FORUM October/November 2010 • Year 5, Number 7
C o n t e n t s Editorial Linguistics uring his recent trip to Spain, in his homily at Gaudí‘s Holy Family Church, Pope Benedict described how the beauty of things can open us Magic Words Dup to God as beauty. ―Indeed,‖ he added, ―beauty is one of Luke Clougher, LC Page 4 mankind's greatest needs; it is the root from which the branches of our peace and the fruits of our hope come forth. Beauty also reveals God because, like him, a work of Art History beauty is pure gratuity; it calls us to freedom and draws us away from selfishness.‖ Earlier, en route to Spain, he commented on the The Neoclassical Master relationship between faith and art : ―But the relationship between faith and art is in the same way important, Peter Houser, LC Page 8 because truth -- the goal and life of reason -- is expressed in beauty and becomes itself in beauty, it finds itself as beauty. And so where there is truth beauty must be born, Abstract Art where man realizes himself in the way that is proper and Peter Schmidt, LC Page 17 good, he expresses himself in beauty. The relationship between truth and beauty cannot be broken and this is why we need beauty.‖ L i t e r at u r e The Pope himself summed up his journey when he said: ―It has the theme of pilgrimage, of being on the journey, and it has the theme of beauty, of the expression Super-Sherlock of truth in beauty, of the continuity between tradition and renewal. I think that these two themes of the trip are also a Kevin Gore, LC Page 15 message: be on the journey, do not lose the journey of faith, seek the beauty of faith, the newness and tradition of the faith that knows how to express itself and knows how English Composition to engage with modern beauty, with the world of today.‖ It is our hope that these works may help our readers My Father to advance on the quest for beauty, and delve further into what Pope Benedict called the ―best traditions‖ of Europe, John Studer, LC Page 18 ―not only the biblical, at the basis of this order, but also the classical, the medieval and the modern, the matrix from which the great philosophical, literary, cultural and social Building on Ruins masterpieces of Europe were born,‖ thus becoming capable of engaging the world of today. Jerek Scherber, LC Page 21 Magic Words What’s in a name? Luke Clougher, LC
was on a quest… know all that there was in the writing.‖ I like quests, so I was enjoying my quest. This - Excerpts from an Ancient Egyptian papyrus, written particular one encompassed all the peoples of the earth ―in the 35th year, the month Tybi‖ Iand all the civilizations of the past. It was, so to speak, a mega-quest, and it had taken me to some of the most arcane Now this sounds more profitable than tomb-robbing, I founts of knowledge I had ever consulted. I was looking for thought. I like his memorization methods. I should try this magic words. At the moment, I was bent over an ancient sometime. Egyptian papyrus, softly mouthing the words as I read. Unfortunately I have not yet had the opportunity to try ― The Mighty king User Maat Ra out the beer method firsthand. Yet (Ramses the Great) had a son named strangely enough, no more than a month Setna…He heard that the magic book of Innumerable spells and ago I found myself following in Setna‘s Thoth, by which a man may enchant heaven prayers designed to footsteps: face to face with a mummy, and earth, and know the language of all the trying to figure out his magic book. My birds and beasts was buried in Memphis. He give the mummy safe fascination with ancient Egypt had led me went to search for it with his brother An He passage to the land of to one of today‘s newest exhibits of Hor Eru…When they found the tomb; Osiris were all carved Egyptology, now being shown in Boston: Setna opened it and went in… the tomb of Djehutynakht. No, I didn‘t ―Who are you that break into our tomb in the direction that just spit; that‘s his name. in this way?‖ the coffin‘s occupant Though I did spend some quality time ―I am Setna, son of the great king, with the mummified head of living forever, and I have come for that book could most easily read Djehutynakht— or perhaps it was lady which I see between you‖ them. Djehutynakht; one can never tell at that ―It cannot be given to you‖ age— I found his conversation less ―But I will carry it away by force.‖ enlightening than the countless inscriptions Wow! I thought to myself, this guy likes his books. crammed into every square inch of each of his multiple I‘ve tangled with nasty librarians before, but even I would coffins. They were excerpts from the Book of the Dead: a hesitate to take on The Mummy, over a book. Shaking my document which I have examined in detail. Innumerable head, I bent back over the ancient papyrus: spells and prayers designed to give the mummy safe passage ―…As I could not write, I asked Na Nefer to the land of Osiris were all carved in the direction that the Ka Ptah, who was a good writer, and a very coffin‘s occupant could most easily read them. There were learned one: he called for a new piece of also intriguing maps of the journey, telling you the spots papyrus and wrote on it all that was in the where dangerous demons lurked. Yet merely knowing the book before him. He dipped it in beer, and names of the devils gave one power over them so that they washed it off in the liquid; for he knew that if could do no harm. it were washed off and he drank it, he would OCTOBER/NOVEMBER 2010 5
And this interesting idea leads me to the point of this slowly to yourself, let it ooze in your mind… Muuuuud. Are article: I want to emphasize a concept that I am starting to you muddled yet? call the ―magic words‖ idea. I am fascinated by the universal I was, so earlier this year I set out on a quest to find the tendency in ancient cultures (and in modern ones, in a answer. It was somewhat complex, since it involved getting different sense) to ascribe power to words. Why is it that at least a general idea about most of the languages of the mere vocalizations of the human throat are thought to have world, in order to start sifting through them to find control over things: nature…and the supernatural? This similarities. From English to Eskimo, Norwegian to question is important to me not from any Nahuatl, I searched high and low for obsession with the occult, obviously, but common denominators. What I found was rather because I think it holds a key to Despite these discouraging for the intrinsicist theory. answering a more fundamental question: apparently Once you break out of the nice little Indo- What is the relationship of a word to the European sandbox, languages are as varied thing it signifies? If being able to call a irreconcilable as the Chinese pitch system, in which, by thing by its name was thought to give differences, languages pronouncing the word ma in five different anyone power over it, does this mean that tones, one may exclaim: ―help the horse, a there‘s more to a name than a mere do resemble each other mad dog comes‖! ―conventional sign‖ for something? Does it on a much deeper The differences between languages are not mean that words mean something in and of only about their vocabulary words; the very themselves? level. structure of each tongue differs radically from all but its immediate family. In many Languages of the World Native American languages, for example, t this point it‘s necessary to give a little background words don‘t even mean anything! Take the Oneidan phrase A information, so please bear with the technicalities. g-nagla-sl-i-zaks. The g roughly means ‖I‖, nagla gets across There is a great divide between those who think language is the idea of living, sl gives it the strength of a noun, i is the arbitrary, and those who think it is intrinsic. Plato thought verbal prefix before zak which thus means ―look for‖, with s it was intrinsic, Aristotle didn‘t. Other linguistics as a sign of continued action. Not one of these parts would authorities I‘ve read seem skeptical. For example, could mean anything standing on its own, but together they the thing we call ―mud‖ just as easily be called ―glooey-a- roughly mean ―I am looking for a village‖. This use of the hacka‖, or is there a reason it‘s called mud? Is there sentence rather than the word as the unit of meaning is something muddy about the word mud? Say it nice and called polysynthetism. It is shared as well with the Basques and with the Eskimo, whose word for summer is a 6 FORUM compound vaguely translatable as ―the season of inferior is to say, all beings are thought into existence by God, and sledding‖. therefore the physical world is based, not merely on atoms, For the Japanese, the way you say good evening but on the Logos… the Word. ―In the beginning was the depends not only on the exact portion of the evening you Word‖. Thus the Word underlies the universe and gives it are referring to, but also how important your friends are. meaning. God spoke, and his words were written down Some languages can‘t count higher than three. Yet despite into the poem of love that is creation. Human language, as these apparently irreconcilable differences, languages do part of creation, has a special role in this poem of love. resemble each other on a much deeper level. Based on my Within the larger poem, this role is that of the continuation study of folk tales across cultures (where, as a side note, I of creation within the human heart; the ―new song‖ (cfr. Ps found identical stories from places like Russia and the Great 96). Insofar as we can interpret the following words of Plains), my study of ancient writings, such Heidegger in this light, he points out to us as cuneiform tablets and Inca Quipu, and an the ultimately poetic nature of language: investigation into the origin and prehistory This concept of ―the ―…And Poetry, as linguistic, has a of language, I began to realize that language of the privileged position in the domain of the language, at least in its written form, arts, because language, understood rightly, always has served the same purposes1 and universe‖ works in two is the original way in which beings are fulfilled the same basic needs, no matter directions: the call and brought in to the open clearing of truth what external form it has developed, and [existence], in which world and earth, thus has a certain intrinsic nature.2 the response. On the mortals and gods are bidden to come to Moreover, there is a mental dimension of one hand, God ―speaks‖ their appointed places of meeting. semantics that works in the same way in (Heidegger, Origin, pg. 74) every mind before it forms the spoken Nature into existence, ―Authentic language, which has not lost its word; what in English is referred to as the on the other, all of magical potency by being used up and sub-linguistic. Even if all languages do not abused, is poetry, there is no significant spring from an Ursprache, or common Nature ―speaks‖ of difference between them.‖ Albert Hofstader, ancestor, I am confident that they all spring God. introduction to selected works of Heidegger.‖ from a common part of Man‘s intrinsic nature, and thus take on an intrinsic value. his concept of ―the language of the In other words, I do think words mean something, T universe‖ works in two directions: the but not in the way that the onomatopoeic theory call and the response. On the one hand, God ―speaks‖ understands the word ―mean‖, but rather in the way I Nature into existence, on the other, all of Nature ―speaks‖ understand Pope Benedict to take it. In his ―Introduction to of God. All creation proclaims the existence of the Christianity‖ he posits that all being is ―being-thought‖ that Creator. Edgar Allen Poe speaks of these two OCTOBER/NOVEMBER 2010 7
united. Speech is pointless without the existence of an intelligent hearer, thus the language of the universe is meant to be heard and understood. It can be heard by anyone and even understood up to a certain point by those who lack faith, yet it can never be understood fully as a proclamation of and a response to the Logos except through that very same Language of God. Why is this? The Language of God is the language of Love.3 To quote St. Francis De Sales: ―As St. Augustine, following St. Anthony, says, all things in this world speak to them [those who have God‘s love in their hearts] in a silent but intelligible language in behalf of their love.‖4 He says this based on the great thinkers of the Church.5 One who has faith, will have this necessary love, and faith comes through what is heard. When we hear God‘s Word and accept it, we become participants in the dialogue between creator and creation, and we as men participate in a singular fashion that none of the rest of creation is capable of. Consider the following: If we are made in God‘s image, we are called to participate in his creative function. We are called to add our words to God‘s Word. This is why in the book of Genesis, all the animals pass before Adam, and he ―called each by its name‖. I would love to know that language which Adam fundamentally different primeval languages in one of the spoke. This is how I understand words to ―mean‖ poems of his youth, one of my personal something: God‘s Word gives meaning to favorites: If we are made in the universe, and man‘s word plugs in to that meaning from the other end. …For a voice was there God‘s image, we are So in a certain way, the Greek sophists, How solemnly pervading the calm air! called to participate in such as Gorgias, were right in saying that A sound of silence on the startled ear Language creates reality, although they Which dreamy poets name ―the music of the his creative function. didn‘t mean it in the right way, since they sphere.‖ We are called to add denied the existence of truth, and taught Ours is a world of words: Quiet we call our words to God‘s that rhetoric could make anything you want ―Silence‖ – Which is the merest word of all. to be true. Yet the Logos does underlie and All Nature speaks, and ev’n ideal things Word. give meaning to reality, so much so that it Flap shadowy sounds from visionary triumphed over sin and death, and gave wings— men‘s words so much power over reality But ah! Not so when thus on realms on high that a simple phrase can turn bread into God. The eternal voice of God is passing by… -- Al Aaraf 1 i.e. epistolary communication (Tell Amarna tablets, I have come across similar concepts in works of fiction. Quipu), Religious purposes ( Hieratic papyri, Mayan In the Simarillion, it is the song of the Valar that weaves Glyphs), Inventories (Knossos Linear B, Sumeriam Nippur), together the fabric of the universe. In one of my all-time Transmission of culture (Homer, Gilgamesh). favorite sci-fi novels, an advanced civilization of 2Cfr. Aristotle. Organon, and in the Metaphysics, extraterrestrials is able to make new technology by singing where he identifies nature with purpose. new laws of physics into existence. 3Hans Ur Von Balthazar ―Prayer‖ Yet the language of the universe which proclaims the 4 « Comme St. Augustin, selon St. Antoine, nous dit; existence of God is only audible and intelligible through the toute chose dans ce monde leur parle, dans une lange Language of God that calls the universe into existence. silencieuse mais intelligible, de leur amour » Though this may seem paradoxical, it is the key to seeing 5Augustine Ennaratio 11 in Ps. 26, et alii; Confessiones how these two fundamentally different languages are book 10, ch 6. The Neoclassical Master Jacques Louis David, 1748-1825 Peter Houser, LC
ainting in the mid-eighteenth century had reached a the French Revolution; his Revolutionary style; an crossroads. The Rococo movement, which had intermediate period between the Revolution and Napoleon; lasted till about the middle of the century, was and his later years, spent mostly under Napoleon and later Pgradually losing popularity as critics reacted to the frivolous in exile in Belgium. and trivial scenes portrayed by artists such as Fragonard, Watteau, and Boucher. More and more saw that art was Training and Early Period losing its traditional standards, both artistically and morally, acques Louis David was born in Paris in 1748. When he and many, especially thinkers of the Enlightenment such as J was only nine years old, his father, a merchant, died in a Diderot and Rousseau, called for a return to the reason, duel. His mother, distantly related to the artist Boucher, harmony, and great ideas of the classics. In the later part of entrusted him to his uncles, who wanted him to become an the century, the classics would come to life architect. But David wished to be a again and reattribute to art its inspirational Although we usually painter, and so at 17, he entered the studio role in the public sphere. This growing of Joseph-Marie Vien, who would be his movement of neoclassicism was further think of David as one master until 1780. encouraged by archaeological findings of of the champions of David‘s works from these first Winckelmann, who unearthed almost years are few and little known. He busied entire ancient cities at Pompeii and neoclassicism, he himself already with portraiture—a Herculaneum. But exterior imitation of the actually started his practice that was to accompany him on the ancients did not suffice. Most needed painting career with a side throughout his whole career. were the great ideas which inspired Although we usually think of David as one classical artists and the ability in turn to style closer to Baroque of the champions of neoclassicism, he find inspiration in them for modern or Rococo. actually started his painting career with a society. This ability would appear in a style closer to Baroque or Rococo. An passionate and excitable French painter example of this is his Battle between Mars and named Jacques Louis David. Minerva, an unsuccessful applicant for the Rome Prize David was a painter of extraordinary talent and thus he painted in 1771. Although the subject, given by the could take on a number of varying styles. Most of his Academy, is from classical antiquity, he has given it a light- paintings, especially from the height of his career, portray a hearted treatment (neither of the fighters holds a weapon neoclassical style in one way or another, but even this we and Minerva is almost smiling), and the light coloring and should not take for granted, and within those works which crowded sides of the picture are also far from a neoclassical we could call neoclassical, he shows a variety of approaches approach to the subject. When he tried and failed again and techniques. Looking at his most important works, the following year, he threatened to starve himself. After however, we can divide the development of his style into four attempts, he finally won the five-year stay in Italy in five periods: his early years, which include his training 1774. under Vien and his journey to Italy; his mature style before By that same year we see a shift in his style. In OCTOBER/NOVEMBER 2010 9
Academy and began taking pupils. After presenting The Oath of the Horatii in 1784 he was hailed as France‘s greatest painter. His mature paintings tend to have a historical theme from classical antiquity, be it Greek or Roman. The paintings usually relate to death in one way or another and take on an incredible strength and tension from the contrasting attitudes of various characters in the face of tragedy, especially the contrast between the attitudes of men and women. David employs simple compositions. They are not all compositions of typical classical arrangement, and he even goes so far as to put the central character on the very edge of the painting in the shadows, as in Brutus after the Execution Antiochus and Stratonice, 1774 of his Sons (1789). But there are very few figures besides Antiochus and Stratonice—a love story which could easily the essential ones and no movement distracts the eyes from have been treated in a Rococo manner—David instead the central theme. David also uses the composition to adopts a calmer style closer to the classics. The solid and emphasize the contrast between the characters‘ attitudes, harmonious colors, the simple ancient dividing the painting between the architecture and the balanced composition characters of opposite reactions to the relatively devoid of distracting movement ―The antique will not event, which often means dividing it all combine to give an impression of seduce me... It lacks between men and women. order, calm, and restraint. David‘s paintings portray very little But David was not yet won over to movement.‖ movement; rather the focus is on the the neoclassical school. Although his tension of the moment. Rather than master Vien saw it as his own life mission to restore classical using movement as his medium for portraying emotion, he greatness in the art of his pupils, when David left for Italy uses dramatic moments which in themselves cause strong he told Boucher, ―The antique will not seduce me... It lacks emotion whether the characters are overcome by this movement.‖ David was in for a surprise, and was greatly emotion or not. For example, instead of the death of impressed by what he saw in Italy. Gradually, though not Hector, he paints Andromache Mourning Hector (1783). without a struggle, he acquired a love for the classics and Instead of the execution of Brutus‘ sons, he paints Brutus in the desire to recreate their greatness in his own painting. his house, his dead sons being carried in as their mother Already in the works he accomplished in his last year at laments them. Instead of the battle of the Horatii, he Rome we see this new style solidifying. For example, in depicts the fateful oath they take before the battle. David Belisarius Begging Alms of 1780 (begun in Rome), he has focuses less on the realm of the physical action and painted a moral lesson using a subject from ancient history, and this time in a manner fitting of the subject. The blind old general, reduced to poverty by the ingratitude of the emperor, suffers his fate with stoic calm—a feature that will mark many of David‘s masterpieces. The picture itself is more serious, simple, calm, and subdued, both in the colors and the composition: gone are the wild, distracting movement and extravagant details of the Baroque style, as well as the light colors and frivolous air of the Rococo.
Maturity n returning to France in 1780, he was welcomed and O given a studio in the town hall, where he finished some of the works begun in Italy. In 1782 he married Charlotte Pecoul, the daughter of the Commissioner for Royal Buildings. Soon he had won renown as an accomplished painter and by 1783 he was admitted into the Brutus after the Execution of His Sons, 1789 10 FORUM
The Oath of the Horatii
avid‘s mature style is seen most clearly in his Oath D of the Horatii, perhaps his most famous work, and certainly one of the most impressive. Painted in 1784, it won him renown as the greatest painter of his day in France and brought the budding neoclassical movement into full bloom. The story behind the painting comes from the his- tory of Rome. On the verge of war because of cattle raids along their borders, the towns of Rome and Alba agreed that each city would choose three young men to engage each other in mortal combat. The Horatii were chosen for Rome, and the Curiatii for Alba. But the sister of the Curiatii was the wife of one of the Horatii, and the sister of the Horatii was betrothed to one of the Curiatii. The outcome of the battle was bound to bring tragedy upon the family. In the end, the Horatii were victorious. When the eldest of the Horatii announced their victory over the Curiatii, his sister Camilla (the one in white in the final painting) cursed him, and he killed her on the overwhelmed to open their eyes. spot in his anger. We are told that the father pleaded his cause The lighting falls from the left, from offstage and slightly above before the Roman people, who acquitted him of the murder. the scene. It draws our attention immediately to the arms of the David first thought of portraying the slaying of Camilla, and brothers, their father, and the swords. At the same time it casts then he decided on the scene of the father defending his son. For shadows from the men onto the women and children in the back- this he was given a royal commission to be placed in the Salon of ground, thus highlighting the contrast that already exists. 1783. But having laid aside the project to finish another painting, The clear, calm colors along with the smooth and unified he later decided on a more inspiring theme: a moment of an oath brushwork might seem to contrast sharply with the tension that before the battle in which the three brothers swear to fight the ene- David wishes to portray, but on the contrary, this harmonious mies of Rome to the death. It was a simpler idea, which could be painting style serves to heighten tension by its contrast with the captured in one moment, but certainly more inspiring and more full highly emotional moment shown in the painting. Although David of dramatic potential. It is not the moment of death, but the mo- conceived of themes charged with emotion, he then executed them ment in which the three men look death in the face and accept it with calm and restraint. Thus the painting is not an explosion of with stoic determination, whether it be their own death or the emotion, but emotion and tension restrained to the breaking point. death of those who are their own family through marriage. David The excitable and emotional David himself had to battle with his was not afraid to stray from classical texts and use some imagination emotions all his life, and so it is not surprising that he brings the in order to achieve a more dramatic, impressive, and moving work. same battle to his canvas. The composition is simple, divided neatly in three parts by the The scene is a stoic battle between duty and love, a battle triple colonnade in the background. In the center stands the father which roused interests in French minds of the time enraptured by of the family facing his sons on the left of the canvas, one hand hold- the ideals of the Enlightenment and patriotism that would grow into ing the swords and the other invoking blessing on his sons. The Republican pride in the revolution. David‘s political motives, how- sons, in turn, stand facing him and embracing each other as they ever, were unclear when he painted the Horatii, for he does not reach for the swords. Each of them wears a slightly different ex- clearly become a supporter of the Republic until five years later at pression, but all show a determination and decision. Their upright the outbreak of the Revolution. More emotional than intellectual, bodies and their strong arms stretching to reach for the swords it seems that at this time in his career, David still found in these contrast sharply with the limp and fainting postures of the women classical themes mere inspiration to patriotism and noble ideals, not on the right portion of the canvas. One mother tries unsuccessfully matter for a political statement. to cover the face of her boys and the other two women are too OCTOBER/NOVEMBER 2010 11 movement, and brings to light the interior realm, the mind, the will and heart, which move all human acts. The result is not the overpowering awe and excitement inspired by the grandeur of Baroque art or the fluttery feeling of Rococo, but a dramatic and emotional tension which we can feel in the very minds and hearts of the characters. David did very few religious paintings. He lacked the gift of portraying the transcendent which other painters such as El Greco had. In fact, when he tried to paint a heavenly Marat Assassinated, 1793 Oath of the Tennis Court, 1791-1792 throne of clouds for the Virgin in St. Rochus Interceding for the determination to fulfill his duty, despite the dark Plague Stricken (1780), it ended up more like a rock. Rather consequences of his own sons‘ deaths. This painting was than transcendence, motion, or chaos, David loves exhibited at the Salon of 1789, and although David‘s concreteness, tangibility, clarity, and well-defined figures. political motives were still unclear when he painted it, it is This clarity does not interfere with the emotional tension he nevertheless a fitting work for the year that would bring the portrays. Although he conceives of a theme that is packed bloody French Revolution. with emotion, he then executes it with calm and clarity. This clarity can be seen, for example, in The Death of Socrates Revolution (1787). Not only are all of the figures very clearly ith the onset of the Revolution, David became outlined, but the picture is full of tangible objects: the W much more involved in politics, and chipped prison walls, the lamp stand, the At the outbreak of the French sheets of the bed, the harp, the chain, the Revolution in 1789, David was welcomed scroll, even the block on which David has With the onset of the by the Jacobins and showed himself an signed his name. These are not revolution, the present enthusiastic supporter of the Republic. distracting, operatic details as from a was ―heroic‖ enough to The years of the Revolution saw him less Baroque painting, but concrete objects active in painting and more so in which give it the feeling of realism and need no return to politics—he was elected to the National which also have something to say in the antiquity for inspiration. Convention, voted for the death of the central story. King and Queen, delivered passionate Finally, David uses contrast of light Jacobin speeches, and managed to and shadow to emphasize even more the heroic aspects of overthrow the Academy (―the last remnant of aristocracy‖). the scene. For example, in Brutus after the Execution of his He also played the important role of organizing Sons, he places Brutus in the shadows, emphasizing his Stoic Revolutionary festivals, the most efficient means of indoctrinating the populace. His paintings during this five-year period were heavily influenced by his Jacobin ideals. The biggest change comes in the themes, which are no longer from ancient Greece and Rome. Now the present has become ―heroic‖ enough that there is no need to return to antiquity for inspiration, although he uses many of the same techniques to render the revolutionary characters similar to ancient heroes. In the Oath of the Tennis Court (1790-1791, unfinished), he borrows many poses from the Oath of the Horatii. And of course, it is once again the heroic and dramatic scene of an oath. Besides the Oath of the Tennis Court, all of his paintings from the Revolution are portraits; thus, there is The Death of Socrates, 1787 less room for tense emotion. In addition, his emotional 12 FORUM frenzy now also had an outlet in his political activity. His Napoleon most famous portrait from the Revolution is Marat fter a brief interlude free from politics, David was Assassinated (1793), portraying a Jacobin who was stabbed to A painting for Napoleon by the turn of the century. death in his bathtub by a Royalist sympathizer. David still David‘s first works for Bonaparte were portraits. The most shows most of the same characteristics as before: simplicity, famous was Bonaparte Crossing the St. Bernard, which clarity of forms, emphatic lighting. But he does not portray Napoleon liked so much that David had to make several any startling emotion or drama. It is a calm and simple copies. In 1804 David was given the special task of painting realism with a touch of idealism that makes Marat look four works to celebrate the Emperor‘s coronation, and was more beautiful, heroic, and martyr-like than the ugly and named the Emperor‘s First Painter. diseased man that he really was. When David first worked on a portrait of Napoleon in Due to his closeness to Robespierre, David barely 1798, he exclaimed, ―Bonaparte is my hero!‖ Later on managed to keep his life when the Reign of Napoleon criticized his unrealistic battle in Terror ended in 1794, and he was ―These generals! What the Intervention of the Sabine Women, leading imprisoned until the summer of 1795. do they know of David to remark: ―These generals! What do they know of painting?‖ As the Emperor‘s Interlude painting?‖ First Painter, David had to conform his rom the time he was freed to the rise methods to the general‘s realist and F of Napoleon five years later, David returned to his militaristic opinions. David had been working on Leonidas at former style of paintings from ancient history. He no Thermopylae, but Napoleon told him to stop work on it. longer had political motives behind his paintings, but at the What purpose was there, said the general, in portraying a same time his themes still maintained their relevance to the scene of defeat? In his portrait of Bonaparte Crossing the St. present. From now on he also works to make his paintings Bernard (1800) David originally wanted to paint him with a more Greek and less Roman, which meant less sword in hand, leading the way on his horse, but Napoleon compositional unity and a greater emphasis on the human rejected the idea of the sword as unrealistic, since battles, figure. For example, in his 1799 painting, The Intervention he said, were no longer won by swords. of the Sabine Women (a very appropriate peacemaking theme Besides this utter realism encouraged by Napoleon, after the terrible revolution) the Roman and Sabine David also begins to paint with a heavier hand. His figures warriors fight practically nude. Indeed, the separation of become even more solid than before and they seem heavier the composition between the three main figures in the and more massive. In his brushwork we find less of the foreground of the painting seems to imitate the flatness and smooth harmony that was present in the Oath of the separation of scenes on Greek pottery. Horatii. This heavier hand, combined with the realism
Bonaparte Crossing the St. Bernard, 1800. Note the names in the detail. OCTOBER/NOVEMBER 2010 13
The Coronation of Josephine leon and Josephine, the Pope and other central figures. In contrast, the less important figures n 1804 Napoleon commissioned David to in the balcony lie in shadow, and those on the I paint four works commemorating his instal- right of the pope only are lit up as if by a re- ment as Emperor, in order to record the cere- flection. It is an utterly realistic lighting, pos- mony for posterity and portray the event with sessing the undefined glow of light pouring nobility and grandeur. The first of the two through stained glass windows. which David finished was that portraying the Color also emphasizes the important areas of Coronation. the scene. On the calm background of dark The event took place in Notre Dame. red and green, David uses brighter colors to Although Bonaparte had been urged to have highlight the important personages of the the coronation ceremony out in the open in event. Three characters wear a bright white: the Champ de Mars, he chose the cathedral as Josephine, Napoleon (who is further empha- a more suitable setting, because he wanted to sized by the gold of the bishops on either side give the event a sacred and noble aspect. He of him), and of course, the Pope. These bright did not wish to be seen as an imposter, but as areas of white also balance everything around the rightful Emperor. ―Good, very good, David. You the Emperor. He is the bright figure in the This purpose of decorating Napoleon have understood my thoughts; middle, while to the right is the Pope and the with a sense of nobility and imperial dignity tabernacle, and to the left, Josephine and her you have made me a French trail. pervades all of David‘s work for this painting. knight.‖ The original plan was to show Napoleon It is a picture filled with realism. Each figure crowning himself with his back to the Pope. was done as an individual portrait (it is a huge But a friend advised him that this was not prudent, and he decided canvas), and all the inanimate details are as real instead to show Napoleon crowning Josephine. This gave Napoleon as life also: the tabernacle, the marble structure of the cathedral a more chivalrous aspect, which was exactly what he wanted. walls, the details on the clothing all throughout the picture, even The composition of the painting is unified, even though there the statue of what seems to be a Pietà up behind the altar. David has are over a hundred figures in all. This unity comes from David‘s changed some historical details of the event, however. The Pope grouping of figures, and from the central momentous event which was actually been wearing his tiara, and Napoleon was in fact wear- occupies the attention of every person in the scene. The architec- ing the crown he had just placed on his own head, not the wreath of ture also plays an important role in centering everything on the laurels which David thought looked much better on him. The train crowning. Although he portrays the scene from the side, he still of Josephine has been reduced to two maids from the actual seven. manages to keep a sort of symmetry, not around the altar, but So although he painted with realism, he did not aim for realism at around the arching columns. These divide the painting into three all costs; David also wanted to imbue the scene with a heroic and groups, of which Napoleon and Josephine occupy the center, and noble air, and evidently, he succeeded. When Napoleon saw the the Pope the right. Yet grouping the painting so neatly into three, finished work, he remarked, ―Good, very good, David. You have he also connects all three groups in the central event. Part of the understood my thoughts; you have made me a French knight.‖ secret to this unity is found in the position of Napoleon, who in fact does not really fall into the group of the center or the right. He is in between: a unifying figure. And although Josephine occupies the center of the canvas, the center of balance actually lies further to the right, thus centering the whole painting on the new Emperor as he lifts Josephine‘s crown. Lighting plays an important role in unifying the painting around the central event. While the line of heads and other objects rises slightly from the left to the right, the light instead falls from the left to the right, almost parallel to Na- poleon‘s outstretched arm. These diagonals cross at the central event of the painting and light up Napo- 14 FORUM nurtured by Napoleon caused his neoclassicism in Italy and soon works to take on a more solid thereafter brought the appearance. The portrait of neoclassical style to maturity as Napoleon crossing the Alps the most illustrious painter in portrays a whirl of motion, France. Beginning with generally uncharacteristic of dramatic emotionally-charged David. But if we look twice, we scenes from ancient history, he see that although the horse rears in shifted to more political themes the air and the general‘s cape flies in the years of the Revolution, in the wind, they are still painted and five years after the solidly, almost as if David had revolution, he was painting painted a statue. The portrait of portraits for the general who Pius VII (1805) also demonstrates became Emperor. Throughout this increased heaviness of David. his journey, the general But in spite of his position as characteristics of his style First Painter, David was showing changed slightly: from more signs of artistic decline. David‘s emotion to a calmer realism, former pupils were now more from a ―Roman‖ style to a more acclaimed than he, while ―Greek‖ style, and from a neoclassicism was giving way to a smooth to a slightly heavier budding romanticism. brushwork as he grew older. Furthermore, Napoleon was not But the essentials of his work did always pleased with David or his not change: David was an artist paintings, and after 1810, the First Painter He looked to the inspired by the classics, who did not received no more commissions from the ancients not merely to merely copy them, but let them come Emperor. alive and inspire his works, whether Instead, he turned more to copy their reason, history paintings or portraits. portraiture, although he did not abandon harmony, and imitation What was great about Jacques Louis classical themes. Leonidas at Thermopylae of nature, but to find in David? He was a painter for the public, (1814) was his last great classical theme. an artist who, while art was heading The painting of Thermopylae is in a style them the inspiration for toward subjective and individualist similar to the Sabine Women: more progress in the present. expression, painted for the inspiration and Greek than Roman. In fact, he even goes betterment of society. He achieved this so far as to place several separate scenes in most of all through his paintings of history this work in order to imitate the style of Greek pottery. It both ancient and modern, filling the modern with the was begun before he met Napoleon, but interrupted and heroism and vigour of the ancient, and bringing the ancient then resumed in 1812. The work was also seen as a timely to bear on the modern by its morals and ideals. Since his subject when it was finished in 1814, the same year that goals were more than political, he was able to be not only Frenchmen were defeated defending Bonaparte‘s empire the painter of the French Revolution, but also the First against the allies at Leipzig, whether he intended this Painter of the Emperor within 10 years after the connection directly or not. More accurately, the painting is Revolution. In spite of these many turns of his life, at the a wrap-up for David of the theme explored in so many of heart of all David‘s work we always find the same vigour his earlier classical works: death and man‘s response in the and inspiration that made it the new model of the face of it. neoclassical style already being developed by others like After Napoleon‘s final defeat at the Battle of Waterloo Hamilton and Ingres. He looked to the ancients not in 1815, David, who had signed an act of loyalty to the merely to copy their reason, harmony, and imitation of Emperor during the Hundred Days, was exiled to Belgium, nature, but to find in them the inspiration for progress in where he lived till his death in December of 1825. the present. Thus in David‘s art we find not only the ideals of classical antiquity that were revived during his avid‘s long career demonstrates his willingness and time, but most of all we find a whole epoch of history—the D ability to take on a number of styles. Having begun Enlightenment, the French Revolution, and the reign of his career in the style of Rococo, he changed to Napoleon—set down for us in painting. Super Sherlock Kevin Gore, LC
iving peacefully with his wife on the far side of expression from his face as he closed the door behind him. London, Dr Watson met a group of shaggy-haired He laughed to see Sherlock in this terrible state and gloated street urchins who deliver an urgent message: over his misery. Sherlock, between theatrical labored LSherlock Holmes is deathly ill! Dr Watson flagged down the breaths, extracted from the Doctor a full confession of closest coach and urged the driver to horse-fatiguing attempt to poison Sherlock, in full hearing of Dr. Watson. speeds. The wooden wheels clattered to a halt in front of As the doctor concluded his confession, the police arrived. the old apartment where Sherlock and Dr Watson had Watson rose from behind the bed and testified against him. shared so many years. He rushed in the door and up the The criminal was caught! stairs. Sherlock Holmes, his skin yellowed and stretched After a glass of water, Sherlock stood on his feet as if across his face, his lips cracked and white, crying out nothing were wrong at all. Some cosmetics and great acting hysterically and drawing heavy breaths, was on his fooled even the oriental specialist, but what is most deathbed. impressive in this case is Sherlock‘s According to Sherlock, the disease was There are hundreds of determination. Sherlock did not eat or too dangerous and specialized for Dr. drink anything for three days before this Watson to be of any use. Lacking enthusiastic detectives, event. This made his skin look pale and Sherlock‘s steel-cold heart, Watson could but there is only one stretched, a common symptom of this not bear to watch his long time friend oriental disease. By his strength of will, he waste away. Sherlock described the one Sherlock Holmes. managed to pull off the nearly impossible. man who could help him: a doctor who But Sherlock Holmes most outstanding specialized in oriental diseases. After characteristic is not his will and zeal for jotting down his address, Watson ran from the room, down justice. There are hundreds of enthusiastic detectives, but the stairs, and out into the cobbled streets of nineteenth there is only one Sherlock Holmes. He is more effective not century London. For the second time that day, he goaded because of a greater degree of enthusiasm, but because of on an unlucky cab driver. his intellectual formation. When enthusiasm for the mission Finding the oriental doctor, Watson frantically and profound intellectual formation meet, incomparable explained the case. But to convince the oriental doctor was excellence is achieved. nearly impossible: he and Sherlock‘s were not close friends. When Watson met Sherlock for the first time, he was After an impassioned petition, Dr Watson succeeded in his buried in beakers and test tubes, hands covered and stained persuasion. He hopped in a coach and the Doctor agreed to with chemicals. He had just discovered a test for the follow as soon as he may. Time was running out. presence of human blood. He was also an expert in When Watson arrived to the apartment, Sherlock footprints, cigar ashes, dirt, handwriting analysis, German, seemed much worse, but his eyes sparkled mischievously. calluses, weaponry, poisons, exotic animals, and many He told Watson to hide behind the bed and not make a others. At the same time, he pushed aside all subjects that sound. Just as Watson was getting settled, the oriental do not serve his mission - astronomy, philosophy, doctor entered the room, wiping the sympathetic literature, and politics. We certainly cannot afford to leave 16 FORUM
the detective about it, Sherlock recalls the painter, the period, how other much other works by the same have sold, and sets the price far beyond McGinty‘s means. While the other detective is losing patience at his seemingly unrelated art history lecture, Sherlock reasons that McGinty must be getting money illegally as the ringleader of a pervasive and lucrative criminal gang. This essential clue leads Sherlock to the ultimate solution: that this man was responsible for the murder. Sherlock also relates well though his memory. Sherlock studied every criminal case investigated in the two hundred years before his era. With this solid experience, he could relate any set of clues to other similar crimes. His memory helped him relate, but it was not a natural gift. In ―The literature, philosophy, or the speculative sciences behind as Bohemian Mystery,‖ Sherlock introduces us to his ―tackle he did, but we should apply his focus and enthusiasm to the box‖. He kept written files on all of the important topics that are needed for our mission. celebrities and political figures of his day. It was one more One of the lofty goals in our intellectual formation is edge that makes Sherlock Holmes the best. the ability to analyze, synthesize, relate With his abilities to analyze, synthesize, and judge, and Sherlock mastered all four and relate, Sherlock arrives to reliable and of these to a superlative degree. His ability His ability to analyze is many times unforeseen judgments. He to analyze is unequalled. He can pull clues unequalled. He can pull achieves excellence through his study. He from almost anything. When meeting is a man of the mission. He is a man of Watson for the first time, his tan face, clues from almost study. loosely carried right arm and rhythmical, anything. Is Sherlock the perfect example? He does military step tell Sherlock that Watson is have many qualities for Legionaries to an ex-colonel returned from intense imitate as we entrench for battles of fighting in Afghanistan. His unequalled analytical skills also thought. He is enthusiastic about achieving the good; he make it into Mark Twain‘s ―A Double Barreled Detective lives and breathes his mission. He is extremely well formed. Story.‖ Although with heavy (and well used) irony, Samuel We are called to that level of dedication and formation. Clemens notes this ability as Sherlock‘s dominant trait. In At the same time, though, he has great defects. He ―A Study in Scarlet,‖ a man is discovered dead of a lacks general culture. A Legionary who brings intellectual mysterious cause. The police and detective force were leaders to heaven should be able to name the heavenly wondering where to begin. Sherlock arrives to the scene, bodies. A Legionary who brings political leaders to heaven prods the victim‘s chest, examines the floor, and pockets a should know the difference between Democrats and ring lying nearby. In a matter of a few minutes, he found all Republicans. A well rounded intellectual formation is what of the necessary clues to solve the case, applying his study of we are after. Each one of us is called not to imitate, but to footprints, poisons, and anatomy. Where his competitors surpass Sherlock in our intellectual formation. are just beginning the race, Sherlock is at the finish line Another strong defect is his addiction to drugs. because of his well-formed mind. Contemporary London did not condemn such behavior and Sherlock mastered synthesis as well. In that same even had public places for drug consumption. Watson is room, another detective discovered written in blood on the ahead of his time when he encourages Sherlock to give up wall ―RACHE‖ which is German for ―revenge.‖ While the practice. But even his complaints are on the grounds of Scotland Yard was pursuing a German conspirator, Sherlock health, not ethics. Every man has his short comings, but realized that this ―clue‖ was not a clue at all, but a false lead. when all is taken into the balance, his qualities far outweigh The habit of synthesis put him on the right scent. his faults. Sherlock‘s deep study enhanced his ability of relation as So for those who claim that Sherlock‘s intellectual well. Take his formation in Art History, for example. In powers are beyond reach, think again: it was formation that ―The Valley of Fear,‖ a horrible murder takes place in an brought him there. His mission demanded this formation. ancient castle outside of London. While visiting a certain We have a lot to learn from him, yet we cannot forget that Mr. McGinty, Sherlock and another detective notice a our mission is even greater. We are called to be apostles, beautiful painting on the wall. The next day, speaking with intellectually forged, Super-Sherlocks. Abstract Art A Noble Corner of Modern Art Peter Schmidt, LC
uring our first year of humanities, we A Bird in Space sat through innumerable art classes. t would be relatively easy to draw Big Bird in a Yet of all the PowerPoint presentations I space suit on the moon, but this would not be Dwe‘ve seen, a single slide sticks out in my mem- bird in space, rather it would be a bird in space. ory. It flashed onto the screen in September, and Brancusi didn‘t want to sculpt a particular bird in Br Michael Mernagh spoke along these lines: a particular place. He wanted to sculpt bird in ―This is a sample of modern art called Bird in space. He wanted to capture the essence of bird- Space by Constantin Brancusi. To me it looks ness, sculpt something that doesn‘t represent a more like a golden banana, but I suppose you can specific bird, but rather something that you could see something of a bird‘s elegance and grace. In see in every bird in any space. He wanted to any case, we won‘t spend much time on it.‖ sculpt Bird in Space. In this article, we‘ll spend more time on it. This was Brancusi‘s goal. It‘s lofty, and perhaps he didn‘t achieve it. But if this isn‘t Bird in Space, Definition how would you do it? he material, formal, and agent causes are T wonderful to define art as a whole, but the 1I was sorely tempted to go on a tangent here, final cause is most useful in distinguishing schools and I could only resist by including a lengthy of art.1 The Egyptians aimed to immortalize the footnote: pharaohs, the Goths aimed to lift the soul to The material cause, like the final cause, distin- heaven, and renaissance artists aimed to recap- guishes art pieces. But instead of distinguishing ture classical beauty. Differences in the artists‘ schools, it distinguishes modes – the primary goals resulted in differences in the characteristics difference between a sculpture and a painting of the art. And dramatically different goals result comes from the type of material. in dramatically different characteristics. The agent cause is more controversial: Does rea- There are more types of modern art than son have to be involved? Can chance be an artist? there are flavors of ice cream. We live in an indi- Often you can get a nice ―picture‖ by throwing a vidualistic world where each individual matters bucket of paint on a wall. Is this art? I would say in his own individual way. Naturally there will be no, but I can‘t explain myself without speaking a lot of final causes floating around, and so natu- about the formal cause. rally there‘ll be a lot of schools. I‘ll talk about The formal cause is the most controversial. There one of them. are two dominant creeds: Art is an imitation of The goal of abstract art is to portray the essence of the nature and Art is creative expression. Yet regardless of subjects, and only its essence. Anything accidental (in the which creed you follow, each one implies that the agent is philosophical sense) is stripped away. This gives rise to sim- using reason: ―imitation,‖ ―creativity,‖ and ―expression‖ all plicity as the defining characteristic of abstract art. come from the noggin‘. My Father John Studer, LC
o one wants to dwell on the great sufferings of his I couldn‘t understand those Russians. Didn‘t they life. I have many memories etched in my soul realize that I would never admit to their preposterous from the dark years of my imprisonment. I don‘t charges? Did they really think that I was a Vatican spy? I Nthink of them anymore; I let them collect couldn‘t understand. It boggled me. For dust in the deepest and darkest corner of five years they had questioned me, going my mind. My greatest test, and over the same story again and again, just But there is one experience I cannot by all means, my hoping, just praying, if they did pray, that I forget. I think about it often, in fact many would slip and admit my guilt. But, No. times a day. It was a night when my life greatest triumph. They couldn‘t, they wouldn‘t. My story changed forever; my greatest test, and by was perfect. I had it all down. all means, my greatest triumph. Then the light switched off. I lay down to sleep. But I I remember gazing down at the floor of my cell. I had couldn‘t. I had started to think too much about the already received my meager supper, and now, I waited for interrogations, and it would not be easy to calm myself the lights to be turned off. Soon after that I would be down. And so I lay there, looking up at the ceiling, with asleep, and one more day of my life would have slipped my mind racing. No, I would never admit, never, never. I away. tossed from side to side. When would this mental torture I was very proud of the floor of my cell. I had polished end? the wood to a brilliant sheen. I admired that wood floor. I At that moment there was a loud clank at the door. am sure that it was one of a kind in that hell they called The guards were there. I could never hear when they were Lubianka. Polishing the floor had become for me a sign of coming because they wore slippers. It was a terrifying detail resistance and a means to keep my sanity. I would always be that took some time to get used to. But now, I was a able to stand up those Russians. I don‘t know what the veteran, and somewhat accustomed to these nocturnal guards thought when they saw it; they only spoke to me on interruptions. one or two occasions. They may not even have noticed it, A harsh female voice barked something in Russian. She yet I was so proud of it. For me, it was a tremendous was telling me to come out, but not politely. We only had monument to my strong will, my determination, and my one set of clothing that we wore at all times, so there was strength not to crack beneath the immense physical, no need to get changed. I sat up and slipped on my shoes, if spiritual, and psychological pressures that were exerted on you could call them that. me. I walked with a firm step to the door. I had been I followed a strict schedule; time to work, time to through this ordeal before, and I would go through it again. pray, time to eat. The meals alone varied, depending at I was not afraid. which end of the hallway the guards began to serve. After I stepped out into the hallway and immediately I felt five years, I had come to look forward to that variation; I two gun barrels poking into my back. I was used to this enjoyed it as a small respite from this life of monotony with too. Maybe there weren‘t enough men because of the war no foreseeable end. or maybe the Russians thought that having women guards OCTOBER/NOVEMBER 2010 19
it up, offering me something to eat. I looked at the tray in a daze for a few seconds, unable to believe what was happening yet savoring every delicious second of it. I chose the largest sandwich, and I bit into it with great satisfaction. If the Russians were going to give me a good meal, I was going to enjoy it. The interrogator looked pleased and he also took a sandwich. He offered me a drink, and I took it. By this point, I felt so happy that I had almost forgotten where I was, who I was, and what I was doing. I was actually enjoying my conversation with this thug, though I now I can‘t recall what we were talking about. I felt serene and relaxed, and just a little bit dizzy. Too soon I finished my first sandwich and then the second one. The interrogator now wanted to get down to business. Why? Things were nice the way they were. He would add to the psychological tension of the prisoners, I led me over to the desk. I now realized that I was very don‘t know, it could have been for both reasons. But I still dizzy. Just a bit light headed I assured myself. The rest of could not stand walking around with a woman holding a this is going to be pretty easy. loaded gun to my back. I found it somewhat humiliating I sat down and stared at him. He was reaching down and embarrassing. But at least I didn‘t have into a desk drawer and soon a stack of papers to speak to them. I felt a sickening lay in front of me. He offered me a pen, and We proceeded in silence to the told me that he had put together this summary interrogation room. As we walked I went sense of despair of my case. Interesting, I thought, what does over my story in my head, checking each little settle upon my he want now? This stack of papers was the detail, strengthening my resolve not to give supposed fruit of five years of interrogation. I in. I was ready. I was ready for the soul. What was was not intimidated. I could handle this, I examination and cross-examination. I only this all about? thought, whatever it is. hoped it was a weak interrogator. The last He smiled and asked me to review it at my one had seemed nervous and concerned. I own leisure, and to sign each page if I were had had control of the situation. satisfied with it. Then he pulled out some other papers and We paused in front of the door. We stood there began to work on those. I sat there, motionless, on my side waiting for a few minutes, both guards jabbing their gun of the desk. barrels deeper into my back. Why were they so tense I was feeling dizzier than ever. There must have been today? Finally one of them lowered her gun, opened the something in that food or in the drink. I read the first line door, and went in. A few seconds later she came out again, of the first page. ‗My name is Walter J. Cisek, citizen of the dismissed the other guard and led me inside. United States, priest of the Catholic Church, member of the What a difference! This was not the normal Society of Jesus.‘ This was not what was supposed to be interrogation room. It was warmly lit. There was a sofa there. and a small table on the left side, while to the right was a Those Russians, they knew everything! I continued to desk with the interrogator seated behind it. He stood up read. They knew my place of birth, they knew my parents‘ and greeted me with a smile. How strange, I thought. The names, they knew what year I had entered the Jesuits. guard took her leave and I was alone with the interrogator. How? I felt a sickening sense of despair settle upon my I waited for him to ask me to sit down in front of him, soul. What was this all about? I was not going to say that I but rather he led me to the left side of the room and invited was a Vatican or American spy. Never! But what was the me to sit down on the sofa. This is really strange, I thought. use? What is up now? He started to ask me a few polite The interrogator was still working on his papers. He questions, when something else caught my attention. was ignoring me. Was it on purpose? I glanced at the A young secretary had entered the room with a tray of second page. I was now very upset. They would never give hot sandwiches and some drinks. I had not tasted such food up. They knew all the facts and they used them to support in more than seven years, not since my entry into Russia. their lies. What could I do? I was just a poor weak man. I She placed the tray on the table and the interrogator picked glanced around. There was no hope for any help. I signed 20 FORUM the first page. They insulted me as we walked. I was scum, a filthy After that, it came more easily, page after page I priest and capitalist, a spy who had finally been convicted. signed, without even looking at what was written there. I They taunted me with death. Now that I had admitted my was angry and upset. But I didn‘t care any more. I just guilt, I would be executed immediately or at best sent to wanted to get out of that room and go back to my cell. the Siberian slave camps. Gleefully, one said that she would ask permission to be on the firing squad. I barely listened, ***** defeated, betrayed by my own emotions and passions; I felt the end was very near. he interrogator looked up. I slid the stack of papers We reached the room. One swung open the door and T toward him. ‗I signed them all,‘ I said. ‗So you were the other pushed me to the doorway. The guard who spoke satisfied?‘ he asked in a calm tone. ‗No, yes, English took one look at me and then smacked but I signed them!‘ He called the guards. ―Where is your me across the face with her pistol. I fell to the I stood up and nearly fell over I was so God now?‘ she ground. I could feel the blood oozing out my dizzy. What had I just done? Why did I sign nose. those papers? I felt so angry and helpless. asked. I couldn‘t ―Where is your God now?‘ she asked. I What else could I have done? Couldn‘t I have respond. couldn‘t respond. The door clanked shut and I just stayed firm? But would it ever end? How was left alone. could I know? I still was not sure what exactly In the darkness of anguish and despair, in the I had done. humiliation of failure and defeat, in the sorrow of One of the guards grabbed me and pulled me out of the disappointed hope and trust, then I began to understand. I room. She laughed and let me drop to the floor. She leaned had nothing left. I could no longer depend on my mind, my over and said in English, ‗So, you finally gave in, you filthy intelligence, or my will. They had fallen. And as I lay priest.‘ I was shocked. First of all because she knew bleeding and suffering on that shining wood floor, which for English, and second, it now dawned on me what exactly had me had been the symbol of my strength, my determination, happened. My mind was beginning to clear a little bit, but my invincible will, I realized that I was just a weak child, that only made the agony of my decision worse. yet that from now on, I would truly be able to call God my The other guard stepped over and they stood me up. Father. ‗Walk, let‘s go,‘ was the command and again they prodded me along with their guns. Building on Ruins Jerek Scherber, LC
od often builds on human stupidity. Well, I felt would have already walked away. They never let me finish.‖ pretty stupid when I missed my plane this sum- After about a minute of such talk I still wasn‘t sure mer. This plane was going to take me to Chicago where he was trying to go, but I began to understand why Gwhere I would meet up with my family and hook another most people would want to walk away. plane to Ireland. We were going to see my brother‘s reli- ―Well you see, I need some help. I‘ve been at the air- gious profession. He had been in Ireland for the past two port for five hours now. My friend hasn‘t picked me up yet years. My plane left at 1: 15, but I thought it was supposed and he won‘t answer the phone so something must have to leave at 1:45. When I arrived at the gate, the plane was happened. I need to get home. I live in southern Connecti- already being closed. There was no more to be said. I cut. They told me a bus could take me there and that it costs stared blankly as my ticket to see my family and Ireland twenty dollars. Well, I don‘t have that much. The last bus pulled away from the gate and taxied out of sight. I waited leaves in an hour. You probably can‘t help me, but thanks three hours for standby on the next flight, but for letting me finish.‖ it was full. I called the seminary to have some- For me, missing At last I understood what he needed—money. one pick me up. I would have to try standby I was afraid he would ask for advice or some- the next day. I felt sad. I was lonely; I was the plane was the thing like that. If all he needed was money, almost the only one in the airport. I sat down result of a stupid then my answer was simple: in an empty baggage claim and asked God why ―I‘m sorry. I don‘t have any money. All I it had happened. mistake, but not could give you is what I find on the ground.‖ After an hour I walked outside to wait for for God. ―Ok,‖ he said. ―Thanks for listening at least.‖ someone to pick me up. There were more He walked away and went back inside the air- people outside so I felt better. As I waited I port. I felt sorry for that man. I too was in a prayed my rosary, and as I prayed a man in his tough situation. ―I should be with my family late twenties approached me looking a little like a bum. right now. Why did I have to miss this chance to see my ―Hello,‖ he said. ―You must be a minister or something family? Why was I still here?‖ Then a thought came to me, a like that. Well, I‘m a Christian too. Maybe you can help thought not of my own making: for me, missing the plane me. I‘m not a bum. Most people don‘t want to listen to me was the result of a stupid mistake, but not for God. For God and I‘m not sure you want to.‖ there was a reason I was here, and it certainly wasn‘t so I ―I‘m not sure I do either,‖ I thought to myself. could say, ―Sorry, I can‘t help you.‖ He continued: ―I‘m not a bum and I‘ve helped a lot of Then I got nervous. ―You mean you want me to ask for people in my life, so it‘s hard to understand why people money?‖ I said looking up at the sky. That was the only con- don‘t want to help me. Have you ever helped anyone? Most clusion I could come to. Man needs money; I must help; I people don‘t even let me get this far. Thank you for listen- have no money; people walking by probably have money; ing. Anyway, I‘m in a tough situation and no one wants to therefore I have to ask for it. And there was a prospect of help me. Maybe you don‘t want to help me either. That‘s success in the idea. After all, I was wearing a clerical collar. fine. Thank you for letting me get this far. Most people Yes, I should have much better luck begging than my part- 22 FORUM ner in poverty. Could you help, if not at least in part?‖ I would have to ask. I knew it, but She couldn‘t. I went to another man I pretended I didn‘t. I was nervous. standing on the sidewalk. Asking for money is hard—I‘ve done it ―I feel really funny giving this to you,‖ before. I tried to continue praying my he said as he reached into his wallet for rosary, but Mary wasn‘t helping me five dollars. I thanked him and moved forget. I felt butterflies in my stomach. on. A couple more people didn‘t help. I stood my ground as long as I could, They seemed agitated when I asked but finally I caved in. ―All right, I‘ll them. Who knows what my white collar ask.‖ But first I wanted to make sure made them think about. I could have the man still needed help. Maybe he been a liar. The man I was helping could had already found what he needed. It have been a liar. Could he have been had been nearly ten minutes since he throwing on a show to win some money left. I walked inside the airport and from a kind priest? I didn‘t know either, saw him sitting down reading a book, but I felt in my heart that I had to do or at least I thought I saw him. I could this. Liar or not, maybe this act would only see the back of his head. I could- reach his heart, that heart which is of n‘t remember what he was wearing. I For me, missing utmost importance to a priest. didn‘t even ask him name when we were talk- Someone else was able to give me five dollars. ing. I must have really been on the moon. I the plane was the Now I had ten. ―Only ten more to go.‖ I thought of how stupid I would look if I result of a stupid walked over to another lady in a car, but this walked up to the wrong person and asked, mistake, but not time she had a friend with her. ―Aha—peer ―Are you the person who needs twenty dol- pressure.‖ I made my plea, stating that I only lars?‖ I walked back outside and tried to ex- for God. needed ten dollars more and she reached into cuse myself of the whole business. ―He looked her wallet. She pulled out a twenty, evidently pretty calm, didn‘t he? He must have figured the lowest thing she had. She looked at it, not it all out.‖ I felt like a chicken, a useless chicken. Then I quite sure if she wanted to part with it, especially for some- heard God repeat the idea I had before—―Look here, one who only needed half that amount. buddy. I didn‘t make you miss your plane for nothing.‖ ―Here‘s what we can do,‖ I said. ―You can give me that ―But, but,‖ I stammered. ―Fine.‖ So I walked back in- but I will give you these ten dollars here. That way you are side and located the back of that man‘s head. As I walked only really giving ten.‖ The proposal seemed agreeable and toward him I thought again of how stupid I would look if he we made the exchange. Finally, my task was done. The man were the wrong man. I walked toward him, while still stay- had come out of the airport now and had lit a cigar. I ing as far away as I could. He hadn‘t yet noticed me in my walked over to him, wondering what his reaction was going stealthy approach. He looked like my man, but I couldn‘t be to be. He saw the money in my hand. sure. ―Here goes.‖ I came in front of him. ―No, you didn‘t, did you? How did you get it? Oh, you ―Excuse me, are you the one who needed the money?‖ shouldn‘t have.‖ ―Yes,‖ he said. I pointed to the people who had pitched in to get him ―Have you found anything yet?‖ home. He waved at them, all the while with a huge smile on ―No.‖ his face. He was happy. I felt pretty good that I had done ―Ok, just wondering.‖ that. I sure didn‘t prove the bravest of men, but in the end Yes, it was the right man, but I still thought I looked I overcame my fear—the fear of humiliation, of what others pretty stupid. I walked outside again. I needed to take a will think. Yes, I was happy but I told God that I wouldn‘t breather before completing my mission. worry so much about myself the next After a couple prayers and still feeling time I‘m in a potentially embarrassing like a chicken, I eyed down my fist victim situation. and began walking toward her to ask for The ending of this story is a happy one. I money. She was in her car waiting to talked to the man for a while and I think pick someone up. She rolled down the that through me God was able to touch window as I bent to look in. him. That evening he was able to catch a ―Excuse me, there is a man inside bus to his destination, and the next day I who needs twenty dollars to get home. was able to catch a plane to mine.