilitate life-style choices, but rights essential to man’s exercise of a fundamental human liberty.  Naturally, there is nothing sacred about childbirth, marriage, parenthood, or the family; on the contrary, these are often fatal obstacles in the way of self-realization.  As a universal right, sexual rapture shatters the “stereotypes” of traditional gender roles; women, no less than men (as feminists have assiduously argued), mustn’t have their personal development delayed by pregnancy or motherhood, and are equally entitled to their orgasms.  If man is called to explore his sexuality, what can be wrong with homosexuality? adultery? pedophilia? polygamy?  Nothing whatsoever.  As Sobran has said, “Sample every exotic delicacy on the sensual smorgasbord.  Sex is free.”

Leaving aside its disastrous social and economic consequences, there is little evidence that in pursuit of his sexual destiny mankind has finally achieved eudaimonia, or that the release of our pent-up libido has inseminated any great cultural or intellectual flowering.  The signal new literary genre of the Sixties was the sex manual, and its ongoing spawn of magazine articles on how to “spice up” your sex life (so bland and commonplace has it apparently become that it can only go down with added seasoning).    One would have expected that the Sexual Revolution would inaugurate a renaissance in erotic poetry, but it has produced nothing to compare with the Song of Songs, Catullus, the Goliard poets, the trouveres, the medieval courtly romances, or the sonnet sequences of the Renaissance, nor does today’s pornography approach the artistry of anything penned or painted through the centuries of Christian rectitude and Victorian prudery–a persuasive enough argument for sexual restraint, if only on aesthetic grounds.   In music, we had the Seventies disco beat to grind by, and more recently the brutally misogynist lyrics of rap and hip hop to incite us to violent lust, but nothing as wittily provocative as 1950s rock and roll.  A good deal of what comes out of the mass-market fashion houses, advertising offices, and film and TV studios today can only be described as pornography-lite, whose effect is to keep the populace in a permanent state of semi-arousal, ready at a moment’s notice for intercourse as the ancient Spartans were ready for war, a pitiable condition akin to that of the herms that once marked the boundaries of ancient Roman fields or the Priapic statuary that adorned their gardens, with the exception that their raison d’etre was to encourage fertility, whereas our chronic sexual readiness is usually barren.

 

If the rapture of sex is a human telos, then, of course, restraint and self-mastery are no longer virtues; on the contrary, restraint is “repression”.   How risible such an idea would have been considered by our ancestors, for whom, until fifty years ago, self-mastery was the defining virtue of man.

From the very dawn of Western philosophy in ancient Greece, no school of thought, religious sect, or civilized nation has disagreed on this.  It is one of the longest-running topoi in literary and philosophical history that what distinguishes man from the beasts, and defines his essential human nature, is his rational soul.  The exercise of his human freedom and realization of his essential self depend upon right reason, directing an active will in pursuit of the good, rather than passively succumbing to involuntary biological instincts and animal appetites.  The latter is the opposite of liberty; it is slavery (another ancient topos).   And the enslavement of the rational spirit to the animal passions effectively denatures man, degrading him ontologically to a rank on the chain of being lower than he was born to.   The cult of sexual passion is, on this order, precisely the forfeiture of man’s birthright:  not self-discovery, but self-abnegation.

Many of the critics of the Sexual Revolution have described its philosophy as “neo-paganism”, but this is an insult to paleo-paganism.  None of the ancient pagans with whom I am familiar encouraged the indulgence of carnal desire, not even Epicurus, who regarded inordinate bodily pleasure as contemptible, and almost certain to render its subject liable to even greater pain.   Classical mythology is a repository of admonitory tales and moral exempla warning of the folly and peril of subordinating reason to sensuality, adulterous passion above all.   Greek mythology veritably begins with Paris’ world-destroying lust for Helen, which re-asserts itself in Achilles’ irresponsible lust for Briseis and Patroclus, and Odysseus’ idle lust for Calypso.  Virgil answers Homer with Dido’s maniacal, suicidal lust for Aeneas, while Apollonius of Rhodes relates the tragedy of Medea’s demonic lust for Jason.  Ovid retails the mutilating lust of Tereus for Philomela, the degrading, feral lust of Apollo for Daphne, the homicidal lust of Venus for Adonis, the unnatural lust of Pasiphae for her beautiful bull, the family-wrecking lust of Phaedra for Hippolytus, the auto-erotic lust of Narcissus for himself, the deranged lust of Pygmalion for a statue, and the demeaning lust of Jupiter for practically every man and woman else.  Ovid also mercilessly ridicules the emasculating lust of Mars caught in the net of Vulcan with Venus (the decisive riposte to the Sixties slogan, Make love, not war), and mockingly enumerates the rules of romantic passion in his hilariously satirical Ars Amatorica.

 

It was hardly the Church, then, that invented the enmity between the spirit and the flesh; that enmity has been experienced by every human person who has ever achieved consciousness.  The revolutionaries of the Sixties, on the other hand, seem hardly to be aware that body and soul are different human principles, having different loyalties and ends.   It is one thing when materialists deny the possibility of a metaphysical proposition such as the soul; it is rather another when they deny even the plain empirical evidence for the existence of divergent human tendencies and aspirations.  Have they never felt the temptation to eat too much, and resisted?  And if so, on what grounds do they explain the opposite pull of their bodily appetite on the one hand and that impulse not to give in to it on the other?

The predicament of human consciousness is duality:  the ordeal of being torn apart by the opposites.  The pagan emblem for this condition is Hercules at the Crossroads; the Christian is the Universal Man on the Cross, sectioned by the vertical of the spirit and the horizontal of the flesh.  In the pre-conscious infancy of the race (as in the infancy of every individual), man once lived in a paradise of unitary certainty, directed by instincts inherited from his evolutionary past, and as yet unconscious of the opposites (subject and object, good and evil, spirit and flesh).  The myth of the Fall records the felix culpa by which the curse of consciousness came into the world.  In moods of weariness, we yearn for the recovery of that lost paradise.  The trajectory of a life driven automatically by instinct is blissfully straight and clear, but it evades the duty that consciousness has imposed upon us, however much we dream of sailing down a turnpike on cruise control, never having to endure the Herculean agon of choosing.

 

For all its heroic pretensions, the morality of the Sexual Revolution was a singularly submissive and regressive one, as if men were doomed by fate never to move beyond their animal ancestry; or, rather, as if men were positively called to return to it.  This takes respect for tradition well beyond anything a progressive thinker would normally dare to entertain.

The reductive modern definition of what is “natural” is part of the problem. Long before Darwin, the ancient Platonists and Stoics understood well enough that man inherits from nature his carnal and biological appetites; but they recognized other spiritual factors that were no less a part of his essential nature and birthright, all the more so, in fact, because inherited from that higher and universal Nature that suffuses and rationally governs the cosmos.

Two millennia later, Milton still remembers this opposition in Paradise Lost, when the fallen Adam, gazing upon the amorous dalliances enjoyed by the generation before the Flood, imagines that “here Nature seems fulfill’d in all her ends”.  To which Michael replies:

Judge not what is best

By pleasure, though to Nature seeming meet,

Created as thou art, to nobler end

Holy and pure, conformity divine.

 

Commenting earlier on the same scene, Michael invokes man’s higher Nature explicitly:

Thir Maker’s Image…then

Forsook them, when themselves they vilifi’d

To serve ungovern’d appetite, and took

His Image whom they served, a brutish vice…

Disfiguring not God’s likeness, but their own,

Or if his likeness, by themselves defac’t

While they pervert pure Nature’s healthful rules

To loathsome sickness…

 

Rousseau, Darwin, and Freud have by now effectively defenestrated the higher Nature, and convinced us to seek our authentic selves in the lower.  Accepting this reductive and one-sided definition of man, many now find suspect and dispensable all of the moral norms and social institutions of a supposedly artificial and merely customary civilization (even though they were “selected” after millennia of adaption and perfection by a process precisely analogical to that of Darwinian evolution).

They are like the rambler whom Chesterton imagines happening upon a fence in an open field; not seeing the use for it, he determines to tear it down.  But it is only the man, as Chesterton admonishes, who, seeing the use of a thing, is in any position to recommend its removal.   Those who equate man’s end with sexual pleasure see no use for moral fences; they seem completely oblivious, besides, of the fact that the greatest poets and sages throughout Western history could hardly imagine life—at least, not human life–without them.

What is love?  ‘Tis not hereafter;
Present mirth hath present laughter;
What’s to come is still unsure:
In delay there lies no plenty;
Then come kiss me, sweet and twenty,
Youth’s a stuff will not endure.

Hey bud, can you spare some change for a bite to eat and a birth control pill?  No?  OK, have a nice day.

 

The March for Life in Washington once again attracted more than a quarter of a million participants.  And the Washington Post, once again, estimated the crowd at a paltry “few thousand”.   One wonders how, year after year, the mainstream media get away with such deliberate distortions–remembering, that is, that journalists are, above all, disinterested reporters of the facts, and that the purported liberal bias in the media is a paranoiac specter conjured up by the vast right-wing conspiracy…, blah, blah, blah.

Perhaps the liberal press has been enumerating the pro-life battalions as fetuses, who do not, of course, count as full, non-fractionated human “persons”.

A modest proposal for the Marchers:  Next year in Washington, find a public park, truck in port-o-potties, pitch a half-dozen tents, abominate the wealthy, and humbly congratulate yourselves on belonging to the “99%”.   The estimates will then certainly run into the millions.

Coincident with the March, President Obama issued a press release, intoning solemnly that abortion is “a sensitive and divisive issue”, and assuring us at the same time that “all Americans” are determined “to prevent unintended pregnancies, support pregnant women and mothers, prevent the need for abortion, encourage healthy relationships, and promote adoption”.  Nonetheless, he concluded, “I remain committed to protecting a woman’s right to choose.”

A woman’s right to choose?  Several decades after Roe v. Wade, you would think that the pro-abortion movement might have come up with a new euphemism, just for variety’s sake.  Would someone please lend them a thesaurus?  And “encourage healthy relationships”?  What does that signify, other than that our modern Demosthenes couldn’t quite bring himself to pronounce the outmoded word “marriage”?

As A-Uniter-And–Not-A-Divider, President Obama must be gratified that all Americans are in agreement on the desiderata he enumerated, while all the more chagrined that pro-lifers remain so recalcitrantly “divisive” on just how to achieve them.  (Author’s Note:  A Uniter is one who agrees with liberal ideology, e.g., a Democrat.  Anyone who doesn’t is “divisive”, e.g., a conservative Republican.)

 

President Obama did not say exactly how he would “prevent unintended pregnancies”.  But he gave us a not so subtle hint a couple of weeks after the Washington March, when it was revealed that as part of his new health care bill (hidden agenda, anyone?) employers–including Catholic churches, hospitals, schools, and charitable organizations–would be compelled to provide “free” contraceptives and abortifacients for their employees.  And wouldn’t you just know it, the jumpy forces of division were on the march once again.

When the Church objected to the President’s edict, on the retrograde principle that it violated every American citizen’s fundamental right to religious liberty, Obama, in a subsequent “compromise” (he’s a Uniter, after all), offered no longer to compel Catholic employers but only their health insurance companies to provide free contraceptives and abortifacients.  (Author’s Note.  Free:  Something the Government gives some citizens by coercing others to pay for it.)   Temporarily transcending its perennial divisiveness, the Church was apparently appeased, even though Obama’s compromise would continue to coerce Catholics–only this time through the deniable intermediary of their health insurance providers–to confer a benefit upon their employees that fundamentally violates their religious consciences.

But then, immediately, the divisive defenders of capitalism and constitutional liberty objected in turn on the principle that the State has no right to compel any legal business enterprise to give away its products or services for “free”.  Some were even so intemperate as to compare Obama’s generous enslavement of the insurance companies to the purported needs of ordinary Americans, to Hugo Chavez-style nationalization.

What’s a Uniter to do?  To quote one of Obama’s forerunners in the politics of mutual respect and compromise, “Can’t we all just get along?”

 

One is grateful to the President if only for the bracing clarity with which his new initiative epitomizes the culture of economic entitlement and sexual insouciance that has been the Left’s ongoing bequest to America for almost fifty years now.  Since the Sixties, liberalism has thriven by disinterring ever more arcane “needs”, and compassionately offering to satisfy them at taxpayers’ expense.  (Author’s Note:  As the late Joseph Sobran has enucleated three of the essential terms of contemporary liberal political discourse, greed is when someone wants to keep more of his own money; need is when someone wants more of what the former wants to keep; and compassion is when Government arranges the transfer.)  Time was when politicians bribed their electorate with promises of taxpayer-subsidized shelter and alimentation–the proverbial chicken in every pot; now it is a prophylactic in every pocket and a morning-after pill on every bedside table.  That’s progress, at least as statists define it.

Does Obama really believe that the current and protracted epidemic of “unintended pregnancies” (and thence, the need for abortions to “cure” mothers of them) is all the result of condoms and birth control pills being too expensive for the huddled masses of teens and undergraduates to afford?  One doubts it; but that has never stopped a compassionate politician or community organizer from asking us to believe such things.  It has been forty years now since contraceptives have been widely available (ubiquitous, in fact), during which the rates of teen and out-of-wedlock pregnancy, leading to the present abortion holocaust, have risen into the stratosphere.  The research data have unanimously confirmed the correlation for decades now, but the devout of Planned Parenthood continue to profess it on faith that if only we distributed enough condoms and birth control pills, abortion would disappear, and we would enter upon a new Golden Age of peace, prosperity, and social justice.  Today in the United States, when every teenage girl is presented with a prescription for the Pill as a kind of gift upon her first issue of blood, and condoms are pressed into the hands of stupefied pre-pubescents in primary schools, four out of every ten births occur out of wedlock, and a million plus abortions are performed annually.  That’s some contraceptive failure rate.

That more widely available contraception begets more abortions is a veritable law of human behavior, of course:  it is as certain as that fire insurance leads to more fires:  an unintended but hardly unforeseen consequence predicted by actuaries in the nineteenth century even before fire insurance became mandatory and universal.  The sexual liberators of the Sixties, concomitantly, could hardly have failed to foresee the results of their campaign to issue universal contraceptive insurance to an endangered population, against the benighted resistance of an antediluvian Church doctrine.  Merchandise casual fornication as seemingly riskless, sever the moral nexus between present mirth and future pain (inasmuch as marriage, childbirth, and parenthood are now defined as penal), and inevitably more and more children will play with matches and occasionally get burnt.  (What does one imagine will happen when society’s message to a sexually pyromaniacal teenager is that, since he’s going to “do it anyway”, he might as well do it outfitted in a community-approved and issued fire-retardant suit, and that, in any case, the blaze can be surgically extinguished at any point later on?  That’s what the word “safe” in “safe sex” really signifies in our sex-fueled youth culture:  not immunity from sexually transmitted diseases–a secondary selling-point, to be sure–, but immunity to make the beast with two backs without having to reckon with the annoying by-products of pregnancy or child-rearing, or the miserly restriction of sexual bliss to the superannuated ecclesiastical institution of marriage. )

In the case of contraception, sexual insouciance along with all of its attendant social pathologies have been “unintended consequences” that seem suspiciously to have been intended all along.  In the propaganda of the Sixties, contraception and what the evangelists of the Sexual Revolution called “free love” went together like a horse and carriage:   “free love”, we were told, was love in its most authentic mood, finally emancipated from the artificial social constructs of marriage and the encumbrance of parenthood, both of which the technological wonder of modern contraception had so happily rendered redundant. Unfortunately, free love has turned out to be rather less free of the pullulant spawn of social pathologies it has engendered:  teen pregnancy, single mothers generationally dependent upon the State, children growing up without fathers, and thus disproportionately prone to drug addiction, gang violence, and incarceration.   Free love has been free only in that its proponents and practitioners have gotten away with it, imposing upon everyone else the burden of paying its enormous social costs.  But that’s how social democracy works.  The progressive sexual politics of free love—present mirth for which the bill is paid by others—and the progressive fiscal politics of the debt-ridden Welfare State—present mirth for which the bill is passed off to future generations–are not analogical by mere coincidence.

 

For nearly two thousand years, the Church’s proscription of contraception and its unapologetic stigmatization of abortion—though Christianity has hardly been unique throughout history in abominating a mother’s killing of her own offspring as a self-evidently unnatural act—have served at least to forestall the present sociological calamities.  As it turns out, the Church has been right all along.  Progressives never fail to remind us that illegitimacy and abortion have always been with us.  But they have been with us only in the sense that failures of virtue have always been with us–as aberrations and deviations from an otherwise intact moral norm.  Though exceptions have always proven the rule, we have recently become hysterical about them.  The present open-ended abortion regime has itself been erected upon a rickety moral scaffolding of rare exceptions, “hard cases” such as rape and the life of the mother.  As Chesterton has observed, it is the morbid habit of modernity to everywhere and always sacrifice the normal to the abnormal.  Our modern solution to the problem of exceptions has been to rescind the rule.

The “pro-choice” mantra is that abortion should be “legal, safe, accessible, and rare”.  (Obama’s press release after the March in Washington was a stale reformulation of it.)  But even those who intone it know that to reduce an unwanted social habit requires that it be made at least nominally illegal, socially unsafe (disreputable), and less than completely accessible, as every civilized culture and nation throughout history has done with abortion until a few decades ago.   Even today, abortion must be the only practice the incidence of which the U.S. Government has ever hoped to make “rare” by making it universally accessible.  Try to imagine a liberal politician urging us to make teenage smoking “accessible and rare.”  God forbid!  Cigarettes must be hidden under the counter, immured in little cardboard coffins defaced with scenes from horror films, and available only to those with valid ID.  When teenagers are in need of condoms, contraceptives, or abortions, on the other hand, the current policy is that they must never be forced to walk too far, ask permission, or face embarrassing questions.  That in itself tells you all you need to know about what progressives want to make rare, and what they want to normalize.

What there has never been in history is a society in which fully forty percent of children have been born out of wedlock and raised by single mothers (who are often now themselves barely more than children); nor in which one abortion is performed for every three live births.  These are breathtaking statistical enormities:  moral and social affronts that no culture, however primitive or barbarous, would have tolerated—neither the ancient Greeks, nor the worshipers of Moloch.   Along with rampant welfare dependency, AIDs, pedophilia, and pornography, they are the unique and signal accomplishments of our sexually enlightened age.