Seek A Holy Leisure

As to these three modes of life, the contemplative, the active, and the contemplative-active, a man can live the life of faith in any of these three and get to heaven. What is not indifferent is that he love truth and do what charity demands. No man must be so committed to contemplation as, in his contemplation, to give no thought to his neighbor’s needs, nor so absorbed in action as to dispense with the contemplation of God.

The attraction of leisure ought not to be empty-headed inactivity, but in the quest or discovery of truth, both for his own progress and for the purpose of sharing ungrudgingly with others. …

No man is forbidden to pursue knowledge of the truth, for that is the purpose of legitimate leisure…Thus, it is the love of study that seeks a holy leisure; and only the compulsion of charity that shoulders necessary activity. If no such burden is placed on one’s shoulders, time should be passed in study and contemplation. But, once the burden is on the back, it should be carried, since charity so demands. Even so, however, no one should give up entirely his delight in learning, for the sweetness he once knew may be lost and the burden he bears overwhelm him.

~St. Augustine, The City of God, Book XIX, Ch. 19.



Happy Birthday to Christopher Marlowe!

Within the bowels of these elements,
Where we are tortured and remain forever.
Hell hath no limits, nor is circumscribed
In one self place, for where we are is hell,
And where hell is must we ever be.
And, to conclude, when all the world dissolves,
And every creature shall be purified,
All places shall be hell that is not heaven.
(Mephistopheles, “Dr. Faustus”)

Solamen miseris socios habuisse doloris.
(Mephistopheles, “Dr. Faustus”)

~Christopher Marlowe (1564-1593)


“Christian” is Not an Adjective – Against “Christian Music”

One of my favorite bloggers, Bad Catholic, has another gem up entitled, “5 Reasons to Kill Christian Music.”

Tolle Lege!

Here’s a gem from the post:

Isn’t all singing about Jesus inherently valuable?

No. Love covers a multitude of sins, but a cliched refrain of his Most Holy Name will not cover the fact that your melody, chord progression, and overworked synth track are recycled versions of Nickleback’s last single.

Book IV of Vergil’s Aeneid: A Lesson Concerning “Co-Habitation”

Dido and AeneasBook 4 of Vergil’s Aeneid presents one of the most famous (and tragic) love stories in the history of literature. Dido, queen of Carthage falls madly in love with the story’s hero, Aeneas. As the two give themselves over to each other, Aeneas is called back to his duty to found the Roman people. In fit of rage and despair, Dido throws herself on Aeneas’ sword and commits suicide rather than live without him. Famously, St. Augustine recorded in his Confessions that, as a boy reading The Aeneid, he had wept over the death of Dido. This later caused him to reflect on his own lack of self-knowledge: “What is more pitiable than a wretch without pity for himself who weeps over the death of Dido dying for love of Aeneas, but not weeping over himself dying for his lack of love for you, my God…” (Augustine Confessions 1.13). Yet I would argue that we should not weep for Dido. That, while Dido’s story is sad, she is not suffering at the hands of the gods or fates; that she is not treated unfairly, but rather, she is a victim of her own lack of self-control and wisdom.

From the beginning of Book 4, Vergil describes Dido as a woman enslaved to her passions. Though we see no indication of this while Aeneas is recounting his journey from Troy to Carthage, once he’s finished, Dido is completely beside herself with love for Aeneas. “Now the queen’s lifeblood fed her grievous love wound / An unseen flame gnawed at her hour on hour” (Vergil The Aeneid Bk. 4.1-2). The two dominant metaphors Vergil uses to describe Dido are fire and sickness: She is “stricken Dido” (4.8), her passions “blaze” (4.54), she suffers from “madness” (4.65), a “flame devoured her tender marrow” (4.66-67), “Dido burned” (4.68), and love-sickness “gripped the queen” (4.90). This is hardly a list attributes to admire!

Given this “love-sick” condition, it is not surprising that Dido is consumed in thought and deed for Aeneas. She “fixates” on Aeneas (4.78). She creates excuses, sometimes with the help of Juno, for the two of them to be together (4.129-165). She plays with Iulus, Aeneas’ son, because he is “so like his father” (4.83). While doing all this, she completely abandons her duties to Carthage:

The towers she started do not rise. The young men
No longer drill or build defending ramparts
Or ports. The work stalls, halfway done—the menace
Of high walls, and the cranes as tall as heaven. (4.85-89)

So, Dido has completely lost herself in her passion for Aeneas. She has “let her folly outrun her good name” (4.90-91). These are not the attributes of someone we should emulate or admire, and Vergil rightly calls it folly.

Perhaps out of pity for Dido, Juno arranges for Dido and Aeneas to be together. During one of their outings, Juno uses a storm to bring Dido and Aeneas together in a cave, and there the two give themselves over to passion. Though there is some ambiguity as to whether Juno thinks she has bound the two in marriage, it is clear from the text that no marriage ever took place, and the two of them knew this:

From this day came catastrophe and death.
No thought of public scandal or of hiding
Her passion troubled Dido any longer.
She called it marriage, to conceal her shame. (4.169-172)

Dido knows quite well that this sexual relationship with Aeneas is “shameful,” so she must pretend it is a marriage, and it is this double-dealing that will lead to her ruin. While in this relationship, the lovers show no better common sense than before it. They flaunt their love before the city and live openly in their shame. Jove looks down on “the lovers who’d forgotten all decorum” (4.221) and decides it is time for Aeneas to leave Carthage. Aeneas can leave Dido without contradicting his duty precisely because there was no marriage covenant between he and Dido. Had Dido first bound herself in marriage (as she ought) to Aeneas before their carnal relationship began, all of her misery could have been avoided, but passion led her instead of wisdom.

Furthermore, once Dido discovers Aeneas’ plan to leave, she reveals herself to be one who does not love Aeneas so much as one who wants to possess Aeneas. That is, she is not interested in what is best for Aeneas, but rather she wants to consume Aeneas. When Aeneas refuses to stay, Dido immediately lashes out at him, turns on him, and views him as an object of hate rather than love. This is precisely because he is keeping her from getting what she wants. There is no thought for Aeneas himself. Her irrational passions rear up again and she “raved all through” (4.300), “madness and grief filled her defeated heart” (4.474), and “her love ran wild” (4.531). She even admits, “hot madness drives me” (4.376). When Aeneas tries to explain himself to her, she calls him names (a sure sign that one has been defeated with reason or argument): “monster” (4.309), “traitor” (4.365), “sharp-rocked Caucasus gave birth to you” (4.366-67), “Hyrcanian tigers nursed you” (4.367), “my proud enemy” (4.424), “criminal” (4.498). Such flattery would hardly induce Aeneas to remain. Dido again presents herself as a concupiscent, irrational woman.

Counter to all this, an argument might be made that Dido is treated rather unfairly by Aeneas. After all, Dido did not have this relationship by herself. Aeneas was right there the whole time, and gave every indication that he was as much in love with Dido as she was with him. Vergil even says that Aeneas was “deeply lovesick” (4.396) over Dido. So, she had every indication that Aeneas would remain with her forever. When he decides to leave Carthage, it is a betrayal of their love, a betrayal that will end in Dido’s suicide. It is not that Dido cannot have what she wants and so kills herself, but rather that she has been betrayed by her great love and despairs.

However, the text simply does not bears this out. As was pointed out, there was no marriage between Aeneas and Dido, and therefore, Aeneas has no duty or obligation to stay with her. Vergil describes Aeneas as the “right-thinking hero” (4.393) who honors duty above personal interest. In fact, The Aeneid might be seen as a series of personal sacrifices on the part of Aeneas for the sake of duty. While Dido attempts to guilt Aeneas into staying by making reference to a marriage, Aeneas reminds her: “I never made a pact of marriage with you” (4.393). If he had, then Aeneas would be torn by duty to marriage and duty to his ancestors. But as no such pact was made, he does not have to face this dilemma. Dido herself finally admits that there was no marriage, and therefore she has no means by which to demand Aeneas stay: “I could not live a blameless life, unmarried, like a wild thing, and be spared this agony” (4.550-551).

So, we have no cause to weep for Dido. She is a victim of herself and nothing more. She is a woman ruled by her passions, who comes to ruin because she cannot have what she wants. At most, we might pity her for her condition as a love-sick woman, but not because of the end of an ill-conceived love-affair. Furthermore, there is a lesson here against “co-habitation,” people living together without the pact of marriage. When a person enters into an immoral relationship with another, they cannot complain of being “cheated” out of it. Without the covenant of marriage, there is no duty that keeps one person bound to the other. So, there can be no violation of duty if one person simply decides to leave. In fact, it is an act of duty to leave.

Happy Birthday to George Washington!

In politics as in religion, my tenets are few and simple. The leading one of which, and indeed that which embraces most others, is to be honest and just ourselves and to exact it from others, meddling as little as possible in their affairs where our own are not involved. If this maxim was generally adopted, wars would cease and our swords would soon be converted into reap hooks and our harvests be more peaceful, abundant, and happy.

~George Washington (1732-1799)


Hilaire Belloc’s “Cautionary Tales for Children”

Today in my Rhetoric class I read some selections from Hilaire Belloc’s Cautionary Tales for Children for my students.  We are preparing for our annual Fine Arts Festival, and I was modelling poetry recitation (though I did not have the pieces memorized for which my students scolded me). Several of the students snorted with delight, while several stared at me in horror as I read these pieces. “Cautionary tales” is a special genre of poetry in which children who do bad things suffer awful consequences, yet in an absurdly light manner in order to teach a lesson. Here is one of my favorites:



Who ran away from his Nurse, and was eaten by a Lion.

There was a Boy whose name was Jim;
His Friends were very good to him.
They gave him Tea, and Cakes, and Jam,
And slices of delicious Ham,
And Chocolate with pink inside,
And little Tricycles to ride,
And read him Stories through and through,
And even took him to the Zoo—
But there it was the dreadful Fate
Befell him, which I now relate.

You know—at least you ought to know.
For I have often told you so—
That Children never are allowed
To leave their Nurses in a Crowd;
Now this was Jim’s especial Foible,
He ran away when he was able,
And on this inauspicious day
He slipped his hand and ran away!
He hadn’t gone a yard when—Bang!
With open Jaws, a Lion sprang,
And hungrily began to eat
The Boy: beginning at his feet.

Now just imagine how it feels
When first your toes and then your heels,
And then by gradual degrees,
Your shins and ankles, calves and knees,
Are slowly eaten, bit by bit.
No wonder Jim detested it!

No wonder that he shouted “Hi!”
The Honest Keeper heard his cry,
Though very fat he almost ran
To help the little gentleman.
“Ponto!” he ordered as he came
(For Ponto was the Lion’s name),
“Ponto!” he cried, with angry Frown.
“Let go, Sir! Down, Sir! Put it down!”

The Lion made a sudden Stop,
He let the Dainty Morsel drop,
And slunk reluctant to his Cage,
Snarling with Disappointed Rage
But when he bent him over Jim,
The Honest Keeper’s Eyes were dim.
The Lion having reached his Head,
The Miserable Boy was dead!

When Nurse informed his Parents, they
Were more Concerned than I can say:—
His Mother, as She dried her eyes,
Said, “Well—it gives me no surprise,
He would not do as he was told!”
His Father, who was self-controlled,
Bade all the children round attend
To James’ miserable end,
And always keep a-hold of Nurse
For fear of finding something worse.

Aeschylus: Death Cannot Be Bribed

μόνος θεῶν γὰρ Θάνατος οὐ δώρων ἐρᾷ
οὐδ᾽ ἄν τι θύων οὐδ᾽ ἐπισπένδων ἄνοις,
οὐδ᾽ ἔστι βωμὸς οὐδὲ παιωνίζεται·
μόνου δὲ Πειθὼ δαιμόνων ἀποστατεῖ.
~Aeschylus, fragment 161

My translation:

For of gods, Death alone loves not gifts,
Neither do sacrificing nor pouring libations accomplish anything,
Nor is there an altar or paean for Him;
From Death alone does Persuasion stand aloof.