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Socrates Discussion with Cephalus – The Beginning of the Republic

Bust of Socrates

Plato’s Republic – Book I

This article is the beginning of an analysis of Books I and II of Plato’s Republic.

Book I begins with Socrates and Glaucon going to Piraeus to pray to Bendis and to see the Panathenaic Festival. On their way home, Socrates and Glaucon encounter Polemarchus, the son of a wealthy arms manufacturer, Cephalus. Polemarchus invites Socrates to his father’s house.

Upon arrival, Socrates is welcomed by his host Cephalus and the two men engage in a very rich conversation that serves as a pre-cursor for exploring the topic of justice in books I and II.

When Socrates asks Cephalus what old age is like, Cephalus admits that many men complain of old age, but that he likes the fact that old men are no longer slaves to their passions. He also thinks that those who complain of old age are generally unhappy people and would complain even if they were young. To illustrate this, Cephalus says:

“The truth is, Socrates, that these regrets, and also the complaints about relations, are to be attributed to the same cause, which is not old age, but men’s characters and tempers; for he who is of a calm and happy nature will hardly feel the pressure of age, but to him who is of an opposite disposition youth and age are equally a burden (296).”

Plato’s Republic – Book I

Cephalus brings up a wise lesson for the reader in this passage. He reveals the level of power we have in shaping our perception of the world and how much control we have in making sure that our experience is generally positive. You can see that Cephalus isn’t a fan of complainers, and praises men, who like himself, embrace the change that life naturally places in their path.

It’s a condemnation of those who aren’t grateful for the life they’re given, and thereby take their youth for granted in the same way they’ll ignore some of the pleasures of a serene old age.

Wealth and its Benefits

Socrates challenges Cephalus on this and insinuates that perhaps Cephalus is allowed to be as optimistic as he is because of his great wealth and asks him whether he has acquired or created his wealth.

Cephalus responds that he has acquired it.

Socrates makes another noteworthy remark based on Cephalus’ answer and states that:

I see that you are indifferent about money, which is a characteristic rather of those who have inherited their fortunes than of those who have acquired them; the makers of fortunes have a second love of money as a creation of their own, resembling the affection of authors for their own poems, or of parents for their children, besides that natural love of it for the sake of use and profit which is common to them and all men. And hence they are very bad company, for they can talk about nothing but the praises of wealth. (296-297)

This is a great observation of nature by Socrates. It makes sense that those who have inherited money would not be as interested in money, as they take it for granted and as being a part of who they are. Those with humble beginnings, who have strived for their riches would naturally attach a greater value to wealth, as they understand what it means to live without it and can recognize the struggles of being poor and the amount of work it takes to get out of such a condition.

Further, Socrates ascribes to the creators of wealth a quality of a parent or an author. As wealth is their creation, they love it as they would a child or something else concrete that they have expended effort and time on molding and shaping.

Cephalus on the Afterlife

When Socrates asks Cephalus what is the biggest blessing that he has received from his wealth, Cephalus responds by saying:

When a man thinks himself to be near death, fears and cares enter into his mind which he never had before; the tales of a world below and the punishment which is exacted there of deeds done here were once a laughing matter to him, but now he is tormented with the thought that they may be true: either from the weakness of age, or because he is now drawing nearer to that other place, he has a clearer view of these things; suspicions and alarms crowd thickly upon him, and he begins to reflect and consider what wrongs he has done to others. And when he finds that the sum of his transgressions is great he will many a time like a child start up in his sleep for fear, and he is filled with dark forebodings. But to him who is conscious of no sin, sweet hope, as Pindar charmingly says, is the kind nurse of his age:

Hope, he says, cherishes the soul of him who lives in justice and holiness and is the nurse of his age and the companion of his journey; –hope which is mightiest to sway the restless soul of man.

How admirable are his words! And the great blessing of riches, I do not say to every man, but to a good man, is, that he has had no occasion to deceive or to defraud others, either intentionally or unintentionally; and when he departs to the world below he is not in any apprehension about offerings due to the gods or debts which he owes to men. Now to this peace of mind the possession of wealth greatly contributes; and therefore I say, that, setting one thing against another, of the many advantages which wealth has to give, to a man of sense this is in my opinion the greatest. (297)

This long and rich passage tackles a lot of heavy subjects. It addresses the change in men before their death. Getting closer to the moment of passing makes a person more reflective of their past and the decisions they have made. While being far away from death, the concept of a hellish underworld may not be that threatening to a person, but the closer he inches towards his last breath, youthful certainty dissipates and turns into an anxious dread of what’s to come, especially if it’s unknown.

This brings up the idea of existential fear becoming a pathway towards realization and a semblance of conscience. The guilty man, aware of a possible punishment will not sleep lightly, he will wonder if damnation awaits him, as he reflects upon the sins and transgressions he has committed.

Cephalus contrasts this with a man who is not bothered by his conscience and isn’t worried about a divine punishment. This man he labels as being in possession of hope. A hope that he will be rewarded in the afterlife and that the struggles and pains of life shall come to a peaceful end, followed by a heavenly eternity.

This leads Cephalus to explain that what he values most about wealth is that he has had no occasion to defraud or deceive anyone. He has not needed to sin for the sake of material gain. He isn’t worried about not contributing enough alms to the gods, and he hasn’t ever had to worry about not being able to repay his debts. He hasn’t even had the occasion to go into debt.

Most of all, Cephalus values the peace of mind his wealth has provided for him. In his case, wealth has prevented him from sinning. His lack of need decreased his chance of ever committing a crime.

Cephalus’ answer creates some interesting questions. Are those that are wealthy less inclined to commit sins and harm against others? Is the state of need and poverty responsible for some of our transgressions?

Transition to the Topic of Justice

This conversation soon concludes when Socrates asks Cephalus:

 “but as concerning justice, what is it? –to speak the truth and to pay your debts –no more than this? And even to this are there not exceptions? Suppose that a friend when in his right mind has deposited arms with me and he asks for them when he is not in his right mind, ought I to give them back to him? No one would say that I ought or that I should be right in doing so, any more than they would say that I ought always to speak the truth to one who is in his condition.

You are quite right, he replied.
But then, I said, speaking the truth and paying your debts is not a correct definition of justice. (297)

Why does Socrates bring up justice at the end of this conversation? Is it related to what Cephalus was saying about what he is most grateful about for having wealth?

Socrates brings up justice at the end of the conversation with Cephalus because he is interested in the relationship between justice and happiness. Cephalus has just said that he is happy because he has lived a good and virtuous life. Socrates wants to know more about what Cephalus means by “virtuous” and “good.”

Cephalus defines justice as “telling the truth and paying one’s debts.” Socrates challenges this definition by asking Cephalus to consider the case of a man who returns a weapon to a friend who is going to use it to commit a crime. In this case, returning the weapon would be truthful, but it would not be just.

This leads Socrates to ask the question: “What is justice?” He is not satisfied with Cephalus’ definition, and he wants to find a more comprehensive definition of justice.

Polemarchus, the son of Cephalus comes in to continue the conversation with Socrates, as Cephalus makes his exit.

I will do an analysis of this in my next post.

Author: Kristap Baltin

The Version of Plato’s Republic, Book I, I used for this article

GREAT BOOKS OF THE WESTERN WORLD: VOLUME 7. Plato: Robert Maynard Hutchins, Editor: Amazon.com: Books

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Plato’s Crito – An Argument Between Friends

Summary

A direct follow up to Plato’s ApologyCrito takes place after Socrates’ trial. The Greek state of Athens, through a jury of 500 Athenians has ruled that he is guilty and has scheduled him for execution. Crito, a wealthy and influential Athenian, is a loyal friend and an ardent supporter of Socrates and visits him in prison in order to convince him to make an escape and take exile in a different Greek state. 

While Socrates makes convincing arguements for why he should accept his punishment at the end of the Apology, Crito is a reinforcement of those arguments through the dialogue between Crito and Socrates in prison. 

The Ship from Delos

What the ship from Delos might have looked likeWhat the Ship From Delos might have looked like.

When Crito visits Socrates, he tells him that he has a painful message for him. Socrates asks him if the ship from Delos has come yet. Socrates knows that one day after the return of the ship, he is scheduled to be executed. Socrates tells Crito that he had a vision of a woman, “fair and comely, clothed in bright raiment, who called to [him] and said: O Socrates, ‘the third day hence to fertile Phthia shalt thou go'” (Plato, Crito, 213). This means that tomorrow is the day the ship will return, and that the day after Socrates shall be executed.

What is the Ship of Delos?

Delos was a sacred island in the Aegean Sea, associated with the gods Apollo and Artemis. It had an annual religious festival called the Delian games, and people would travel there to participate in religious rituals. The woman in Socrates’ vision tells him that he will go to fertile Phthia

Interestingly, Phthia is also the home island of Achilles, and this isn’t the first time Socrates is compared to the Greek hero of the Trojan war. He talks extensively about him in the Apology. The reason this is significant is because Achilles is fated to die if he becomes a hero in the war and goes to slay Hector in Troy, just as Socrates is fated to die if he persists in seeking his own true nature and the questioning of others. Socrates sees no way around this, he has no choice but to obey god and his own nature, just as he assumes Achilles had no choice but to be a hero and a legend in the Trojan war. For more of my explanation of the comparisons between Achilles and Socrates, visit my article on Plato’s Apology.

Crito’s First Arguement

Crito’s first attempt to persuade Socrates to escape is that it will hurt Crito’s public image. He states: 

People who do not know you and me will believe that I might have saved you if I had been willing to give money, but that I did not care. Now, can there be a worse disgrace than this- that I should be thought to value money more than the life of a friend? For the many will not be persuaded that I wanted you to escape, and that you refused (Crito 213).

What do you think? Is this a persuasive argument? It seems a little selfish to me. Socrates has just been through a tough trial, and has defended himself vigorously only to understand that he has no choice but to die, as he and the state are at odds that cannot be resolved. For the Athenian state wants to deny Socrates the right to be himself, an examiner of human nature and his own being, and he has resolved that he cannot obey the state, but can only follow the divine decree of following his own nature. If Socrates ceased to question the nature of wisdom and being, he would no longer be Socrates and that would be worse than death itself. How can then a man like Socrates care about what the public thinks about him and his friend Crito?

Socrates reply confirms this state of mind, as he replies, “should we care about the opinion of the many? Good men, and they are the only persons who are worth considering, will think of these things truly as they occurred” (Crito 214). After an existential battle in court, the opinion of the many is neither important to him, nor should be important to Crito. He values only the judgment of good men, for they understand the crux of his conflict with the state, and only those who understand can credibly have an opinion on his fate.

Crito’s Second Temptation

Crito asks Socrates if he doesn’t perhaps fear that his friends will get in trouble for abetting his escape. Socrates admits that this is one of his fears, though not the only one. Crito tells Socrates that there are many men who are willing to contribute to his escape, and that if anyone wants to inform on them, even a small amount of money would be enough to keep them quiet.

His method of persuasion is to convince Socrates that by not escaping he would be “playing into the hands of [his] enemies” (Crito 214) who wish for nothing more but his destruction. He also says that Socrates would be deserting his children, who may become orphans. He also states that Socrates may be choosing the easier path and not one that is more virtuous and manly.

Socrates responds to this by asking various questions of Crito to dive deeper into the idea of only finding value in the opinions of those who are wise and knowledgeable. And he attributes Crito’s previous concerns of deserting his children, and strength of character as the “doctrines of the multitude” (215), and not of those who are morally correct.

Since Crito agrees with Socrates that the opinion of the few who are wise and knowledgeable is more important than the opinion of the unwise masses, for Socrates there is only one question left to be considered:

Whether we shall do rightly either in escaping or in suffering others to aid in our escape and paying them in money and thanks, or whether in reality we shall not do rightly; and if the latter, then death or any other calamity which may ensue on my remaining here must not be allowed to enter into the calculation. (Crito 216)

This is Socrates second method of dismissing Crito’s fear of what people may think of either Socrates or his friends, and places the emphasis solely on what is right and what is wrong, regardless of personal consequence.

Socrates Takes over the Argument

Socrates sets up some premises for Crito that they both agree on, and that give a nice overview of the morality that Socrates holds:

  1. We must do no wrong
  2. Nor when injured injure in return
  3. May not do evil
  4. doing evil in return for evil is unjust
  5. A man ought to do what he thinks is right (216)

After establishing these premises with Crito, he asks Crito if in escaping prison against the will of the Athenians he is wronging them. Crito answers that he does not know. Socrates taking up the argument of the state, asks “Do you imagine that a state can subsist and not be overthrown, in which the decisions of law have no power, but are set aside and trampled upon by individuals?” (216) To counter argue this question, Socrates replies that he was injured by an unjust sentence, but then takes up the state’s side again and establishes that he was raised and nurtured by the state, and given liberty to stay in or leave the state if he thought it unjust.

By having grown up in Athens, Socrates has seen the courts work, experienced life there, and by staying has entered into an agreement with the state to obey its decisions and decrees. He has raised his children in the state, and has rarely traveled. He hasn’t expressed curiosity in the laws of other states and municipalities, and even at his trial had the choice of requesting exile, which he is sure the state would have granted him.

Socrates’ Vision of the Future if he Escapes

Speaking as the state, Socrates lays out the consequences of his escape, to drive the point even further to convince Crito how wrong and foolish of him it would be to escape. He lays out a future wherein his friends are driven into exile and have their property confiscated, and imagines a neighboring city such as Thebes and Megara viewing him with suspicion as a subverter of laws and people.

Socrates visualizes himself and the strength of his morality and beliefs and then imagines how he would feel as a refugee going against his morals, attempting to get one more meal or one more day alive simply for not wanting to die, even as an old man.

In counting on others’ generosity, and ability to keep him safe, he must become a flatterer of men, and not an unwavering seeker of truth and wisdom. It would be a betrayal of himself and his essence, to go against the values he believes in and give them up for only a few more years of life that wouldn’t even satisfy the truthfulness of who he is and what he believes in.

This vision is enough to silence and convince Crito, who leaves upon Socrates request, to allow Socrates to “fulfill the will of God, and to follow whither he leads” (219).

Author: Kristap Baltin

The Version of Plato’s Crito I used for this Article

GREAT BOOKS OF THE WESTERN WORLD: VOLUME 7. Plato: Robert Maynard Hutchins, Editor: Amazon.com: Books

If you enjoyed this article, please read my explanation of Plato’s Apology.

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Plato’s Apology – The Founding Texts of the West

Introduction:

Bust of Socrates

Plato’s Apology, rightfully considered to be one of the founding philosophical works of western civilization, is about the trial of Socrates and his oral defense against his accusers.

The dialogue begins in the middle of Socrate’s trial, before we even know what he is accused of. It starts off with him directly addressing the jury of 500 Athenians in attendance of his trial. He begins by addressing what he calls the old charges leveled against him, and not the ones by his official 3 accusers of Anytus, Meletus and Lycon. Those old charges consist of “telling of one Socrates, a wise man, who speculated about the heaven above, and searched into the earth beneath, and made the worse appear the better cause” (Plato, Apology, 200).

Why are those charges so bad?

That Socrates “speculate[s] about the heaven above, and searche[s] into the earth beneath” implies that he may be an atheist, and while this in itself was not illegal, Athens was a deeply religious society and a lack of proper respect for the gods showed an absence of respect for Athenian traditions and culture.

The second part of this accusation – “ma[king] the worse appear [to be] the better cause” is akin to accusing Socrates of being a sophist.

What is a sophist? A sophist is someone who is skilled at arguing about something that is untrue, but making it sound correct. This is an accusation that many skilled rhetoricians and philosophers were accused of, as their skill in debate and argument could often be used in a damaging manner by arguing that something that is a net negative in society is actually beneficial and good. We have many modern examples of this in society today. In media, persuasive techniques are often used to shape public opinion and influence individuals. This can involve selectively presenting information, using emotional appeals, or distorting facts to manipulate the audience’s perception and sway their opinions.

Socrates’ defense to these accusations

Socrates tells the story of his friend Chaerephon going to Delphi and asking the oracle to tell him if there is anyone wiser than Socrates. The oracle tells Chaerephon that there is no man wiser than Socrates. Seeing this as a riddle, and not believing the words of the oracle, Socrates goes about the task of finding someone who is wiser than he is. His strategy for this is to find people considered to be wise by the Athenian community and asking them questions. As he begins to question the people he encounters, he notices that they opine on subjects that they have no knowledge of, and truthfully tells them that they are not wise, which as a result makes these people with good reputations hate Socrates.

Oracle of DelphiOracle of Delphi

Socrates’ impression after talking to these individuals is best presented in this summary “although I do not suppose that either of us knows anything really beautiful and good, I am better off than he is,- for he knows nothing, and thinks that he knows; I neither know nor think that I know” (Plato, Apology, 202). In short, Socrates does not pretend to any knowledge beyond him and therefore seeks what he does not know, while other hold pretensions of wisdom without being able to back it up with knowledge.

Socrates takes it as a holy mission to figure out what he considers to be a riddle by the oracle, and in his quest questions politicians, poets and artisans, and while he sees that the poets and artisans are talented and naturally able, they believe that the wisdom they have in their talent transcends to wisdom in other matters, which isn’t true. As you can see, the wide range of important and highly regarded people in Athens feeling like fools after their conversation with Socrates is a bad omen for him, as he is making enemies of the most powerful and influential people in his community.

The Moral Lesson of this Defense

The speech Socrates makes after relating the story of his questioning of the people considered to be wise in his community is key to understanding the moral he wished his audience to perceive:

This inquisition has led to my having many enemies of the worst and most dangerous kind, and has given occasion also to many calumnies. And I am called wise, for my hearers always imagine that I myself possess the wisdom which I find wanting in others: but the truth is, O men of Athens, that God only is wise; and by his answer he intends to show that the wisdom of men is worth little or nothing; he is not speaking of Socrates, he is only using my name by way of illustration, as if he said, ‘He, O men, is the wisest, who, like Socrates, knows that his wisdom is in truth worth nothing’ (Apology 202-203).

This quote reaffirms how dangerous the enemies he has made are, but also effectively disputes the charge of atheism laid upon him. His claims that only “God is wise” and that the “wisdom of men is worth little or nothing” demonstrates his piety and his belief in a higher power. He does not take being called the wisest as a compliment or as something to indulge his vanity, but rather as a demonstration that mankind is vain and pretentious. That people do not spend enough time seeking truth and wisdom, and lie about how much they know. His mission is to reaffirm God’s message and he tirelessly and to the detriment of his safety and wealth continues his mission of questioning his society in “vindication of the oracle” and God’s message.

The Charge of Corrupting the Youth

This charge is brought upon Socrates by Meletus, Anytus and Lycon, as the society of Athens is afraid that Socrates’ influence upon the young will lead them to question the wisdom and integrity of those whom Socrates has made seem foolish through his questioning. This is a threat as the people who are questioned are observed by the youth, who in turn imitate Socrates and proceed to examine others. As the youth is the future of Athens, it is understandable, how much of a threat Socrates may pose to Athenian understanding and culture. Socrates points out that instead of being angry with themselves, the victims of his questioning turn their anger towards him.

On Death and the Fear of Death

Socrates does not see the accusations against him as the real reason behind his prosecution. He is aware that his work of questioning the highly reputed members of Athenian society has gained him powerful enemies, and that as a result he will most likely be convicted of being guilty and put to death, as it is goes against his values to stop questioning others and searching for the truth. It is at this point that he engages in a poignant speech that culminates his defense, and becomes more a contemplation of his circumstances. He explains this in the following passage:

but I know only too well how many are the enmities which I have incurred, and this is what will be my destruction if I am destroyed;—not Meletus, nor yet Anytus, but the envy and detraction of the world, which has been the death of many good men, and will probably be the death of many more; there is no danger of my being the last of them (Plato, Apology, 205)

Socrates knows that he is a revolutionary figure, that his quest for truth and his talent for revealing it makes important figures in the Athenian society uncomfortable and afraid of losing their influence. Therefore, it’s “envy and detraction of the world” that will spell his doom, as it has to other revolutionary and unique men throughout history. This is the beginning of Socrates coming to accept his fate and explaining that he has a moral imperative of continuing along on his path even if it means he will die. He knows that at this point he still has a chance to survive. If he shows contrition, he could either promise to stop his current way of life and/or accept exile to a different part of Greece. Anticipating the criticism the jury might pose to him, of being foolish for proceeding on a path of life that will lead to his untimely destruction, Socrates states that “a man who is good for anything ought not to calculate the chance of living or dying; he ought only to consider whether in doing anything he is doing right or wrong—acting the part of a good man or of a bad” (Plato, Apology, 205). Socrates is incorruptible, he will choose death over living a life incongruent with his values and morals. In his mind, men who will not, are not “good for anything.”

Comparisons with Achilles

Achilles

For Socrates courage is a virtue, and Achilles is one of the foremost examples of courage and nobility. There will be a long block quote beneath this paragraph, please read it carefully, keeping in mind how much stock Socrates is placing in abiding by your values, honor and the truth of who you are and what your purpose is. When speaking of Achilles, Socrates states:

Whereas, upon your view, the heroes who fell at Troy were not good for much, and the son of Thetis above all, who altogether despised danger in comparison with disgrace; and when he was so eager to slay Hector, his goddess mother said to him, that if he avenged his companion Patroclus, and slew Hector, he would die himself—“Fate,” she said, in these or the like words, “waits for you next after Hector;” he, receiving this warning, utterly despised danger and death, and instead of fearing them, feared rather to live in dishonor, and not to avenge his friend. “Let me die forthwith,” he replies, “and be avenged of my enemy, rather than abide here by the beaked ships, a laughing-stock and a burden of the earth.” Had Achilles any thought of death and danger? For wherever a man’s place is, whether the place which he has chosen or that in which he has been placed by a commander, there he ought to remain in the hour of danger; he should not think of death or of anything but of disgrace (Plato, Apology, 205-206).

Due to his mother Thetis, a goddess, Achilles has privileged information about his future. He knows that if he goes on to slay Hector in battle, it is foretold that he will perish. When Socrates says that Achilles “despised” danger and death, it means that he is uncomfortable with them. He is a complex character who is attached to life and the glory of his own existence, but the greatness of Achilles is reflected in his amazing ability to overcome his lust for life in order to avoid dishonor. When he says “let me die forthwith and be avenged of my enemy” it means right away, without a delay. There is no hesitation in his decision to do the right thing. If he had chosen a prolonged life, it would amount to nothing more than being “a burden of the earth.” Socrates chooses this as a model for his own life. There is a divine element in his stating that “for wherever a man’s place is, whether the place which he has chosen or that in which he has been placed by a commander, there he ought to remain.” In Socrates mind the “right thing” is that which God has placed man naturally in. It is up to the man to execute God’s command and do that which is natural, difficult, yet right, rather than choose that which is an escape of duty for the sake of self-preservation. If in danger, the man should not think of death, but rather of the shame of disgrace. So it follows that if Socrates should stop his mission of questioning, it would be disgraceful and would go against God.

Faithful Until Death Painting

This painting, by Edward John Poynter aptly named “Faithful Until Death” is appropriately illustrative of Socrates’ philosophy. It shows a soldier dutifully guarding Pompeii as it is destroyed by a volcano. The duty of protecting the city and being placed there is a matter of honor and courage. You can see the chaos that is in contrast with his concerned yet calm pose within the gates of the city. There are chaos and death and people clearly trying to protect themselves, while he stoically carries on with his job despite the promise of a swift death he is more than aware of eventually coming for him.

On Death and the Fear of Death – Part II

It becomes clear through Socrates speech that he truly is not afraid of death. It is most apparent in this passage:

For the fear of death is indeed the pretence of wisdom, and not real wisdom, being a pretence of knowing the unknown; and no one knows whether death, which men in their fear apprehend to be the greatest evil, may not be the greatest good. Is not this ignorance of a disgraceful sort, the ignorance which is the conceit that a man knows what he does not know? (Plato, Apology, 206).

This observation of how people fear death flawlessly drifts into Socrates explanation of wisdom – not pretending to know something one does not know. If people do not know what happens immediately after death, it is a pretence to be afraid of it. Socrates sees no reason to avoid death, especially if it means it would lead him to disgrace and worthlessness. His wisdom allows him to not fear it, and even be curious as to what it may lead to.

The Version of Plato’s Apology I used for this Article

GREAT BOOKS OF THE WESTERN WORLD: VOLUME 7. PLATO: Robert Maynard Hutchins, Editor: Amazon.com: Books

Author: Kristap Baltin

kristapbaltin.com

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Shakespeare vs Petrarch: The Evolution of Love Sonnets

                                                             

The Evolution of the Love Sonnet

It was usual for many 16th century sonneteers to continue the tradition of love poetry, wherein they lamented their heartbroken emotional state and unrequited love. The originality of their verses was astounding and became a competition of sorts. A man born in the 14th century, known as Francesco Petrarch was their respected inspiration. In his own time, he inspired many to read and write. Over two hundred years after his death, some of the greatest sonneteers strove to achieve, and in some cases, surpass his level of greatness. Petrarch wrote three hundred and sixty six love sonnets dedicated to his unattainable love, Laura. His sonnets were in awe of her supernatural beauty, grace, and elegance. He also made a craft of lamenting his own miserable state and the misfortune handed to him by life, fate, and circumstance. For many reasons, (particularly artistic) Laura could not be his.        

       (an artistic rendition of Petrarch’s beloved Laura)

Approximately three hundred years later, William Shakespeare sought to innovate the theme of love sonnets, and made the object of his affection a young man, to whom he would proffer wise advice, and affectionate compliments. His other object of affection was a mysterious dark woman. This particular variation set Shakespeare apart, as did his description of her and his state regarding her. Whereas Laura was the blonde-haired, grey-eyed ideal of beauty, possessing topmost qualities of charm, intelligence, and grace, Shakespeare’s “dark lady” was a mystery of sorts. Shakespeare’s speaker held her in high regard, yet the quality of his descriptions did not appear to be most complimentary. 

Petrarch’s 339th sonnet begins with a divine realization:

            I knew, when Heaven opened my eyes,
            when I learnt and Love unfurled my wings,
            new gracious things, but mortal,
            that the stars showered on one alone: (1-4)

The opening lines suggest that only something celestial could make him see the brilliance of his beloved. “Love unfurl[s] [his] wings” (2), and this line gives us the impression of a newly born angel bestowed the grace of a wondrous sight of such enormous magnitude, that you have to be an immortal to witness it. Even with the divine blessing, he cannot fathom all of her qualities, and he categorizes the ones he does see as “mortal” (3). She is alone in the gifts bestowed upon her persona and therefore unique and apart from every other woman. This is a gorgeous beginning and gives clear indication that this will be a lovely exultation of the speaker’s beloved. In comparison with Shakespeare’s beginning, it is easier to guess the course of the remaining lines.            

Shakespeare’s love was far from the conventional ideal. In My mistress’ eyes are nothing like the sun”, Shakespeare appears to berate his lover, comparing ways in which considered objects of grandiose beauty are not at all like his mistress. At times, his description of her uses ugly words, and paints her in a seemingly common, ordinary way. The first reading of the sonnet induces the question of whether it is a love sonnet at all. It is possible to look at it as a satire on love sonnets in general, and perhaps a harsh criticism of the woman he supposedly loves. Yet, there is a lingering sense of admiration, as even some small words seem to indicate that there may be a genuine and loving affection. There are interposed lines hinting at a strong feeling, foreshadowing the powerful ending. Shakespeare forces the reader to question the love of perfection, and provides a very realistic alternative. He opens up the possibility that a human being is more capable of loving someone equally human, and because of that particular humanity, no less unique than a golden goddess floating in the sky of our dreams and regrets. This is a love sonnet, illustrating a depth of feeling, and genuine affection through a different and unique form of expression. It uses the conventions of the time and turns them around to portray a dissimilar love, a love not based on unrealistic comparisons and inconceivable standards.                 

The title of this sonnet takes is back to the usual comparisons between the object of affection and the sun. In romantic fashion, both shine on our minds and hearts, and fill us with energy and warmth. Shakespeare’s beginning line points out, that in a literal sense, the sun has little in common with the beloved’s eyes. While the beloved’s eyes can fill us with figurative warmth of emotion and can appear to “glow” in a distorted manipulation of the senses, the sun literally bequeaths heat and light upon the earth and other planets.            

In the second line, the speaker disparages another familiar comparison and states “Coral is far more red than her lips’ red:” (2). Red is the color of passion and figuratively relates to heat in the same way as the sun. Red coral is a stony piece of skeleton possessing a rouge complexion and is used for ornamentation as jewelry. Regular coral is deeply pink and is factually redder than the mistress’s lips. We can conclude, therefore, that her lips are almost bloodless and pale.             

In what is a complete reversal, Petrarch does not dote so sharply on purely physical description in comparison with traditional objects of beauty. His description of his beloved is otherworldly, and has the element of a dream:                     

            the rest of her was so other, so various
            in form, noble, heavenly and immortal,
            that my intellect was all unequal to it,
            my weak sight could not endure it. (5-8)

There is a heavy emphasis on his beloved’s “other [ness]” (5), she is “various in form, noble, heavenly and immortal” (6-7). This is a very stacked compliment, as she embodies perfection in every sense. She is god-like and awes him into a state of weakness through absolute and sheer flawlessness. The reader understands that the speaker is not the only one unable to “endure” (8), the brilliance of the beloved. She shines above everyone else, through the compliments of lines 5 and 6, and his “unequal intellect” (7) and “weak sight” (8) easily attributes itself to the reader. His description of her is purposefully vague, to enforce the idea that it is beyond humanity’s power to realize the glory of her being and existence. The speaker of this sonnet is not in control and lines 7 through 8 signal a breakdown. In a very stark contrast, Shakespeare’s speaker seems very calm, when further providing a detailed description of his mistress’s appearance.             

Lines 3 through 4 describe the quality of hair and snow in relation to the speaker’s mistress, as he pronounces, “If snow be white, why then her breasts are dun; / If hairs be wires, black wires grow on her head” (3-4). In the romantic sonnet, beauty is typically associated with fair skin and blonde hair. Therefore, the objects compared with the beloved are usually those that reflect those qualities. Snow is associated with pure and fresh fairness, and the speaker contrasts this color with the shade of his mistress’s bosom, which he calls “dun” (3). Dun is a yellowish, darker color, and not considered the standard of beauty. Next, the speaker evokes the similarity between hair and wires, and states that “black wires grow on [his mistress’s] head” (4). The imagery here does appear to be somewhat disparaging, as the growth seems to take the shape of an intertwining, thread like, and enveloping creature. The word “on” (4) seems to point to an inclining upwards growth. The word “wires” (4) is ugly and makes one think of cuts, and rough metal. Another point of shock is that her wires/hairs are black, a difference from the traditional blonde beauty ideal, celebrated by so many other sonneteers.            

Damask roses are sweetly aromatic and possess a silky quality. When comparing his beloved’s cheeks to the roses, the speaker declares, “I have seen roses damask’d, red and white, / But no such roses see I in her cheeks;” (Shakespeare 5-6). This comment points out the quality of a damask rose and specifies that no such quality is observed on the cheeks of his mistress. She does not have a rose-like blush emanating from her face and may be rather ordinary in complexion. The next two lines continue on the theme associated with fragrance, and state “And in some perfumes is there more delight / Than in the breath that from my mistress reeks” (7-8). Notice, that the speaker uses the word “some” when saying that there is more delight in a few more perfumes than in his mistresses’ breath, indicating that his mistress’s breath is possibly superior to a few other perfumes. It is curious that he describes the breath as reeking. It is possible that “reek” signifies smoke, but generally, the word produces the association of a disagreeable, rancid odor. It is possible that his mistress suffers from halitosis. Petrarch’s speaker would be reasonably aghast at such a description, and would rather dwell on the amazing and unimaginable state of his beloved.             

In opposition to Shakespeare’s speaker, who seems to be intimately familiar with every crevice of his mistress and casually recounts her apparently negative qualities, Petrarch’s speaker is far from his love’s goal. His love is not near enough for him to dissect her features and he must ponder of his relation to her from a distance. She knows his thoughts, but can never accept his praise or love. In fact, his love of her could be considered a sin, as it would be between a mortal man and an immortal angel:      

            And whatever I have said of her or written,
            so that now for that praise she prays to God
            for me, was a little drop in an infinite ocean: (9-11)

There is a tenderness in her prayers for him that is beautiful and touching. She “prays” (10) for him and his kind appreciation, yet painful folly. She understands that he is enamored beyond reason and desires heavenly reprieve for his affected mental state. There is no callous familiarity here and it purports a mutual respect that is not easily evinced in Shakespeare’s sonnet. For Petrarch’s speaker it is a “little drop in an infinite ocean” (11), that his beloved cares enough to pray for him. The “little drop” (11) also signifies just the smallest part of her virtue and quality amongst an “ocean” (11) of incomparable wealth of beauty and virtue encapsulating her whole being. His love of her lacks subtlety and understands no bounds. It is a clear and piercing admiration without restraint. Shakespeare manages to somewhat admit that he loves to hear his love speak on line 9.                 

Shakespeare’s speaker exclaims, “I love to hear her speak, – yet well I know / That music hath a far more pleasing sound;” (9-10). This is a polite assessment of his situation, as he genuinely likes the sound of her voice, but admits that in comparison the sound of music is superior. However, the start of that line is very powerful and direct, and eclipses what might seem as negative language and imagery before this line. He strongly and directly, without the use of subtle hints or indirect allusions asserts his love for her voice. The first line is bold and dynamic, yet follows with a slowing dash and reflection, “- yet well I know”(9). It seems similar to a sad admission or an unwanted confession. It illustrates the honesty of the speaker, as he is not one to exaggerate or create falsity, as is seen throughout the rest of the sonnet.             

The lines after, again bring up a famous point of comparison for Petrarch and most other sonneteers. In Petrarch’s sonnet, the beloved having the qualities of a goddess help make her appear even more unattainable and grand, as this inserts a spiritual value into the professed love and give it the feeling of a holy quest. The goddess aspect also diminishes the speaker of this sonnet and gives us powerful imagery of something small and insignificant pleading to something of an unimaginable magnitude. The beloved, figuratively becomes larger than life and conquers the speakers mind, soul and body. Shakespeare’s speaker is not quite as dramatic when he asserts, “I grant I never saw a goddess go, / My mistress when she walks, treads on the ground;”(11-12). The usual associations of a goddess include the quality of hovering or floating encircled in a shining halo that blinds the vision and deafens the senses. The speaker admits that such a comparison would be possible, yet as he has never seen a goddess, he would be unable to compare. He still maintains that there is nothing special about the walk of his mistress. She simply steps and walks as any other mortal human being. Could this be an exaltation of her humanity?

Petrarch ends his sonnet with an idealism far out shirking the plain or ordinary. His speaker sadly laments his fate of incomparability to his love, yet understands, and admires the glory of his beloved:

            because our style cannot rise beyond our wit:
            and when a man fixes his eyes on the sun,
            the brighter it shines the less that he can see. (12-14)

Line 12 alludes to his shortcomings and forces us to acknowledge ours, in order to understand the futility of attaining something greater than naturally deserved. A mortal cannot attain the status of an immortal. A shrub cannot grow into a tree. When something that you look upon blinds you, you will never envision it in its full glory and likeness. His beloved is above and beyond him in every sense. The lapse between them is too great and therefore poetically tragic and beautiful. In his sonnet, Petrarch has elevated his beloved and diminished himself to elevate her even farther. Shakespeare’s ending differs dramatically in that he seems to have a grasp of his love. It is possible that he does not and simply extols her human qualities in his own manner. His claim is that this is no less important than a usual ideal and glorifies the unique aspect of his situation.            

The last lines sum up Shakespeare’s speaker’s sentiments and it can be argued that the second to last line contains the volta of the sonnet. The speaker stops describing the qualities of his beloved and instead strongly asserts his strong feeling in saying “And yet, by heaven, I think my love as rare / As any she belied with false compare” (13-14). His exclamation to the heavens is a strong one, and when he calls his love rare, it invokes a feeling of something that is unusual or infrequent. The word can also describe something that is valuable and amazing, therefore having a rare quality. The last line induces the thought that his love is as rare as her consideration for the compliments that are false and lack veracity. There is a clear turn here and the feeling is that of reconciliation.             

His mistress does not require common and unrealistic flattery, and is prone to scorn it. Her qualities might not be the standard of an epically amorous love sonnet, but this is not indicative of a lack of another type of beauty. Her hair is black, her cheeks lack fullness, freshness, her breath is not always the best, and her voice might be of a drawling, hoarse pitch. She is unlike the standard of beauty and therefore even more so captivating. An exoticism is attributed to her, and false compare would be an injustice to her true features and attributes. It is as possible that the speaker owns her love, as it is feasible that he cries out for her without response. The speaker of the sonnet does not tell us this, and leaves it for us to fill in the facts according to the comparison of what she is not. Not once does he tell us she is ugly or in any way deficient. Even if she is, it does not detract from the fact that his love is rare, and more importantly, existent. It is possible that this is both a criticism and a satire on the traditional love sonnet, but even that does not change the power, somberness, and sincerity of the last two lines.  Shakespeare makes us analyze the worth of comparing a certain beauty to something fantastic and awe-inspiring. The speaker loves in spite of the lack of Petrarchan values, and loves for the sheer humanity inherently present within his mistress. This is not a romantic declaration of love, but rather a brutally honest one. Shakespeare defies custom and convention and cries out for his right to love someone who is herself; even if this is, something not meant for her to read.            

As unique as Shakespeare was, his inspiration for the form and theme lies in the origins of the sonnet form and theme. Petrarch’s genius lay not only in his astounding praise, but also in his extraordinary laments, the likes of which showed a subtle, and sometimes fierce resentment of his lovely beloved. He wailed about being imprisoned by love’s shackles, tortured by his own exquisite emotion, and beguiled by a cruel fate’s nasty whims. It was not easy for Petrarch’s speaker to be in love with an immortal goddess possessing the perfect figure, with skin that was pale and fresh as the morning snow, shining blonde hair, lips as red as ruby, and a brightness of expression and being eclipsing the sun itself. This was truly the ideal of a woman, and many sonneteers after Petrarch infused these faultless qualities into the name and being of their own beloved. The sonneteers also refined this love and turned it into something of their own, as demonstrated so aptly by Shakespeare, whose unique love might serve as an inspiration for many to follow.

Compare for yourself. Below is Petrarch’s sonnet, followed by Shakespeare.

339. ‘Conobbi, quanto il ciel li occhi m’aperse,’
By: Petrarch

I knew, when Heaven opened my eyes,
when I learnt and Love unfurled my wings,
new gracious things, but mortal,
that the stars showered on one alone:

the rest of her was so other, so various
in form, noble, heavenly and immortal,
that my intellect was all unequal to it,
my weak sight could not endure it.

And whatever I have said of her or written,
so that now for that praise she prays to God
for me, was a little drop in an infinite ocean:

because our style cannot rise beyond our wit:
and when a man fixes his eyes on the sun,
the brighter it shines the less that he can see.
Sonnet 130: My mistress' eyes are nothing like the sun
By: William Shakespeare

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.

Author: Kristap Baltin – kristapbaltin.com

A great compilation of Shakespeare’s complete poem and sonnets can be found here.

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Analysis of Raymond Carver’s short story “Careful”

Analysis of Raymond Carver’s Careful

There are times when we are unsure of our final decision. We have pleasant memories of a fading past and seek to wade in an uncertain river for a second time. A hesitation arises and lingers in the bad recollections, which drives us to a final test. This examination reveals the initial instinct and reconfirms the alarming intuition driving us farther away in the opposite direction. This might be the reason Inez visits hapless Lloyd in the hour of his ailment and performs a careful operation intended to revive his hearing. Her success might lead to his redemption or further thrust him into imminent downfall, confirming her original pronouncement. It is possible, that Inez simply stops by to check on her unfortunate husband out of concern and pity. Perhaps she has not even considered a possible reunion and does not intend to perform any such test as will reveal the worthiness of her ill-fated husband. Raymond Carver’s story Careful seems to suggest otherwise. Lloyd’s disease is emotional, not physical. Therefore, Inez’s operation is not a surgery, but rather an attempt at revival. There is a pattern in Lloyd’s thoughts and actions, a pattern of weakness and failure leading him to a certain outcome, even when assisted by the caring hands of Inez, who seeks to test and examine her husband for even the slimmest chance of salvation.         

There are only small hints of Lloyd’s normalcy and competence as a man/husband prior and during his time with Inez. When having doughnuts and champagne for breakfast he remembers, “some years back, when he would have laughed at having a breakfast like this. Time was when he would have considered this a mildly crazy thing to do, something to tell friends about” (Carver 265). Now, his own state does not seem strange or unusual to him. This detail does not matter to him in one way or the other. His attitude is nonchalant and any judgment against his behavior solicits a careless “So what?” Lloyd’s other recollection takes place at the municipal pool. He compares the difficulty of curing his ailment with the ease of clearing his ears in the past:

But back then it’d be easy to clear the water out. All he had to do was fill his lungs with air, close his mouth, and clamp down on his nose. Then he’d blow out his cheeks and force air into his head. His ears would pop, and for a few seconds he’d have the pleasant sensation of water running out of his head and dripping onto his shoulders (carver 268).

This comparison is very significant in helping to understand why Inez dismisses Lloyd in the present, yet accepted him in the past .Not long ago; Lloyd cured his problem with ease, because he did not essentially have a problem. It was a little bit of water clogged in his ear, similar to a little bit of wax stuck in his ear presently. Lloyd does not have a problem with hearing, but rather a problem with listening. Inez takes great pains in helping Lloyd and undertakes a laborious process, comparable to coddling a sick child, yet sometime in an immediate past all he had to do was fill his lungs with air and clamp down on his nose.             

Though lacking in sound judgment, Lloyd senses his inadequacy and understands his need for redemption. He knows that he should not be an alcoholic, but attempts to cure his addiction by drinking champagne, a less potent alcohol. He thinks that he will better himself by being alone and instead deteriorates his mental state through isolation and carelessness. His incapacity drives him to a series of mental mistakes, but even these do not rob him from the realization of his wife’s importance. Sensing his wife’s presence, Lloyd “knew it was Inez and somehow he knew the visit was an important one” (Carver 266). Lloyd understands that his wife’s judgment will either save or doom him, and that she is his only hope of deliverance. He therefore hides his bottle of champagne and justifies himself being dressed in pajamas at 11 A.M. It is almost likely that he is lying about his ear condition to excuse his shoddy appearance and bad state. This seems even more possible with the consideration that later, when his ear is unclogged, he is still unable to hear Inez.              

Inez shifts from intense moments of action to reflective meditation. She looks for solutions and seeks to find different tools for her purposes. The times between are spent in smoking cigarettes and gazing at Lloyd and contemplating her next step. Similar to a physician, she gently tests different objects and tenderly inserts them into Lloyd’s ears, poking for any sign of a positive response. The ineffectiveness of her preliminary cures does not reflect badly on her, but rather on the stubbornness of Lloyd and his condition. At one point, “He turned his head to the side and let it hang down. He looked at the things in the room from this new perspective. But it wasn’t any different from the old way of looking, except that everything was on its side” (Carver 273). This is a perfect example of Lloyd’s ineffectiveness and for a lack of better word, perspective. After a while, the fluid flows from his ear and restores his hearing, yet no change has occurred internally within Lloyd. Whether or not he has wax clogged in his ear, everything remains the same for him. His room, situation, and mental state remain unalterable and hopeless. His endless addiction and justification lead him astray in every turn and he is tragically unable to respond to his wife, even with something so simple as sincere gratitude.             

Instead of realizing his true problems, Lloyd comes up with dim ideas of sleeping on his back instead of his side. Lloyd’s emotional turmoil is too heavy for him to bear, so he displaces it into a petty physical ailment. Meanwhile, Inez observes every reaction and response. Throughout the story, her pleas to talk to Lloyd are ignored and dismissed with incoherent and foolish replies. This is more so significant after the cure of his ailment and the return of his ability to hear clearly. On her way out, Lloyd asks, “Inez, where do you have to go?” “I told you,” she said and made ready to leave” (Carver 275). Further on Lloyd’s real condition becomes even clearer:   

 But at the door she turned and said something else to him. He didn’t listen. He       didn’t want to. He watched her lips move until she’d said what she had to say. When she’d finished, she said, “Goodbye.” (Carver 275).

From the very beginning, Lloyd does not want to listen, for he is afraid of what he will hear. His physical condition solely reveals his inner malfunction. For Inez it was necessary to heal the physical half in order to understand Lloyd’s true mental state. When she finishes the task, her realization is instant and immediate. She understands the futility, but still shows enough care to talk to the old woman living below Lloyd. Ironically, Lloyd listens with great care, as Inez parts with the old woman and drives away.            

The operation is a failure and Lloyd’s earlier sentiments might very well become a reality. “If this doesn’t work, I’ll find a gun and shoot myself. I’m serious. That’s what I feel like doing, anyway” (Carver 273). Unfortunately, for Lloyd it does not work, and though it is unlikely he will find a gun, it foreseeable that his end will be before long and more tragically dragged out than a swift gun shot. Inez’s comparable sentiments illustrate a more positive image, “Anyway, we need to try something. We’ll try this first. If it doesn’t work, we’ll try something else. That’s life, isn’t it?” (Carver 269). Inez’s charming query falls on deaf ears and while she can try something else with a sensible outlook, it is a shame that such a good operator should fail because of such a poor patient.       

Author: Kristap Baltin – kristapbaltin.com

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Analysis of Shakespeare’s Sonnet 130- A Beautiful Subversion

Sonnet 130: My mistress’ eyes are nothing like the sun

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.

Poetry and Poetics: Shakespeare’s Unique Love in “My mistress’ eyes are nothing like the sun”

It was usual for 16th century sonneteers to write variations of Petrarchian love sonnets. The customary theme was the rejected lover writing of his unattainable love’s charm and grace. Laments and distressed grievances routinely filled these sonnets, and stated circumstantial injustice, personal flaws, or the indifference of the unmoved love interest. The mark of a great sonneteer was the ability to take this singular theme and infuse it with their creative originality. Here is an example of Petrarch exclaiming praises and regretting his sorry state, lead on by his love of Laura (his eternal, unattainable love):

the rest of her was so other, so various                                       
in form, noble, heavenly and immortal,                                         
that my intellect was all unequal to it,                                       
my weak sight could not endure it.                                             
because our style cannot rise beyond our wit:                                 
and when a man fixes his eyes on the sun,                                     
the brighter it shines the less that he can see. (Petrarch 339)

There is a heavy emphasis on his beloved’s “other [ness]”, she is “various in form, noble, heavenly and immortal”.  This is a very stacked compliment, as she embodies perfection in every sense. She is god-like and awes him into a state of weakness through absolute and sheer flawlessness. The last lines of the poem, famously link Laura to the brightness of the sun, the luster of which blinds the speaker into perpetual, sad worship of that which is so above him.

Petrarch’s genius lay not only in his astounding praise, but also in his extraordinary laments, the likes of which showed a subtle, and sometimes fierce resentment of his lovely beloved. He wailed about being imprisoned by love’s shackles, tortured by his own exquisite emotion, and beguiled by a cruel fate’s nasty whims. It was not easy for Petrarch’s speaker to be in love with an immortal goddess possessing the perfect figure, with skin that was pale and fresh as the morning snow, shining blonde hair, lips as red as ruby, and a brightness of expression and being eclipsing the sun itself. This was truly the ideal of a woman, and many sonneteers after Petrarch infused these faultless qualities into the name and being of their own beloved.  

 Shakespeare’s love was far from the conventional ideal. In “My mistress’ eyes are nothing like the sun”, Shakespeare appears to berate his lover, comparing ways in which considered objects of grandiose beauty are not at all like his mistress. At times, his description of her uses ugly words, and paints her in a seemingly common, ordinary way. The first reading of the sonnet induces the question of whether it is a love sonnet at all. It is possible to look at it as a satire on love sonnets in general, and perhaps a harsh criticism of the woman he supposedly loves. Yet, there is a lingering sense of admiration, as even some small words seem to indicate that there may be a genuine and loving affection. There are interposed lines hinting at a strong feeling, foreshadowing the powerful ending. Shakespeare forces the reader to question the love of perfection, and provides a very realistic alternative. He opens up the possibility that a human being is more capable of loving someone equally human, and because of that humanity, no less unique than a golden goddess floating in the sky of our dreams and regrets. This is a love sonnet, illustrating a depth of feeling, and genuine affection through a different and unique form of expression. It uses the conventions of the time and turns them around to portray a dissimilar love, a love not based on unrealistic comparisons and inconceivable standards.    

The title of this sonnet takes is back to the usual comparisons between the object of affection and the sun. In romantic fashion, both shine on our minds and hearts, and fill us with energy and warmth. Shakespeare’s title points out, that in a literal sense, the sun has little in common with the beloved’s eyes. While the beloved’s eyes can fill us with figurative warmth of emotion and can appear to “glow” in a distorted manipulation of the senses, the sun literally bequeaths heat and light upon the earth and other planets.

In the second line, the speaker disparages another familiar comparison and states “Coral is far more red than her lips’ red:” (Shakespeare). Red is the color of passion and figuratively relates to heat in the same way as the sun. Red coral is a stony piece of skeleton possessing a rouge complexion and is used for ornamentation as jewelry. Regular coral is deeply pink and is factually redder than the mistress’s lips. We can conclude, therefore, that her lips are almost bloodless and pale.      

The next two lines describe the quality of hair and snow in relation to the speaker’s mistress, as he pronounces, “If snow be white, why then her breasts are dun; / If hairs be wires, black wires grow on her head.” In the romantic sonnet, beauty is typically associated with fair skin and blonde hair. Therefore, the objects compared with the beloved are usually those that reflect those qualities. Snow is associated with pure and fresh fairness, and the speaker contrasts this color with the shade of his mistress’s bosom, which he calls dun. Dun is a yellowish, darker color, and not considered the standard of beauty. Next, the speaker evokes the similarity between hair and wires, and states that black wires grow on his mistress’s head. The imagery here does appear to be somewhat disparaging, as the growth seems to take the shape of an intertwining, thread like, and enveloping creature. The word “on” seems to point to an inclining upwards growth. The word “wires” is ugly and makes one think of cuts, and rough metal. Another point of shock is that her wires/hairs are black, a difference from the traditional blonde beauty ideal, celebrated by so many other sonneteers.

Damask roses are sweetly aromatic and possess a silky quality. When comparing his beloved’s cheeks to the roses, the speaker declares, “I have seen roses damask’d, red and white, / But no such roses see I in her cheeks;” This comment points out the quality of a damask rose and specifies that no such quality is observed on the cheeks of his mistress. She does not have a rose-like blush emanating from her face and may be rather ordinary in complexion. The next two lines continue on the theme associated with fragrance, and state “And in some perfumes is there more delight / Than in the breath that from my mistress reeks.” Notice, that the speaker uses the word “some” when saying that there is more delight in a few more perfumes than in his mistresses’ breath, indicating that his mistress’s breath is possibly superior to a few other perfumes. It is curious that he describes the breath as reeking. It is possible that “reek” signifies smoke, but generally, the word produces the association of a disagreeable, rancid odor. It is possible that his mistress suffers from halitosis.   

The next line reaffirms the notion of his love for her, as he exclaims, “I love to hear her speak, – yet well I know / That music hath a far more pleasing sound;” (Shakespeare). This is a polite assessment of his situation, as he genuinely likes the sound of her voice, but admits that in comparison the sound of music is superior. However, the start of that line is very powerful and direct, and eclipses what might seem as negative language and imagery before this line. He strongly and directly, without the use of subtle hints or indirect allusions asserts his love for her voice. The first line is bold and dynamic, yet follows with a slowing dash and reflection, “- yet well I know”. It seems similar to a sad admission or an unwanted confession. It illustrates the honesty of the speaker, as he is not one to exaggerate or create falsity, as is seen throughout the rest of the sonnet.

The lines after, again bring up a famous point of comparison for most sonneteers. In other sonnets, the beloved having the qualities of a goddess help make her appear even more unattainable and grand, as this inserts a spiritual value into the professed love and give it the feeling of a holy quest. The goddess aspect also diminishes the speaker of these sonnets and gives us powerful imagery of something small and insignificant pleading to something of an unimaginable magnitude. The beloved, figuratively becomes larger than life and conquers the speakers mind, soul and body. Shakespeare’s speaker is not quite as dramatic when he asserts, “I grant I never saw a goddess go, – My mistress when she walks, treads on the ground;” The usual associations of a goddess include the quality of hovering or floating encircled in a shining halo that blinds the vision and deafens the senses. The speaker admits that such a comparison would be possible, yet as he has never seen a goddess, and would be unable to compare. He still maintains that there is nothing special about the walk of his mistress. She simply steps and walks as any other mortal human being. Could this be an exaltation of her humanity?

The last lines sum up the speaker’s sentiments and it can be argued that the second to last line contains the volta of the sonnet. The speaker stops describing the qualities of his beloved and instead strongly asserts his strong feeling in saying “And yet, by heaven, I think my love as rare / As any she belied with false compare.” His exclamation to the heavens is a strong one, and when he calls his love rare, it invokes a feeling of something that is unusual or infrequent. The word can also describe something that is valuable and amazing, therefore having a rare quality. The last line induces the thought that his love is as rare as her consideration for the compliments that are false and lack veracity. There is a clear turn here and the feeling is that of reconciliation.

His mistress does not require common and unrealistic flattery, and is prone to scorn it. Her qualities might not be the standard of an epic sonnet, but this is not indicative of lack of another type of beauty. Her hair is black, her cheeks lack fullness, freshness, her breath is not always the best, and her voice might be of a drawling, hoarse pitch. She is unlike the standard of beauty and therefore even more so captivating. An exoticism is attributed to her, and false compare would be an injustice to her true features and attributes. It is as possible that the speaker owns her love, as it is feasible that he cries out for her without response. The speaker of the sonnet does not tell us this, and leaves it for us to fill in the facts according to the comparison of what she is not. Not once does he tell us she is ugly or in any way deficient. Even if she is, it does not detract from the fact that his love is rare, and more importantly, existent. It is possible that this is both a criticism and a satire on the traditional love sonnet, but even that does not change the power, somberness, and sincerity of the last two lines.  Shakespeare makes us analyze the worth of comparing a certain beauty to something fantastic and awe-inspiring. The speaker loves in spite of the lack of Petrarchan values, and loves for the sheer humanity inherently present within his mistress. This is not a romantic declaration of love, but rather a brutally honest one. Shakespeare defies custom and convention and cries out for his right to love someone who is herself; even if this might be something, she is not meant to read.            

The fascinating quality of this sonnet attributes itself to its originality, satire of other sonnets and ambiguity of the speaker’s true intention and feeling. The last lines of the sonnet leave the impression that the rest of the sonnet was in actuality complimentary in spite of the seemingly negative imagery and language. It could very easily be construed as praise to the rare, unique, and human quality of the beloved. She does not have to have the unrealistic features of celestial and unearthly objects and instead captivates the speaker with her earthly, original attributes. She is of a dark complexion, possesses flowing black hair, and a sensuous mesmerizing voice. The first twelve lines could also be a bitter degradation of the beloved, in spite of her beauty, to conciliate the rejection faced by the speaker. Most likely, it is a declaration of love, not only original in its language of praise, but also in the description of the beloved, and in the reversal of the traditional love sonnet. Shakespeare forces us to question the standard of beauty, and makes us think about the beauty of reality and common feature, and the artistry of Shakespeare reveals this with magnificence and mastery.

Author: Kristap Baltin – kristapbaltin.com

Find a copy of Shakespeare’s complete sonnets and poems here.

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The Principles of Taoism in Ursula Le Guin’s “A Wizard of Earthsea”

A Wizard of Earthsea Cover

The Role of Wizardry in Earthsea

Ged’s childhood associations with magic are comparable to those of any child hoping to engage in fantastic and magical acts. A child wants to summon the animals, control the elements, change shapes, and become something other than himself/herself. Their desire for power and fame and the ability to achieve something extraordinary are only matched with their imaginations, one of the greatest assets they possess.

As with all children approaching the cusp of preliminary knowledge, Ged’s ideas of magic are challenged during his apprenticeship with Ogion. The master mage lets the rain beat on his face and bears the strife of wind with calm acceptance. He spends his time in meditation and meticulously observes everything around him. Even though it is evident he wields great power, no one sees him use it. Unsatisfied with his slow training, Ged is given the choice to go to Roke, where the “air was bright with enchantments and the Archmage walked amidst wonders (24).” The students of Roke celebrate and demonstrate their magic freely, playing pranks and creating illusions frequently. The Nine Masters of Roke and the Archmage are less apt to demonstrate their powers and when pressed to reveal their magic, they would “always talk, like Ogion, about balance, and danger, and the dark (44).” Part of Ged’s studies involve being sent to the Isolate Tower, where lives the Master Namer whose own name is Kurremkarmerruk, allegedly “a name that had no meaning in any language (46).” Ged’s sole duty in the tower is to learn the true names of as many places, things and beings as he can.

Ged’s personal turning point is the loosing of the shadow, which can be interpreted as the adolescent loss of self. Children have a clear conception of whom they are, until faced with the travails of adolescence, awareness of peer scrutiny, and the emergence of self-consciousness, self-interest, pride, conceit, and most importantly lack of interest in anything else besides the self. While children still desire to appear impressive in front of peers, they have an equal interest in those who they attempt to impress. Children make friends easily and without reservations. They do not need the vehicle of an event or an activity in order to spend time with someone and instead find friendship in just the simple act of being together. Children are known for their sponge like abilities and can learn languages, and mimic the most complex of actions because of the uncorrupted state of their interest in the world and their limitless imagination. The facets of adolescence cloud the true being and mark the beginning of a slow journey to reclaim what is lost and reshape it into the formulation of wisdom. This expedition can last a lifetime and mastery is achieved when you understand your role and purpose in life in conjunction with the rest of the world.

The Connection to Taoism

The wizardry and magic of the world of Earthsea, as well as the traits of those who practice it have familiar parallels on our world. One philosophical and spiritual Chinese tradition in particular seems to display similar concepts and ideas. In Taoism, there is an intertwining between people and nature. The chaotic disposition of nature should not trouble the people, but instead be something they can adapt to and become a part of, like the earth and the sea. There should not be any resistance, but rather a lessening of rules and order, a philosophy of inaction emphasizes this discipline

One of the central concepts of Tao is called wu wei, which can be translated as without action. Sometimes the concept is called wei wu wei, which would be action without action. In this system of thought a man is believed to have a lot of power and will, but in many cases is misdirected and therefore must find the “way” that will lead him in tune with the will and power of the universe. This causes a prominent association with Ogion and his ways. When first entering his apprenticeship with Ogion, Ged is surprised of his inauspicious beginning:

They wandered, first down into the Vale and then gradually south and westward   around the mountain, given lodging in little villages or spending the night out in          the wilderness, like poor journeyman-sorcerers, or tinkers, or beggars. They entered no mysterious domain. Nothing happened. The mage’s oaken staff that Ged had watched at first with eager dread was nothing but a stout staff to walk with. (16)

In harmony with the world, Ogion wanders around a mountain and uses his “magic” staff as a walking stick. Nothing happens and there is no “mysterious domain”, because Ogion knows his surroundings well and can travel around them with ease. He has no problem spending the night out in wilderness and is not bothered by the various hassles of nature. Ogion’s particular “inaction” indicates an intricate amount of experience and preparation. The text gives you the feeling of him having an abundant amount of power and one feels sure that there is a purpose in him not using it.           

At one point Ogion asks Ged what a certain flower’s name is. Ged does not know and asks Ogion what the flower’s use is. Ogion responds, “When you know the fourfoil in all its seasons root and leaf and, flower by scent and seed, then you may learn its true name, knowing its being; which is more than its use. What, after all, is the use of you? or of myself? Is Gont Mountain useful, or the Open Sea? (18)” Ogion’s statements highlight the knowledge of essence over function. One has to recognize the scent and the movement and understand what it is. All the other aspects come along with that knowledge and reveal themselves with experience. Elements and people not having a use is not a negative, and Ogion values the essence and the existence of a certain object, rather than its utility and use. The existence alone fulfills a certain natural order and has a role in the universe.              

This rare outburst of Ogion’s thoughts is similar to another concept of Tao, named P’u. According to Slingerland and Kraemer:

P’u is translated as “uncarved block” or “simplicity,” It represents a passive state of receptiveness. P’u is a symbol for a state of pure potential and perception without prejudice. In this state, Taoists believe everything is seen as it is, without      preconceptions or illusion. In the state of p’u, there is no right or wrong, beautiful          or ugly. There is only pure experience, or awareness, free from learned labels and definitions. (Slingerland, Effortless Action: Wu-Wei as Conceptual Metaphor and Spiritual Ideal in Early China, 2003, p. 233) (Kraemer World Scriptures: An Introduction to Comparative Religions, 1986, p. 286)

Ogion’s opinions resemble these Taoist sentiments and he is a loyal follower of the discipline. Later, when Ged reclaims his shadow, he is closer to understanding his own essence and gains wisdom from his newfound knowledge. These are all steps leading to understanding your role in the universe as a microcosm (a small part of a larger body).

One of the main themes of the book is the danger of shape shifting, or changing into something else for a longer period of time. When Ged turns into a dragon, he instinctively knows he must finish his battle with the other dragons quickly. When escaping the court of Terrenon, Ged changes into a hawk and flies across the seas for an extended amount of time, eventually returning to Ogion. Upon his return, he is unable to revert shapes and is stuck in his eagle’s body until Ogion manages to turn him back into Ged. By becoming the eagle, Ged has tampered with the balance and forgotten who he truly is. This falsification of the self represents lack of self-knowledge and foreshadows an eventual doom. For Ged to be a part of the universe and not an outcast (as he often sees himself), he must know his true self, every aspect of it, similar to the way he knows a fourfoil in all its seasons root and leaf and, flower by scent and seed. This ties into his reunification with the shadow, regardless of it being good or bad, ugly or beautiful (labels that have no meaning within p’u).

Essentially, through the concepts of Tao, your quest is to understand the vastness of the universe, which in turn brings knowledge of self. Ged’s journey through Earthsea is an unconscious fulfillment of that quest. Roke is a stepping-stone to Ged’s education. The masters of Roke are wise and learned, but in comparison with Ogion seem at a less advanced stage of the discipline. Their steps are ones that need to be taken and experienced, but fuller knowledge and understanding has not been completely garnered. When the Master Namer is convinced that there are no names for some things, Ogion is sure that there is a name for everything, being correct in the case of the Shadow. The Isle of Roke is still fascinated by the view of magic and dazzles the eyes with student illusions, magical fields, and trick doors. Ogion is beyond that, and lets nature take its course, convinced of its essence and role.

Unwittingly absorbing Ogion’s early teachings, Ged went to Roke and learned the importance of “inaction” through a dangerous and sobering consequence, studied the names of all things in the Isolate Tower and became one with the sea through the crafts of sailing and voyage. His education of the discipline is hectic and dramatic, but his ending is closely similar to that of his beloved instructor.

Author: Kristap Baltin – kristapbaltin.com

The version of The Wizard of Earthsea I used can be purchased here.Facebooktwitterredditpinterestlinkedinmail

Analysis of Tibor Fischer’s Under the Frog

Under the FrogThe Tears of Episodic Laughter

Tibor Fischer’s Under The Frog, ends with a scared, beaten-down, young man treading through the cold snow behind an injured countryman. Gyuri walks behind Kurucz in order to hide the tears streaming down his cheeks. Gyuri is defeated and depressed; he has left his small family behind, and the violent incursion of the Soviets has left his country in shambles, killed the love of his life, and further reinforced a regime Gyuri has detested and feared all his life. Even though Gyuri has finally accomplished his goal of escape, he does not have many things left to laugh about. In retrospect, there has never been too much to laugh about, yet the majority of the novel is in the form of a collection of sardonic, biting, and anecdotal clips of a life under the communist regime. The humor has the ability to make the reader laugh, but more often gives the impression of a bitter lament expressing the absurdity of the human condition when immersed in this particular place (Budapest) at this particular time (1946-1956). While some clips of Gyuri’s life are genuinely funny and honestly describe the travails of an adolescent’s coming of age, there are also stories that emit an ominous sense of unease and foretell a sad ending, despite a sharp and sarcastic humor. Slowly the stories merge in their commonality and carry over past occurrences and characters into the final installments. The characters begin to abide by the dictates of their past behavior and their past actions start to reveal consequences.

The novel is in an everlasting transition and tightens the plot up as it approaches the end. The gaps between the years become shorter and the chapters begin to divide themselves in months as the story picks up in intensity and the reader starts to suspect that the end is not going to be as comedic as the beginning and the middle of the novel. The plot begins to tighten on page 157, at the beginning of the chapter named November 1955. It is important to note the time and month separations between each chapter. The beginning chapter starts on November 1955, the date close to the climax of the novel. The story then shifts back to December 1944, October 1946, September 1948, January 1949, September 1949, August 1950, August 1952, and July 1954. Notice that in some cases there are gaps of almost up to two years. After page 156, the gaps are as follows. November 1955, September 1956, and 23rd October 1956. There is a dramatic change, particularly in the last two chapters, as the separation in the story is marked by only a single month.

There are very complex and intended reasons for the duality in the book’s structure. The beginning appears unfocused and confused. The events separate themselves by large gaps in time and show consistency in the characters; yet do not lead to any coherent conclusion. The times are as mixed and confused as Gyuri and his direction and focus. Near the climax, and particularly in the last three chapters, the structure changes, becomes less episodic, yet similarly fragmented and more sharply marked by events and actions leading to serious consequences. The change in Gyuri and his focus and commitment translates itself into the format of the novel. This change also brings out a more serious tone and prepares itself for an oncoming tragic end. The effect of the ending enhances as a result of the previous episodic chapters and the tightening of the plot as it approaches the end. The transitions are sometimes tricky and subtle, as with the repetition of the beginning chapter.

November 1955 is a title of chapter that repeats itself in the beginning and near the climax of the novel for particular reasons. This month marks Gyuri’s introduction to Jadwiga. The first 1955 chapter introduces the characters and sets a light tone to Gyuri’s adventures and life. He rides naked on the basketball team train, has eccentric and quirky friends, and there is poignant sarcasm in the quality of their play, their opponents and surroundings. This chapter teases the attraction he will eventually form for Jadwiga:

[H]e was disappointed that Jadwiga didn’t seem more delighted to meet him… Jadwiga only scored a keep-on-file anyway and he had more pressing Swedish women to phone.

(20)

Despite this initial dismissiveness, Jadwiga becomes the cornerstone for a transition in Gyuri’s life and initiates the change of tone and pace of the novel. Her appearance in the beginning chapter is telling of Gyuri’s condition and the pace of the novel three quarters of the way through. So far, Gyuri is not ready for a change, and his youthful adventures and miseries will provide mirth and reflection. As soon as he gains something worth losing, his life as well as the tone and format of the novel will change. This chapter also reveals the type of regime the characters are under, as they worry about informers, and army recruiting. It also reveals Gyuri’s anxieties as he longs to escape and do even the most menial and meaningless of tasks, as long as they are in a different surrounding. It is important to note that the comic effects of the beginning chapter outweigh the perceived severity of the characters’ lives, and sets the tone for the following chapters.

In a similar fashion, the second 1955 Chapter sets itself apart from the other chapters beginning in a lighter tone, describing Gyuri’s ride on a train with a snoring passenger, comically aggravating the rest of the disturbed passengers. This beginning anecdote takes us back to the beginning of the novel and reminds us of the comedic aspects of a growing youth’s life. The mood darkens, when the story after, describes the creation of propaganda and the cruel absurdity of a corrupt regime, as a director utilizes a dying old man to push across an agenda that will only work because of the old man’s moustache. Sadly, the man passes and leaves us with a foreboding of an even more staggering tragedy:

According to Pataki, Uncle Feri survived his moment of posterity but not for long. Well-mannered, he waited till he was returned home before pegging out while Gati loaded up the van with crates of wine, reiterating ‘Did you see that moustache?’

(165)

The insensitivity and baseness of the party represents itself in the callousness of Gati. He cares only for spreading an ideological message, as opposed to caring for the people he is supposed to exalt and raise together with the prosperity of the regime. The story then transitions and describes Gyuri’s courting of Jadwiga and emphasizes the validity of his attraction towards her, and thereby shifts the novel into a more serious domain, as the reader notices a lack of sarcasm and begins to suspect that Gyuri has become emotionally vulnerable.

The following passages leave little room for humor and depict the gladness and excitement of love. After visiting Jadwiga in the library and meeting her in the café under pretences of needing to find Solyom-Nagy, Gyuri’s rising feeling for Jadwiga reveals itself through unusual behavior. When coming to Jadwiga’s dwelling, upon seeing her he exclaims that he missed her (170). In any of the previous chapters, there is little evidence of Gyuri expressing any sort of affection. He is on friendly terms with Elek and Pataki, yet never emits any signs of appreciation for their existence in his life. Mostly Gyuri is melancholic, and sarcastic. His unsuccessful pursuits of women are not for love, but rather for unsatisfied lust. The sense that Gyuri is genuine in his affection towards Jadwiga further reinforces itself in these reflections:

The second thing that barged into Gyuri’s attention was the certitude that he wanted to marry her. That was surprising. He had never felt wedlockish before; indeed the idea of an additional bond to Hungary, anything that would make his flight less streamlined, was anathema.

(171)

Gyuri develops something akin to close commitment, a concept unbeknownst to him thus far. This lack of commitment stems from the absurdity of the regime that rules his life and thence develops into the desire to flee. His life is therefore episodic, a series of events waiting for the next set. A commitment would categorize these events and force them to flow together fluidly in a single direction. Before his love has developed, Gyuri was aimless, concocting vain hopes for escape and abstract notions of what he wants and seeks. His mentality therefore shapes the format of the novel into episodic events, marked by the effect the occurrences on Gyuri. Ironically, Gyuri regrets that he has now a tighter bond with Hungary and fears that his “flight [will be] less streamlined (171).” Reversely, Gyuri’s flight out of Hungary
is now fated, as the events increase in intensity. Gyuri’s love is not something he is willing to take lightly or sarcastically. The revolution and the breaking point of the citizens of Hungary loom in the near distance. The multiple paths possible converge into three existing possibilities, continued oppression or death, liberation, or escape.

In the second to last chapter September1956, Gyuri’s exaltation of Jadwiga reoccurs frequently and the episodic gaps tighten even further to reflect Gyuri’s impatient yearning for her. Page 182 commences Gyuri’s attainment of Jadwiga and with that a small break. After that gap, the three pages following express all of Gyuri’s affections and praises towards Jadwiga:

He wanted to make her pregnant… It was very, very unlikely that he would achieve anything more important or significant than this, making one person feel full happiness, manufacturing a roomful of ecstasy.

(183)

The praises of Jadwiga surpass any feelings Gyuri has towards his country or regime. She is the most important thing in his life and the purpose of his existence. For her, he later refuses to flee the country with Pataki and spends the final chapter in search of her through the tempestuous streets of Budapest, where the revolution takes a backseat and serves rather as a backdrop for Gyuri’s furious search of Jadwiga.

The travails of his search and anxiety serve to make Jadwiga’s death even more tragic. In the aftereffect of the tank’s shot, when Gyuri notices Jadwiga “two thoughts raced through him, the axiom that stomach wounds were always fatal, and the other that his sanity couldn’t cope with this. (240)” Gyuri’s pain intensifies and forgets the war around him. This episode ends quickly and furiously, allowing the next fragment to remind the reader of the war and the different effect it has on Nigel and perpetually the rest of the city.

The fragments in the last chapters become sporadic and represent the many different aspects of the city, as well as the scattered and upset mindset of Gyuri. In the sporadic episodes there is a certain fluidity denoting a natural and inevitable course. Gyuri’s realization of escape unleashes a torrent of tears that is as mixed and jumbled as his emotions. The tumult of Gyuri’s life translates itself in to the structure of the novel. The beginning and middle of the novel provides a calm heartbeat mingled with reflection and comedic comment. The fragments are prolonged and the breaks in chapters are yearly and denote certain aspects of growing up and occurring change. The last three chapters become more fluid, yet very fragmented. The fragmentation does not take away the cohesiveness and tightness of the novel, but rather reinforces the quickening heartbeat and pace of Gyuri’s life during those two months. Many significant events occur. Gyuri consummates his love, yearns for Jadwiga, and experiences the throngs of the revolution. He experiences anxiety of loss and fear of retaliation. He faces the direct loss of his love, endures the assault of an army, leaves his home, and finally escapes. These events are quick and loaded with emotion. The novel recreates the pace of his feelings with the fragmentary structure and achieves the same anxiety within the reader.

The humor plays a large role in the novel and the frequency of it serves as a great contrast to the tragic end. The picaresque structure of the novel undergoes a change. It is certainly episodic throughout, but the beginning merges the clips with the humor and serves to accent the humor and to illustrate the growth of Gyuri. The ending fragments correlate the pace of an eventful period with the pace of Gyuri’s anxieties, emotions, and feelings. This method certainly connects the reader with Gyuri and in some cases elicits the same abseil of tears.

Author: Kristap Baltin – kristapbaltin.com

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The World of Gilgamesh – and Sumerian Civilization

The Epic of Gilgamesh has incredibly relevant themes that apply to our modern struggles and views of the world. Reading this epic will contribute to your acquisition of wisdom and better understanding of yourself and the world around you.

Well, reading more in general will accomplish this, but I can’t think of a better place to start, then the first heroic literary narrative of world literature.

SOME COOL FACTS

1. This work is the first epic heroic narrative of world literature. To insert a little context, Homer’s Iliad was recorded sometime between 750 and 650 B.C. This puts the epic of Gilgamesh some 1400 years ahead of the Greek classic. The oral story of Gilgamesh dates back to 2700 B.C.

2. Gilgamesh, far more than just a literary hero figure, is on the long list of Sumerian kings of the Ancient world as the ruler of the ancient city of Uruk (a city that no longer exists and would be situated in modern day Iraq). You can check this list out here https://en.wikipedia.org/wiki/Sumerian_King_List. The written form of this epic likely originated around 2000 B.C.

3. In another first, The Sumerian language it was written in is the earliest written language in Mesopotamia. The Sumerians were not only the first people to have written (on clay cuneiform tablets), but were also the first to form organized city states.

Here is a picture of what a clay tablet looked like:

In summary of cool facts:

I encourage you to research the Sumerian culture. This civilization created the first city state. Cuneiform was the world’s first writing system, they were the first to build wheeled vehicles, and had extremely sophisticated architectural developments that influenced the world to come.

MORE IMPORTANTLY:

Epic of Gilgamesh has an incredible background and was produced by an amazing civilization, but that’s only a part of what makes this epic amazing. The themes of Gilgamesh are incredibly relevant to this day and show that Sumerians had many of the same concerns and thoughts of modern day people. Sure, they probably had to worry about invasions a little more and didn’t have smart phones, but on the whole, that which has troubled humanity for centuries on end troubled the ancient Sumerian in similar ways.

THE MANY THEMES OF GILGAMESH:

Fear of death

The impact of change friendship and love creates

Civilization vs Nature

The priorities of a mortal life

Acquiring wisdom

The hardships of courage and cowardice

The pursuit of fame

How to live the good life

Author: Kristap Baltin

The translation of Gilgamesh I used for this article is here.

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A Short Overview of Wuthering Heights

Wuthering Heights was published in 1847 by a 29 year-old Emily Bronte, under the pseudonym of “Ellis Bell.” The novel’s action spans from approximately 1771 until 1803 and documents the lives of two families: The Earnshaws and the Lintons. Filled with captivating themes and characters, Wuthering Heights is well worth detailed readings, re-readings and analysis. Modern readers have often labeled WH as a love story and have unfairly criticized it as having “unlikable characters” and imbue modern-day self-help psychology on the book by stating that its characters have low self-esteem and no self-respect. These foolish views of the book do not, however, take away from the book’s status as a respected classic that treats the themes of revenge and obsession with remarkable insight, skill, craft and understanding.

Come and join me in a chapter by chapter breakdown of the novel wherein we will explore its methods, techniques and enjoy how the story unfolds. We will ask and answer questions together and will come to better understand this unique and incredible work.

The version of the book I am using is Oxford University Press’ World’s Classics edition from 1976.

Below is a picture of Top Withens, said by some to be the inspiration for Wuthering Heights

By TopWithens.jpg: Dave.Dunford Dave.DunfordOriginal uploader was Dave.Dunford at en.wikipediaderivative work: EncyMind (talk) – TopWithens.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=15578790Facebooktwitterredditpinterestlinkedinmail