28 20 5655 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/87b35e3d407c47ade3299c81cfc53b01.mp3 bb9a2fd63fb225d5e3928df7584f14a4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data audio cassette Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:55:01 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "I think, therefore I am" Description An account of the resource Audio recording of a lecture delivered on October 22, 1971 by Samuel S. Kutler as part of the Formal Lecture Series. Creator An entity primarily responsible for making the resource Kutler, Samuel S. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 1971-10-22 Rights Information about rights held in and over the resource A signed permission form has been received stating: "I hereby grant St. John's College permission to: Make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audiovisual recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a typescript of my lecture available online." Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Kutler_Samuel_1971-10-22 Subject The topic of the resource Descartes, René, 1596-1650 Philosophy, Modern Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/23eb3675722e26220725fe45dd345ded.mp3 9b90224a9ee3cc40feb1c900284a90e8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data live YouTube webcast Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:59:!4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Double Duty: How to Live in the Cosmos of Plotinus Description An account of the resource Audio track from the video recording of a lecture delivered by Bill Pastille, Annapolis tutor on November 20, 2020 as part of the Formal Lecture Series. Mr. Pastille describes his lecture: "We all act according to our conceptions of the world. Plotinus had an extraordinary conception of reality, namely, that the One generates the less unified Intellect, which in turn generates the even less unified Soul together with the phenomenal world. Plotinus often suggests that the task of human beings is to overcome our multiplicity, to turn away from the less unified and toward the more unified layers of reality. Yet he himself sometimes acted differently. For example, he taught, and he brought up children entrusted to his care, and he wrote—all actions that show a concern for the level of multiplicity on which we humans live. This lecture attempts to account for this apparent discrepancy in Plotinus’s ethics." Creator An entity primarily responsible for making the resource Pastille, William Alfred, 1954- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-11-20 Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Plotinus Soul Mysticism Wisdom Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Pastille_William_2020-11-20_Audio Rights Information about rights held in and over the resource A signed permission form has been received stating: "I hereby grant St. John's College permission to: Make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audiovisual recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a typescript of my lecture available online." Relation A related resource <a href="https://digitalarchives.sjc.edu/items/show/7354" title="Typescript">Typescript</a><br /><a href="https://digitalarchives.sjc.edu/items/show/7355" title="Video">Video</a> Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/aa576baadb7084e394ac78d911d4ceb8.mp4 de075e1bc636a0f5d343a28f7f4b260e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data live YouTube webcast Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Double Duty: How to Live in the Cosmos of Plotinus Description An account of the resource Video recording of a lecture delivered by Bill Pastille, Annapolis tutor on November 20, 2020 as part of the Formal Lecture Series. Mr. Pastille describes his lecture: "We all act according to our conceptions of the world. Plotinus had an extraordinary conception of reality, namely, that the One generates the less unified Intellect, which in turn generates the even less unified Soul together with the phenomenal world. Plotinus often suggests that the task of human beings is to overcome our multiplicity, to turn away from the less unified and toward the more unified layers of reality. Yet he himself sometimes acted differently. For example, he taught, and he brought up children entrusted to his care, and he wrote—all actions that show a concern for the level of multiplicity on which we humans live. This lecture attempts to account for this apparent discrepancy in Plotinus’s ethics." Creator An entity primarily responsible for making the resource Pastille, William Alfred, 1954- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-11-20 Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Subject The topic of the resource Plotinus Soul Mysticism Wisdom Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Pastille_William_2020-11-20 Rights Information about rights held in and over the resource A signed permission form has been received stating: "I hereby grant St. John's College permission to: Make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audiovisual recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a typescript of my lecture available online." Relation A related resource <a href="https://digitalarchives.sjc.edu/items/show/7427" title="Audio">Audio</a><br /><a href="https://digitalarchives.sjc.edu/items/show/7354" title="Typescript">Typescript</a> Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/66ba0adb6335959cbf25ed8985ee14a1.pdf db2629e975d57447667df8322956de43 PDF Text Text Double Duty: How to Live in the Cosmos of Plotinus William Pastille A lecture delivered at St. John’s College November 20, 2020 When I started studying Plotinus more than thirty years ago, one of the first things that struck me about the scholarly literature was that everyone agreed Plotinus was both a philosopher and a mystic. It was also pretty apparent that no one found fault with Plotinus for being a philosopher, but some disparaged his mystical tendencies. I think that I can pass over what it means to be a philosopher. Everyone here has enough experience with philosophers to have some idea of what that means—and it has something to do with thinking. But what does it mean to be a mystic? There seems to be general agreement, as far as I can tell, that a mystic is someone who claims it is possible for a human being to contact, or even to experience union with, the source of all reality. If this is what it means to be a mystic, then it goes beyond thinking—at least beyond thinking as we normally conceive of it. Union with the source may be compatible with thinking, but the idea of actually becoming one with something else certainly seems to be different from thinking. There is more than enough evidence in Plotinus’s writings to prove that Plotinus is both a philosopher and a mystic. As far as philosophy goes, he himself insists that he is a follower of Plato. In fact, he goes so far as to say there is nothing that is not consonant with Plato’s teachings in his thinking. That may be an overstatement, but his world view is without doubt built upon Platonic foundations, such as the image of the Divided Line in the Republic and the structure of reality discussed in the Timaeus. Even a cursory reading of the Enneads quickly reveals, however, that Plotinus knows a great deal about all the ancient schools of philosophy, including the tenets of the greatest thinkers and the controversies among their followers. Plotinus is also quite knowledgeable about Aristotle and his differences with Plato. Where he is critical about Aristotle, he states his objections clearly. Where he agrees, he incorporates Aristotle’s thought into his own. This small account leaves little doubt about classifying Plotinus among the thinkers. He is certainly a philosopher—indeed, he is a great philosopher. As for his status as a mystic, that is just as certain. We need only listen to one passage from the sixth Ennead to know this. Here is Plotinus describing the experience of union with the source: And when the soul meets with this and it comes toward her, or rather, when it comes to light as something present, . . . and having seen it appear suddenly within her (for there is nothing between and they are no longer two, but both are one, . . . having sought this, she meets it as something present and looks at it instead of at herself; and she does not even take the time to see who it is that is looking (Plotinus, Enneads 6.7.34.8-22).1 Nothing could be more mystical than this description of becoming one with the source. The soul becomes so much more than itself that its sense of self disappears. There is no more separateness between itself and the source; distinction disappears; the soul does not even seem to know who it is any longer. 1 Unless otherwise noted, translations are the author’s. �So, Plotinus is both a philosopher and a mystic. He has a very intricate, well thought-out understanding of the nature of reality that requires difficult thinking to understand. This is his philosophy. But he also talks about transcendence of self through union with the source of being, and that would require the disappearance of the thinker, judging from the passage I just quoted. For how can a soul that no longer knows who it is be thinking? This is his mysticism. Now about the same time that I began studying Plotinus, I also fell in with the writings of the great philosophical scholar Pierre Hadot, from whom I became convinced about a suspicion I had long held concerning the ancient schools of philosophy. Hadot’s belief, which I share, is that all philosophical pursuits arise ultimately from a deep-seated desire to answer the question How should I live my life? This belief runs a bit counter to the old saw that philosophy begins in wonder. But the two ideas are not that far apart. If we are stunned by our ignorance in the face of the infinitely large and the infinitely small, as Pascal has it, the desire arises to know as much as we can about these infinities in which seem to be embedded. Each success on the path to knowledge may seem to be merely speculative or theoretical, involving only step-by-step progress in thinking. But each step is at the same time ethical. For every truth one comes to see, there is a corollary question that goes something like this: If this is the way things are, do I live in accordance with this truth? We avoid this question at our peril. To the extent that we live our lives in discord with the truth, we run the risk of having things turn out badly for us. And yet we all have our blind spots, our habitual actions that contradict what we know to be the truth. It seems that Aristotle was right about this: a habit once formed is difficult or impossible to change. Speculative knowledge does not seem to have the power to override ethical habits. Nevertheless, anyone who tries to work out a speculative philosophy that gives an account of the nature of reality cannot help but confront ethics eventually—if he is being honest with himself. If he really believes what he says about the way thing are, he would be a fool not to act in accordance with his beliefs, for things will not go well with him if he is actually right about the way things are. And in any case his own contradictory actions will continually provide evidence that things are not as he says they are. So, my question about Plotinus some three decades ago was this: What does Plotinus’s view of the world indicate about how human beings ought to live? And it was with the same question that I sat down a few years ago to begin the studies that led to this lecture. ***** To get started with this question, we first need to grasp the contours of Plotinus’s world view. It is, as he claims, largely Platonic, drawn mostly from the Timaeus and the Republic, combined with elements from the myths in the Phaedrus and the Meno. Plato’s Forms play a large role in Plotinus’s world view, as does the immaterial being that Plato calls Soul. According to Plotinus, the roots of the phenomenal world are found in the realm of the Forms and in the regions of Soul, as we shall soon see. Now any sketch of Plotinus’s world view must begin with the One, which he sometimes refers to simply as “there,” the furthest pole from where we find ourselves within the structure of reality— which is to say, in the phenomenal world, that is, “here.” So, what is the One? It is as Plato portrays it in his dialogue Parmenides. It is something that is utterly and unutterably unified—utterly in that it is completely simple, without parts or internal differentiation of any kind; unutterably because nothing that is said of it can possibly do it justice. This is not merely because it is beyond our capacity to comprehend but because its simplicity is Pastille, Double Duty 2 �incompatible with language itself, which is a thing with parts, as, for example, subject and predicate. That which must have parts cannot accurately reflect that which has no parts. Indeed, the problem goes even deeper than language. Language is a representation of dianoia, thinking something through. The successivity of this kind of thought is obviously at odds with the radical simplicity of the One, simply on the ground that dianoia is divided up into parts that come before and after. There is another kind of thinking, however, that may seem to be clear of this difficulty. Nous, the direct apprehension of a knowable object—like a tree or the idea of equality—seems to skip over the discursive element inherent in dianoia to get directly at the knowable object. But even this kind of thought is subject to an ineradicable dualism—the distinction between the knower and the thing known. So, it is not just language that is incapable of grasping the One, but even nous seems to be too diverse to get a handle on the ultimate, and ultimately simple, source of everything. If we are to get any further, then, we have to ignore this difficulty, as Plotinus himself does. We have to keep thinking about the One even though it is impossible to grasp it in thought. We have to keep asking questions despite the fact that even correct answers will not be able to get at the One itself. So, here is an opening question: How is it that there is anything else besides the One if the One itself is entirely simple, pure unity, excluding all difference and multiplicity? Plotinus’s answer to this question is that the One has a pure, undifferentiated internal activity that is beyond our comprehension because of our innate multiplicity. The intensity of that pure internal activity gives off an external activity that is not the proper activity of the One, but rather a likeness of it. How are we to understand this? Let me propose an image. The internal activity of a human being, the inner life, is accessible only to the individual. But the inner life throws off an external image that can be seen by others. One person’s movements and speech give off an impression of grace, another’s an impression of seriousness, another’s an impression of foolishness. This external image is certainly not the individual’s inner activity, but a secondary being emanating from that inner activity, a being real enough to be observed by others, real enough to become the source of motion in others who are attracted or repulsed by that image. It is a remarkable feature of this process that it requires no effort or outflow of energy on the part of the primary being beyond its innate inner activity. Of such cases Plotinus says that the original “remains” or “stays unaffected” by the external being that it throws off. In a similar way, the internal activity of the One gives off an external image of its internal activity. Plotinus calls this external image of the One Nous, that is Intellect or Understanding. ***** In trying to describe Intellect, I’m going to use an image that builds on the previous one but is even more fantastical. Think again of the external likeness thrown off by a human being. Now imagine that it takes on a more solid existence than we normally experience, like a shell surrounding the person whose inner activity throws it off. Now imagine the inner surface of that shell as a single giant retina focused on and seeing the person who is its source. Finally, imagine that this seeing shell is aware of itself looking at the source. Weird as this image is, it captures some significant aspects of Plotinus’s Intellect. This external image of the One is a Being, standing out from the source that it perceives. Its activity has the shape of thinking, namely, the shape of a perceiving, self-aware subject assimilating a perceived object to the best of its ability. That is why this secondary being is called Intellect. Pastille, Double Duty 3 �Now in assimilating the One from its distant perspective, Intellect knows itself to be different from the source it sees; but it also knows that it is the same, since, in its own oneness, it takes the One into itself through its seeing. And it recognizes some sort of Motion when it contemplates first itself and then its source; and this motion is mixed together with some sort of Rest when it does not think but merely looks upon its source. So, in the first rank of things that it thinks are the forms of Being, Sameness, Otherness, Motion, and Rest—the so-called “five greatest forms” mentioned in Plato’s Sophist. The interplay of its thinking on these greatest forms gives rise to all the forms that can possibly exist. In this regard, Plotinus’s Intellect is like Aristotle’s Prime Mover: it is thought thinking itself. I need to mention just two other aspects of Intellect for further reference. First, because it contains many Forms, Intellect is obviously multiple and variegated. Indeed, Plotinus calls it a “onemany” for this very reason. Second, this multiplicity is a defect or a falling away of the Intellect in comparison with its source, the hyper-unified One. An image is always lacking something that its source possesses, and it relies on the source to satisfy that need. In this case, Intellect needs the image of oneness that it borrows from the One to hold together its multiplicity. So much for Intellect, the second level of reality in Plotinus’s conception of the way things are. ***** Now we move on to the third and final level of reality in Plotinus’s system. The internal activity of Intellect, its self-contained thinking, throws off another external activity. Here I’m going to abandon the image of the self-aware retina. It would become much too unwieldy. Instead, I’m going to show you a visual image that tries to capture the relations among the levels of reality. Perhaps this drawing will provide some orientation while I describe the characteristics of this new being that is a likeness of Intellect, the being which Plotinus calls Soul. The first thing to notice about this drawing is that a portion of the area allotted to Soul falls within the area allotted to Intellect. This is a consequence of Intellect’s relative lack of unity in relation to its source. Intellect is not sufficiently unified to throw off its external activity entirely. Some of its image remains within, while most of it stands outside. That is to say, some aspect of Soul both images Intellect and at the same time is Intellect. This is a crucial element of Plotinus’s system, as we will see in a moment. Insofar as it is an image, Soul mirrors its source in many respects. I will mention only three of them. First, it images the thinking of its source. Second, it images the self-awareness of its source. Third, and most important here, it images the oneness of its source—which is to say that Soul’s oneness is even more deficient than the oneness of Intellect. Or, looking at it the other way round, it is even more multiple and variegated than its source. Its unity is so deficient, in fact, that its inner activity cannot throw off an external image of itself at all. Whatever imaging continues to occur in the system does so within Soul. There is no other level of reality. This decrease in oneness that is at the same time an increase in multiplicity affects Soul’s selfawareness and its thinking. Soul is distracted by its own variety and has difficulty focusing its thinking on its source. This same distractedness interferes with Soul’s ability to focus on its awareness of itself, on its attention to what it is doing. So, what is Soul? In short, it is a bit of Intellect together with everything else that exists besides the One and Intellect. The drawing situates the entire phenomenal world within the level of Soul. For Plotinus, everything in the phenomenal world is Soul, Soul expressing itself with the utmost variety in every possible way. It does this by bringing the forms it sees in its upper reaches—the area of overlap between Soul and Intellect in the drawing—into its lower reaches, where form is less at home because of the increased multiplicity of Soul. This is why the overlapping area on the Pastille, Double Duty 4 �drawing is crucial to Plotinus’s system: Soul could not transfer forms to its lower reaches if it were not in touch with them in its higher reaches. It is too complicated a topic to explain all the ways in which the phenomenal world—the “here” we humans inhabit—is a manifestation of Soul. But here is just the briefest outline. The highest reaches of Soul, as we’ve seen, consort with Intellect and the forms. At Soul’s very lowest end, on the other hand, it transmits the last possible vestige of form—the form of pure potentiality. This is the form of something that has no properties except a need for form, a continual striving to receive form. This is what Plotinus calls matter. The One Intellect Soul World Matter Fig. 1: The structure of reality according to Plotinus Pastille, Double Duty 5 �The entire phenomenal world, then, is the work of Soul endowing pure potentiality with form in order to satisfy matter’s ultimate neediness. This is true both for animate and inanimate objects. Whatever form a phenomenal object has—whether it be the complex living form of a human being or the simple shape of a rock—comes to it from Soul uniting forms with ultimately needy matter. ***** Now to complete our overview of Plotinus’s system, let’s look a bit more closely at the activity of Soul along its whole extent. We’ve already seen that Soul, as an image of Intellect, is more diversified than its source. Even in its upper reaches, where presumably it can borrow some unifying force from Intellect, it gets distracted from its thinking and its self-awareness by the variety within it. This distraction causes a reversal in the order of reality. Soul, the image of Intellect, loses its focus on its source and turns away from Intellect in the only other direction it can look, namely, toward itself. Attending now to its own multiplicities and capacities, it loses focus on its self-awareness and pays more attention to the many things within it. And this interest in the multiplicities is the phenomenal world—it is Soul looking toward its own variety and informing matter in every possible way. But the activity of informing matter is itself a further decrease in unity and a further increase in multiplicity. A phenomenal object of any kind is not pure form; it is form serving the neediness of matter. Unlike pure forms, these forms-with-matter are not entirely compatible. Nor are they completely subservient to the Soul that informs them because matter binds Soul through its intense, clutching need for form. The result in the phenomenal world is all sorts of random collisions and interdependencies among both inanimate and animate objects, accompanied by all sorts of misjudgments among animate objects as they try to navigate the confusing world around them. And this brings us to one final aspect of Plotinus’s reality that we need to consider, namely, our place in it, the situation of human beings. Obviously, we belong among the animate objects. So, as we have just mentioned, the Soul that informs us is bound by matter’s neediness and is further enmeshed in the network of collisions, interdependencies, and misjudgments that abound in the phenomenal world. Our attention to our own bodies and to external objects obstructs our thinking and self-awareness —so much so that it seems nearly impossible to free ourselves from the incessant demands the world makes on us. This is the situation of human beings as Plotinus sees it: we are Soul bound to matter in such a way that it hardly remembers itself, sunk into the phenomenal world with barely the dream of a memory of its actual lineage. For a brief summary of Plotinus’s system of reality, this has been rather long. But it presents just as much information as we need to address the question I started with and to give it a provisional answer. ***** Let us take up again the initial question, namely, What does Plotinus’s view of the world indicate about how human beings ought to live? The provisional answer is the one that first comes to the fore when we begin to study Plotinus, especially when one focuses on the passages we read here at St. John’s. Judging from those readings, we ought to live in such a way as to extricate ourselves from the bonds of the phenomenal world. We need to loosen the chains that shackle us to the dispersive and all-consuming distractions of the world around us. We need first to remember the Soul that we are, then turn back toward Intellect and to its original, the One. And then, having made the turn, we need to reach journey’s Pastille, Double Duty 6 �end in the ultimate meeting between our Soul and the source of all being, a meeting in which, as we heard before, “there is nothing between and they are no longer two, but both are one.” In short, we should live as mystics. We should spend our time turning inward, away from the phenomenal world, seeking the One within. We might well imagine that such a life consists largely of meditation and retirement from the world. It would be a life of interiority and withdrawal, a life of apparent self-absorption. Now Plotinus provides a lot of advice about how to carry out the meditative practice that may bring us back to our home in the One. There is, for example, this famous admonition in Plotinus’s first written work, On Beauty, where he is focusing on Beauty as a prominent characteristic of the One and everything that proceeds from the One, including the seeker, who can use his own beauty as point of contact with the Soul, the Intellect, and the One within. Go back into yourself and look. If you do not yet see yourself as beautiful, then be like a sculptor who, making a statue that is supposed to be beautiful, removes a part here and polishes a part there so that he makes the latter smooth and the former just right until he has given the statue a beautiful face. In the same way, you should remove superfluities and straighten things that are crooked, work on the things that are dark, making them bright, and not stop “working on your statue” [Plato, Phaedrus 252D7] until the divine splendor of virtue shines in you, until you see “Self-control enthroned on the holy seat” [Phaedrus 254B7]. . . . For the one who sees has a kinship with that which is seen, and he must make himself the same as it if he is to attain the sight. For no eye has ever seen the sun without becoming sunlike [Plato, Republic 508B3 and 509A1], nor could a soul ever see Beauty without becoming beautiful. You must first actually become wholly god-like and wholly beautiful if you intend to see god and Beauty (Enneads 1.6.9.8-342). Then, in the treatise called On the Good or the One, Plotinus goes on to say that this shaping of the beautiful inner statue is only the first step in the “seeing” that the seeker intends. The intimate contact within is not with a statue or an image, but with the One itself. The statue and the image are actually secondary visions, whereas the One itself is indeed not a vision, but another manner of seeing. It is self-transcendence, simplification, and surrender, an urging towards touch, a resting, concentration on alignment, if one is to have a vision of what is in the sanctum. If indeed someone looks in a different way then nothing is present to him (Enneads 6.9.11.20-25; Gerson, 897). I will not go on quoting Plotinus on this point but, as I say, there are many such indications in Plotinus’s writings that the inward, mystical turn is the path human beings should follow, the path that leads out of the darkened and darkening phenomenal world, the path that leads toward the light. It seems that the ethical inference from Plotinus’s beliefs about reality is that we should all become mystics, spending our time seeking unification with the inner source of our being. ***** Why then did I call this a provisional answer? Because there is something wrong here, something that goes back to my initial remarks on the thinker who does not act according to his beliefs about the structure of reality. The simple fact is that there seems to be a contradiction between Plotinus’s view of reality and his life. His view of reality indicates that a meditative, inward-focused life is the best life for human beings. But we know that Plotinus did not expend all his energies in that pursuit. Of course, we could say that this is just not possible. We could point out, as Aristotle does, that our situation in the phenomenal world makes it necessary to attend to matters that preclude the 2 Lloyd Gerson, ed., Plotinus: The Enneads (New York: Cambridge University Press, 2018), 102. Pastille, Double Duty 7 �inward turn, like eating, sleeping, exercising, communicating, and so forth. Nevertheless, as Aristotle also suggests, it seems that our happiness depends on conceding as little as we must to our physical existence while spending as much time as possible in contemplation, just as Plotinus’s view of reality indicates. Now here’s the problem: Plotinus did not act that way. Of course, he meditated quite a bit, and this shows that he recognized the duty of turning inward that his view of reality implies. No doubt he also minimized concessions to the demands of physical existence. But we also know that he spent a great deal of time actively engaging with life in the here-and-now rather than meditating. Our evidence about this comes from the short biography of Plotinus written by his student Porphyry, who spent six years in constant contact with his teacher. Porphyry tells us, among other things, that Plotinus ran a school, or at least was a well-known teacher who was very much involved in dialogue with students and friends. We also know that Plotinus wrote the fifty-four treatises of the Enneads, and Porphyry tells us that Plotinus was not a thoughtless writer. He wrote with care and edited repeatedly with the aid of assistants, reconsidering his arguments with an eye to the individuals who were likely to read the texts. And, to add just one more example, Porphyry tells us that Plotinus looked after quite a few children who were placed in his care, providing for both their physical and their educational needs. Now we all know how much time and effort it takes to teach, to be a friend, to write carefully, and to raise children. Undertaking these tasks is a very different thing from making concessions to physical necessities. Plotinus did these things voluntarily. By choosing these outward-facing activities instead of the mystic path, Plotinus seemingly acted in opposition his own view of reality. The fact that these actions are altruistic or even compassionate may make them attractive to us, but it does not remove the contradiction. Plotinus willingly acted in violation of the duty to turn inward that his view of reality indicates is best for human beings. ***** At this point, I’m going to take a break from the course of the argument to insert a humiliating bit of personal biography. Think of it as an interlude. Or as comic relief. Anyway, here it is. This seeming contradiction actually bothered me for quite a while. In one of the many ways these things can happen, the bulk of my attention was captured by many other difficult and interesting Plotinian conundrums while this unresolved problem percolated under the surface. One day I was thinking about a quite unrelated issue and just ran out of steam. My mind went blank. And in the blankness, the little inner voice that enjoys bombarding us with critical remarks, piped up. “Well,” it said snidely, “what do you think is more likely—that Plotinus doesn’t know what he’s doing or that you missed something?” The question answered itself, but I was ashamed that it took me so long to get the point, especially since I have a lifetime of experience to teach me that I get things wrong far more often than I get things right. Once that had been settled, it was clear what I was missing. Plotinus was no fool. He was not the kind of thinker who could ignore the ethical implications of his own beliefs. So, there must be an aspect of Plotinus’s system that suggests a second duty in addition to the duty of the inward turn. I must have missed the element that motivated Plotinus’s engagement with the here-and-now. From that point on, the question I was dealing with was no longer just What does Plotinus’s view of the world indicate about how human beings ought to live? It became a more specific question, namely, How does the reality of Plotinus suggest a double duty of turning inward toward our source and of turning outward toward our world? ***** Pastille, Double Duty 8 �Having refocused the question, I soon realized that I had all along been noticing the traces of an answer without actually noticing them. As I looked at my notes in the margins of my copy of the Enneads, I found question marks near passages having to do with the outward turn. And after a while, I saw that Plotinus very often quoted (for instance, in Enneads 2.9.18.40, 3.4.2.1, 4.3.1.34, and 4.3.7.14) this line from Plato’s Phaedrus: “All Soul cares for what is without soul” (446B6). Of course, as we have already seen, Plotinus does not believe that there is anything in the phenomenal world that is, strictly speaking, without Soul. So, he puts his own spin on this passage when he says that “[Soul] comes here voluntarily and for the sake of its capacity and for the ordering of what is after it” (Enneads 4.8.5.26; italics mine). The first part of this passage reconfirms the way Soul reverses the order of source and image. As we said, Soul turns toward itself and away from its source, the Intellect, for the sake of exercising its own capacities. This turning away is, as Plotinus puts it, the “beginning of evils” for Soul (Enneads 5.1.1.4-5). The turn away brings Soul into the phenomenal world, where matter binds it. And this, as we have seen, is the reason why humans are duty-bound to make the mystic ascent. But the second part of the passage introduces a new element. Soul turns toward its own multiplicities and capacities not only for its own sake, but also “for the ordering of what is after it.” And that, I realized, was the missing piece. Soul, by informing matter’s neediness, transmits an image of oneness to “what is after it”—which is the whole phenomenal world. It is through Soul that the One’s ultimate unity reaches everything that exists in world “here.” To be sure, the oneness of rocks and microscopic dust particles may be extremely attenuated, but it is there by virtue of Soul’s donation of form to matter’s neediness. This additional element gives a double meaning to the Soul’s turning away from Intellect. Its turn toward itself, toward its own multiplicities and capacities, does indeed carry the mark of Lucifer’s sin, the sin of pride. Plotinus in fact calls Soul’s turn toward itself tolma, that is, audacity (Enneads 5.1.1.4-5). And as a consequence of its audacity, Soul conjoined with body suffers all the evils of being bound to matter—confusion, distorted judgment, forgetfulness of its source. But that same prideful turn also has a positive aspect. It is true that Soul cares more for itself than for its source. But this is still a caring. By giving form, and therefore order, to “what is after it,” Soul tends for the phenomenal world, taking care of its well-being to the extent that it is possible for matter-with-form to be well. Here ends the biographical interlude. Now that we know there are two duties in Plotinus’s reality, we need to get a bit clearer on what each duty entails. And finally, we need to consider the relationship between them in order to understand the practical aspects of fulfilling them in everyday life. ***** So, what does the centripetal duty, the mystical imperative, the inward turn demand of us? It requires that humans assimilate themselves to the One by moving toward the inner center of our being. This requires turning within, away from our life “here,” in order to break free of the confusing welter of the phenomenal world. Only in that way can we come to understand our true self and its true situation in the structure of reality. On the other hand, the centrifugal duty, the imperative for creating order, the outward turn is an imitation of Soul’s activity. It requires caring for this world and the beings within it by working to bring order to the confusion that runs rampant in phenomenal reality. The first issue to settle in the relationship between the two duties is the matter of priority. Are the inward and the outward turn coordinate or is there a subordination of one to the other? The answer to that question is pretty clear, at least on first approach. As embodied Souls, we are caught in the snares of matter and mistaken about the true structure of reality. Disordered Pastille, Double Duty 9 �ourselves, we are in no condition to bring order to the disorder around us. It would seem, in fact, that attempting to do so would only make things worse by injecting poor choices into the already discombobulated muddle, choices based on mistaken beliefs about the way things are. The inescapable conclusion seems to be that the centripetal duty is prior to the centrifugal one. We need to make the mystic turn first in order to clear up our mistaken thinking about the way things are. Only after finishing the journey to “there,” only after reuniting with the One, will we see clearly enough to care properly for the world in our lives “here.” This seems to be quite well expressed by Christ’s command, “first cast out the beam out of thine own eye; and then shalt thou see clearly to cast out the mote out of thy brother’s eye” (Matthew 7:5). ***** The best way to see how this works is to examine the life of the sage—the person who has ascended to the One and therefore has complete clarity about “there” and “here” and the relationship between them. Progress in the ascent toward the One takes place through dedicated and intense work on the self. This is the sculpting of the inner statue mentioned earlier, and it has the look of self-absorption. It begins with training in the so-called “civic virtues,” the four cardinal virtues mentioned by Socrates in the Republic, namely, courage, temperance, justice, and prudence. By mastering these virtues, the sage-in-training brings order to the external side of his existence. He eventually reaches the point when no external danger or temptation or injustice or foolishness can impede his choices. But this is hardly enough. The civic virtues can be inculcated without imparting an understanding of why they are good beyond their utility for living “here.” They make us steadier, less at the whims of our emotions and mindless reflexes. They create inner resourcefulness and flexibility. They increase the sense that we are competent to meet all contingencies that humans can possibly manage or withstand. But they do not turn us within sufficiently to start the journey upward toward the One. The sage-in-training must use the stability of life gained by exercising the civic virtues to turn attention toward the life of the mind, for it is there that Soul touches us directly. Here the injunction to philosophy comes forward. By turning inward to one’s thinking, by gaining skill in dialectical reasoning, the aspirant increases the ability to focus on immaterial being and becomes comfortable with the motions of Soul in its higher reaches, where it mingles with the forms that are at home in the Intellect. But this too is not enough. Dianoetic activity, the thinking through of the multiple forms that present themselves for inspection in Soul’s higher reaches, is pleasant work for those who have ascended that far. But the pleasantness is a stumbling block to further progress. Dianoia leaves us dispersed. Reasoning at this level is still discursive, still tainted by the successivity that we see in language—not only the distinction between grammatical subject and object, but also the directional separation between premise and conclusion or ground and inference. So, the sage-in-training has to push thought to the end of dianoetic activity at the upper surface of the overlapping area in the figure where Soul and Intellect commingle—and then leap up into pure Intellect, where the thinker takes up the thing thought as an immediacy. This is pure nous, which knows the Forms intimately and without dissection, in a way that is something like our wordless, face-to-face immersion in a burgeoning landscape or a complex artwork. Having arrived at this point, the aspirant finds only one more hurdle to jump. Intellect retains the final separation that must be overcome, the manifest gap between the subject, the thinker, and the object, the thing thought. Intellect sees the One but is aware that it is not itself the One, that it lacks the fulness of its source. How does the sage leap over that last chasm? Pastille, Double Duty 10 �This is the mystical core of the mystical turn. It is the “self-transcendence, simplification, and surrender” that Plotinus speaks about in the passage I quoted earlier. Is this final leap something done by the sage or something suffered by him at the hands of the One? I’m afraid that nothing can be said about this because the ultimate unification extinguishes the distinction between agent and patient. And this is probably why this “experience”—though that is surely not even close to an adequate name for it—cannot be communicated by sages to other human beings. They can only point. It is up to others to travel in the direction of their outstretched fingers. Returning from the ascent to the One, the sage finds himself living in the phenomenal world “here.” But the sage is not like other human beings. The echo of self-disappearance in uniting with the One lives on in the sage, just as the echo of any life-altering experience may live on in regular humans. Those, for instance, who are shattered by experiences that shame them to their center and shock them out of their complacency may become different, more considerate people after their experience than they were before, even though the event may fade from their thoughts with time. For the sage, however, the event has effected a complete transformation—he has changed from a confused and dispersed dweller in the phenomenal world to a clear-sighted and fully integrated dweller in two worlds. The sage is a citizen of “there” and “here” who sees phenomenal reality in the light of eternal oneness. Such people, and only such people, are perfectly empowered to do the work of Soul in the midst of the phenomenal world. When they bring order, when they care for the world and all its beings, they bring the best order and care possible because they do not inject into the necessary disorder even more friction caused by erroneous beliefs about the nature of reality. Do such people actually exist? Perhaps Plotinus was one, or Christ, or Buddha. Or maybe they only exist in literature, like Diotima in Plato’s Symposium or Father Zosima in Dostoevsky’s The Brothers Karamazov. ***** Be that as it may, where does it leave the rest of humanity? Does the priority of the inward turn mean that everyone should be sculpting the inner statue unceasingly to the exclusion of all other activities except those that are absolutely necessary to sustain existence? Does everyone have to wait until they can achieve union with the One before taking the outward turn? Is it impossible to do Soul’s work of caring for the world without first becoming a full-fledged sage? I said just a moment ago that only sages are perfectly empowered to do the work of Soul. The structure of Plotinus’s reality makes that conclusion inescapable. But this does not mean that normal human beings cannot do the work of Soul as well. They just have to resign themselves to doing it imperfectly. They must understand that their efforts to care for the world and bring order to it will carry impurities owing to their ignorance. They must keep in mind that their very best efforts, and even their successes, will likely add some dissonance to the already dissonant phenomenal world— unless their efforts happen by chance to align with the true nature of reality. And such an alignment could only be by chance because regular humans don’t understand the true nature of reality. It would be like a Larissa-bound traveler journeying under a permanent eclipse of the sun who stumbles on the right road in the darkness and manages, despite the existence of many wrong turns, to stay on the main road all the way to town. In other words, it would be a rare, but not impossible, occurrence that would be all but unrepeatable because of the profound ignorance enveloping every move the traveler makes. An awareness of the dissonance attending the efforts of normal humans to care for the world is all the more important because the question I asked about waiting to become a sage before taking the outward turn is utterly contrafactual. The truth is that humans do not have the option of waiting for sagehood before they engage with the here-and-now. They are already and continually doing Soul’s work, whether they know it or not. Pastille, Double Duty 11 �As I said at the outset, we all act in accordance with our beliefs about how the world is. Every choice we make, every step we take in life is a co-creation of the matter-with-form around us and our beliefs about the nature of reality. In choosing to act one way or another, we invest phenomenal reality with the forms of our beliefs. Every human action brings form and order into phenomenal reality. Even abstaining from action is a choice based on one’s notion of reality. There is no waiting for sagehood before acting in the here-and-now. Waiting too is an act in the here-and-now. Given that humans do Soul’s work constantly, bringing order into the world in accordance with their understanding of reality, it makes all the difference whether they are aware of it. If they remain unaware, they will do the work badly, sowing disorder along with the flawed order they create. If, however, they become aware of what they are doing, they can begin to correct their views of reality, which in turn will result in less discord accompanying their engagements with the world. But this is to have already embarked on the inner journey. The first correction in one’s view of reality is the first chip at the inner statue. From this point on, the inward journey proceeds in a ratcheting motion. The improving person acts in the world and brings some order to it in accordance with his new view of reality. Then he turns inward to chip and polish his statue. Then he turns outward again to act, and it goes a bit better because his views are more aligned with reality. Then he turns within again for the next round of sculpting. And so on. So long as he never becomes complacent and never stops turning inward to work on his statue, his work in the world will be less disorderly and more in line with the care that Soul intends to take of phenomenal reality. Even if he never becomes a sage and can never do Soul’s work perfectly, such a self-sculptor would have improved the world by his inner exertions, although less aware humans may charge him with self-absorption. In fact, as Plotinus points out, the appearance of self-absorption is a misapprehension on the part of confused people. [T]he whole world would not bear a grudge against the part that achieved greater worth by being better ordered. For it also makes the whole more beautiful when it has become embellished with a greater worth. For a thing acquires this character when it is made to be the same as the whole and is, in a way, permitted to be like and be aligned with it, that something in it might also shine forth in the region where a human being is, too, like the stars in divine heaven (Enneads 3.2.14.22-25; Gerson, 266). ***** So, after this long excursion, we are finally in a position to give a comprehensive answer the original question, What does Plotinus’s view of the world indicate about how human beings ought to live? The answer is that reality imposes two duties on human beings. The first duty is to make the inward turn, to take the mystic path back toward the One, the source of all Being. This is the prior injunction, although many never heed it. The second duty is to care of the world and bring order to it as perfectly as possible. This is the posterior injunction, although its activity begins in us unawares long before we make the inner turn. While the life of the sage may not be attainable for most human beings, in Plotinus’s cosmos, everyone lives his or her best life by doing double duty. Pastille, Double Duty 12 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Microsoft Word Page numeration Number of pages in the original item. 12 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Double Duty: How to Live in the Cosmos of Plotinus Description An account of the resource Typescript of a lecture delivered by Bill Pastille, Annapolis tutor, on November 20, 2020 as part of the Formal Lecture Series. Mr. Pastille describes his lecture: "We all act according to our conceptions of the world. Plotinus had an extraordinary conception of reality, namely, that the One generates the less unified Intellect, which in turn generates the even less unified Soul together with the phenomenal world. Plotinus often suggests that the task of human beings is to overcome our multiplicity, to turn away from the less unified and toward the more unified layers of reality. Yet he himself sometimes acted differently. For example, he taught, and he brought up children entrusted to his care, and he wrote—all actions that show a concern for the level of multiplicity on which we humans live. This lecture attempts to account for this apparent discrepancy in Plotinus’s ethics." Creator An entity primarily responsible for making the resource Pastille, William Alfred, 1954- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-11-20 Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Plotinus Soul Mysticism Wisdom Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Pastille_William_2020-11-20_Typescript Rights Information about rights held in and over the resource A signed permission form has been received stating: "I hereby grant St. John's College permission to: Make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audiovisual recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a typescript of my lecture available online." Relation A related resource <a href="https://digitalarchives.sjc.edu/items/show/7427" title="Audio">Audio</a><br /><a href="https://digitalarchives.sjc.edu/items/show/7355" title="Video">Video</a> Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/ac4b6f540ba925d1848cb34256cb33cf.pdf 8431c0adbb1b2619139579a74e5a0f49 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Transcripts—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College at the Santa Fe, NM campus. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data pdf Page numeration Number of pages in the original item. 17 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The magnificent pendulums Description An account of the resource Transcript of a lecture given on November 18, 2020 by Howard Fisher as part of the Dean's Lecture and Concert Series. The Dean's Office provided this description of the event: "With Galileo, we learn to understand the two natural motions by reducing change to constancy (constant speed, constant acceleration). But trying to understand the motion of a pendulum by Galileo’s way generates an infinite task. Instead, we look to the Form of pendular motion: the Paradigm Circle. To what extent does the Paradigm Circle tell us which properties of the pendulum are essential to its distinctive motion, and which are merely extrinsic or fortuitous? We will look at several pendulum clock mechanisms, as well as a mechanical device that demonstrates the relation between the pendulum and its Paradigm." Creator An entity primarily responsible for making the resource Fisher, Howard J. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2020-11-18 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Galilei, Galileo, 1564-1642 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_FisherH_The_Magnificent_Pendulums_2020-11-18 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/05055287b50332b71a17bbcf1ead1f0c.mp4 9a5f334ad8c436bea1960e9794b8f7b3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Zoom video conference Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:38:48 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Looking in Freshman Lab I: A Path to Experiencing the Blossoming of Things? Description An account of the resource Video recording of two lectures delivered by Robert Druecker, Annapolis tutor on September 11 and 12, 2020 as part of the Formal Lecture Series. The lectures are the first in a three-part series on Freshman Lab. Mr. Druecker describes the lectures: "Part One gives a sense both of what students at the beginning of Freshman Laboratory read about looking at plants and of how they look at trees and other plants. Part Two considers one 'Big Picture' that they might paint, if they follow the guiding thread of the impulse-to-sprout, encountered in those first few classes." Creator An entity primarily responsible for making the resource Druecker, Robert Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-09-11 2020-09-12 Rights Information about rights held in and over the resource A signed permission form has been received stating: "I hereby grant St. John's College permission to: make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation at the St. John's College Greenfield Library; make typescript copies of my lecture available for archival preservation at the St. John's College Greenfield Library." Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Subject The topic of the resource Goethe, Johann Wolfgang von, 1749-1832. Versuch die Metamorphose der Pflanzen zu erklären Arber, Agnes, 1879-1960 Nicolaïdes, Kimon, 1892-1938 Ink painting, Chinese Buds Flowers Morphology Magnolias Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Druecker_Robert_2020-09-11 Relation A related resource <a href="https://digitalarchives.sjc.edu/items/show/7629">Looking in Freshman Lab part I</a> (typescript)<br /><br /><a href="https://digitalarchives.sjc.edu/items/show/7627" title="Part II">Looking in Freshman Lab part II</a> (video)<br /><br /><a href="https://digitalarchives.sjc.edu/items/show/7628">Looking in Freshman Lab part II</a> (typescript)<br /><br /><a href="https://digitalarchives.sjc.edu/items/show/7630">Looking in Freshman Lab part III (typescript)</a><br /><br /><a href="https://digitalarchives.sjc.edu/items/show/7682" title="Looking in Freshman Lab part III (video)">Looking in Freshman Lab part III (video)</a> Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/bd8bcf65749d37cf48b6b89ccf552814.mp4 3fed843f8fd66bd539d1828ee3ba209d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:44:40 Original Format The type of object, such as painting, sculpture, paper, photo, and additional data live YouTube webcast Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Our Polity Creator An entity primarily responsible for making the resource Macfarland, Joseph C. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-08-28 Rights Information about rights held in and over the resource A signed permission form has been received stating: "I hereby grant St. John's College permission to: Make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audiovisual recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a typescript of my lecture available online." Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Subject The topic of the resource Student-administrator relationships Polis (The Greek word) Education, Humanistic Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Macfarland_Joseph_2020-08-28 Description An account of the resource Video recording of a lecture delivered on August 28, 2020 by Joseph Macfarland as part of the Formal Lecture Series. First formal lecture of the academic year, previously referred to as the "Dean's Lecture", but now called the "Christopher B. Nelson Lecture". Christopher B. Nelson Lecture Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/92e264d3fff03026d492ca413b8efa22.mp4 0796ba533b1f4b628b3db67aaedbdf1c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Zoom video conference Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:50:36 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Poverty in America Description An account of the resource Video recording of a lecture delivered by Chris Arnade, Ph.D. on October 30, 2020, as part of the Formal Lecture Series. <br /><br />Dr. Arnade describes his lecture: "What costs do current political and economic forces impose on the worst off among us? We often hear of a divide between 'elites' and 'ordinary people,' but in what does this divide consist? Who are the leaders, and what guides their thinking? Who is left behind, and how do they describe their circumstances? Do ambition and achievement also leave behind certain forms of meaning and dignity? How are the current states of inequality created and preserved, and how are they harmful? How can and should voices from 'the back row' affect us?" <br /><br />Dr. Arnade left his career on Wall Street in 2008 and spent several years traveling in order to interview, photograph, and listen to poor communities around the US. He now works as a writer and photographer covering addiction and poverty in America. He is also the author of <em>Dignity: Seeking Respect in Back Row America</em>.<br /><br />The lecture is introduced by Joe Macfarland. Creator An entity primarily responsible for making the resource Arnade, Chris Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-10-30 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission to: Make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audiovisual recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library. Make a copy of my typescript available online." Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Arnade_2020-10-30 Subject The topic of the resource Poverty--United States Drug abuse Documentary photography Homelessness--United States Contributor An entity responsible for making contributions to the resource Macfarland, Joseph C. Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/ad640b97e9c2c7773ddcaa5e1a1f8f27.mp4 7159751b94d8319dfaf0122ebc52eb78 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data live YouTube webcast Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:55:09 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Becoming (A) Woman in <em>La Princesse de Clèves</em> Description An account of the resource Video recording of a lecture delivered by Patricia Locke, Annapolis tutor on October 2, 2020, as part of the Formal Lecture Series. <br /><br />Ms. Locke describes her lecture: "Madame de Lafayette’s book, <em>La Princesse de Clèves</em>, is one of the earliest novels of psychological realism, while at the same time it offers us an idealized description of an historical milieu. Our protagonist must wend her way through the Valois court, find Mr. Right, and become (a) woman in order to deal with the twin challenges of love and death. I argue that Simone de Beauvoir’s famous sentence, 'one is not born, but becomes, woman,' is tested in this novel. Will young Mlle de Chartres learn how to be 'woman' through her education? Or will she be able to transcend her education through her experience of the passions of jealousy, fear, and grief to become 'a woman' of inimitable virtue?" Creator An entity primarily responsible for making the resource Locke, Patricia M. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-10-02 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission to: Make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation in the St. John's College Greenfield Library. Make an audiovisual recording of my lecture available online. Make a typescript copy of my lecture available for circulation and archival preservation in the St. John's College Greenfield Library." Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context LEC_Locke_Patricia_2020-10-02_ac Subject The topic of the resource La Fayette, Madame de (Marie-Madeleine Pioche de La Vergne), 1634-1693. Women--Identity Virtue in literature Marriage Love Friday night lecture Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/071884928c03ae207de14a3f374811b2.mp3 f511bfe1dc8362fc31732a869b96fc2a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Speeches, presentations, and other lectures Description An account of the resource Speeches, presentations, and other lectures given at St. John's College. These include convocation addresses delivered in both Annapolis, MD and Santa Fe, NM.<br /><br />Click on <strong><a title="Speeches, presentations, and other lectures" href="http://digitalarchives.sjc.edu/items/browse?collection=15">Items in the Speeches, presentations, and other lectures Collection</a></strong> to <span>view and sort all items in the collection.</span> Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context speechespresentationsotherlectures Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data mp3 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:20:38 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Memorial for Elliott Zuckerman Description An account of the resource Memorial service for Annapolis Tutor Elliott Zuckerman, October 27, 2019. The program includes musical tributes and eulogies by Jamie Young, Kirk Duncan, Dylan Knight Rogers, Eric Stoltzfus, Eva Brann, Christopher Nelson, Chester Burke, James Siranovich, Jonathan Tuck, Zena Hitz, Howard Zeiderman, and the St. John's College Ensemble. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2019-10-27 Creator An entity primarily responsible for making the resource Young, Jamie Zuckerman Duncan, Kirk Rogers, Dylan Knight Brann, Eva T. H. Stoltzfus, Eric Nelson, Christopher B., 1948- Burke, Chester Siranovich, James Tuck, Jonathan Hitz, Zena, 1973- Zeiderman, Howard Rights Information about rights held in and over the resource Signed permission forms have been received stating, "I hereby grant St. John's College permission to make an audio recording of my lecture, and retain copies for circulation and archival preservation at the St. John's College Greenfield Library and to make an audio recording of my lecture available online." Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Zuckerman, Elliott Eulogies Music Contributor An entity responsible for making contributions to the resource Abbott, Robert Charles, Jr. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Zuckerman_Elliott_MemorialService_2019-10-27 Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/01726a00386e3d52abe40473e0ed738d.mp3 0c3c1dc82f1c2353cf2b1a6efd302478 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data wav Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:01:22 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reflections on the Bill of Rights Description An account of the resource Audio recording of a lecture given by Elizabeth C'de Baca Eastman on June 30, 2020, hosted by Edward Walpin as part of the Graduate Institute Summer Lecture Series. The Graduate Institute provided this description of the event: "Debate about including a bill of rights, the first ten Amendments of the United States Constitution, began in earnest during the ratification debates of the Constitution. The first ten amendments to the Constitution, called the Bill of Rights, was ratified on December 15, 1791. In contrast to the tradition of celebrating two famous documents in the history of the United States-- the 4th of July, the day that the Declaration of Independence was adopted in 1776, and September 17, the day that the members of the Constitutional Convention signed the Constitution in Philadelphia in 1787--there is little public commemoration of December 15. Yet, of the three documents, it is perhaps the most invoked by citizens and advocates in day-to-day life. What is the relation of the Bill of Rights to the other seminal documents of the founding era? Has its role changed since ratification? How does it contribute to forming a political community? Elizabeth Eastman holds a PhD in Political Science from Claremont Graduate School, an MA in Liberal Education from St. John’s College, and a BA in French Literature and Civilization from Scripps College. She has taught in the Political Science and History Departments at Chapman University and Azusa Pacific University, and in the Liberal Studies Programs at Roosevelt University in Chicago and at California State University at Fullerton. She is the 2020-21 Senior Scholar in Residence at the Benson Center for the Study of Western Civilization in Boulder, Colorado." Creator An entity primarily responsible for making the resource Eastman, Elizabeth C'de Baca Walpin, Edward Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2020-06-30 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Constitutional amendments--United States Relation A related resource <p>A video of this lecture is available on the St. John's College YouTube channel: <a href="https://youtu.be/AFljQseWAHI">https://youtu.be/AFljQseWAHI</a></p> Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_EastmanE_Reflections_on_the_Bill_of_Rights_2020-06-30 Graduate Institute Summer lecture series https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/2c01c7d7759d75cbda9cfb0dd60f1413.mp3 6a44741b82b065d42187bd5c227c375e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data wav Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:31:24 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The idea of the common good Description An account of the resource Audio recording of a conversation with Seth Appelbaum and David McDonald on July 7, 2020, hosted by Edward Walpin as part of the Graduate Institute Summer Lecture Series. The Graduate Institute provided this description of the event: "The idea of a 'common good' had largely faded as a theme of our public discourse until the Age of COVID-19. The notion of a shared good seems fairly uncontroversial when it shows up as a presupposition of public health policy. Beyond the realm of public health, and even in our fragmented and adversarial era, most activists and factions will sooner or later claim that they are working in service of the common good and not simply against their opponents. Does this resurgence of the 'common good' in our rhetoric herald an emerging consensus about the goal of politics, or is it a narrow, technical claim made in reaction to a specific emergency situation? How has the common good been understood throughout its long lineage, and what is at stake in the idea now? Join St. John’s tutors Seth Appelbaum and David McDonald for a live conversation on the question of what it might mean to have an ethical aim beyond that of the individual." Creator An entity primarily responsible for making the resource Appelbaum, Seth McDonald, David Walpin, Edward Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2020-07-07 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Common good Locke, John, 1632-1704 Relation A related resource <p>A video of this conversation is available on the St. John's College YouTube channel: <a href="https://youtu.be/hWyWx6DS3CM">https://youtu.be/hWyWx6DS3CM</a></p> Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_AppelbaumS_McDonaldD_The_Idea_of_the_Common_Good_2020-07-07 Graduate Institute Summer lecture series https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/b7b105abbc76a64470bdfac7044ead6b.mp3 23f3d2fccc9ca91b0d6e17303be8dd6f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data wav Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:15:22 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The greatest thing in the world is to know how to belong to oneself" : Reflecting with Montaigne on liberation of the intellect and education in times of crisis Description An account of the resource Audio recording of a lecture given by J. Walter Sterling on September 11, 2020 as part of the Dean's Lecture and Concert Series. Dean Sterling provided this description of his lecture: "The lecture will blend reflections on education in times of crisis, including a discussion of the founding of the St. John’s Program, with an examination of Montaigne’s understanding of education and its ends. Montaigne, who lived through plague and civil war, is one of the few authors who can stake a claim to have forged the modern individual. His response to the crises of his times was to cultivate a new literary form, the 'essay,' devoted to a new topic, 'myself,' and to send out a renewed or radicalized call for freedom of thought, independent judgment, and self-possession." Creator An entity primarily responsible for making the resource Sterling, J. Walter Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2020-09-11 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Montaigne, Michel de, 1533-1592 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_SterlingW_Reflecting_with_Montaigne_on_Liberation_of_the_Intellect_and Education_in_Times_of_Crisis_2020-09-11.mp3 Deans Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/56f8d8807022876529a5ba8518f2b928.mp4 21f0df538450f452466dc9e64a4c6d85 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Zoom video conference Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:49:35 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource God and Ostriches: Queer Birds in the Book of Job Description An account of the resource Video recording of a lecture delivered by Ron Haflidson, Annapolis tutor, on September 25, 2020 as part of the Formal Lecture Series. Mr. Haflidson offers this description for the lecture: "In the Book of Job, God and Job seem to disagree about ostriches. I use that disagreement as a means to explore Job’s spiritual crisis and God's response to it. This inquiry will involve numerous—often wondrous—facts about ostriches. The lecture presupposes no prior familiarity with the Book of Job (or ostriches)." Creator An entity primarily responsible for making the resource Haflidson, Ron Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-09-25 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission to make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation at the St. John's College Greenfield Library and to make an audiovisual recording of my lecture available online." Type The nature or genre of the resource Moving image Format The file format, physical medium, or dimensions of the resource mp4 Subject The topic of the resource Bible. Job Ostriches--Religious aspects Animal behavior Suffering--Religious aspects Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Haflidson_Ron_2020-09-25 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/63d610444809b3d985ee8ee236ba637c.mp4 0999cfedaae5515bfe4a4a3ccd344726 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Zoom video conference Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:58:30 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Great Books as a Tool for Liberating African Americans Description An account of the resource Video recording of a lecture delivered by Anika Prather, Founder of The Living Water School, on September 18, 2020 as part of the Formal Lecture Series. Dr. Prather offers this description for her lecture: "I will first review the history of how the Great Books or Classical studies have historically been instrumental in liberating African Americans and then I will connect that to current events and the importance of there being global citizens to fight this fight with our minds and hearts as MLK, Thurgood Marshall, John Lewis and so many others did, using the American documents and a deep understanding of them to hold our leadership accountable to the Constitution." Dr. Prather has spent many years as a teacher, director of education, and head of public and Christian schools. She writes about the history of classical education in the black community as well as the power of classics in the classroom. She is the founder of The Living Water School in Fort Washington, Maryland and teaches in the classics department at Howard University. Creator An entity primarily responsible for making the resource Prather, Anika Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-09-18 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission to make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation at the St. John's College Greenfield Library and to make an audiovisual recording of my lecture available online." Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Subject The topic of the resource Education, Humanistic African American women--Education Christian education Contributor An entity responsible for making contributions to the resource Macfarland, Joseph C. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Prather_Anika_2020-09-18 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/d8bc5790f8efd7f772bfcf9119b24c95.mp4 9c322938f97a00bf754ecdf73a43bafc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Graduate Institute Summer Lecture Series Description An account of the resource The Wednesday Night Lecture Series, hosted during the summer term by the Graduate Institute at St. John’s College in Annapolis, is a less-formal version of the college’s formal Friday Night Lectures. The Wednesday Night lectures are an opportunity for tutors and for graduates of the college who are pursuing academic careers to present the first fruits of their thinking to an attentive and inquisitive audience. The lectures, held in the King William Room of the Barr-Buchanan Center at 7:30 p.m., with a question period afterward in a neighboring classroom, are free and open to the public.<br /><br />For more information, and for a schedule of upcoming lectures, please visit the <strong><a title="Summer lecture series" href="https://www.sjc.edu/annapolis/events/lectures/summer-wednesday-night-lecture-series" target="_blank">St. John's College website</a></strong>.<br /><br />Click on <strong><a title="Graduate Institute Summer Lecture Series" href="http://digitalarchives.sjc.edu/items/browse?collection=31">Items in the Graduate Institute Summer Lecture Series Collection</a></strong> to view and sort all items in the collection. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Zoom video conference Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:29:02 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Community Colleges and Teaching in the Liberal Arts Description An account of the resource Video recording of a panel discussion held on July 1, 2020 as part of the Graduate Institute Summer Lecture Series. Like St. John’s, community colleges are institutions devoted primarily to teaching and learning.  They reach a broad and diverse portion of our country’s population. (In 2017–18, 38% of undergraduates were attending 2-year public colleges.) St. John’s collaborated with Anne Arundel Community College to bring together for this panel discussion faculty from a number of community colleges that have implemented discussion-based liberal arts education, including Austin Community College, Hostos Community College, Borough of Manhattan Community College and LaGuardia Community College.  The panelists include Andrea Fabrizio and Gregory Marks of Hostos Community College, Daniel Gertner of LaGuardia Community College, Holly Messitt of Borough of Manhattan Community College, Theodore Hadzi-Antich of Austin Community College, and Steve Canaday of Anne Arundel Community College. The panel was introduced by Emily Langston and moderated by Erica Beall of St. John's College. Creator An entity primarily responsible for making the resource Fabrizio, Andrea Marks, Gregory Gertner, Daniel Messitt, Holly Hadzi-Antich, Theodore Canaday, Steve Beall, Erica Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-07-01 Rights Information about rights held in and over the resource Signed permissions form have been received stating, "I hereby grant St. John's College permission to make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation at the St. John's College Greenfield Library and to make an audiovisual recording of my lecture available online." Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Subject The topic of the resource Community college teaching Education, Humanistic Anne Arundel Community College Contributor An entity responsible for making contributions to the resource Langston, Emily Language A language of the resource English Identifier An unambiguous reference to the resource within a given context PanelLecture_2020-07-01 Graduate Institute Summer lecture series Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/9a845f3d960726c7f87dfded218476d1.mp4 10e760de2f14ca041e7858e8eb964cf5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Graduate Institute Summer Lecture Series Description An account of the resource The Wednesday Night Lecture Series, hosted during the summer term by the Graduate Institute at St. John’s College in Annapolis, is a less-formal version of the college’s formal Friday Night Lectures. The Wednesday Night lectures are an opportunity for tutors and for graduates of the college who are pursuing academic careers to present the first fruits of their thinking to an attentive and inquisitive audience. The lectures, held in the King William Room of the Barr-Buchanan Center at 7:30 p.m., with a question period afterward in a neighboring classroom, are free and open to the public.<br /><br />For more information, and for a schedule of upcoming lectures, please visit the <strong><a title="Summer lecture series" href="https://www.sjc.edu/annapolis/events/lectures/summer-wednesday-night-lecture-series" target="_blank">St. John's College website</a></strong>.<br /><br />Click on <strong><a title="Graduate Institute Summer Lecture Series" href="http://digitalarchives.sjc.edu/items/browse?collection=31">Items in the Graduate Institute Summer Lecture Series Collection</a></strong> to view and sort all items in the collection. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Zoom video conference Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:03:38 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reading Plato’s <em>Meno</em> Online Description An account of the resource Video recording of a lecture delivered on June 24, 2020 by William Braithwaite as part of the Graduate Institute Summer Lecture Series. The final minute of the recording (beginning at 01:02:00) is in audio format only.  <br /><br />Mr. Braithwaite describes his lecture as follows: <br /><br />"Traditionally serving to introduce the study of Plato’s two dozen dialogues, the <em>Meno</em> raises questions about what virtue is and how it is acquired, about what knowledge is—both in itself and in relation to opinion, and about how teaching and learning are connected. <br /><br />I will offer a preliminary, or serious beginner’s, reading of the dialogue, with a view to opening one path to these questions: What are the conditions Plato suggests as ideal or best, indispensable or useful, for learning and teaching? How, and to what extent, are these conditions affected by the differences between face-to-face student-teacher meetings, and meetings among geographically-dispersed teachers and students, mediated by an electronic screen? What sort of community is an 'on-line' community?" Creator An entity primarily responsible for making the resource Braithwaite, William T. (William Thomas) Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-06-24 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission to make an audio recording of my lecture, and retain copies for circulation and archival preservation at the St. John's College Greenfield Library and to make an audio recording of my lecture available online." Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Subject The topic of the resource Plato. Meno Web-based instruction Education Contributor An entity responsible for making contributions to the resource Langston, Emily Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Braithwaite_William_2020-06-24 Graduate Institute Summer lecture series Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/4cabaaa22f2b7a8daf6f7577170cca81.mp4 8463b49f6747370c2c00f258c2275054 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Graduate Institute Summer Lecture Series Description An account of the resource The Wednesday Night Lecture Series, hosted during the summer term by the Graduate Institute at St. John’s College in Annapolis, is a less-formal version of the college’s formal Friday Night Lectures. The Wednesday Night lectures are an opportunity for tutors and for graduates of the college who are pursuing academic careers to present the first fruits of their thinking to an attentive and inquisitive audience. The lectures, held in the King William Room of the Barr-Buchanan Center at 7:30 p.m., with a question period afterward in a neighboring classroom, are free and open to the public.<br /><br />For more information, and for a schedule of upcoming lectures, please visit the <strong><a title="Summer lecture series" href="https://www.sjc.edu/annapolis/events/lectures/summer-wednesday-night-lecture-series" target="_blank">St. John's College website</a></strong>.<br /><br />Click on <strong><a title="Graduate Institute Summer Lecture Series" href="http://digitalarchives.sjc.edu/items/browse?collection=31">Items in the Graduate Institute Summer Lecture Series Collection</a></strong> to view and sort all items in the collection. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:26:57 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Teaching Poetry, Revelation, Mathematics, and Respect for Truth Description An account of the resource Video recording of a lecture delivered on July 8, 2020 by Ted Hadzi-Antich as part of the Graduate Institute Summer Lecture Series. Ted Hadzi-Antich, chair of the political science department at Austin Community College, presents a talk about teaching the first book of Euclid’s Elements in the context of other works studied in the Great Questions seminar. This lecture includes some animated presentations of Euclid propositions, including 1.47. Creator An entity primarily responsible for making the resource Hadzi-Antich, Theodore Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-07-08 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission to make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation at the St. John's College Greenfield Library and to make an audiovisual recording of my lecture available online." Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Contributor An entity responsible for making contributions to the resource Langston, Emily Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Hadzi-Antich_Ted_2020-07-08 Subject The topic of the resource Education, Humanistic Community college teaching Euclid. Elements Summer lecture series https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/135c20fcbcde2e336feb00c808c7c1b7.mp4 186cb696b6a0c5276d4868c7e365f0fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Graduate Institute Summer Lecture Series Description An account of the resource The Wednesday Night Lecture Series, hosted during the summer term by the Graduate Institute at St. John’s College in Annapolis, is a less-formal version of the college’s formal Friday Night Lectures. The Wednesday Night lectures are an opportunity for tutors and for graduates of the college who are pursuing academic careers to present the first fruits of their thinking to an attentive and inquisitive audience. The lectures, held in the King William Room of the Barr-Buchanan Center at 7:30 p.m., with a question period afterward in a neighboring classroom, are free and open to the public.<br /><br />For more information, and for a schedule of upcoming lectures, please visit the <strong><a title="Summer lecture series" href="https://www.sjc.edu/annapolis/events/lectures/summer-wednesday-night-lecture-series" target="_blank">St. John's College website</a></strong>.<br /><br />Click on <strong><a title="Graduate Institute Summer Lecture Series" href="http://digitalarchives.sjc.edu/items/browse?collection=31">Items in the Graduate Institute Summer Lecture Series Collection</a></strong> to view and sort all items in the collection. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 44:18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ideas: America Rising, A Call for a New Great Awakening Description An account of the resource Video recording of a lecture delivered on June 17, 2020 by David Townsend as part of the Graduate Institute Summer Lecture Series. Mr. Townsend describes his lecture: "The idea of America, the ideal type American, and the Spirit of America depend on purposes and virtues. What are the virtues and texts that identify America and an American? Can a Great Awakening based on these principles free our minds?" Creator An entity primarily responsible for making the resource Townsend, David L., 1947- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-06-17 Rights Information about rights held in and over the resource A signed permission form has been received stating, "I hereby grant St. John's College permission to make an audiovisual recording of my lecture, and retain copies for circulation and archival preservation at the St. John's College Greenfield Library and to make an audiovisual recording of my lecture available online." Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Townsend_David_2020-06-17 Subject The topic of the resource National characteristics, American Americans Ideals (Philosophy) Summer lecture series Tutors https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/dc57d8444bd60cf16142c6dfa5592dc1.pdf 2313c9f0c7e826b854728ebc02c246da PDF Text Text Volume VI Fall 2019 Understanding and Freedom in Descartes’ Meditations Paul Tsavoussis The Fellowship of Learning William Pastille Plato’s Parmenides: An Erotic Romp Maxwell Anthony Conversation with Michael Dink Colloquy Editors Four Poems Louis Petrich The Truth of Fiction in the Odyssey Elusive Gods and Esoteric Philosophers Jordi Rozenman Ryan Shinkel Conversation with Sheba Delaney The Epidamnus Affair: A Verse Translation Photography by Jaime Marquez A Journal of the Graduate Institute at St. John’s College �COLLOQUY St. John’s College, 60 College Avenue, Annapolis, Maryland Volume VI: Fall 2019 Editorial Board Jordan Poyner, Editor-in-Chief Andrew Dorchester Charles Green Dimple Kaul Jaime Marquez Colloquy is a biannual publication of the Graduate Institute at St. John’s College in Annapolis, Maryland. Subscriptions are free. To subscribe or update your subscription, please send an e-mail to colloquy@sjc.edu with the subject line “Subscription.” Address correspondence to: Colloquy, The Graduate Institute at St. John’s College, 60 College Avenue, Annapolis, Maryland 21401. Students, tutors, and alumni of St. John’s College and the Graduate Institute are encouraged to submit manuscripts in PDF or Word format by email to colloquy@sjc.edu. Writers are encouraged to discuss proposals with an editor prior to submitting their work. The journal also accepts submissions of poetry, artwork, and photography. Please include your name, contact information, and the title of your work with your submission. Disclaimer: The views and opinions expressed in essays or interviews do not necessarily reflect those of St. John’s College or Colloquy. ©2020 Colloquy, St. John’s College. All rights reserved. Reproduction in whole or in part without permission is prohibited. �TABLE OF CONTENTS Letter from the Editors........................................................................................ 3 ESSAYS The Fellowship of Learning: Address to the Graduate Institute, July 19, 2019 William Pastille, Tutor .................................................................................... 4 Descartes on Understanding and Freedom Paul Tsavoussis ............................................................................................... 9 Thoughts on an Approach to a Study of Plato’s Parmenides Maxwell Anthony ............................................................................................ 31 Elusive Gods and Esoteric Philosophers Ryan Shinkel .................................................................................................... 52 The Truth of Fiction in the Odyssey Jordi Rozenman .............................................................................................. 74 CONVERSATIONS Michael Dink, Tutor ............................................................................................... 15 Sheba Delaney .......................................................................................................... 66 POETRY Four Poems Louis Petrich, Tutor ....................................................................................... 39 The Epidamnus Affair: A Verse Adaptation Gregory LaMontagne ..................................................................................... 61 Her, because of and despite Matt Ely ............................................................................................................ 88 Artwork by Jaime Marquez and Samuel Hage �Jaime Marquez �Colloquy / Fall 2019 Letter from the Editors Dear Readers, Conversation is the vital function of St. John’s and its approach to education—and we understand that essays and lectures cannot replace it. However, it is our belief that some ideas deserve elaboration and deserve to be considered in their elaborated form. It is in this spirit that we have approached the Fall 2019 issue. For the sixth issue of Colloquy, the editors have tried to curate an issue that comments on the principal subjects of the courses available this spring. The essays here are provocative, carefully articulated, and discuss the nature of understanding, truth, and the philosophical approach. We hope these essays—and the journal itself—might serve as companions and catalysts for conversations to come. Colloquy is a unique space where students in the Graduate Institute may share their intellectual and artistic labors. It is a space maintained by GI students and, more or less, for GI students. By spring of 2020, nearly all of the current members of the editorial board will be graduated. If you appreciate what the journal does—or could do—we encourage you to join the editorial board. –The Colloquy Editorial Board 3 �The Fellowship of Learning: Address to the Graduate Institute, July 19, 2019 William Pastille The Fellowship of Learning here at St. John’s has been bustling, what with the Graduate Institute working through its intense new summer schedule, the Summer Academy delivering us two small hordes of high school students, and many study groups meeting as well. Until last week I was in one of those study groups discussing Virginia Woolf’s novel called The Waves. The book is a tour-de-force of early twentieth-century modernism, with six main characters speaking in an indistinguishable mixture of interior monologue and external dialogue, all with the same mostly dispassionate voice, the same diction, and the same vocabulary, distributing their speeches over a plotless series of vignettes. Despite these severe technical restraints, Woolf manages to pull off a remarkable feat of literary prowess: she tells a mesmerizing story that helps the reader who is willing to keep re-reading the book to see ever more deeply into life. Now I know there is nothing more tedious than listening to a book report on a book you haven’t read, and that most of you haven’t read The Waves. But I’m willing to risk a little tedium because Woolf’s book brings out two important truths about life. The first is that our identities, the hard shells that protect us from the world’s darts, are permeable to the smallest words and deeds of others. The second is that everyone suffers from the world’s darts and we often have no idea whether those around us are suffering. In regard to the first truth, Woolf demonstrates the permeability of identity by having elements of the characters’ personalities flow from one to another through images and word-patterns—what the book calls “phrases.” One character needs to feel stability in the dizzying whirl of daily activity. The 4 �Colloquy / Fall 2019 phrase “fix the moment” arises to express that need. Another character needs to preserve the sense of completeness that emerges when close friends gather. The phrase “a chain whirling round” arises to express that need. These phrases pass from character to character, enter into their souls’ storehouses, and graft themselves onto their personalities. And this, it seems to me, is really the way it is. Thousands of “phrases” broken off from the being of others comprise much of our identity—perhaps much, much more than we know. One of my phrases, for instance, is the one I started with: the Fellowship of Learning. I first began to hear myself saying it some three decades ago. I don’t know whether it started as my own invention, or as something I heard from a colleague, or something I read in a book. But today it steps forth of its own accord from the soul’s storehouse to meet an appropriate occasion—like this one. What does it mean? It stands for all of us who know that learning has made us what we are and that it can remake us to be better than we are. It is the community of all those who, both as students and as teachers, try to keep learning alive in themselves and promote it in others. We are all of us members of the Fellowship of Learning or we would not be here. Now on to Woolf’s second truth, that we generally do not know what others are suffering. The Waves contains many encounters among the characters that show this only too clearly. Here is one involving two of the main characters when they are young adults. Neville goes to Bernard seeking validation of his career choice: he wants to be a poet. Bernard seems to suspect Neville’s need, but he cannot support Neville because he has no inner stability himself. He is painfully distracted because he is in love and frantic about what sort of persona he must project to impress his beloved. Neville ultimately bolts from the room in frustration, throwing a poem at Bernard’s head. Bernard quickly, and regretfully, identifies complexity and confusion in our inner lives as the 5 �William Pastille / The Fellowship of Learning cause of such painful events. “We are not simple,” he says, “as our friends would have us to meet their needs.” And this, it seems to me, is really the way it is. Everyone struggles internally with life’s frustrations. Unless we are told about those struggles—and there are many reasons why even our closest friends would not tell us—we cannot know the suffering that someone standing right in front of us may be enduring. Nevertheless, Bernard immediately follows up with this remark: “Yet love is simple,” he says. Hmm. We are not simple, yet love is simple? What does he mean by “simple”? In the History Tutorial, we have been reading authors who try to find meaning in the succession of historical events. Augustine sees the City of God shining through the excrement spattered upon the world by the misuse of free will. Hegel smooths over the pointless waste of life in history with a story in which Spirit is the protagonist who redeems all losses through selfactualization. Marx transforms Hegel’s story about Spirit into a story about the transformative forces of inanimate matter working their effects on human matter. Those of you in other segments have encountered other authors trying to attain similar ends. Plato’s world of Forms contains the clear originals of the confusing images we encounter here in the sublunary world. In Homer’s poems, the Fates weave a cohesive tapestry displaying a clear picture that links together the seemingly haphazard actions of gods and men. In all these attempts to find meaning, the authors look through what presents itself as disorder in the hope of seeing order in the distance behind. When they succeed, the bewildering chaos reveals itself to be foreground; the order behind the chaos reveals itself to be background, the relatively simple skeleton that supports the apparent complexity. 6 �Colloquy / Fall 2019 Something like this is what Bernard meant by “Love is simple.” The complexities of life are foreground—a continual succession of apparently disordered events that either run smoothly or grind with friction. But love is background—the stable, if not always apparent, canvas on which all our life activities are painted. Bernard and Neville may be at odds in this moment, they may misunderstand each other and subsequently come to mistrust each other in some ways, but behind it all stands love, love that makes meaning of both trust and mistrust, cooperation and competition, closeness and reserve. There is foreground and background also in the Fellowship of Learning. The foreground is the Learning—the facts to be mastered, the ideas to be comprehended, the lesson plans to be covered. These keep coming at us, crowding up our days, rushing past at breakneck speed, and, sadly, disappearing quickly into the past, mostly without effect. But the background is the Fellowship. In the knowledge that suffering occurs, the essential act of fellowship is consolation. In all our learning, whether we are playing the role of student or teacher, we ought to keep our eyes on the deepest concerns of human life, some of which are no doubt distressing our fellow learners. We ought to direct our efforts toward deeper understanding that may lessen the suffering. Calm rationality, mutual respect, good humor, openness, offers of assistance, willingness to take up others’ questions as our own—the ways we treat one another as we engage the Learning in the foreground aids us in seeing through to the background. In the Fellowship of Learning we console one another through repeated acts of intellectual charity, solidarity, and sympathy. And in the knowledge that anything we say may enter imperceptibly into the storehouse of another’s soul, we should try to send out the very best of ourselves to our fellow learners. When we speak, either as teachers or as students, we should make our words as straight and as honest as we can, so 7 �William Pastille / The Fellowship of Learning that they will work no harm if they should take root in someone else’s personality and become their “phrases.” Does this sound difficult, like it requires a laborious artifice that will curb spontaneity and truthfulness? I assure you that it is not. Only one thing is required—love. And—as Bernard’s phrase will now, I hope, always step forth to remind you—love is simple. William Pastille has been a tutor at St. John’s College in Annapolis since 1986. He has also served as Assistant Dean and Director of the Graduate Institute. 8 �Colloquy / Fall 2019 The Alumni Association of St. John’s College funds a prize for a distinguished graduate tutorial essay written during the summer semester, which is awarded at summer commencement. An ad hoc committee of tutors teaching in the summer term will consider papers submitted by summer tutorial tutors. Award-winning essays are kept in the Greenfield Library. “Descartes on Understanding and Freedom,” by Paul Tsavoussis (AGI’20), is the 2019 award-winning essay. Descartes on Understanding and Freedom Paul Tsavoussis Where does the faculty of understanding reside in Descartes’ Meditations on First Philosophy and what does it elucidate in reference to free will? Men are decisive creatures. From the moment we wake to the moments before we fall asleep, we are inundated with stimuli that we must respond to: What to eat? What to wear? Whom to love? How to act? What to believe? Inevitably, we make bad decisions, but it is only through reflecting upon our decisionmaking process that we can limit the number of mistakes in the future, or at least not make the same mistakes twice. In his Fourth Meditation, Descartes attempts to discover how man errs. He concludes that man errs when his will outpaces his intellect, deciding unilaterally, without instruction from the intellect, what to affirm or engage. Throughout the meditation, Descartes relies heavily on the faculty of understanding to demonstrate this point, but at times it is not entirely clear where this faculty resides—in the domain of the will or that of the intellect? Descartes defines the intellect as a capability concerned exclusively with perception. He states: “For through the intellect alone I only perceive ideas on which I can pass judgement, nor can any error in the strict sense be found in 9 �Paul Tsavoussis / Descartes on Understanding and Freedom it when considered from this precise viewpoint” (40).1 The intellect is not the active decision-making faculty of man, rather, it is the domain of perception derived from God and therefore unerring, in the sense that what it does understand is correct (42). For Descartes, the intellect is limited in that it can only know what it knows, whereas the will is “unbounded by any limits” (41). Through this distinction, it becomes evident that Descartes believes that the faculty of understanding resides within the domain of the intellect. He claims: “For if, for example, I consider the faculty of understanding, I immediately recognize that in me it is very small and seriously limited” (41). Thus, given that the will is unlimited and the intellect is limited, it makes sense that the faculty of understanding, which is also limited, resides within the intellect. This understanding is supported further by Descartes’ definition of the will: “moved in relation to that which the intellect presents to us as to be affirmed or denied, pursued or avoided, in such a way that we feel we are not being determined in that direction by any external force” (41). The will does not seem to engage in any understanding of what is affirmed and denied, but rather is tasked with executing what the intellect has understood to be good and true. This passage places the will in a somewhat subservient stature to that of the intellect. Consequently, the faculty of understanding seems to remain exclusively within the domain of the intellect. Does the Will Understand? This clear distinction (with the faculty of understanding on the side of the intellect) is complicated by a discussion of man’s ability to recognize his relationship to God. Descartes states: “it is chiefly on account of the will that I understand that I bear a certain image and likeness of God” (41). This sentence seems to contravene what was previously laid out. Based on our prior reading, all ascertainable knowledge should be understood in the intellect and the will should simply engage it. However, Descartes seems to posit that it is “chiefly” through the will, and not the intellect, that man is capable of understanding that he bears a certain image of God. It is important to note 1 All parenthetical citations refer to page numbers in the following edition: René Descartes, Meditations on First Philosophy: with Selections from the Objections and Replies, trans. Michael Moriarty (Oxford: Oxford University Press, 2008). 10 �Colloquy / Fall 2019 that the text does not say that the will enables man to judge that he bears a certain image of God, but even more so, that it is the will that enables man to understand that he bears a certain image of God. The import of this is that naturally there must be understanding before there is judgment, and if the faculty of understanding resides in the will then it would be nonsensical for judgement, which trails understanding, to be reversed back to the domain of the intellect. Consequently, the will would be the exclusive decision maker of man. It would appear from these definitions that the intellect simply perceives the ideas, and it is up to the will to assess the information and decide on how to proceed. Through this lens of the will, as the enclave of understanding, the weakness of the intellect becomes more apparent. Descartes’ simple definition of the intellect as perception, seems to be materially different from “understanding.” When one perceives something that does not necessarily entail that they understand it, in the same way that a man can perceive a hidden figure in the shadows, but not necessarily understand what is there. The Understanding Intellect Although confounding, Descartes tacks back toward his original conception of understanding, as related to the intellect, when he posits his reasoning as to how man errs. He states: The range of the will is greater than that of the intellect, I do not confine it within the same limits, but extend it even to matters I do not understand; and since it is indifferent to these, it easily falls away from the true and the good, and this is both how I come to be deceived and how I come to sin.2 The most significant aspect of this passage is that Descartes seems to state that all understanding occurs within the intellect. What surpasses the intellect exists in the realm of the will. Additionally, what is understood by the intellect is true and good. If the intellect does not understand a certain proposition, then that proposition cannot be true and good; and the will is indifferent towards it. Nevertheless, given the previous passage concerning the will’s capacity to understand, it seems feasible that the will is more than just a subservient tool 2 Ibid., 42. 11 �Paul Tsavoussis / Descartes on Understanding and Freedom of the intellect but also engages in a degree of agency. Support for this theory is evinced when Descartes claims: It clearly followed that I existed, I could not indeed refrain from judging that what I so clearly understood was true. It was not that I was compelled to this by some external force, but that a great illumination of the intellect was followed by a great inclination of the will; and in this way my belief was all the freer and more spontaneous for my being less indifferent.3 Here, Descartes delineates between judgment and understanding. Judgment is an act separate from understanding and what is understood to be good and true is not necessarily judged to be so. The significance of this is that judgment seems to be a faculty of the will, whereas understanding is a faculty of the intellect. In the same way that understanding precedes judgment, so too is the intellect “followed by a great inclination of the will.” Descartes believes that man has a natural inclination to that which the intellect deems correct and the more correct it is, the freer it is, since we are not indifferent to it. Indifference can be understood to mean the absence of a directive from the intellect. Essentially, we are indifferent to matters we do not properly understand because no perception or understanding of truth exists to attract the will to one view or the other. On its face, this conception of freedom does not seem all that free. If man can ascertain the truth through the natural workings of the intellect in a “great illumination” and then act upon it, where exactly is the choice? Wouldn’t it seem like there is more choice or more freedom if the answer was less obvious, and more choices were available to choose from? I may be conflating quantity of options with freedom, yet the point still stands that the intellect (which does not err when it does understand the truth) will not exactly create the conditions in which choice is necessary. Freedom Descartes makes clear that the will is synonymous with freedom of choice. He claims: “It is only the will, or freedom of choice, that I experience in myself as so great that I can form the idea of none greater” (41). The primary implication 3 Ibid. 12 �Colloquy / Fall 2019 of this is that, for Descartes, the intellect is not a constituent aspect of freedom of choice, rather it is solely within the bounds of the will that individual freedom for man exists. Nevertheless, Descartes seems to believe that the will, even if it chooses the true and the good, is misusing free choice if it does so unilaterally without the intellect. He claims: But if I either affirm or deny, then I am not making the right use of my freedom of choice; and if I adopt the view that is false, I shall be altogether deceived. Yet if I adopt the other view, although it happens to be the true one, I shall still be at fault, because it is manifest by the natural light that a decision on the part of the will should always be preceded by a perception on the part of the intellect. The privation in which the essence of error consists lies in this wrong use of free choice.4 Descartes maintains that the will is synonymous with free choice, yet if the will or free choice does not follow the intellect, then it is less free or a “wrong use of free choice.” Although this is a thought experiment and exists to a certain extent in the vacuum of Descartes’ mind, the belief that the intellect should always precede the will, especially to be the “right use of freedom” seems untenable. If the intellect is not able to provide an understanding, and the will still moves forward with a decision, how is this a perversion of freedom? Necessarily, it is best to know what is good through the intellect and engage it with the will, but matters of love and life oftentimes do not provide our intellect with enough understanding and the will must compensate. Is this still not a proper use of freedom? A possible reconciliation is tenable when we consider Descartes’ previous mention of the will as understanding our likeness to God. Descartes’ characterization of the will as understanding, and not just as a faculty of judgment, makes possible the idea that in judgment there must be at least a modicum of understanding in order to ascertain how to judge. Judgment is predicated upon understanding the options available and the merits behind those options. Therefore, maybe the will also has a faculty to understand. 4 Ibid., 43. 13 �Paul Tsavoussis / Descartes on Understanding and Freedom Descartes’ main point when claiming something is less free or more free is that the ideal form of freedom is that in which the will does not need to understand through judgement, but is pulled toward the truth of whatever the intellect is claiming without any hesitation. It is an emotive, natural freedom, where there is no consternation or debate, but rather the will is moved simply by the blatant obviousness or “natural light” of the understanding of the intellect. Paul Tsavoussis (AGI’20) is a second-semester student in the Graduate Institute. He is a Georgetown University alumnus interested in political theology and existentialism. Jaime Marquez 14 �Colloquy / Fall 2019 A Conversation with Michael Dink, Tutor Colloquy: How does somebody—a young man no less—decide to leave Harvard and go to St. John’s? Michael Dink: Fortunately, this is a story I’ve rehearsed many times. As a high school student in Cincinnati, I had an English teacher who had attended Notre Dame and had done the Liberal Studies Program at Notre Dame. So he was an advocate of great books liberal studies programs and thought of St. John’s as the best program, and so he would often try to get his students to go to St. John’s. So that’s how I heard about St. John’s in the first place. But I thought it wouldn’t be so different to go to another school and major in philosophy. So I applied to Harvard and managed to get in, so I thought I may as well go there. In fact, I didn’t even apply to St. John’s I’m ashamed to say. So I went to Harvard and I discovered that, first of all, their philosophy department had little or no interest in the great books of philosophy. They took, by and large, a 20th Century analytical problems-oriented approach to philosophy, so that they didn’t usually offer courses that were focused on the great books of philosophy. So this was kind of a rude awakening and a disappointment for me, and I wasn’t quite sure what to do about that. And I also, I think, did not find fellow students who shared the interest that I had in reading and studying and talking about these things. — So at the end of freshman year, we were required to declare a major and having been deprived of philosophy as my effective major, I wasn’t sure what to do. I spoke with two St. John’s alumni—one was Rogers Albritton, who was a professor of philosophy [at Harvard] and I had actually sat in on a class which he taught called “Humanities Five,” which was a general education class, not a philosophy class. So he did actually assign and talk about some of the great books of philosophy in that class. He was an alum from the 40’s. The other was a graduate student in the history of science, who was a recent St. John’s alumnus (Bruce Collier). What I was considering was trying to make up my 15 �A Conversation with Michael Dink, Tutor own major, which is something you could petition to do at that time at Harvard, and that would try somehow to imitate St. John’s. So Professor Albritton said that is the one thing you don’t want to do: that would be the worst of both worlds. He said: “fish or cut bait.” I don’t know if you know that expression—choose one thing or the other, don’t temporize. The other guy said, “what do you want to be at Harvard for? It’s just another mediocre university with a lot of very bright people walking around.” — So, nonetheless, I retreated a little bit. I got into this major called History and Literature, which was a special major that allowed you to take courses in different departments toward your major, although it still required some kind of concentration—either in a particular country or in a time period. So I sort of randomly picked Early Modern, because it seemed to me to be sort of in the middle—maybe I should have picked Medieval. And I returned [to Harvard] for my Sophomore year. But on the way back from home, from Cincinnati to Boston, I decided to go through Annapolis and visit St. John’s. So I did a prospective visit and I met a student there who was at St. John’s under duress, because his father made all of his children go to St. John’s and he wanted to be at Princeton. So here I was a Harvard student thinking about going to St. John’s and he was a St. John’s student wishing he were at the Ivy League. So I did my prospective visit, I was intrigued, I was interested, I was thinking about it, but I went back and did another semester at Harvard. And things weren’t really getting better. — So I went home for winter vacation and on the very last day of winter vacation I called up this old high-school English teacher and asked to talk to him. We had a long talk and when I left I decided I’d apply to St. John’s for what used to be called the February Freshman Class, which was a class that started in February and did the first semester of freshman year during the second semester and the second semester over the summer so as to catch up. I would thereby lose only one year starting over. And at that time both St. John’s and Harvard didn’t finish their first semester until the end of January. That’s why there were February freshmen then. Harvard had this thing called Reading Period for three weeks after you come back from winter vacation, unless you 16 �Colloquy / Fall 2019 were in math and science classes—in which case your classes went on. But for other classes, classes were suspended and you were writing papers and preparing for exams. So I took the first week of Reading Period and wrote my St. John’s application, which at that time required five essays, and sent that in. After a little while I heard back from them that I’d been accepted and they told me what the financial aid offer was. So at this point I finally decided to tell my parents. CQ: So they were completely in the dark ‘till this time? Wow. MD: And it was the case that we were needy, so that at Harvard they were not paying anything. I had a contribution from summer work and [an] on-campus job and there was a loan, but there was not a parental contribution. The offer from St. John’s was not so generous, so there was a gap that they would have had to fill. They were very understanding and did not object to my leaving Harvard to come to St. John’s, but they said “we have no money to contribute, so we can’t help you with this.” So I called St. John’s back and said, “sorry, I’d like to come but I can’t do it financially.” So a couple of days later, half a week later, they called back and got in touch with me and said: “we found a little more money to offer you.” It still wasn’t quite a complete filling of the gap, but I thought that I would be able to manage, I would be able to work enough—if I earned more by working than I was getting from my on-campus job at Harvard then I could fill the gap. So I came. — There was one other complication: this was January of 1972. My entering college class or graduating high-school class was the last class to get student deferments from the draft at the time of the Vietnam war. And the lottery had been instituted so that you got a number which gave your likelihood of being drafted if you didn’t have a deferment. So there was one number for each birthdate and my number was 38. So if I lost my student deferment, it was almost a certainty that I would be drafted. There were plenty of draft counselors in Cambridge at the time as you can imagine and I spoke to some of them, but nobody knew what to predict because in order to keep your student deferment you were supposed to make normal progress. So one can 17 �A Conversation with Michael Dink, Tutor easily imagine that a draft board would regard going from being a sophomore to being a freshman as something other than normal progress. So I took a leave of absence from Harvard, so I had not burned my bridges. I went ahead and took all my exams and I arrived on campus a few days after the first classes, so I missed my first few classes and my first Seminar. I think pretty soon I was convinced that I had done the right thing. I waited about a month and wrote to my draft board. I got a letter back saying: “what’s going on Mr. Dink?” So I asked the Dean here at St. John’s—it was Robert Goldwin at the time—to write to my draft board and explain my situation and he did. I didn’t know what he said. He was someone who had some political connections: I didn’t know whether he had used them or not. But I did then get a letter from my draft board saying “ok, you can keep your student deferment.” Left to right: Michael Dink, Dimple Kaul, Jaime Marquez 18 �Colloquy / Fall 2019 CQ: When did you get [the letter]? MD: I don’t remember how long I had to wait. CQ: That period must have been like “Oh My God! What’s going to happen?” MD: Yes, it was a little worrisome. But the funny thing is that later when I was dean—from 2005 to 2010—they were cleaning out some of the old correspondence and they came upon the letter that Dean Goldwin had written to my draft board. And it was just perfectly straightforward explaining, you know, that everyone has to start over at St. John’s and that Mr. Dink was doing very good work academically here, and they thought he deserved to keep his student deferment or something like that. Still don’t know if he could have done anything else. CQ: How did you know when you began at Harvard that you wanted to pursue philosophy? At that age, how were you so interested? MD: Well I went to a Catholic parochial school in Cincinnati and part of that was you had a religion class every year. So [in] the religion class in maybe it was just senior year—I’m not sure whether it was junior or senior year—we read some existential philosophy. So that’s what piqued my interest and I said “well this is what people are talking about now, but there’s a whole history stretching back—I should figure out how they got there, what other people had to say about these questions.” CQ: Were you a voracious reader as a child? Were you into reading? MD: Yes, I was a pretty active reader. Mostly things like mysteries and sports books and things like that. CQ: So school influence brought philosophy into your life—at home what was the whole environment like? Would you discuss books with your dad and mom or your siblings? 19 �A Conversation with Michael Dink, Tutor MD: Not so much. My dad did have a college degree: it was in agriculture. And he had a blue-collar job working for the Postal Service. My mom did not have a college degree and was a homemaker—four kids. But they were concerned that we get a good education. So they scraped money together to send us to parochial school. And sort of made sure we did our homework, and monitored our grades and everything. So they were concerned that we get a good education. And they did take us to the library, the public library, but there were not a lot of books in the house. CQ: I don’t have nowhere near the amount of time that you have devoted to the great books. One thing that I have experienced while here at St John’s is that I have read [the] Meno more than once. My attitude, my understanding of it has changed with every subsequent reading. And so that is the question: have your views on what makes an eminently great book great changed for you over the years? Did that make sense? MD: Yes, although I was surprised—I thought you had shifted a little bit. I thought your first question [was]: “Do I change my readings of particular books from one reading to another?” That’s what I thought you were going to ask. CQ: Say that the first time you read The [Theory of] Moral Sentiments—okay, I think this book is great for the following reason. And then you read it again and now, well, I still think it’s a great book, but it’s for a different reason. So then not only your engagement, your interaction, your perception of the book—pick any book—how has that changed? Or has it changed? MD: I am not sure that I change my idea of what makes makes it great. I think I am sort of flexible about that. There are different ways of being great. Although, by and large, I think it’s mostly raising fundamental questions in a deep, complex way that is carefully articulated. So I think probably for the most part I think what happens is that I refine my understanding as I go through. It is probably not so frequent that I have a radical reorientation of how to read a book, but that may happen to some extent, from time to time, 20 �Colloquy / Fall 2019 although I don’t know that I have a great example off the top of my head to give you about that. CQ: What I had in mind. This is going to be a silly example, but when I hear musical pieces from Bach or Beethoven and you hear it repeatedly and suddenly you say “God! I never heard that note before and it was there all along.” Then that’s the sense in which to what extent the great books have done this for you. MD: Again it seems to me differences, right? You could say that I hadn’t heard it before and it changes everything. That’s one thing. Another thing is: “Oh, I hadn't noticed that before.” That shifts a little bit or adds something. So my sense is adding, refining is more the normal response and that radical reorientation is less common. But I wouldn't say it never happens, but I don’t have a good example of that happening to me. CQ: This is not exactly like a subsequent question, but I was wondering: when tutors come here, they would come as specialists—like a PhD in something— and then over a period of their stint at St. John’s, I would like to believe they are more of generalists. I’m told they take all courses and no tutor is there who is not taught almost all subjects. So how does this transformation happen? MD: You just learn by doing. I think most tutors come from roughly a humanities background where the focus is reading books and thinking about them. So for most of us the challenge is learning to do the math and science classes. But you know, we’re doing them from original texts, so part of that is just another instance of careful reading. And the program is structured so that things build upon one another, right? So you start with freshman math: it’s Euclid, it’s not fundamentally more difficult than high school geometry. It’s done with an emphasis on proofs and the rigor of proofs much more so than high school geometry, but it doesn’t presuppose anything. So doing Euclid you can just read the book and follow the logic, and it doesn’t presuppose any prior preparation in mathematics. 21 �A Conversation with Michael Dink, Tutor CQ: So stick to the text is what helps basically? MD: Yeah and start from the beginning in some way. And then Ptolemy builds on Euclid. There are elements of observation and familiarity with the skies and so forth. So there’s a bit of supplementing that we try to do with that. But again it’s basically intelligible building on Euclid. Roughly that’s the way it works: if you go sequentially through the program, what you need for the next step—the foundation has been laid down in the previous steps. So Tutors work their way through, learn along with—or slightly ahead of—the students. And again it’s crucial that the students don’t expect us to be the experts telling them how it works, but they have accepted the situation that it’s a group enterprise and we’re trying to figure it out together. And, in general, I think they are more likely to be upset with a Tutor who tries to tell them too much than with a Tutor who admits that he doesn’t understand something and needs to work it out with them or go to a colleague and get help. — Now all this said, I have to make a shameful confession, which is that there is a class I have not taught and that’s the sophomore Music Tutorial. And I feel particularly intimidated at that prospect, feel particularly—it’s an insufficiency of my childhood education that I never learned to play an instrument, did not have much instruction or experience with music. And I feel like I have no ear. I did the St. John’s Music Tutorial as a student. I spent a sabbatical auditing it, being a full-fledged student, writing papers and everything. So I have some familiarity with what it contains and what the issues and questions are. I just feel that I, myself, do harmonic analysis very slowly and painfully, and without any facility and without [the] ability to translate very well what I’m analyzing into hearing. So I feel all these things are an obstacle to my doing what I ought to do, which is to teach the Tutorial. CQ: Do you think that soon anytime you might remedy that situation? MD: I don’t know. I won’t promise it! I toy with the idea, but I might have to be semi-retired and clear the decks of everything else if I were to take it on. 22 �Colloquy / Fall 2019 CQ: That’s a formidable task it seems. Music is formidable—can you imagine?—for somebody who thinks philosophy is so obvious. This is so interesting. MD: Yeah, philosophy, math, and science—those are not so hard. CQ: This is really a very different insight into human psyche, thank you for being so candid with us! I was just wondering if there’s a difference in the approach with the undergrad students and the GIs because I’m sure at both levels you’re dealing with a different level of maturity and the emotional quotient is different. So even though the undergraduates could have a higher IQ, so how does one do that? And how does the Tutor cultivate this entire persona, aura, and demeanor of being a participant while at the same time being in control? So two questions. MD: That’s a lot. Let me take the second one first. The important thing is that the Tutor really see him or herself as a fellow inquirer, right? That we’re all trying to figure something out. You may be farther along the road, you may be more familiar with the material—you may have read it before, come to certain conclusions before or noticed certain things before—but you always are open to learning new things from it and from the class. In a certain way, the more you’ve worked with a book, in some ways, the more open you can be to different possibilities coming from the students. So you can say, “Oh yeah, that’s interesting, we could pursue that. I see what you’re getting at, I see a path we could go down there: let’s work on it together.” I think, again, there are different styles. — As I get older and become a more experienced Tutor, I am probably not as good at stepping back and just letting the conversation go. I find myself drawn to intervene more, though I try to tell myself that I’m [intervening] with a positive response to what the students are saying. I’m trying to follow up the line of inquiry they are initiating, not driving it myself away from what they want to talk about. There is an interplay: the students set an agenda by the questions they raise, I might then influence the way it goes, because I see a 23 �A Conversation with Michael Dink, Tutor way in which that line that they have raised could be pursued. And maybe it’s not exactly the way they were thinking of pursuing it—I don’t know. Other Tutors may be better—maybe I was better when I was younger, maybe not— at sitting back and letting the class go, especially in Seminar. — Now as to the difference between undergraduates and Graduate Institute students: undergraduate students have four years, so one can afford to give them some time to learn from their mistakes in a way. And there’s a definite process in freshmen classes whereby they are learning to be St. John’s students. They need to learn it by experience in some way and to find out what things do and don’t work. And you can help to show them, rather than tell them for the most part. Sometimes you have to tell people some things. But show them that certain ways of being in class are productive of good and interesting discussions in class, and other ways of being in class are counterproductive. I think there are some problematic tendencies that are more common in freshmen than in Graduate Institute students. There’s a kind of student who kind’ve wants to show off and is most eager to tell people what they’ve already figured out, rather than to engage in a common inquiry. Occasionally one comes across that in a Graduate Institute student, but I think it’s not quite as common. This is not [just] an age difference but a structure difference: you have a mixture of new students and continuing students in every Graduate Institute class. So there are some people who have experience with it and they can help to model behavior. CQ: In terms of the students, either GI or undergraduate, has there been a been a significant change since you have been here? MD: That's a hard question. Partly because any change that would happen would be gradual, over a long career, and you're seeing, you’re observing from year to year, it's hard to go back and remember what it was like thirty years ago. CQ: In terms of, say, your enthusiasm? 24 �Colloquy / Fall 2019 MD: I incline to the opinion that Johnnies are pretty similar through time and space. Other than appearance, once you're in a class that kind of drops away. I don't know if I could tell what decade I was in if you put me in a time machine and plopped me down in a class. CQ: In the Hartle Room, when we look at photographs of the students, they look different, if nothing else in the outfits. MD: Right, right. CQ: I was just wondering if they were more serious in general—in their attitude towards life or concerns for society. And, you know, they dress the part. Whereas if you were to take pictures of today's students, we would look very different than the ones from those pictures. MD: I would hesitate to draw that conclusion. I would hesitate to correlate the mode of dress with the seriousness of the student. I had a friend, as an undergraduate at St John's, who was kind of notorious for going around campus in his sock feet: shoeless, but not sockless! A very serious student. CQ: We as students, our degree of excitement and engagement towards the great books has not—from what you’ve seen—has not changed in any appreciable way. MD: No. CQ: Do you find any difference between the domestic and international students in both undergrad and [the] GI? MD: Well, not really in general. There's one specific area where I've noticed something which I think has been a good thing. I taught sophomore Seminar— three out of four years in the past five or six years. And this was during a period when we had a larger proportion of international students than we had in the past. In the past, it was [often] a kind of issue in sophomore 25 �A Conversation with Michael Dink, Tutor Seminar—where we read biblical and other religious texts—of people bringing their religious convictions to bear in a way that, you know, means they don't listen to each other as well as they could. They can be defensive and sort of polarized, and so forth. I think having a larger proportion of international students, who don't come from a Judeo-Christian or even Abrahamic background, has been helpful in that respect. They are more of an impartial spectator to these disputes. They can read the Bible more naively, openmindedly, and say: “who is this character, God, and why is he behaving this way?” I think that really helps the other students to see: “oh yeah, we don't have to read this the way we learn to in Sunday school or we don't have to be hostile because we've rejected all that.” So that I think has been a great benefit that I've experienced in sophomore Seminar from having more international students. CQ: So you have also been a part of the Santa Fe campus for four years. MD: Yeah, a long time ago. CQ: But if you were [to] just compare your initial years there and your initial years here, [is there] any perceptible difference or do you think it's just the same thing? That St John's is the same everywhere? MD: I think the sameness is more fundamental than any differences. It's very hard to separate—you tried to set it up so there was my youthful years in Santa Fe versus my youthful years in Annapolis, right? It's also complicated because I was a student in Annapolis, so there were still tutors that I had been a student under here Annapolis, where it wasn't so much the case in Santa Fe. So I really don't want to go there, to try to draw comparisons. CQ: But now Annapolis is home, almost? MD: Yeah, I certainly still enjoy visiting Santa Fe. When I was dean, I was there a lot for meetings and my son went to the Santa Fe campus partly 26 �Colloquy / Fall 2019 because I was dean in Annapolis when he was a student. And I was there this summer to teach Summer Classics for the first time. I think I will go back. CQ: I think the reason I also brought up Santa Fe is because they have that Eastern Classics program—have you taught any of those books? MD: I have not taught the Eastern Classics, no. I’ve done a few little things in what used to be called the Executive Seminar and now the Year of Classics. The Bhagavad Gita and some Confucius, but not with as serious of an approach as they do with the Eastern Classics program. CQ: You have a Western civilization [program] and an Eastern civilization [program], but are we ever going to, in the future, look at an overall Human Civilization program, which is integrated and comprehensive and chronological? MD: How many years do you think this will take? [Laughter] CQ: That’s my question! Is it possible? MD: I think it's very difficult. I think it's difficult to do justice to any of these traditions, even in four years. So that's the tough question and the tradeoff, right? Would you do no justice to either of them—or any of them—by trying to do all of them in some limited space of time, like four years? I think, although I haven't taught the Eastern Classics: it looks from the outside like it's a pretty serious program. It's pretty good, it's doing something like what we do here: going sequentially and building up the traditions. But I don't know. You know, what we do is just a slice of the Western tradition. What they do is just a slice of the eastern traditions, right? There’s more: there's the Islamic tradition, which we don't do justice to, we don’t do anything from. So there's a lot. Yeah, there are a lot more great books worth studying, but they do tend to be parts of traditions that it's—I think it’s important to read them in the traditions or conversations in which they flourished or were written. To just pluck 27 �A Conversation with Michael Dink, Tutor something out—pluck things from different traditions and juxtapose them— I think is not the best approach. So, I think it's a very great problem. CQ: You don't think it's feasible because of the context? MD: Yeah, I mean we don't have an academic mode set up to accommodate this. If you spent eight years—if you did four years in the Western great books, four years in the Eastern great books, I don't know, four years in the Islamic great books, but no: there isn't an academic structure to do that in. And because of the distinction that people make between undergraduate and graduate school, if you go on to graduate school, they're not going to want you to start all over again with another tradition. They want you to specialize within a tradition. There’s an Islamic undergraduate great books college that's called Zaytuna College in California, where that's being developed. And I think there’s also an eastern, maybe Buddhist-based one whose name I forget. I think probably in California too. And I think Ms. Brann is interested in getting us all to talk together about doing these different great books programs. So, you know, if somebody wanted to go sequentially through these three colleges it would take twelve years and a lot of money. [Laughter] CQ: Is there any particular book that you feel could have been a part of the curriculum, but is not because of certain reasons? MD: That's a difficult one too. We make choices. There are authors who wrote more than one book that could well have been included, and some have more than one book, but others don’t. I mean, obviously, I think Adam Smith’s [The] Theory of Moral Sentiments is a worthy book. Maimonides is read in [the] Santa Fe undergraduate curriculum, but not here. We just switched from Spinoza’s Theologico-Political Treatise to his Ethics. I would like to have both of them. And the whole question of what to do with—I mean, senior year now has some things from the 19th century, some things from the 20th century, and now we're in the 21st century. So I think there is, again, a difficult question about what are the great books of the 20th century. And how do we select them? How would we find a place for them, how do we fit them in? I think we’re 28 �Colloquy / Fall 2019 starting to think about that, but it’s a difficult question. I'm sure there are 20th, and maybe even 21st, century books that we should be reading, and [we] haven't figured out which ones are the right ones and how to fit them in. CQ: I just wanted to get your reaction to something that I think I perceive. And it has to do with the extent to which the orientation of the GI emanates from [the] Meno: this issue of recollection—Meno loves the allegory of the cave, Meno loves dialectics—and the extent to which my sense is that what St. John’s offers, or has done for me, is not just the great books. I mean, I can go and read them on my own. So, it's a combination of the great books and the conversation. MD: Exactly. CQ: And I wouldn’t say that all of it stems from [the] Meno, but if we wanted to go and trace the books that shaped, at least the GI, I think [the] Meno has to be in it. And then I say: “why is the GI introducing all the students through [the] Meno, if not to expose us to—to be curious about questions that seem obvious?” MD: It seems to me a couple of things about the Meno: one is just the fairly obvious thing that teaching is not just handing something over, not just transmitting something. And therefore it's not something passive that the learner suffers at the hand of an active teacher. But that activity is required of the learner, so that learning is more fundamental than teaching. Teaching is— if there is teaching, it's kind of assisting learning, right? Or trying to set up the conditions for learning. So, you might say, the priority of learning over teaching or teaching is ancillary: whatever teaching there is, is ancillary to the fundamental activity which is learning. And then, of course, secondly: that realizing that you don't know what you think you know is the precondition of learning. So those things seem to be the kind of obvious takeaways. And I think the doctrine of recollection as something specific is relatively less important. But there are those lurking questions about incommensurability in 29 �A Conversation with Michael Dink, Tutor the mathematical example that maybe not everyone sees at the first reading. So that’s something that takes a little more Euclid to get at. CQ: If you were to describe the crux of St. John’s and why you think a learner should come to St. John’s, what would you say? MD: I think it's the opportunity to think about fundamental and important questions with other people who are concerned with those questions and want to think about them and talk about them. It’s hard to find such people, so part of it is just bringing together those people. Mr. Dink was born in Louisville, Kentucky and raised in Cincinnati, Ohio. He attended Harvard College, earned his BA at St. John’s College, Annapolis, and earned his MA and Ph.D. in Philosophy from Catholic University of America. He has taught on both the Santa Fe and Annapolis campuses, and has served as Athletic Director, Graduate Institute Director, and Dean of the College. He has lectured on Homer, Plato, Aristotle, Rousseau, Adam Smith, Milton, and Molière. 30 �Colloquy / Fall 2019 Thoughts on an Approach to a Study of Plato’s Parmenides: An Erotic Romp Maxwell Anthony Since finishing my Master’s Essay on Plato’s Euthydemus1 a string of associations has led me to this only half-flippant hypothesis: the Parmenides is Plato’s most erotic dialogue. Here I will first present the string of clues from Plato’s dialogues that led me to this conjecture and then offer some thoughts about the Parmenides’s dramatic presentation that I think corroborate my suspicion. In my Master’s Essay I explicate the central image of the Euthydemus: Socrates and his interlocutor Cleinias appearing like children chasing after larks. A point that occurred to me after finishing the essay is that the obvious goal of chasing after a bird is to capture it. I remembered how, in my freshman year of college, a sparrow was loose in the halls of my dormitory. One student attempted to take the bird into her hands and deliver it to safety. Somehow she managed to charm the bird into her clutch, but, being held, the little sparrow let out such a scream that I never again doubted the evolutionist’s claim that dinosaurs are the ancestors of modern birds. The girl let the bird go, and the bird went. Children chasing after birds do not intend to catch them. They enjoy the play of chasing without the goal of acquiring. Although such chasing does not aim at acquiring the thing it plays to seek, it does acquire something—the pleasure and play of the activity itself. Socrates says that he and Cleinias appeared like children chasing after larks. Is there a mature way to chase after larks? This question led me to think: does mature bird-catching involve learning to mimic 1 Maxwell Anthony, “Chasing After Larks: the Justice of θυµός in Plato’s Euthydemus,” (2019), available at the Greenfield Library. 31 �Maxwell Anthony / Thoughts on an Approach to a Study of the Parmenides the bird’s song? However, if in Socrates’ metaphor the birds represent knowledge of particular arts, how could a bird ever be fooled by something it is not? It occurred to me that the purpose of chasing after larks might not be to capture the bird, as if philosophy were simply an acquisition of external ‘knowledge’ or ‘ideas’ or ‘things’ out there, but that by imitating the bird’s song we draw out of ourselves and make ourselves into the thing we pursue. This point led me to consider the image of the soul growing wings and taking flight in the Phaedrus but also caused me to wonder: how is it that the brothers’ imitation of Socratic philosophy in the Euthydemus does not strike us as an image of children “chasing after larks?” In the Euthydemus my favorite Platonic character, Ctesippus, dismisses the brothers as cold stiffs. This aside caused me to think that somehow Ctesippus sees a parallel between the brothers’ abstract sophistry and their being cold, which reminded me of Plato’s Seventh Letter and the sudden kindling of a soul by the flame of another. Plato’s language of catching fire (πῦρ2) in the Seventh Letter reminded me of Socrates’ famous description of himself taking the flame (φλέγεσθαι) as he glimpsed under Charmides’ cloak. This connection led me to see that the Euthydemus is, in a certain way, an image of the Charmides. In both dialogues Socrates talks with a beautiful youth encircled by a crowd in a public space. However, in the Charmides, Socrates is explicitly a young man, and in the Euthydemus he is explicitly an old man. So, I wondered, what is different about Socrates’ interaction with Charmides and his interaction with Cleinias. Although Socrates’ interaction with Cleinias in the Euthydemus occurs in the Lyceum’s changing room—recalling Chaerephon’s suggestion that Charmides strip—Socrates does not report to Crito in the Euthydemus that he “caught the flame” (Charmides 155d). Is Socrates any less erotic as an old man in the Euthydemus than he is as a young man in the Charmides? Thinking about this question, I remembered the following statement by the Athenian Stranger in Book Seven of the Laws: “May a seductive, erotic love of bird 2 All Greek is from Perseus.tufts.edu. 32 �Colloquy / Fall 2019 hunting, which is hardly a liberal pursuit, never come over any of the young.”3 Well, Socrates, in the central image of the Euthydemus, chases after larks, and the apparent drama of the Euthydemus is Socrates’ effort to get Cleinias chasing with him. We see the tension starkly and playfully between Socrates and the Athenian Stranger in comparing these two passages. The Athenian Stranger is obviously talking about philosophy and Socrates, in the Euthydemus, is just as erotic chasing after larks, like a child, as he is catching the flame in the Charmides. Socrates chasing after larks with Cleinias is the image of philosophic eros. How does this erotic aspect bear on the memetic quality of chasing after larks? This question drew me to the Parmenides. In its most basic look, the Parmenides is most similar to the Symposium, Theaetetus, and Phaedo, as these four dialogues appear to us as inherited narrations. The Phaedo is closest to the events depicted as Phaedo himself relates what he witnessed at Socrates’ death, and the Theaetetus is mediated by Socrates’ narration to Euclides, Euclides’ writing, and the slave boy’s reading. Simply as objects of inherited gossip or memorized speech, the Symposium and the Parmenides are the most similar of Plato’s dialogues. This similarity is the initial clue that now draws my interest to the Parmenides. We should approach the Parmenides with the same excitement and anticipation as someone asking for the story of the Symposium from Apollodorus. However, whereas in the Symposium there are apparently varied and garbled versions of the speeches on love, there is something of a clean and direct transmission of the conversation in the Parmenides. Although both dialogues reveal something erotic behind the oral transmission of events, the different transmissions seem to suggest something different about the content of each conversation. This likeness to the Symposium suggests that the Parmenides must be approached with the question of its form as an inherited narration, and the motivation behind that inheritance in mind. The Symposium is one version among other garbled narrations, whereas the narration of the Parmenides is 3 Plato, The Laws of Plato, trans. Thomas L. Pangle (Chicago: University of Chicago Press, 1988), 823e. 33 �Maxwell Anthony / Thoughts on an Approach to a Study of the Parmenides exact and explicitly demanding. The motive for the transmission of each, and the effect of that motive on the transmission of each, seems to be a clue about the erotic nature of philosophy. Given the extremely abstract and awesome majesty of the Parmenides, both as it appears to us and in its Neoplatonic legacy, I wonder: is the Parmenides an example of philosophy? What even is the Parmenides? The dialogue announces itself to us with the heading Cephalus. Just as there is something apparently “heady” and reverently senior about the Cephalus of the Republic, there is a similar duality with this Cephalus of Clazomenae. Both Cephaluses are loathsomely pretentious. The Cephalus of the Republic puts forward a moral pretense of escaping from sexual desire and advances the disgustingly dull view that the best we can hope for is a moderately burdensome old age.4 Something about the orderly and wellcontented view of life presented by the Cephalus of the Republic is mirrored in Cephalus of the Parmenides’s narration. The head abstracted from the body is a perversion and degradation. Plato’s challenge seems to be for us to see how and why this “image” of philosophy is distorted. So we must ask: what do we know about the character of Cephalus of Clazomenae and what does his character suggest about the drama of the Parmenides—the drama of the form and content, the dialectic of the human and the things humans say. The first thing we know is that Cephalus came to Athens with a group. He meets Adeimantus and Glaucon in the marketplace. Adeimantus takes Cephalus’s hand and says, “Welcome, Cephalus. If there is anything you want here that we can do for you, please tell us” (126a-c).5 Cephalus asks that Adeimantus show him to Adeimantus’ and Glaucon’s half-brother Antiphon, who is also Plato’s half-brother. Cephalus explains, “These men are fellow citizens of mine (πολῖταί τ᾽ ἐµοί εἰσι), keen philosophers, and they have heard that this Antiphon met many times with a friend of Zeno’s called Pythodorus and can recite from memory the discussion that Socrates and Zeno and Parmenides once had, since he heard 4 Plato, Republic, 329d. All quotations of the Parmenides are from: Plato, Parmenides, trans. Mary Louise Gill & Paul Ryan (Indianapolis, IN: Hackett Publishing Co., 1996). 5 34 �Colloquy / Fall 2019 it often from Pythodorus.” We are confronted with the duality of Cephalus’ pretense and his actual activity. His pretense is that he and his troop are “keen philosophers” and that they want to hear this famous conversation. Desiring to hear the speech is certainly a philosophic impulse. But, there is also something suspiciously unphilosophic and repulsive about Cephalus’ request. First, to include oneself in a troop of “keen philosophers” (µάλα φιλόσοφοι) is suspicious. If Cephalus and his troop are such keen philosophers, why do they have to travel to Athens to hear a speech? Their own conversation and friendship must be so insufficient that it requires going all the way to Athens. While there is something searching and erotic about this going out, it disguises a deeper flaw and pose. I suspect that Cephalus, although deeply invested in the conversation he requests, also wants to impress his “keen philosopher” troop by dipping into the string pool of his prior association with Plato’s family. Cephalus cannot remember Antiphon’s name but asks that Antiphon recite from memory the conversation. Cephalus’ memory is insufficient and he wants to supplement his insufficiency with the inheritance of a memorized speech. In short, Cephalus’ desire is that he be a philosopher by simply memorizing arguments. Just as the Republic is a critique of political idealism, the Parmenides is a critique of “heady” formalism. Adeimantus says that, “When Antiphon was a young man, he practiced it [the conversation] to perfection (εὖ µάλα διεµελέτησεν), although these days, just like the grandfather he’s named for, he devotes most of his time to horses” (126c). So, somehow we have it that a troop of self-proclaimed philosophers, who are really “citizens,” are going to hear a recitation from someone who spends his time with horses. Antiphon’s preference for horses leads me to a series of associations: Socrates as a gadfly biting the horse Athens, Hippias’s political service as an ambassador,6 and Ctesippus acting as guardian of Socrates. The horse and the city go together. Something about Cephalus’ 6 Plato, Greater Hippias, 281a. 35 �Maxwell Anthony / Thoughts on an Approach to a Study of the Parmenides expectation and Antiphon’s careful practice of the conversation go together and suggest the relief of philosophy. The group goes to Antiphon’s house and finds him “engaging a smith to work on a bit of some kind” (127a). He initially “balks” at reciting the conversation. “It was, he said, a lot of work,” reports Cephalus, “But finally he narrated it in detail.” According to Adeimantus, Antiphon, as a young man, practiced the speech with great care, seemingly bringing his recitation to perfection as though it were the poetic object of a craft like horseshoes or bridles. However, Antiphon turned from this care to the political concern for horses, following his grandfather’s ancestral example. Evidently recitation, no matter how profound, careful, precise, or perfect is not sufficient for turning one’s attention from the gentlemanly political concerns of “engaging a smith to work on a bit of some kind.” Moreover, Glaucon’s silence throughout this episode reminds us of Socrates’ apparent preference for conversation with him over Adeimantus, the more assertive and political of the brothers in the Parmenides. Cephalus reports: “Antiphon said that Pythodorus said that Zeno and Parmenides once came to the Great Panathenaea. Parmenides was already quite venerable, very great but of distinguished appearance, about sixty-five years old. Zeno was at that time close to forty, a tall handsome man who had been, as rumor had it, the object of Parmenides’ affections when he was a boy (καὶ λέγεσθαι αὐτὸν παιδικὰ τοῦ Παρµενίδου γεγονέναι)” (127a-b). The provided English translation is an interpretative rendering of the more exact: “and it was said that he became Parmenides’ darling (παιδικός).” παιδικός is an erotic word, implying that, according to rumor’s distortion, the relationship of Parmenides and Zeno might have been pederastic.7 So, the first hint of the erotic we find in the dialogue, after Cephalus’ dubious introduction of his philosopher friends, is in the educative relationship of Parmenides and Zeno. Moreover, this sense is presented between speaking 7 Thanks to Jeffrey Ulrich for pointing out this implication. 36 �Colloquy / Fall 2019 (λέγεσθαι) and having become (γεγονέναι). I take this presentation as a clue to a general theme following from my thoughts on the mimetic character of the erotic “chasing after larks” in the Euthydemus. What is the relation of eros and the coming into being of speech? The Parmenides is perhaps the most mimetic of all the dialogues, and something about its coming into being is like Thrasymachus’ precise speech. But this precise recital and memorized speech is haunted by eros. At a deeper level, the dialogue’s arguments involve becoming in regards to unity. Recalling Aristophanes’ speech in the Symposium, we must wonder: what does the form of the arguments presented in the Parmenides suggest about unity and eros? The Parmenides, although perfected and rehearsed in its transmission, is broken in its content. Cephalus’ tyrannical impulse to the simple unity of rehearsed speech is at odds with the discussion of the one with the young character Aristotle. The Parmenides is itself an image of eros, of the togetherness of unity and difference, against the formal perfection of recitation. The only explicit mention of eros occurs when Parmenides, like Antiphon, hesitantly assents to give a demonstration (137a). The parallels of Parmenides’ journey across a “sea of words,” and Cephalus’ journey from Clazomenae, and Parmenides’ citation of Ibycus’ poem and Antiphon’s business with horses, suggest that the mere recital of speeches is not simply philosophical, but that there is a link between recital and rejuvenation, especially seen through Zeno, that is easily corrupted and mistaken. Perhaps the reflection of Zeno’s and Parmenides’ relationship in speech mirrors the recited transmission of the conversation itself. The Parmenides is, moreover, Plato’s presentation of Socrates at his youngest. As a start to a study of the dialogue, we have to consider the different routes that the conversation took. Whereas Socrates takes the route of an erotic life, “chasing after larks,” the conversation as presented to us took the route of Cephalus’ deadened imagination and gentlemanly unerotic reproduction. He is like the cold, monstrous “dual” of brothers in the Euthydemus. The Parmenides is Plato’s most erotic dialogue because it is the one most haunted 37 �Maxwell Anthony / Thoughts on an Approach to a Study of the Parmenides by eros. Plato’s challenge is for us to fall in love with it. I suspect that he presents the dialogue as he does in order to inspire rather than discourage our love, so that—overwhelmed if not repulsed by the presentation’s precision and abstraction—we recognize Cephalus’s temptation to an image of philosophy and re-approach the dialogue accepting error in ourselves and the world, asking questions. 38 �Colloquy / Fall 2019 Four Poems Louis Petrich Gratification I must act grateful, grab that greater self: so if as beggar I’m half-bent to burn the houses down that eat up hoped-for wealth, or reach for throats that down my thirsting turn, or curse the looks that once I thought were mine— I’ll taller stand to overcome my state and staff from underworld the thoughts I pine to spring, and though no bodied soul’s my mate, one fate enwraps us thankful for the sea that laps the shore, where life first dared to walk long stretches breathing air, becoming free. Just think: from water one day came this talk, these puffs that would like bolts illumine you, to gratify by your eyes green, mine blue. 39 �Louis Petrich / Four Poems Ode to the New Person Man’s partner at her making was no twit, and he consisted like of her, full store— no brows down-turned in standing boredom’s fit, no back looks baiting followers galore. Now palms turn prey to images on pods, new Bacchae!—trained for net of lightsome gods. The glut that glistens screens their eyes conscript. Hairs tingle, aired with electricity of nerves connecting all in committee. She speaks to me of this amazing age, affections sweeping, all the world engaged: “I pass my days in lovely tapping fingers— they are to me the only digits!—linger, dear friend, they never do— diminished yours perforce, yet ever true to here while there now then shared one turned two (in novels three) yet so much more of me to thin—that when dim words leave you desponding, consider prefab motives— trickling colored corresponding!— mine’s higher than normal all the time, I angle but to dangle, language mangle, . . . maybe tangle! 40 �Colloquy / Fall 2019 So bow attention, service options grow, and you will love the lists, concocted dough, whose yeast inside us rises anxious news— these buttons tilled make darling fecund stews— click slick machine, come twitter, fill the pews!” I must have blenched like Adam at the fall. “For shame no—link, don’t blink— skim scroll lap looks and buy something delivered— (get the shipping free!)— bloodless hooks, these multi-windowed tubes— you peer in private—handmaids hind the stairs— or boys, no bias—so eeaasy makes it good, but there’s no doing without our secret-kept identities that every few months change— (security)— this flushes craven parlor purity!” She sees me stead her, makes clean breast of it: “O why receive I never revelation that tells me I am loved in all creation so I can stop this wanting more of mention this losing of attention and my mind? When will some god please message me? I pine.” ......... “Please stimulate me more now, leash me kinder the whirligig of time goes faster wider 41 �Louis Petrich / Four Poems deep cave me—four-walled stories to the point— and bind my sedentary balling joints to virtually what—I do not know— no circling stairs we once were meant to go and now that God yields rule o’er His creation all times and places don’t suffice the nations America retools for paradise.” All this she says in person, born again. Yield souls to gadgets spooning orifices of want with rivers emptying as fast in oceans churning senses bloated dumb. The shield Achilles only could uphold, containing all the world as glory’s price, now sized like apple, skittish little hands keep flourished—since we’re equal, says the man. The sporting games have just begun their fires, to celebrate the funerals— every buyer’s. 42 �Colloquy / Fall 2019 Samuel Hage, oil on canvas, 9.5”x7”, 2019 43 �Louis Petrich / Four Poems Words and Things How many weary months, by thoughts alone lives man for shining eyes, and forgets home. Winds crack open hues as wet streaks agonal cut cheeks in palette smeared of words and things —up rise remembered words: impediments, halt not, nor turn by them differed, on tempests look unshaken starred, fool bear doom error, prove love you let me recall your list above all missed, sweet seekers after golden clime where marriage of true minds outedges serrate time. Found dangersome, said ascent! 44 �Colloquy / Fall 2019 fallen from the sky red and black to earth, low horizon eyes bent uprooting mirth —stick deep semantic things: necklace lifted on me shining shoulders waving luster lent suitors dogging stakes down picnic tumblers emptied thirst unquenched telltale vibes my sun eclipsing hats off baby moon braves tan call it fate which stay late— burn up wrongs writ in me sign old names duty’s haste— say no more gone to sea. Son’s wild despair hied him afar from faces that he loved. Come home awhile more lean and sad in school of verse he’s shoved. Too much for me how things make words outdo themselves, how words make things undo themselves. Obtuse am I? Pour on, she says— I do, so vet. It gives us thrills— both grateful, sure. Still, five of me to one of her is not so good arithmetic. 45 �Louis Petrich / Four Poems Lear summons experts: speak love’s quantity— All my love —let ring to two undoes the thing. Those loving hers who serve fat words take fangish turns fordoing king. In wind and rain love’s quality comes clear: Nothing —true spoke to one outdoes all things. Who screens his love like stocks to vest centurial nights cracks vault of being. Without equality there’s similarity or probability maybe, but mostly neither place time ‘til feeling ‘til feeling mined neither place nornor time equalequal mined coinciding, we toe-plow common sands, forfor coinciding, we toe-plow common sands, broken lines incom-our fingers our fingers intertwined broken lines andand incomintertwined patibilities, round sifting treasured hands. patibilities, round sifting treasured hands. Must she augment? Or I diminish? Darcy sized his Lizzy up by one tremendous letter reaching perfectly the finish: God bless you! She felt in time the very man was He. 46 �Colloquy / Fall 2019 Great authors can make water wine, seem true. The greatest begged us ending, set me free. Our French sage teaches freedom and equality possess together under God, with much enlightened work committee spent by citizens accomplishing desires while motioning towards higher ends. Can lovers that way steer in currents strong as seas? Our lower ends to leisure volunteer— he worried much about their tyrannies. Our words do bodies want, we actors know and how to risk bereft our hands, impeach impossibles to make them real, addicted yes to loosely named applauded love— me! for I give you, you! 47 �Louis Petrich / Four Poems He took her air in greedily, she charged him keep its sounds to catch his falling paces. Excellent the breathing there! No running out—her speech, her buoyancy— at first; thereafter, sought he them in poems, their shadows followed everywhere, not her, to teach him how to curse and bless, same words, all things, promiscuous. Her image—lithe, enskied—but bears this sting. Take vow of silence, stern ascetic trust, so must we keep integrity from rust. Against my mediated banishment to portholes, runways, squeezed-in in-betweens— I wonder—how could such diminishment become us ever decent to assume, we full-paged, bound together, handsome wholes? So why diminish—at all—in the roll? Abatement theirs, live still largesse my soul! Odysseus much practice took from storied cares and beds, ‘till beggar suited, youth forsook, he wandered home to stead— love her, diminish not, of blood make theirs forgot. His goddess exercises mind of noon as anxious teaser plots his dead by hand; 48 �Colloquy / Fall 2019 on him shines glory phasing like the moon’s, its bastard light the fames he once full-manned. His wife for comic plot will overlook some things, and with his image marriage make to rear up life again for telling sake. In tragic plot he overreaches want, their tested oneness, rooted deep, defers as death transfixes memory in words— oh why could he not keep her standing by in rising river, holding fast the line? This present plot . . . I know not what to call, betide some author to untie its knots, free yes and no to straightway touch the goal. But since the waiting is the readiness, is the ripeness too, is the all-in-all this present must the bowstring bend to slay all thronging swilling arrogating longings— so wrath diminish not ‘till fires make cries forgot. I must feel grateful to my heart for not yet killing me, though designating mind as enemy, whose rightful state it occupies as suitor climbing high in peril tree, in wait for leave from her upstairs in years to plow new fate. Now given how I’ve given self away— 49 �Louis Petrich / Four Poems as long my care for her became my learning— what would be left she gone away, no greatness booked would make me stay, to practice going traveler-like, my journey almost done. Fare well, oh former Dearest Mine of Me, your needed here-now atoms, gone a spree. Oh, bother!— still wonderful against all currents other though stars scribe err put barks at variance I’d reign my chariot yours soft hairs fist strong low gentle words my shores. 50 �Colloquy / Fall 2019 Confused and Certain You pulled off there a coupling rare to see. Descartes let senses go for certainty in counting thoughts, but you feel surety turned upside-down and need no purity of math to graft with pleasure new mind’s mates. Old Socrates gave up Athenian life for much confusion spreading: and his bait?— questions—tyrannical in appetite for shrugging wisdom, Sisyphus’ stone. Not so your lithesome shrugs that hearten hands to touch the light on hunch-less shoulders toned by hairs spread warm as lips wine-drunk for man. I wonder if your skeptic brush can fix green eye and fleece me black . . . oh, to know your kicks! Louis Petrich is a tutor at St. John’s College in Annapolis, Maryland. 51 �Elusive Gods and Esoteric Philosophers Ryan Shinkel None may see the face of God and live to tell the tale, or so God likes to tell his prophets. The Lord, it turns out, likes to hide from his seekers. The stranger Jacob wrestles asks to be let go as the sun rises, but Jacob refuses until he receives a blessing. Renamed Israel, he proclaims, “I have seen God face to face, and my life is preserved” (Gen. 32:24-32).1 This blessing—which must be spoken—is not recorded, nor is it said if it was before or after daybreak, when light reveals what is hidden. Jacob is left seeing things anew, as he tells Esau, upon receiving his hand: “for therefore I have seen thy face, as though I had seen the face of God, and thou wast pleased with me” (Gen. 33:10). While this Patriarch sits in the front row, the prophet gets to go backstage. Having found grace before Yahweh and being known by name, Moses asks to see “thy glory” (Ex. 33:17-23). As God bestows grace and mercy as he wills, not as men will, he shall instead “make all my goodness pass before thee” as a proclamation. Moses cannot see his face, “for there shall no man see me, and live.” As a substitute, “while my glory passeth by,” God will shield Moses with his hand: “thou shalt see my back parts: but my face shall not be seen.” Yahweh is a hidden God who discloses his glory at his pleasure. Here, God acts esoterically. Moses and Aaron have heard the word of the Lord, but the people see Moses and hear Aaron (Ex. 4:27-34). Even when God appears as a fire to the people—as he did to Moses—it is from far away, not in a nearby bush, but “like devouring fire” on the mountaintop as seen by the children of Israel (Ex. 24:17). Yahweh is an esoteric deity, open to the few and hidden to the many. Tickets are not publicly sold. 1 The Bible: Authorized King James Version with Apocrypha, with an introduction and notes by Robert Carroll and Stephen Prickett (Oxford: Oxford University Press, 1997). 52 �Colloquy / Fall 2019 Tradition reflects this phenomenon in scripture of noting distinctions between those to whom God is exoteric or esoteric. When St. Augustine, being troubled by a Manichean literalism, heard St. Ambrose preach, he “judged the Catholic faith” could “be maintained without being ashamed of it.” This case especially concerned “various passages in the Old Testament explained most frequently by way of allegory, by which same passage I was killed when I had taken them literally.” The letter kills, but the spirit gives Augustine life: “when many passages in those books were explained spiritually, I now blamed my own despair” at deeming “the law and the prophets” defenseless against their critics.2 The literal reading of scripture is a basis for allegorical readings as well. One levels supports another. The records of divinity are, in a sense, veiled by letters on the page. The letter protects the spiritual. This textual clothing for the gods occasions for pagans as well as Jews and Christians. In his Metaphysics, Aristotle presents his argument from motion for the existence of the Unmoved Mover, but this being is without any providence which is usually ascribed to deities. The eternal mover originates motion as the primary object of desire and thought. As pure actuality, God is a changeless and living being who is perfect, transcendent, and simple. “On such a principle,” he writes, “depend the heavens and the world of nature.” The whole imperium of heavenly spheres move towards this Mover whose contemplation constitutes pure idea: thought thinks thinking, “for this is God.”3 This cosmological argument extends to the stars: “since there cannot be an infinite regress, the end of every movement will be one of the divine bodies which move through the heavens.” As there is one prime mover, there is one heaven where all movements are for the sake of the divine stars: an ancient secret. But what hides, shall be revealed. 2 St. Augustine, The Confessions of St. Augustine, trans. John K. Ryan (Garden City, NY: Image Books, 1960), 5.24, 131. 3 Aristotle, “Metaphysics,” trans. W.D. Ross, in The Basic Works of Aristotle, ed. Richard McKeon (New York: The Modern Library, 2001), 1072a-b. 53 �Ryan Shinkel / Elusive Gods and Esoteric Philosophers Here, Aristotle discloses that, rather than a God whose revelation is in a hidden form, the poets kept secret within their embellished tales a secret knowledge of gods in nature. The forefathers of the remotest ages handed down to posterity a tradition disguised as a myth: that “these bodies are gods and the divine encloses the whole of nature” (1074b). The rest of the tradition came later—in mythical form—to persuade the multitude for the sake of expedient law and utility by giving human or animal form to these gods. The poets, in this account, were de facto philosophers. They disguised their teachings of natural philosophy in the guise of marvels and fables to protect their work and society. First came the discovery that the heavenly spheres are divine, and then came the noble lies to disguise this teaching for the many. Still, for Aristotle, the early wheat can be separated from the added chaff. Aristotle writes: “that they thought the first substance to be gods, one must regard this as an inspired utterance, and reflect that, while probably each art and each science has often been developed as far as possible and has again perished, these opinions, with others, have been preserved until the present like relics of ancient treasure” (1074b). Only this far is the opinion of the ancestors and earliest predecessors clear to the living. Aristotle rarely gives credence to the poets, but there is scientific truth in this kernel of inspired story, that first substances are divine, since the arts and sciences have progressed and perished, but this relic of ancient treasure has persisted. There is a further instance of poetic inspiration for Aristotle. Many other thinkers postulate many governing principles for the cosmos. However, against these confused views, he charges: “they give us many governing principles; but the world refuses to be governed badly. ‘The rule of many is not good; one ruler let there be’” (1076a). This Homeric quotation (Iliad 2.204) is an example of inspired utterance: Homer is a lyre of metaphysics. Within the poetry hides a revelation of divinity, one which even philosophers may appreciate. But the gods and their poets are not the only ones who can act elusively. Their critics, the philosophers, can play that game as well. René Descartes prefaces his Meditations with a contrast of two kinds of readers. Without 54 �Colloquy / Fall 2019 expecting “any popular approval” or “wide audience,” he urges nobody “to read this book” save “those who are able and willing to meditate seriously with me, and to withdraw their minds from the senses and from all preconceived opinions” (9).4 If many are called to read this book, few are still chosen, as “such readers” as these “are few and far between.” The few are an intended audience, while they who make no attempt to grasp the proper order and connection of the arguments—“but merely try to carp at individual sentences, as is the fashion”—will benefit little from the book. This many “might quibble in many places,” but will not be able to produce worthy “objections” (9-10). Despite the fact that “nothing is older than the truth,” nevertheless in “philosophy” it is believed that “everything can be argued either way” (5). Thus “few people pursue the truth, while the great majority build up their reputation for ingenuity for boldly attacking whatever is most sound.” A lover of wisdom is rare, but dialecticians and sophists are commonplace. Descartes waits for perceptive readers. He who has eyes, let him read with care. One example of perceptive writing is, on the very first page, a rewrite of scripture. As Aristotle reinterpreted Homer and company, so Descartes reinterprets the Bible. He says all theologians assert that God’s existence is naturally demonstrable and more knowable than most created things. As a prooftext, he claims: “in Romans, Chapter 1 it is said that they are ‘without excuse’. And in the same place, in the passage ‘that which is known of God is manifest in them,’ we seem to be told that everything that may be known of God can be demonstrated by reasoning which has no other source but our own mind” (2). Thus Descartes later inquires as to how it is that the knowledge of God is more certain than knowledge of the world. Yet the passage has very much the opposite meaning: “Because that which may be known of God is manifest in them,” St. Paul writes, “for God hath shewed it unto them.” The reason is that, he continues, “the invisible things of him 4 Citations of the Meditations refer to the original pagination of the Latin text as given in: René Descartes, “Meditations on First Philosophy,” in The Philosophical Writings of Descartes, Vol. 2, trans. John Cottingham, Robert Stoothoff, and Dugald Murdoch (New York: Cambridge University Press, 1984). 55 �Ryan Shinkel / Elusive Gods and Esoteric Philosophers from the creation of the world are clearly seen, being understood by the things that are made, even his eternal power and Godhead; so that they are without excuse” (Rom. 1:19-20). In this passage, the visible works of creation show the invisible powers of God. It begins not with idealism, but experience elucidated by metaphysical insight. We know by natural reason upon creation that God is. What the Apostle says, as St. Thomas Aquinas comments on this scriptural passage, “would not be unless the existence of God could be demonstrated through the things that are made; for the first thing we must know of anything is whether it exists.”5 Instead, Descartes revises Romans 1. It is traditionally understood to mean the knowledge of the infinite creator God from his powers manifested in creation. With Descartes, it instead means a logical proof in the mind. But such a scholastic point, as is made here, is one of “the large number of falsehoods that I had accepted as true in my childhood,” showing “the highly doubtful nature of the whole edifice that I had subsequently based on them.” Thus, “it was necessary, once in the course of my life, to demolish everything completely and start again right from the foundations” so “to establish anything at all in the sciences that was stable and likely to last,” (Meditations 17). Descartes’ methodical doubt shall cleanse these impure opinions away, much like clearing away the anthropomorphic embellishments in poetry in order to find truly inspired utterances. One must doubt to believe. As St. Mark records: “And straightway the father of the child cried out, and said with tears, Lord, I believe; help thou mine unbelief” (Mk. 9:24). Perhaps one need not doubt in order to believe. This is shown in another example of elusive philosophy: David Hume. He doubts not for grandeur in belief, but for moderation in skepticism. The arguments of this Pyrrhonian skeptic have great force, even though their conclusions are blunted by the 5 St. Thomas Aquinas, The Summa Theologica, trans. the Fathers of the English Dominican Province, Second and Revised Ed. (1920), http://www.newadvent.org/summa/index.html, 1.2.2. 56 �Colloquy / Fall 2019 necessities of common life. Twice Hume begins a part of his Treatise with an epigram by Tacitus from his Histories (1.1): “Rara temporum felicitas, ubi sentire, quae velis; & quae sentias, dicere licet,” which is translated as, “The rare good fortune of an age in which we may feel what we wish and say what we feel.”6 Further, he begins his third part with an epigram by Lucan from his Civil Wars (9.562-3): “Durae semper virtutis amator, Quaere quid est virtus, et pasce exemplar honesti,” which means, “A lover of austere virtue, you should at least ask now what Virtue is and demand to see Goodness in her visible shape.”7 Only at this time is it possible for a philosopher to feel what one wishes and freely express it. Yet Hume published his Treatise anonymously, as he says in the Advertisement to his Enquiry of “that juvenile work, which the Author never acknowledged.”8 Hume did not find a large audience, but only a few acerbic authors. Yet even in such circumstances, Hume still takes measures to couch his criticisms of religion in terms of piety: the act of faith is itself a miracle – and thus a violation of the laws of nature as attested by the accustomed experience of conjoined events.9 Some would charge Hume and his ilk exhibit “a century-long degradation and devaluation of the concept ‘philosopher’,” lacking “real spiritual power, spiritual vision of real depth—in short, philosophy.”10 Human, all too human, is truly humean, all too humean. So Friedrich Nietzsche charges. Persons with spiritual power and vision are few and far between. “Every exceptional person instinctively seeks out his fortress, his secrecy, where he is delivered from the crowd, the multitude, the majority, where he is allowed to forget the rule of ‘humanity’, being the exception to it,” he writes of the free spirit in Beyond Good and Evil (26). Since only very few can achieve independence, “a prerogative of the strong,” the 6 David Hume, A Treatise of Human Nature, ed. David Fate Norton and Mary J. Norton (Oxford: Oxford University Press, 2001), 1, 179. 7 Ibid., 3, 290. 8 David Hume, “Advertisement,” in An Enquiry Concerning Human Understanding, ed. Peter Millican (New York: Oxford University Press, 2007), 2. 9 Hume, An Enquiry Concerning Human Understanding, 10.41, 95. 10 Friedrich Nietzsche, Beyond Good and Evil, trans. & ed. Marion Faber (Oxford: Oxford University Press, 1998), section 252. 57 �Ryan Shinkel / Elusive Gods and Esoteric Philosophers man who attempts it by right but not need is “probably not only strong, but bold to the point of recklessness” (29). This man, so far from the quarrels of human conscience, reaches the point where, if he dies, he perishes across a canyon from human pity and feeling, “and he cannot go back again!” This spirit of independence in philosophy is reserved for freer spirits on high. It is meant for the few, not the multitude. “Whenever our loftiest insights inadvertently reach the ears of people” not “constituted or destined to hear them,” these insights should “sound foolish,” if not sometimes “even criminal” (30). For “earlier philosophers”—from Indians and Greeks to Persians and Muslims, “people in short who believed in hierarchy and not in equality and equal rights”—had “distinguished what is exoteric from what is esoteric.” While “the exoteric philosopher stands on the outside, and sees, estimates, measures, and makes judgements from the outside rather than from the inside,” for “he sees things from down below—whereas the esoteric philosopher sees things from above!” Exoteric philosophy is distanced from what it observes, but is therefore beneath it, while esoteric philosophy is above it all. From the viewpoint of these spiritual heights, “even tragedy ceases to have a tragic effect” and this higher philosopher, “taking all the pain of the world together,” might decide upon “redoubling the pain.” From this outlook, things are topsy-turvy. One goes all the way down the rabbit hole. What nourishes and refreshes a higher type of person is poisonous to an inferior type. The virtues of an ordinary person are vices of weakness in an uncommon philosopher. What occasions ruin and degeneration for this overman would be, paradoxically, a state of affairs where he is “revered as a saint in that lower world into which he sank” (30). If the esoteric philosopher were to descend to the masses, he would be worshipped like a god. Shown here is an inverse relation of what is good and bad for higher persons, and good and evil for lower ones. Some books “have an inverse value for body and soul” if “they are used by the low sort of soul” or by “the higher and more powerful.” For the many, “they are dangerous, erosive, disintegrative books,” while for the few, “they are calls of a herald, challenging those who 58 �Colloquy / Fall 2019 are most valiant to attain their valour.” One can tell by the sense of smell: “Books for the masses are always bad-smelling books: the odour of little people clings to them.” This stink congregates “wherever the common people eat and drink, and even in their places of reverence.” As Nietzsche wryly comments, “Do not go into churches if you want to breathe clean air.” Among the children of Israel a higher being is denigrated, and among the multitude a divine fire is made anthropomorphic. Likewise, an esoteric philosopher in church would stink and have little room to breathe. One needs fresh air, on a mountain with burning bushes. This lesson is not necessarily a new one—as nothing is older than the truth. Do not be afraid of teachers, Jesus of Nazareth tells his disciples, “for there is nothing covered, that shall not be revealed; and hid, that shall not be known” (Matt. 10:25). Even so, the order of who knows what is inverse: “I thank thee, O Father, Lord of heaven and earth,” Christ prays, “because thou hast hid these things from the wise and prudent, and hast revealed them unto babes” (Matt. 11:25). Those who learn sacred mysteries are valleys exalted, while those who do not are mountains and hills made low. The few and the many trade places. If everything hidden shall be revealed, but what is made known is hid from the wise and prudent, then all things are made known— but in a veiled fashion. Thus St. Matthew writes: “All these things spake Jesus unto the multitude in parables; and without a parable spake he not unto them: That it might be fulfilled which was spoken by the prophet, saying, I will open my mouth in parables; I will utter things which have been kept secret from the foundation of the world” (Matt. 13:34-35). Here is a higher type taking on a human nature, one who is to be revered by a lower world into which he sank. How could it be otherwise? A higher being entering a lower level of being is not seen in full, but only in part. The pattern is akin to Dante writing his own person into the Divina Commedia as its protagonist narrator. We characters do not directly see the author directly. How may one approach He who was named by the angel to Moses as “I am that I am” (Ex. 3:14)? One cannot see the unveiled face of 59 �Ryan Shinkel / Elusive Gods and Esoteric Philosophers God and live without mediation. There is a tabernacle for that: “Καὶ ὁ Λόγος σὰρξ ἐγένετο καὶ ἐσκήνωσεν ἐν ἡµῖν” (Jn. 1:14). The Koine Greek translates: the Logos became flesh and tabernacled among us. Tabernacle is a verb predicated on the subject Logos. He who hath ears, let him hear. Ryan Shinkel is a historical researcher and writes from Annapolis. His master’s essay is to be on St. Augustine, and he is currently writing a book about how Achilles became Steve Jobs. Jaime Marquez 60 �Colloquy / Fall 2019 The Epidamnus Affair 1 Gregory LaMontagne [To the Athenians] CORCYRA: When neighbors reticent hail unforeseen, And not in haste collecting bounty due, They must needs qualify their audience Upon two points, advantage and reward. If should entreaties fail on both accounts, Or even if but one such argument Should lose support, then guest importunate Finds hosts alike aloof from his collapse. Therefore, we stand before you for we stand Secure in doubly reinforced request. But first, as honesty marks what is fair, As much, and only after, what is foul, We must our motivation model bare, So Athens first may mark how we did err. By Zeus, 'twas not in wickedness we camped Unyielding in our isolation thus; Instead, belike a stalk atop a hill, Allotting not the sunbeams nor the dew, Absorbing all for profit, we resolved To ally not was but to aid ourselves, And notice how our policy proved true When singly did we conquer Corinth's ships. Alas, success as fortune's evidence, Imprudently we kept our favored course, 1 In one of the incidents which ignited the Peloponnesian War, Corcyraean and Corinthian heralds meet to plead their cases in an Athenian assembly. This is a verse adaptation of Thucydides’ telling of the event (Thucydides, History of the Peloponnesian War, 1.32.1-1.40.6). 61 �Gregory LaMontagne / The Epidamnus Affair And thinking skies would e'er auspicious be, Late desert winds reprove our fortune's lack; For now, as Corinth and her cohorts surge, Fraternal drought yields none with which to merge. Abreast of all, advance we our request: Permit us solace in confed'racy. Our tardiness we said does much us taint, But ripe the bounty is for recompense: Because we call as victims full abused, Redeeming us endears you publicly, And wins you all which we have still to prize: Our naval power is best—excepting you— With ample store of men and currency; Indeed, was e'er alliance smoothly drawn, The power of pledging honorable guard, The pledge with power to guard the hon'rable? Now might be urged our gain is but in war; A rightly boon for nigh 'twill be in store. He's more than blind that sees no conflict near, Not even Corinth could perceive the less— Shortsighted though she be in state and arms— Must needs we mind you of her friend your foe? Why else would she send hasty envoys here Where only treaty will entreat her stays? By staying our united forces, she The better force our sep'rate forfeitures. Though known that Corinth is our motherland, Prefer you'd call us orphan than her spawn, For vilely did she perpetrate her claim, Enslaving kin, forgoing trial for war. If tyrant to those closest bound by seed, Beware ye, Athens, only bound in deed. Pursuing treaties, lest you fear a breach 'Tween you and Lacedaemon's thinning ties, 62 �Colloquy / Fall 2019 Our past indifference should embolden you; Provisioned neutral states may join whoe'er. And even if Peloponnesus smarts, The wiser you for doubling your defence. Conjoined, your navy first, ours just behind, Horizons four were bridled by but two; Third best at sea, yon Corinth—lately smote— Yet shunning victor's arrogance, take heed That fortified she'll bankrupt every bet, O'ertaking second's reigns, attaining first. Old counsel is the longest-lived advice: With foes of foes is friendship founded twice. Advantages discussed, hear our reward: No currency has yet been smelt than that Which could repay in drowning galley hulls The debt owed justly keeping freemen free. In truth, there is no recompense. Instead like dangling grapes to prunèd arms, All trophies we could mount were daises, Forever fruitless save in constancy. In sum, with much at hand, and more at stake, States worldliest as fit must bear the world. Encompassing all birds and bones and smoke, Your verdict will proclaim our prophecy: Recline, you forward our enslavement foul; Attack, we both promote the sovereign owl. CORINTH: 'Tis not our way to press with charm or stent, But let the blunted ram of reason sway. Corcyra, late concocting tragic scenes, Beguiling passions, hoped to win their case, And thus, though we prepared apology, Our precedent requires plural refute; 63 �Gregory LaMontagne / The Epidamnus Affair And as more argument usurps more time, What shortly planned proves long when unrehearsed. You heard tell crime of misabuse, a lie; You heard confession of a vice, a truth Befouled by counterfeit remorse, and last You heard a bugbear more befitting youths, That war is braced though long have treaties held. Now Corinth rights you what's been wrongly spelled. A colony is like a husband's heir, Bestowed with raiment, duly nourished, Entitled sanctuary, sure beloved, And asking in return just loyalty. When all such sons spurn father commonly, Indict the latter with mismanagement; But tribute honored barring only one, Lament the sire beset by selfish seed. In siege secure did they press then for trial; In fearful straits do they now beg acquittal; What further evidence must needs contemn? Bereft of friends—our other subjects sate— Corcyra flees to strangers ne'er'fore met, For previous pride seclusion did beget. By this they played their part with learned remorse, But tainted tears resoil where pure ones wash. The lonely weed they spok'st, all rain, all sun, It sucked, devoured, bares their nature true: They justified withdrawal as liberty; Yea, rapine free from guilt or oversight. Retreated, they, from every settlement, But not so far removed to lack a port, And thus they sat and drained each tired guest Whom fate would spurn and cast their woeful way, As much a host should run such hostelry To put all bandits out of busyness. 64 �Colloquy / Fall 2019 Are these the friends you trust contracted peace? Are these to trust when pleasant trade times cease? And cease they will if Athens votes for shame; Not Corcyra, but Corinth treaty binds, And planting hopes outside of bound'ries is The surest way to sew condignèd blight. They claim that war portends; fulfill their seers This same day by assenting. We'll see to't. For comrades close to foes are far from friends; Choose Corcyra, you herald us opposed, You rift war's net and spill his pinioned wrath. Our allies justly will attend our sides; Can you, oathbreaking, count on sim'lar vows? Distrust begets distrust, revolt, revolt; You'd gain a friend to lose a sundry more. The godless sacrifice no gods restore. So soon you'll vote what late we passed ourselves— Against the wishes of our allies—said We: powers are right to punish colonies, And thus was Samos, unassisted, quelled. Intruding not, intrude not, mark the law: Give like to like; if fairness moves you not, Be stirred what profits all: impartial wit, Neutrality's epitome, imparts That straightest paths lead swiftest to reward; Abet not wayward crooks who drag repute; Conduct yourselves but wisely, and you'll learn How kind shores kind more fast than any ship. Decision's simple when decisive's tough: Let leave us, Athens, and 'twill be enough. Gregory LaMontange (AGI'19) is a transplant from Houston, Texas who thwarts his natural desire to tell you everything about himself by way of keeping all autobiographical writings to a one-sentence minimum. 65 �A Conversation with Sheba Delaney Colloquy: We at Colloquy are really delighted to be having this conversation with you, Ms. Delaney. Thank you for doing this! Before we move into the specifics, it would be wonderful if you could, for the benefit of our readers, tell us something about yourself. Sheba Delaney: Hi! My name is Sheba Ross Delaney. I'm sixty-seven years old. I grew up in Houston, Texas. I've lived in New York City for about fifty years. I went to art school and had a career as an editorial illustrator for magazines and newspapers. I've also been a fine arts painter most of my adult life and still am. And now I'm also a sophomore at St. John's. CQ: Interesting! How did a sixty-seven year old fine arts student, who has had such a wonderful career, find St. John's? SD: I heard about St. John's when I was in art school. I was always a book person and I was intrigued by the idea of it. But I was on a different path at that time and didn't think about it seriously. But it was always in the back of my mind. Now I have other interests that I would like to pursue and I felt that a solid foundation in the evolution in Western culture would be a good thing to have. Where else but St. John’s? CQ: Being somewhat different from the average profile [of a student] applying to St John’s, how was the experience of the admissions process? SD: Well, we do have a fair number of students who are not eighteen-yearolds straight out of high school. In my sophomore class, we have someone in their forties, who's had a fantastic career as a musician, and people who are in their mid-twenties. But I'm definitely farther away from high school than most! — 66 �Colloquy / Fall 2019 So as far as the admissions process went, I was just as nervous as anybody else. I went through the process normally. I came to the school and interviewed, and I submitted my essays and my information. It was a little challenging getting high school transcripts. I had to go find an Ancient Cave of Transcripts from high schools that no longer exist... But I managed to track them down and I was really thrilled to be admitted. CQ: Was it easy for you to get into the groove, especially as the programme here at St. John's is a little different from the rest of the country? SD: Well, I don't have a comparison to make because I never went to any kind of academic college program. I [only] went to art school and left early to start my career. Putting myself into a structured environment where one is juggling several different and difficult tasks simultaneously was definitely challenging for me. I’ve always been a monotasker! CQ: You have been a voracious reader. Did that make the reading, which we are supposed to do before any Tutorial or Seminar, easier? SD: I’ve always read a lot, but reading critically in preparation for discussion is different from reading for pleasure. I wouldn't say it's a strain because I love to read, but reading carefully—and the volume of reading that has to be done—is a challenge. CQ: The format of discussions is such that you read the text, stick to the text, have questions and explore answers from the text itself—without any interpretation of your own. How has that experience been and how easily could you accustom [yourself] to it? SD: I've never read as a group activity before. So it took some time in the beginning. I think [that] for all freshmen it’s a process to learn how to listen and engage in the conversation. I mean, it's one thing to read and have your ideas and just come in with those ideas, but the goal is to be an active 67 �A Conversation with Sheba Delaney participant in the discussion. It took a little practice, but I feel pretty comfortable with it now. CQ: Do you think that the body of experience that you brought to the table gave you some confidence and reassurance, or did you go with an open mind, eager to learn from whatever everybody around the table could offer? SD: I didn't feel like I had any advantage. What we are doing, we were all new to. It was a learning process and I was learning along with everyone else. So I feel very much on the same level as my classmates and am really interested in what people have to say. I’m amazed at the insights people have that I would never have thought of. So, no, I didn't feel any advantage or a disadvantage. I just kind of felt we were all on the same level. CQ: You have shared that there are people across age groups and experiences in the College. What was the response of your classmates to your presence initially? Do you think that they were open to you? SD: Yes, I’ve felt very accepted. My classmates have been really kind and really accepting. Maybe a little startled at first! But after the first few weeks everybody was just trying to get their work done and get on with it. It’s a great community. It’s been fun. CQ: Have you [already] read any of the books included in your freshman year or sophomore year? How was the experience? SD: I’ve read pretty widely, so, yes, I have read quite a few of the books that we cover. But a lot of them I read a long time ago, so it’s great to revisit them again in this context. CQ: For any of the books that you have [already] read, did you ever feel that there was a change of perspective towards the text or a new interpretation of the text on account of the discussions that ensued in the classroom? 68 �Colloquy / Fall 2019 SD: Oh, I think the classroom discussions definitely enrich my understanding of the text. And I learn as much from my classmates as I do from the text. CQ: Do you think that you would like to pursue any other language—let's say Greek as an additional language—beyond the curriculum? SD: You mean after St. John's, or maybe even now? I probably will be too busy keeping current with the program going forward. I don’t know if I could study two languages at once. But what I do feel is that I've had an introduction to Greek that gives me a good foundation to continue with later if I want to. CQ: In addition to reading, reading, reading, and discussing, is there any other activity on campus that you've participated in or been a part of? SD: Last year, I went to the creative writing group. I've gone to a few one-day study groups. There are so many things that look like fun! But to be honest, staying on top of my work is my priority. So I try not to get too involved in too many things. CQ: You mentioned attending creative writing club last year. You are already a columnist, aren’t you? SD: Yes, over the years I have written a number of columns on religion for The Episcopal New Yorker, which is a diocesan newspaper. CQ: We heard that you also wrote for a couple of college magazines. Tell us about that, please. SD: Well, one of the unexpected things that happened last year was that a lot of what we’re doing triggered my sense of humor. So I found myself writing humor pieces on the side. A couple of them went into The Gadfly and I had a comic strip on Greek pronouns in the last issue of Energeia. And a poem coming up in the next one. So that’s been fun. 69 �A Conversation with Sheba Delaney CQ: Would you like to contribute to Colloquy in the subsequent issue? SD: Sure, if I come up with something worthwhile! CQ: Let’s talk about essay writing. How easy or difficult has it been for you to write an essay on, say, mathematics? How did you go about it? SD: Writing comes pretty naturally to me, as long as it's something that I'm interested in. But I’m not very comfortable with math, and writing a math paper was a completely alien concept! So my first math papers were actually creative writing pieces using math concepts as characters. And that was a lot of fun and my math tutor, Ms. Ekholm (thank you, Ms. Ekholm!), was quite patient with me! But after we got well into the year and I settled into Euclid a little bit I was ready to write a proper math paper. And I did. CQ: Would you say that you have understood what a Johnnie essay is and what it takes to write one? SD: No, actually, I didn’t really want to learn to write a Johnnie essay. I think in the beginning I was a little worried because I thought I should write a Johnnie essay, whatever that is. And then I thought: “I better stop thinking that way,” because it was just completely intimidating me. So I decided to just think about what was interesting to me and go from there. The tutors are helpful in organising your thoughts. But, basically, I'm super interested in a lot of what we do here. And it's fun for me to try and turn that into a coherent piece of writing. CQ: Now that you're in your sophomore year, what advice do you have for a freshman coming to St. John's? SD: Pace yourself, show up for class, take it one day at a time, and get as much sleep as you can. And take time to have some fun! 70 �Colloquy / Fall 2019 CQ: Do you think that there is enough exchange or interaction between undergraduate and Graduate Institute students on campus? How was your experience been? SD: Actually I'm a gregarious person, so I tend to talk to a lot of people. So I have met some people in the Graduate Institute, but I think it would be nice for there to be more interface. Maybe some school-sponsored social event. We are one community after all, and it’s nice for people to get to know each other. CQ: I get that you're not from Annapolis, or anywhere close to this region. How was the change for you? SD: Big. After forty-five years of living in New York City coming to Annapolis was really a very big change, but it was a welcome change. I came here with a purpose and I have a reason for being here, and it's a lovely community. Definitely quieter and slower paced than New York City, but I like it. I'm enjoying my time here. CQ: Are you also juggling a career with your studies or have you taken a break from your full-time career? SD: No, I'm focusing on school right now. I am continuing to paint but it's definitely at a slowed-down pace while I'm in school. CQ: Do you think that we might have an exhibition of your paintings anytime soon in our own Mitchell Gallery? SD: Well I was honored to be part of the Community Art Show last year. The Mitchell Gallery does such a great job putting together interesting shows. I’d be happy to be part of anything they thought was appropriate. CQ: After the undergraduate program, do you have any plans for further studies or will you be taking it a little easy? 71 �A Conversation with Sheba Delaney SD: Well, I’m taking it one day at a time but am hoping to go on and do a Master’s in theology. CQ: That is brilliant. And would you be considering St. John's or do you have any other institutions in mind? SD: Not St. John’s, but don’t know where yet. That’s still down the road. CQ: What is it about theology that inspires you to pursue it academically? SD: Everything. CQ: Is it possible that one day you would write a story of your own—perhaps on your observations of life, a particular phase of your life, or even St. John's, for instance? SD: I never know what I’m going to do next. CQ: Is there anything else that you would like to share with people keen on starting afresh in life, probably wanting to pursue something that they thought that they could not do? We are asking because it takes a lot of courage, and your decision to go back to college after so many years would have taken a lot of thought and courage both. Do you have a message for people who want to do something of that sort in life? SD: I think people should do whatever they want to do, whenever they feel like doing it. We should always be creating the future for ourselves that we want. How long that future will be isn’t relevant. Ms. Delaney worked for many years as an editorial illustrator for many publications, including The New York Times, Time Magazine, Esquire, Money Magazine, and The Times of London. She has exhibited her oil paintings in various gallery and museum shows. She has written frequently on religion for The Episcopal New Yorker. 72 �Colloquy / Fall 2019 Jaime Marquez 73 �The Truth of Fiction in the Odyssey Jordi Rozenman The Odyssey overflows with life. Vitality sparkles from its pages as does the sun from the sea against which Homer sets his masterpiece. The work is as full to the brim with vim and vigor as is the man himself, loved, hated, unable to be ignored: Odysseus. But what does this mean, after all? What does it mean that a work of fiction—of lies—can be truer to life than some of the most earnest, and driest, attempts of the philosophers in our program? By the same token, what does it mean that a protagonist so full of fictions—of lies—can offer a different self, a different history, to different people, and can create the valuable effect of truth for his listeners through his lies? What does this teach us about the nature of truth itself? What is it that we are actually looking for when we are, we think, trying to get to the bottom of things? Part of the Odyssey’s depth of honesty and aliveness comes from the true-to-life, exquisitely intricate web it weaves around and between its characters, so that no one is ever moving in a vacuum—not of time, place, or people. They push and pull at strands of the web that connects them to each other, to gods and humans, to the past, to their home. They move in concert with or against each other and their own desires, but never in empty space. Even while they find themselves entangled in the web that Homer weaves, however, the characters themselves spin their own strands and add to the web in which they exist. They are held by it and they help build it; they are acted upon and active—and in the Odyssey some of the most memorable moments of agency come in the medium of lying. Where do we find truth, both in the story and in the mode of fiction itself, and how do we know when we’re getting it? The dazzling, dizzying array of stories that Odysseus, many-minded, reveals and fabricates about his past throughout the narrative can leave one gasping for breath, just as one might feel if one were Odysseus himself, tossed violently about on the sea over and over again until he has lost control over which way 74 �Colloquy / Fall 2019 is forward and which way behind. One sees the web at work here; it is a fitting mirroring of form and content every time Odysseus spins a new tale. When Odysseus, after many a literal and figurative maelstrom, finds himself washed up on the island of the Phaeacians, we see him eloquently attempt to regain control of his life by trying to control time: that is, by trying to effectively make the past past. How do we do this? How do we make an event into something we have been through, instead of something that we are going through? We turn it into a story. We tell the story that has already happened, and when we finish the story it is over. Before Odysseus can effect this transformation of his deeply lodged experiences, however, he knows instinctively that it will require a powerful trigger, and so he asks for help. Odysseus may not even realize until this very point—when all ears are politely, continually waiting for him to tell his story—that he has reached a turning point in his odyssey, and that he is, in fact, at a point where he can do some looking back instead of living through. Of course, these phrases (“make the past past” and “looking back”) beg quotation marks in one sense. The past does not leave us. It becomes an influence, sometimes consciously, sometimes unexpectedly (hence Homer’s web, and the narrative’s twists in and out of the present at every turn and through multiple characters). Nonetheless, there is a difference between enduring and reflecting, and this long-awaited, perhaps often-doubted moment affords Odysseus at least a temporary opportunity for rest and reflection. Still hiding, still unaware that he is no longer in the ordeal of a traumatic sea voyage but beyond it, yet “happy listening,” in the friendly society of fellow humans, Odysseus asks Demodocus to sing him his own song (8.368-369 & 8.487-499).1 We can’t be sure what Odysseus’s motivation is here, but the place and the timing suggest that on some level, subconsciously perhaps, he is looking for an emotional release. His request is to be reminded of his self prior to his misfortunes at sea, of the man that his friends and his family knew. He is looking, in this moment, to be known. He has not been known for such a long time. He has not been recognized in all his humanity— that is, his childhood, his adolescence, his marriage, his fatherhood—by any 1 All quotations of the Odyssey from: The Odyssey, trans. Emily Wilson (New York: W. W. Norton & Co., 2018). 75 �Jordi Rozenman / The Truth of Fiction of the mythical creatures he has encountered in his travels; he has not been familiar to them. So he asks for Demodocus to “‘sing the story / about the Wooden Horse, which Epeius / built with Athena’s help. Odysseus / dragged it inside and to the citadel[...]. / If you / can tell that as it happened, I will say / that you are truly blessed with inspiration’” (8.493-499). However, our master of disguises has bitten off more than he can chew in this moment, and the emotional release he experiences is of such force and violence that he is unable to praise the poet for the fact that he “was melting into tears” (8.521). The extraordinary simile that follows—which takes up nine lines of its own, switches to present tense and becomes its own full story—is stunning for its vividness and the depth of feeling it carries, enough to cause confusion as to whether we are still discussing Odysseus. So deeply felt is Odysseus’s grieving in this instant that Homer mistrusts our ability to grasp it without momentarily directing our full attention to a more immediately violent story. Conspicuously, like a woman whose life will forever be altered, “in that same desperate way, Odysseus / was crying” (8.531-532). Why? Why at this moment are his cheeks “wet with weeping, as a woman / weeps”? As she watches her fallen husband gasp and die: “She shrieks[...]. The men are right behind. / They hit her shoulders with their spears and lead her / to slavery” (8.522-529). Clearly it is not simply Odysseus’s crying that is of import here: it is how he is crying, and we must examine this catharsis. It is catharsis in the strictest sense of the word as Odysseus listens to a dramatic story artistically delivered and experiences it vicariously while safe in the palace of Alcinous. The difference is, of course, that Odysseus has also experienced this particular story in actuality, in reality, personally: he is, in this moment, being known. In listening to Demodocus, everyone else in the hall pleasantly takes part in the art of the devastation the “‘gods / devised and measured out[...] / to make a song for those in times to come,’” as both wisely and insensitively explained by Alcinous, distant as he is from any personal connection to the war (8.578-580). What everyone else present is experiencing as art, Odysseus is experiencing as truth. Perhaps we begin now to circle back to our earlier question: what is it we are looking for when we say we are looking 76 �Colloquy / Fall 2019 for truth, and how do we know when we have found it? We are, this episode suggests, looking to be known, or to know intuitively and personally what we have heard (not to learn, but to “recollect,” to put it in the terms of Plato’s Meno).2 Is this what is at the core of truth? Is Homer in accord with Socrates here? He seems to be suggesting an inverse of truth as offered in the Meno. Rather than posit that we know we have encountered truth when we recognize it deep in ourselves, Homer suggests that we know truth when we recognize ourselves in it deeply. To further consider this and to understand the remarkable sharpness and poignancy of Odysseus’s cathartic moment, we must contrast it with that of Penelope in Book Nineteen. The Odyssey, in its gorgeous, complex web, offers us more than one instance, more than one character with which to investigate any number of life’s eternal questions. And in the case of the nature of truth, fiction, and self, we would be remiss if we did not pair Odysseus’s desperate catharsis with the moment that mirrors it in his wife. It is hard to say which of these moments of emotional release is more fascinating, and when examined together they yield an incredible richness of possibility. Penelope, utterly faithful and continuously grieving for two decades, has not been able to manage the suitors without deceit because she cannot bear the thought of marrying a man of a lesser quality than Odysseus. She, like Odysseus in the example above, may not even quite realize by Book Nineteen just how deep a toll the years of selfimposed stasis and living simultaneously on both sides of an unknown have taken on her. She has been enduring her own odyssey, an odyssey of waiting and waiting for something and, in the meantime, never allowing herself to look one way (which would mean Odysseus is dead) or the other (which might mean remarrying, only to discover later that he is alive). She cannot move forward; in effect, she cannot move. And yet the days come and go, and come again: she is “‘weighed down by grief’” (19.96). The discomfort and pain of living this way is immense, yet, mirroring her husband, she cannot afford to reflect on this while she is in it. By the time Odysseus has returned to his home, Penelope has not had the opportunity to truly, consciously consider exactly 2 Plato, Meno, 81c-e. 77 �Jordi Rozenman / The Truth of Fiction how much she needs relief, nor of how small a word or event could break down the wall—offering the pain and relief of catharsis. Such is the context for one of Odysseus’s most important fictions. Disguised as a beggar and spinning sundry tales for all who are near, Odysseus sneaks into his home undetected and spends several days there gathering information before he wrests his household back from the suitors. In large part, he avoids Penelope altogether. On the night before the contest of the bow, however, Penelope requests the beggar’s presence. Eager to speak with him, partly because she has heard him mention Odysseus’s name more than once, she knows there is something he can offer her—though what it is she doesn’t know. What he offers her, what he feels he must, at this point, offer her are lies. In character as Aethon from Crete, he tells her that Odysseus and his crew stayed for twelve days with him because “‘A storm had driven him off course / [...]although he yearned for Troy’” (19.186-188). Eager though they were to reach the war, “‘a mighty north wind trapped them,’” giving this Aethon some time to get to know Odysseus (19.200). It is a lie, among Odysseus’s many other lies, with enough force to lure even the reader into forgetfulness that it is Odysseus who is speaking and that this never happened. In this stillness before monumental action, in this room with a curious Penelope and a disguised Odysseus, and the sweet pause that tension creates, it is easy to lose the thread of what’s really going on while trying to follow the thread of what Odysseus says is going on. In other words, Odysseus and Homer are working in perfect harmony here: Odysseus is in full control of the characters with his fictions, Homer in full control of the readers with his. The peculiar power of this instance may be due to the inclusion of a real event in Odysseus’s history (the Trojan War), or simply to the power required for Odysseus to deceive Penelope. Either way, it colors the narrator’s next comment with layers of meaning. In this instance, as nowhere else, “His lies were like the truth”—what impeccable placement for such a comment in a narrative full of lies (19.205). However, as in the scene with Demodocus, here it is not only the story which elicits catharsis, but Penelope’s reaction, which 78 �Colloquy / Fall 2019 heightens the whole scene and makes the narrator’s apt exposition replete with meaning. “His lies were like the truth” not only for their well-constructed detail and believability, but for the viscerally personal effect they have on Penelope, who, “as she listened, [...]began to weep” (19.205-206). “Her face”—exactly as Odysseus’s 200 pages earlier—“was melting.” Linguistically this is the exact same moment. Because Odysseus has lost more people and bears more of a burden, the simile that follows for Penelope’s catharsis is less violent and more pleasant (it is a reunion, after all, even if she remains unaware of the fact). It is less sustained than the gut-wrenching one before, but equally poignant: “like the snow that Zephyr / scatters across the mountain peaks; then Eurus / thaws it, and as it melts, the rivers swell / and flow again” (19.207-209). We are in the act of watching Penelope’s heart thaw and release, something it could not afford to do during twenty years of limbo if it was to survive at all. Thus, it is not so much that the lies themselves are “like the truth”; rather, the narrator more precisely could have related that the effects of the lies were the same as those the truth would have had on Penelope. Something very important is happening here: Penelope experiences an honest reaction to lies—a true emotional release. There is something true in her response, and, moreover, there is in fact something true in what Odysseus tells her. What can that be? We know that what he says never happened, he makes it up. There are no facts in the story with which he supplies her. We must now return to the question of fiction, of what we look for in truth, and what it is we feel when we think we have found it. The story Odysseus tells Penelope here is indeed a fiction, but there is truth in fiction regardless of whether there are facts. The truth that Penelope responds to in this moment is the truth of being known, the same truth Odysseus responds to in his own moment of release. The truth of this moment is not to be found in the story that is delivered, but in the deliverer himself, and probably in the nature of his delivery as well. Just hearing Odysseus’s name and any information about him may be emotional for Penelope, but she has heard many such references and many such stories since his departure, and 79 �Jordi Rozenman / The Truth of Fiction has mistrusted them. Penelope cries, lets down her guard when she hears this fake story about Odysseus on Crete, because the person telling it to her knows her and knows what she needs to hear, and how she needs to hear it. Truth in the Odyssey is an experience of being known, deeply. It almost does not matter whether Penelope in fact knows the truth of the identity of the beggar before her, because he knows hers, and this she feels genuinely, honestly. This particular set of lies, and only this set explicitly according to the narrator, is “like the truth” not because of what the teller says, but because the teller knows the heart of his listener. Having investigated the catalysts for each character’s catharsis (catalysts that seem opposed in nature, but in fact have their roots in the same source of truth), we must examine what these two moments can tell us together about the truth-as-being-known via their explanatory similes. It is nothing short of fascinating that Penelope’s moment of release is not that of a woman weeping, “as she falls to wrap her arms around / her husband, fallen fighting for his home / and children” (8.522-525). No—this is Odysseus, in Book Eight! Penelope’s catharsis is not a release of grief over death; hers is a release of pain in order to come back to life. In this lovely moment, “her lovely cheeks / dissolved with tears”—all the more stunning because “She wept for her own husband, / who was right next to her” (emphasis added)—we must ask what the author means by mirroring the two moments and by mirroring truth and untruth (19.209-211). What does it mean that Odysseus sobs in a way that would be perfectly appropriate to his better half at home, an actual wife who at all costs has been trying to avoid imagining herself wrapping her arms around her fallen military husband? What does it mean that Odysseus does this instead, for her, and that Penelope honestly, for the first time with relief, weeps for an absent husband only when she is actually in his presence? It is further evidence of the tie that binds both moments and the concepts of truth and fiction in the Odyssey. Odysseus cries in the manner we would have expected Penelope to, and Penelope cries—in truth—both for Odysseus and with Odysseus, both in mind of him and in sight of him. The analogies highlight brilliantly the fact that the pair’s honest emotions are not dependent on what they know (if Odysseus is alive, if Penelope thinks of him, that 80 �Colloquy / Fall 2019 Odysseus is right next to Penelope). Rather, they depend on how well they are known by the one who affords them their moment of truth. In fact, the effect Odysseus’s truth-delivering (without being truth-telling) has on Penelope is the same effect it has on everyone with whom he comes into disguised contact, from the suitors to Eumaeus, Odysseus’s loyal slave. Whether it is an audience listening with fear or affection, we can watch the same strange change begin to settle over everyone the beggar Odysseus encounters. It may be Amphinomus, “[pacing] around the house, / troubled at heart, his head bowed low,” after a disguised Odysseus gives him calm and serious cause to consider leaving (18.152-154). It may be, in a ripple effect of truth, Penelope laughing after “Telemachus sneezed loudly and the noise / resounded through the hall” (17.543-545). Eumaeus has explained the beggar’s ostensible friendship with Odysseus to Penelope, prompting her giddily to remark that “‘if Odysseus comes back / [...]he and his son / will soon take vengeance for [the suitors’] violence’” (17.540-542). What can Telemachus, still green in the art of concealment, do after hearing this except sneeze? And what can Penelope, under the influence of a powerful presence, do after the sneeze except laugh? It is a lighthearted gesture so wildly out of character for the Penelope we have known throughout the rest of the narrative that we may well believe it has been out of her character for the last twenty years. Accidental foreshadowing, sneezing, and laughing take place in direct sequence immediately after Odysseus walks back into his home. In this instance and in the several days that follow, not only Odysseus’s words but his very appearance are a lie; the physical lie he gives to all involved obscures the facts. Neither the suitors, Penelope, nor Eumaeus know the true identity of the man in their midst, but, as stated before, Odysseus knows theirs, and this is the experience of truth in the Odyssey. His presence alone, the repeated use of Odysseus’s long-dead name, the reference to home as “‘the palace of Odysseus,’” the beggar’s oddly brazen refusal to leave—all of these things begin to covertly breathe life (and laughter!) back into the thought of Odysseus in his own home, and the truth of his presence there, even as the inhabitants are being lied to overtly (18.27). This is possible only because Odysseus knows 81 �Jordi Rozenman / The Truth of Fiction “in his heart” with whom he is dealing and thus can give them the experience of truth in the way Penelope experiences it as she cries in the beggar’s presence (22.500). The truth of his presence is something the people around him feel, because they are being known, and their actions only become more heightened and dramatic as Homer progressively builds the tension that begins the moment Odysseus steps through his own door. Odysseus, in his web-spinning, shape-shifting glory, is a message from (and perhaps at times a stand-in for) his creator on the nature of truth. If Odysseus’s and Penelope’s catharses serve as specific examples of this message, we confront an overarching comment about it in pairing Book Fourteen with the story of the curious sea god Proteus in Book Four. When Odysseus arrives at Eumaeus’s home, having just recently experienced his own catharsis and told his complicated story to the Phaeacians, he knows he will not be able to repeat the experience in his own home, with those he loves. Entering in disguise, in deceit, he will not be able immediately to share his story, his self, with loved ones such as Eumaeus—at least, not in words or in facts. But we have now seen that for Homer, and for Odysseus, there are other ways to share oneself, other ways to deliver truth, as long as one feels deeply known. For this reason, the tale Odysseus spins for Eumaeus reads like a bizarre, distorted version of his actual odyssey, peppered with the truth of his character and his hard-won wisdom. He cannot speak facts, but he is compelled to unburden himself to this true friend. His men “‘indulged / their own aggressive impulses, and started / willfully doing damage to the fields / of Egypt,’” rather than the cattle of the Sun God or, perhaps, the Cicones (14.260-264). He stayed seven years in Egypt, instead of on Calypso’s island; a year in Phoenicia (instead of Circe’s island); and even, in this story, sends “‘Odysseus[...] off / to Dodona, to ask the holy oak / what Zeus intended,’” for “‘He had been too long / away from fertile Ithaca’” and “‘He wondered / how best to get back home—in some disguise / or openly’” (14.286-333). The Sun God, Calypso, Circe, Hades, and Tiresias (as Dodona) are implicitly present. And the similarities abound in other stunning ways, from Zeus’s plan “‘to destroy the crew’” to a kind king who “‘helped me without expecting recompense / because his son had found me all worn out, / chilled by the morning air’” (14.316-319). These details 82 �Colloquy / Fall 2019 correspond exactly with Alcinous, Nausicaa, and her discovery of an utterly “worn out” Odysseus emerging from under a pile of leaves. Shapeshifting just as the sea god Proteus when Menelaus holds him and waits for him to “‘change shape / to every animal on earth’,” before “‘At last he [assumes] again the form’” in which he must tell the truth, slippery Odysseus speaks to Eumaeus as different versions of himself (4.415-421). Notably, Eumaeus in his steadfastness is the only person who knows, or at least who verbalizes, that Odysseus is “‘telling silly lies’”—that is, not speaking facts (14.363-364). But also because of his steadfastness, this does not prevent Eumaeus from giving his home and full heart to disguised, deserving Odysseus for the next several days. There Eumaeus offers Odysseus the experience of being known, of truth as it exists in the Odyssey, exactly as Odysseus needs it in this moment. For here, Odysseus is not trying to give Eumaeus an experience of truth; he is trying to reap such an experience himself, testing Eumaeus in a way he was not testing Penelope when he offered and allowed her catharsis. Eumaeus succeeds with flying colors, and in the evenings that follow, shares with Odysseus the kind of truth and “‘magical’” knowing of character that he needs: “‘let us, you and I / [...]take some joy in hearing how much pain / we each have suffered. After many years / of agony and absence from one’s home, / a person can begin enjoying grief’” (15.397-402). This is exactly the kind of truth Odysseus needs right now. Eumaeus exists almost outside the web the author and the other characters continually spin for themselves. His integrity is such that he remains essentially untouched by it, and thus can refract back to Odysseus the kind of truth and knowing Odysseus is mining for in the telling of his own honest fictions. Like Proteus, Odysseus requires some pouncing on, some wrestling, some holding down before he can assume the most revealing (can we say most truthful?) version of himself. There are only a few characters capable of doing this and Eumaeus is among them. We must then, finally, ask ourselves which character can pull Odysseus’s truest self into the light, can give him his own fullest experience of truth. We have seen the kind of catharsis Odysseus, in secret, has offered to his loved ones 83 �Jordi Rozenman / The Truth of Fiction upon his return, and the influence of honesty he has exerted over all rooms he has entered since his return to Ithaca, regardless of his words or appearance. Does this mean that all versions of Odysseus, many-minded, are equally true, and that whatever he offers in each given context is appropriate and true to the moment? Is the self of Odysseus relative to his situation, or is there an absolute self and, if so, how will we recognize it? In one of the story’s most beautiful and most truly epic statements concerning being known, we will recognize that self at his core in the same way Odysseus himself recognizes it: it is at home. It is Ithaca alone which can give him his fullest experience of truth, his truest experience of self. If truth in Homer’s epic is an experience of being deeply known, then this is why Odysseus has to get back, this is why he turns down goddess after goddess, a life of perfect ease on lush, magical islands, immortality itself. He knows that he is turning down false lives and journeying back to his self, to his truth, where he left it twenty years ago. We see this most deeply reflected in Penelope in Book Twenty-three, and in the pregnant, textured silence, warm “in firelight,” of Penelope and Odysseus’s first reunion in which both of them know the other (23.88-90). “He sat beside the pillar, / and kept his eyes down, waiting to find out / whether the woman who once shared his bed / would speak to him” (23.90-93). What a wide distance, what a past and possibly future closeness expressed in one sentence. “She crossed the threshold / and sat across from him beside the wall, [...]in silence, stunned,” and neither of them could speak until Telemachus—who knows less truth than they do at this moment—broke this rich silence (23.8893). Words fail both Penelope and Odysseus in this instance, because Odysseus has found his way back to his home, where his truth and his self have been waiting for him. The experience of being known in this moment is of such a depth for both of them that no words are necessary, or perhaps no words are adequate. Slippery, sea god-like Odysseus gives way to his most authentic self, due to his most deeply being known in Ithaca. We see this brilliantly when Penelope elicits from Odysseus the strongest instance of shock and outrage in the Odyssey. She is the only one strong enough to make the great Odysseus forget himself, slip out of character and his tireless manipulation of the scene: 84 �Colloquy / Fall 2019 “‘Woman! Your words have cut my heart! Who moved / my bed?’” he sputters, and goes on to sputter for the next twenty-two lines (23.183-184). Almost frantic, he pleads, “‘But woman, wife, I do not know if someone— / a man—has cut the olive trunk and moved / my bed, or if it’” (our love, he might as well be saying) “‘is still safe’” (23.203-205). An Odysseus who has lost control of the dialogue, the situation, and himself, is an Odysseus we have never seen. He is shocked out of character and into his most honest self by the one who loves him best and most truly. A modern reader in particular might wonder how Penelope and Odysseus genuinely will slip back into a happy marriage, a happy ending, after twenty years of absence and suffering on both their parts. Odysseus has been through war, shipwrecks, captivity, loss after loss of loyal friends; surely he is not returning the same man he was when he left? Let us reframe slightly and say that the Odysseus that left Ithaca will find himself on Ithaca again, and this is thanks to Eumaeus, his nurse Eurycleia, Telemachus, but mostly to Penelope, who knows him best. Even if he is coming back changed, he is coming back to himself. What is it about Odysseus which allows him to accept truth without words, and to offer truth with untruths? What is it about his particular story to Penelope in Book Nineteen which is uniquely qualified as “like the truth,” which can qualify as fiction rather than simply as lies? What is the difference? What is noble in a work of fiction such that it can become a great book in the way that a work of philosophy or science can? The Odyssey makes an important point about the nature of fiction and why it can be (and usually is) more truly alive than its counterparts. Many of Odysseus’s and Penelope’s greatest moments of agency come when they lie. Or, we can say, when they create fiction to serve a purpose for the listener they know, in the same way that we write fiction and poetry. It is an act of love. What we are actually doing is giving sense, and giving order, to a world that on its own does not make sense. So we create myth in order to create truth and, when we read it, we are known. I used to imagine that our experience of encountering, to borrow a phrase from Salinger, “the rising of a truth” in fiction was the experience of the Meno, of recognizing something that was already deep within ourselves and which the book helped to elicit or remind us of. I think now, though, that truth in 85 �Jordi Rozenman / The Truth of Fiction fiction is more likely a case of Homeric truth: not an experience of knowing, but one of being known. We know we’ve stumbled across it when a sentence or a paragraph smiles up at us from the text and we stop, stunned, wondering how the author who has never met us knew this deep part of our nature or experience with enough familiarity to give us words for it. “If the learner is to obtain the truth, the teacher must bring it to him,” rather than bring him to it, affirms Kierkegaard.3 He must even do more: along with the truth, “he must provide him with the condition for understanding it,” as Demodocus does for Odysseus, as Odysseus does for Penelope, as Odysseus does as soon as he walks into his house. The condition is being known. Truth in fiction is an experience of being known, and it is this that gives the Odyssey its sparkling brilliance: this knowing that makes it pulse with life, rich ambiguity, and truth. Jordi Rozenman (AGI’20) is a former English teacher and college counselor who dreamed about coming to St. John’s for seven years, and can’t believe she’s almost finished. She is a dancer, baker, and published poet. But she’s got nothing on Homer. 3 Søren Kierkegaard, Philosophical Fragments, ed. & trans. Howard V. Hong and Edna H. Hong (Princeton, NJ: Princeton University Press, 1985), IV 184, p.14. 86 �Colloquy / Fall 2019 Jaime Marquez 87 �Her, because of and despite Matt Ely That hair, like so much prairie grass, familiar with her shoulders. Her laptop on my lap, a secondhand groin encounter. Using my dollars for her train pass, her churro, her obligation. The thrill of hearing my first name, like something she kept in her closet for Easter. Her apologizing, eyes-askance; my not having to. Her tardiness. My timeliness. The unspoken threat of my fixation. Her smile, eroding with the tides, a coral reef face. My threadbare, unhelpful scarf, a Christmas gift from her among others. Her midday Sprite and pretzel breakfast; such coquettish insomnia! The diminishing weekends I have left to give her before I need some permanence in exchange. My insistence she doesn’t need to decide right now. The fact that she describes me as a friend, but mostly that she describes me. That hair, removed from her shoulders, removed from my expectations. My undelivered emails, all impersonation and id. My fear there is only one of every kind of connection, that no might not mean not yet. The unlikely hope that this is rising action, not denouement. Her indifference to my plans. My confidence she would change. 88 �Continue the conversation at colloquysjc.com, the official blog of the Graduate Institute. You can find more work by Jaime Marquez at jaimemarquez.com. The Colloquy Editorial Board is sincerely grateful to Ms. Sheba Delaney, Mr. Michael Dink, Mr. William Pastille, Mr. Louis Petrich, and Mr. Brandon Wasicsko for their assistance in making this issue of Colloquy possible. This issue of Colloquy is made possible by the generous support of: The Graduate Institute at St. John’s College, Annapolis The St. John’s College Office of Advancement If you would like to participate in the mission of Colloquy, consider donating. Visit community.stjohnscollege.edu/giving and designate “Colloquy” as the recipient of your gift. �The Graduate Institute 60 College Avenue Annapolis, MD 21401 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Colloquy Description An account of the resource A student-run journal for the Graduate Institute community of St. John's College in Annapolis, Maryland. The issues feature essays, art, poetry, interviews, and more. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. 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Creator An entity primarily responsible for making the resource Poyner, Jordan (Editor-in-Chief) Dorchester, Andrew (editor) Green, Charles (editor) Kaul, Dimple (editor) Marquez, Jaime (editor) Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2020-01 Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. 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