THE CONSPIRACY THRILLER MYSTERY IN WORLD LITERATURE–UMBERTO ECO’S “FOUCAULT’S PENDULUM” & “THE NAME OF THE ROSE” AND THOMAS PYNCHON’S “GRAVITY’S RAINBOW” & “AGAINST THE DAY”—–FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

Foucault's PendulumFoucault’s Pendulum by Umberto Eco
My rating: 5 of 5 stars

THE CONSPIRACY THRILLER MYSTERY IN WORLD LITERATURE–UMBERTO ECO’S “FOUCAULT’S PENDULUM” & “THE NAME OF THE ROSE” AND THOMAS PYNCHON’S “GRAVITY’S RAINBOW” & “AGAINST THE DAY”—–FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

Umbert Eco has been described as the thinking man’s Dan Brown, a master of modern conspiracy narrative featuring secret societies, cryptic serial murders, Biblical mysteries, Templars, Illuminati, threatening technologies and the moving shadow of inexplicable historical forces mysteriously at work, enhanced and dialated also by serious discussions of the nature of God and His invisible shaping hand in human history, Revelations, semiotics and signs, intellectual puzzles and riddles, the nature of art, texts & textuality, mind, soul, spirituality, good & evil, and an exploration of order, absurdity and meaninglessness in life and world history.

Eco’s books, such as “Foucault’s Pendulum” and “The Name of the Rose” are seen as founding and grounding the genre of the Conspiracy Thriller Mystery, popularized recently in print and film with Dan Brown’s “The Da Vinci Code” and “Angels and Demons” and epitomized by such masterpieces as Thomas Pynchon’s epics, “Gravity’s Rainbow,” “The Crying of Lot 49,” and “Against the Day,” featuring esoteric conspiracies varying from the hidden hand of The Illuminati, Templars, Freemasons, Opus Dei, the Phoebus Conspiracy, Arch-Capitalists, Synarchists, Tri-Lateralists and International Bankers, to the advent of the Anti-Christ and fulfillment of the End-Days of Revelation.

THE CONSPIRACY THRILLER MYSTERY IN WORLD LITERATURE

The Conspiracy Thriller (or Paranoia Thriller) is a subgenre of more general thriller fiction. The protagonists of conspiracy thrillers are often journalists or amateur investigators who find themselves (often inadvertently) pulling on a small thread which unravels a vast conspiracy that ultimately goes “all the way to the top.” The complexities of historical fact are often recast as a morality play in which bad people cause bad events, and good people either identify and defeat them in the typical Hollywood ending, or alternatively are inevitably crushed by the entrenched secretive power elite of a malign or absurdist history which the “little people” remain powerless to change. Conspiracies are often played out as “man-in-peril” (or “woman-in-peril”) stories, or yield Quest narratives similar to those found in whodunnits and detective stories.

A common theme in such works is that characters uncovering the conspiracy encounter difficulty ascertaining the truth amid deceptions and diabolical riddles: rumors, lies, propaganda, and counter-propaganda build upon one another until what is conspiracy and what is coincidence become entangled. Many conspiracy fiction works also include the theme of secret history.

Modern classics of the Conspiracy Thriller Mystery genre include John Buchan’s 1915 novel “The Thirty-Nine Steps,” which weaves elements of conspiracy and man-on-the-run archetypes. Graham Greene’s 1943 novel “Ministry of Fear,” rendered in film by Fritz Lang in 1944, combines all the ingredients of paranoia and conspiracy familiar to aficionados of the 1970s thrillers, with additional urgency and depth added by its wartime backdrop.

One of the first science fiction novels to deal with a full-blown conspiracy theory was Eric Frank Russell’s “Dreadful Sanctuary” (1948). This deals with a number of sabotaged space missions and the apparent discovery that Earth is being quarantined by aliens from other planets of the Solar System. However, as the novel progresses it emerges that this view is a paranoid delusion perpetuated by a small but powerful secret society. The “Men in Black” series also transforms the locus of the hidden conspiracy against the ordinary folk to a supranational government nexus with extraterrestrials.

Conspiracy fiction in the US took off in the 1960s and 1970s in the wake of a number of high-profile scandals and cryptic controversies, most notably the Vietnam War, assassinations of John & Robert Kennedy, and Martin Luther King Jr., as well as the Nixon Watergate scandal. Several fictional works thus explored the clandestine machinations and conspiracies lurking beneath the seemingly orderly fabric of political life. American novelist Richard Condon wrote a number of conspiracy thrillers, including the seminal brainwashing classic “The Manchurian Candidate” (1959), and “Winter Kills,” which was made into a film. “Illuminatus!” (1969–1971), a trilogy by Robert Shea and Robert Anton Wilson, is regarded by many as the definitive work of 20th-century conspiracy fiction. Set in the late ’60s, it is a psychedelic tale which fuses mystery, science fiction, horror, and comedy.

Philip K. Dick wrote a large number of short stories where vast conspiracies were employed (usually by an oppressive government or other hostile powers) to keep the common people under control or enforce a given agenda. Other popular science fiction writers whose work features conspiracy theories include William Gibson, John Twelve Hawks, and Neal Stephenson.

John Macgregor’s 1986 novel “Propinquity” describes an attempt by a modern couple to revive the frozen body of a gnostic medieval Queen, buried deep under Westminster Abbey. Their attempt to expose the feminine aspect of Christianity’s origins results in fierce Church opposition and, eventually, an international manhunt.

“The Da Vinci Code” by Dan Brown draws on conspiracy theories involving the Roman Catholic Church, Opus Dei and the Priory of Sion. Other contemporary authors who have used elements of conspiracy theory in their work include Margaret Atwood, William S. Burroughs, Don DeLillo, James Ellroy, Joseph Heller, Robert Ludlum, David Morrell and James Clancy Phelan.

UMBERTO ECO: FATHER OF THE CONSPIRACY THRILLER MYSTERY NOVEL

Umberto Eco’s “Foucault’s Pendulum” (1988) features a story in which the staff of a vanity publishing firm bored with the third-rate novels,invent their own conspiracy for fun. They call this satirical intellectual game “The Plan”. The three become increasingly obsessed with The Plan, and sometimes forget that it’s just a game. Worse still, other conspiracy theorists learn about The Plan, and take it seriously. One, Belbo finds himself the target of a real secret society that believes he possesses the key to the lost treasure of the Knights Templar. Belbo, Diotallevi and Casaubon quickly become submerged in occult manuscripts that draw all sorts of flimsy connections between historical events and the unfolding of the plan. They nickname the authors of the “secret manuscript” they claim to have discovered the “Diabolicals”, and engage Agliè, a professional secret society expert as a consultant. They develop an intricate web of mystical connections, making use of Belbo’s small personal computer, which he has nicknamed Abulafia, uncovering hidden references to the Kabbalah’s Sefirot. Agliè in reality is a leader of a real secret society which becomes convinced that the fictional Plan is part of their own mission and they ruthlesssly take it over, torturing and ultimately killing Belbo to reveal the hidden keys to their destiny, and causing Casuabon, the sole survivor to run from their clutches.

Eco’s prior classic, “The Name of the Rose” is set in a Medieval monestery in which a series of murders unfolds, implicating heretical secret communistic religious sects and the Inquisition which pursues them, along with a witchhunt for the Anti-Christ on the eve of the expected Apocalypse. A Franciscan monk, William of Baskerville, takes on the role of a Medieval “Sherlock Holmes” to unravel the mystery, following clues and riddles until the story ends in tragedy with the entire monestery destroyed by fire at the hands of a spiteful reactionary monk. No “master conspiracy” is exists however, and history proves neither guided by the divine blueprint of Doom of Revelations nor the work of secret plotters, but rather the absurdist accidents of a disordered world.

THOMAS PYNCHON: FATHER OF THE CONSPIRACY-DRIVEN EXISTENTIAL EPIC

“Gravity’s Rainbow,” often regarded a the greates American novel since WWII,also draws heavily on conspiracy theory in describing the motives and operations of the Phoebus and other industrial cartels as well as the cross-plotting of Allied and Nazi intelligence services in connection with the development of V1 and V2 ballistic missiles during World War II. Mysteries unfold from the arcane to the absurd, such as the hidden correlations of the Nazi V2 rocket impact points and the locations of the sexual couplings of the protagonist Slothrop, an American intelligence operative whose mind ultimately disintegrates as he hunts for the hidden secrets of Nazi missile technology across WWII Europe amid uncanny connections of sexual perversions, capitalist plots, and the absurdist destinies of the characters.

Pynchon’s earlier work, “The Crying of Lot 49” (1966) also includes a secretive conflict between cartels dating back to the Middle Ages. His late work, “Against the Day” presents a sometimes whimsical interweaving of technology as a driving force of history, the nefarious plotting of a secretive capitalist elite prior to WWI to dominate and control it, and occult secret societies, such as an idealistic scientific brotherhood operating a Zepplin fleet which contends with Russian and German rivals, then mysteriously travels through a an air tunnel from the North Pole to the Center of the Earth exploring occult technologies such as Tesla’s “Telluric Currents” which may offer unlimited energy. The idealistic scientific brotherhood gradually discovers that its secret leadership, innocently idealized, is controlled by ruthless capitalists out to control the technology shaping history.

WHO IS THE “TRUE BELIEVER” READER OF CONSPIRACY FICTION?

The “True Believer” addict of conspiracy theories need not believe in God, but always believes in the Devil. Though anyone may enjoy the artistry and entertainment value of conspiracy novels, and there are real conspiracies, those of a more pronounced paranoid mindset are often convinced of dubious conspiracies’ truth, more often resulting from their underlying psychological needs than the hisorical truth of the subject matter. Such conspiracies ironically provide the clinically paranoid as well as the socially functional paranoid with the mental secuirty of a predictable, if malign, world. They justify his distrust of any relationships with perfidious others and offer a convenient excuse for selfish and self-centered withdrawal into the intellectually lazy bunker-mentality of “us against them” in which there is conveniently no need for moral obligations, tiresome human feelings and complexities regarding anyone outside onself and one’s own small circle within the seige-bunker, with the bonus of convenient “feel good” self-justification of regarding onself as an innocent, even heroic victim and martyr of malign forces, immune from the possibility of being a source of evil oneself, which is always projected conveniently outward onto some demonized “them.” In terms of economic class, it justifies the acquisitive middle-class in hoarding their own resources for the fight for survival of oneself and defensive withdrawal.

Arguably the paranoia behind a conspiracy theorist’s obsession with mind control, population control, occultism, surveillance abuse, Big Business, Big Government, and globalization arises from a combination of two factors typifying such a personality, who: 1) holds strong individualist values and 2) lacks power. The first attribute refers to people who care deeply about an individual’s right to make their own choices and direct their own lives without interference or obligations to a larger system (like the government or human community,) but combine this with a sense of powerlessness in their own life, and one gets what some psychologists call “agency panic,” intense anxiety about an apparent loss of autonomy to outside forces or regulators. When fervent individualists, especially the “New Poor” of the Global Economic Crisis still internalizing traditional values of self-reliance, or those otherwise threatened in their economic condition, job, social status or psychological security feel that they can no longer exercise their independence, they experience a crisis and assume that larger forces, alien and malevolent, are to blame for usurping this freedom, psychologically projecting a magnified enmity from their own state of felt helplessness.

CONSPIRACY THRILLER MYSTERY IN SPIRITUS MUNDI

My own contemporary and futurist epic, Spiritus Mundi, is a thriller driven by multiple conspiracy theories, and influenced by the traditional masterpieces of the Conspiracy Thriller Mystery genre such as those of Eco and Pynchon. It tells the story of social idealists engaged in an idealistic campaign to found a United Nations Parliamentary Assembly, a globalized version of the EU European Parliament constituted as a new advisory organ for international democracy in the United Nations alongside the existing General Assembly and Security Council. Along the way the Campaign is infiltrated by an apparant Islamic terrorist conspiracy to set off a nuclear device in Jerusalem and counter-infiltrated by the CIA and MI6. As this conspiracy unfolds, it is revealed to be part of a greater geopolitical conspiracy of a concealed “New Axis” alliance of a rising China, Russia and Iran to execute a Pearl-Harbor-like sneak attack on the Middle-East oil reserves to sever the West’s oil jugular and seize dominance in Eurasia and the World. At the end of Book II of Spiritus Mundi, the onion skins of this conspiracy are further unpeeled to reveal a metaconspiracy led by a 23rd Century time-travelling War Criminal, Ceasarion Khannis, who, Terminator-like has returned to our present to ignite WWIII to change his own future world’s benign history in which the United Nations Parliamentary Assembly has brought about centuries of world peace and progress. He is pursued in time-travel, Terminator-like, by the 23rd Century Chief Prosecutor, Abor Linkin,who seeks to save his own history and bring Khannis back to his own time to face justice.

Like Pynchon’s “Gravity’s Rainbow” and “Against the Day” the collision of these concrete conspiracies and the forces opposing them call to light potential hidden forces shaping human history, such as a benign spiritual evolution of the human spirit, embodied in the “Spiritus Mundi” reminiscent of Tielhard de Chardin’s and C.G. Jung’s “creative evolution” struggling in Yin/Yang opposition against their own nemeses, Entropy, the Freudian Death-Instinct Thanatos, and the spirit of negation.

Ironically, the very campaign for a United Nations Parliamentary Assembly for greater democatic oversight of the United Nations and the system of global governance which lies at the center of the novel, an innovation enabling the UN to redress its “democratic deficit” and thereby better resist domination by the international financial elite or narrow geopolitical power intersts of the dominant nation-states, has often become the “demonized” irrational fixation of of certain paranoid tunnel-vision conspiracy theories of prominent right-wing critics. On the irrational right wing there exists a crusade against what such groups term “The New World Order,” a phrase assoicated with the elder President Bush. This is a supposed conspiracy by an internationalist elite, led by an unholy alliance such agents as the Tri-Lateral Commission, communists, the CIA, MI6 and other devious intelligence services, nefarious financial capitalists, the “godless liberal-internationalist establishment,” Rockefellers, Rothschilds, Kissingers and other Jews, multi-national corporations, world socialists, and last but not least, the Anti-Christ, to establish a “One World Government” which has its goal the destruction of America’s national sovereignty, Constitution and democracy, replacement of our sacred dollar with a worthless Globo-Euro currency, institution of universal, global and crushing taxation, replacement of God and all traditional religion with uniformist secular humanism or communist atheism, destruction of all individual freedom, privacy and the family to create a faceless uniform socialist universal proletriat to populate this Brave New World, all dominated by the false benign mask of a demonized United Nations, in reality a Trojan Horse for a universal internationalist totalitarianism, both socialist-communist in its intentions yet somehow still controlled by the hidden strings of a financial elite of Investment Banks, souless technocrats and cynical global power holders! In the more Biblical of these paranoid conspiracy theories, all of this serves to make the United Nations the throne of the Anti-Christ for the reign of pure internationalist evil on earth, from which we will presumably welcome the Aramageddon which will finally clease the Earth prior to Last Judgment and the initiation of the Reign of Christ over a perfect new creation, at least for God’s elect, who presumably include all good Christian Patriots!

One would think such a self-contradictory hodge-podge of irrational fears, bugbears and mutually incompatible psychological projections were laughable and pathetic enough to fall of its own weight and stupidity. Unfortunately, for the psychologically addicted, who like playgoers exercises a powerful “willing suspension of disbelief” where any theory satisfies both their psychological needs and economic interests, such a theory has considerable appeal. Indeed, internal consistency, logic and objective evidence for such conspiracies are entirely unnecessay to the “True Believer” who merely needs confirmation of his or her own biases and fears. Assorted demonized “agents of evil” may be readily interchanged on any convenient occasion, with the Protean identity of the “Axis of Evil,” switched as quickly as the changing of a flat tire, being switched from subversive athiest communism, to Islamic Fundamentalism, to the “Godless Internationalist Elite” of the New World Order with complete ease. Unfortunately for the world, such paranoid conspiracy theories are often enough to move Congress to financially hobble the United Nations, magnified to the proportions of the Anti-Christ or International Big Brother in some right-wing circles, when in reality it possesses less than the budget and manpower of the New York City Fire Department while charged with maintaing world peace, prosperity and the well-being of the 7 billion humans on the planet utilizing resources and powers of trivial proportions.

In conclusion, I invite all of you to look into the masterpieces of Conspiracy Thriller Mystery fiction, including the works of Pynchon and Eco, and to check out the mysteries of Spiritus Mundi.

For a fuller discussion of the concept of World Literature you are invited to look into the extended discussion in the new book Spiritus Mundi, by Robert Sheppard, one of the principal themes of which is the emergence and evolution of World Literature:

For Discussions on World Literature and n Literary Criticism in Spiritus Mundi: http://worldliteratureandliterarycrit…

Robert Sheppard

Editor-in-Chief
World Literature Forum
Author, Spiritus Mundi Novel
Author’s Blog: http://robertalexandersheppard.wordpr…
Spiritus Mundi on Goodreads: http://www.goodreads.com/book/show/17…
Spiritus Mundi on Amazon, Book I: http://www.amazon.com/dp/B00CIGJFGO
Spiritus Mundi, Book II: The Romance http://www.amazon.com/dp/B00CGM8BZG

Copyright Robert Sheppard 2013 All Rights Reserved

View all my reviews

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IN PRAISE OF EDWARD SNOWDEN

IN PRAISE OF EDWARD SNOWDEN

Edward SnowdenIN

Tags: #EdwardSnowden, #InPraiseOfEdwardSnowden,#SnowdenWatch

The continuing spectacle of the enforced limbo of Edward Snowden in the “no man’s land” of the transit zone of Moscow’s Scheremetchevo Airport gives us increasing cause to ponder and reflect not only upon the striking personalities and drama gracing our daily news, but also on the extended environment of our globalized International Community, national and International Law, the nature, powers and limits of the Nation-State and its laws, the function and limits of the Intelligence services and militaries of the Great Powers, the role of freedom of speech in national and international democracy, and the nature, place and inalienable rights of the individual under national and International Law.

Edward Snowden presents a fine figure of courage and principled integrity, whether one agrees with his acts or not. My first impressions of him on the news and from the Internet coverage of his journey was that of a fine young American of extraordinary courage in the face of immense danger acting out of principles of the highest idealism, expressing the reasons for his controversial actions clearly and convincingly. His arguments came across to me forcefully, taking on the simplicity and forthrightness of the “Common Sense,” of another of the heroes of the American Revolution I had come to admire, Thomas Paine. He has exhibited the “grace under pressure” of Hemingway, and a steadiness of nerve and youthful resilience reminiscent of Michelangelo’s David confronting Goliath. Of course our impressions from the media are always based on very limited information and are often later qualified, but up to now he has presented himself admirably. One feels drawn to an instinctive solidarity with such a person willing to sacrifice himself, even in the tradition of Christ, for our common good and liberties. Even many of the more traditional minded who condemn his actions admit to an underlying personal sympathy for him as a young man of moral courage, even tacitly hoping he makes his good his escape, feeling it would be a tragedy for such a fine young man to spend the rest of his life in a maximum security prison.

But hasn’t he broken the law and potentially endangered the national interest? Shouldn’t the law bring him to punishment for his transgressions? As one who has served as a lawyer and as a Professor of International Law I feel a deep respect for the institution of law and would be loath to lightly condone its warrantless transgression. It is said that those that would eat sausages should not observe too closely what goes into them, and those who have worked intimately with the law, if they retain any integrity of mind about it, can readily observe that what the law is is not at always what it should be or is imagined to be, and therefore it is wise not to overly fetishize the law with an unthinking reverence and over rigid demands for unreserved compliance. Law is a human institution with human failings and intrinsic limitations even when it operates accurately without overt corruption. This is why in the Anglo-American Common Law Tradition, there was evolved a supervening system of Equity, designed to correct the inevitable injustice and irrationality that an unswerving, computer-like mechanistic application of rigid and blind rules of law might necessarily create in situations more morally complex than the standard applicable legal case. This is why the powers of Pardon, Reprieve and Prosecutorial Discretion exist alongside the machinery of the codes of law.

Thoreau, Tolstoy, Gandhi and King are famous for pointing out instances and contexts in which the law has become corrupt or serves corrupted ends and justifies acts of civil disobedience by moral men. St. Thomas Aquinas identified instances where a “higher law” derived from God may justify or even compel violation of the secular law. Washington, Jefferson and Thomas Paine were undoubtedly culpable criminals under the British laws in force over them, until appeal to natural law, higher law and natural right compelled their violation of such laws for higher ends, and the forcible replacement of that law with a better law. Very often the letter of the law reflects the relative power of elites, wealth, power holders and institutions to manipulate and control the legislative process rather than the interests or of the people, which law is idealistically presumed to represent. The domination of the American “democratic” system by the “legalized corruption” of the unbridled influence of money, PAC’s, and the financial elite is now obscenely bordering on the brink of de-legitimatizing the entire system and ought to operate as an effective antidote to any naive and innocent “veneration of the law” which we might have grown up with and respected as children.

THE NECESSITY OF A CRIMINAL AND CIVIL LEGAL DEFENSE OF “PUBLIC INTEREST DISCLOSURE”

Seen in such a higher perspective, the failing of American law with regard to “Whistleblowers” criminal and civil defenses may very plausibly be seen to justify underscore his moral innocence or even morally justify his flight. An ideal or better American “Whistleblower Law” would take into account the public interest in the disclosure of critical information vital to the democratic oversight of public administration, particularly in the case of secret intelligence activities backed by the frightening powers of the government with potential to unjustifiably erode the liberties of the people. For instance, in Canada the Security of Information Act (R.S.C., 1985, c. O-5) provides: “15. (1) No person is guilty of an offence under section 13 or 14 if the person establishes that he or she acted in the public interest,” and that furthermore:

(2) Subject to subsection (4), a person acts in the public interest if
(a) the person acts for the purpose of disclosing an offence under an Act of Parliament that he or she reasonably believes has been, is being or is about to be committed by another person in the purported performance of that person’s duties and functions for, or on behalf of, the Government of Canada; and
(b) the public interest in the disclosure outweighs the public interest in non-disclosure.

In Australia, the Public Interest Disclosure Act of 2010 similarly aims to ensure that government is open and accountable to democratic oversight and the people, and such bodies as the Ombudsman and Public Service Commission were created to protect whistleblowers in the public interest from repression and retaliation by affected government departments. Even these laws, however, are imperfect and an ideal system might provide higher levels of protection in providing criminal and civil defences in appropriate whistleblower contexts.

If a “Public Interest Defence” were included in American law, under appropriate circumstances and limitations, an act otherwise judged a violation of civil or criminal law would be legally justified or excused, just as when a policeman or soldier kills another, it is not legally punishable under appropriate circumstances of legal justification or public duty. Although the whistleblower would similarly on the surface commit a prima facie offense, the disclosure of “classified” or “secret” information, the existence of such a legal defence of public interest, if proven, would exonerate him.

Thus, in a fair legal system, Edward Snowden would not have to flee from the nation whose freedoms he has acted courageously to protect, but would be able to defend himself in court with a just and reasonable Criminal and Civil Defence, on a par with commonplace defences such as Self-Defence, Public Authority, Necessity or Legal Justification. He would have his day in court to prove that the public interest in the disclosure of the information outweighed the public interest in its non-disclosure. The non-existence of this reasonable feature in existing American law does much to morally justify his flight and quest for Asylum under International Human Rights and Humanitarian Law. On the limited information available through the media, it would seem that Snowden has disclosed his information in a principled fashion, refusing to disclose details that would endanger the lives or legitimate operations of the intelligence services and limiting his disclosures as much as practicable to those items which endanger not only the liberties of the American people but those of similarly placed peoples across the globe, weighting the balance of public interest in his favour.

If such a fair court under a fair law weighed Snowden’s disclosures in an open manner would the disclosures be justified? Here, of course we are limited by the very small amount of information we have available, what has filtered through the media to our attention. At a minimum, we could say that a great deal of what has been disclosed has been disclosed in a principled way to bring to the attention of the American people and the peoples of the world that which is a direct potential threat to their liberties. The fact that a comprehensive database has been compiled by the NSA that includes every phone call that you or I make, as well as every e-mail with the subject line open to government inspection without a warrant, and the existence of a wholly inadequate system allowing accessing their complete content on mere tangential connection and wild suspicions is surely enough to justify the public knowledge of such practices, as is evidenced by the vigorous Congressional hearings that followed the disclosures.

THE INADEQUACY OF THE FOREIGN INTELLIGENCE SURVEILLANCE COURT AND OTHER FLAWED OVERSIGHT MECHANISMS

Does the existence and action of the Foreign Intelligence Surveillance Court under the Foreign Intelligence Surveillance Act justify or exonerate these invasive practices of the NSA? You may have heard that the Foreign Intelligence Surveillance Court, despite the severe criticism raised in Congress on the trail of the Snowden disclosures, renewed the telephone surveillance authority of the NSA this week. This act, without proper input from the millions of Americans subject to such surveillance, including those subject to the Verizon order, is a clear indication of the incompetence of the FISC to regulate the rights of the 300 million Americans affected by this activity, as there is no mechanism for public review, discussion of the deleterious effects of the extension, democratic oversight or appeal of the decision. Also, the members of the court are not even selected by democratically elected public officials who can be turned out of office in cases of public dissatisfaction, but rather the Chief Justice of the Supreme Court, not subject to democratic oversight. This is obviously no way in which the daily exercised rights of 300 million Americans should be determined. While Undoubtedly in some substantial cases of actual “terrorist” activity the actions of the NSA and other intelligence services under the Court have been legitimate and proper to their duties. But as the disclosure of the PRISM system discloses, the NSA and other services have gone far beyond any legitimate invasions of Fourth Amendment and privacy rights, as in compelling all of the principal e-Mail, telephone and Internet companies such as Verizon to provide access to personal communications and all so-called “metadata” on their servers. There is no effective restraint to investigators going on a “witch hunt” or freelark investigation into anything far-fetchedly connected to any investigation. As one Congressman observed, the “three-hop” process across the “degrees of relatedness” could lead in any case from one merely suspected subject, assuming each person had a minimum of 40 contacts, to accessing the communications of 2.4 million people on the merest suspicion of one.

The Foreign Intelligence Surveillance Court in compelling such compliance from Microsoft, Yahoo, Google, Verizon and all the PRISM program involuntary participants has shown not only that it has exceeded its legitimate remit, but that the FISC is a wholly inadequate mechanism for protecting the Fourth Amendment and other Constitutional and human rights of the American people and of peoples internationally. Such a secret court was not designed for, and is incapable of effectively serving to define the balance of Fourth Amendment, privacy, and other constitutional and international human rights of hundreds of millions of Americans and foreign citizens in their daily communications. There is no adversary system in the Court to present countervailing rights and interests against the insistences and narrow institutional interests of the intelligence services. The judges are handpicked to be sympathetic to the intelligence, police and investigative services, most with prosecutorial, intelligence, police or security backgrounds that share the limited worldview of those services. Even persons of good will within such a system such as case investigators or lawyers have immense institutional pressures and incentives to vindicate the interests of the intelligence services and disincentives and fear of reprisal for attempts to vindicate the countervailing rights of the people under the Fourth Amendment and International Human Rights Law to be secure in their persons, letters, communications and homes from excessive government intrusion. There is no hearing in the traditional sense and the approval is given in secret, not subject to appeal, review or public comment. It is argued that this is necessitated by the secret nature of the work itself. That cannot be or remain the case as systems such as the PRISM system affect and potentially threaten the rights of almost every person, citizen and non-citizen, not only almost each of us 300 million Americans at home or abroad, with the billions of similar innocent citizens of other countries not at war with the United States, including those of allies such as the European Union, which has brought much criticism of the PRISM and other disclosed programs.

At a minimum there should be a Public Interest Ombudsman or Tribune, with equal security clearance to those who present the government case to the Court, a kind of security “Public Defender’s Office” authorized with equal security clearance access to all information to review any case in the Public Interest to provide balance in the court, and authorized to receive overt or anonymous tips from whistleblowers such as Snowden as to illicit practices. Even in military Courts Martial there is a provision for representation of both parties or sides to each question. Such an office should have the right to demand a public hearing in an appeals procedure in serious cases of infringement of public liberties and rights of substantial numbers of people beyond the few suspected perpetrators, where such infringement has been condoned by the FISC in the first instance. The fact that in its entire history the Court has denied access in only one or two cases gives rise to legitimate concern that it functions, even with good will, as little more than a “Kangaroo Court” in protecting the rights of the people.

Furthermore, the limited horse-blinkered “Nation-State” perspective of the FISA, or Foreign Intelligence Surveillance Act, along with the Patriot Act, is grounded in a flawed self-centered, nationalistic perspective. The primary task of the NSA defenders in the Congressional hearings following the Snowden disclosures has only been to prove that the constitutional rights of “American Citizens” have not been violated contrary to the U.S. Constitution and the law, including the FISA. This might have been admirable had it been the case. However, in a globalized world of telecommunications it evades the larger and more important question. What about the parallel rights of non-U.S. Citizens and foreign private individuals entitled to an equal protection of their privacy, security and freedom from unwarranted government intrusion by the U.S. or any other government? Can we accept that U.S. citizens as a corollary therefore have no right of protection against the parallel intelligence activities of foreign governments and intelligence services? Can we seriously hope to live in a globalized world where only U.S. Citizens have rights, and all the rest are treated as open targets in a free fire zone of intelligence warfare? In a globalized world a very substantial portion of our daily communications, business and travel involve interactions with foreign persons. Perhaps a third of my daily e-mails, Facebook and LinkedIn communications are with non-U.S. Citizens.

Our allies in the European Union, comrades in two World Wars against totalitarianism, partners in NATO and the foreign anchors of our own geo-political security throughout the world, have been the first to be outraged by our high-handed and indiscriminate technological interventions. Is it an acceptable ethos that the NSA or other government agents can invade and read the private letters and communications of British, French, German and Canadian private citizens, not to speak of Latin American, Indian and Egyptians, with no restrictions whatsoever, because they are not American citizens? In the question of drone attacks the question is even of greater impact and finality. Can the American people condone a government which arrogates to itself in its international acts the right to kill others of any nationality, so long as they do not have U.S. citizenship? Does technological hubris justify the conclusion that because the secret services of one nation may antiseptically extinguish the life a victim viewed from a remote satellite or drone camera, or that they are clothed in a uniform or purported public authority that they are any less culpable, if unjustified in their actions, than a common murderer, assassin or so-called “terrorist?” Are extrajudicial acts of “Technological State Terrorism” any less morally reprehensible than the hackings of a machete or a pistol shot to the back of the head in a terrorist video, simply because they are funded by billion dollar budgets, equipped by multi-national armaments corporations, utilize more advanced high-technology and are authorized by men at computers in air-conditioned offices in national capitals? The assumption that rich capital-owning nations have a right to antiseptically extrajudically assassinate with impunity the sons and daughters of nations that cannot afford drones, satellites and global PRISM computer surveillance networks, or seal them in unfreedom behind walls, or read their private communications at will, while our sons and daughters enjoy exemption from similar treatment only because of our bigger bank accounts and technological superiority, is self-evident of a self-indulgent and ultimately unsustainable moral corruption that breeds ill-will towards America throughout the world. It inspires the vulnerable victims of such behaviour only to re-strengthen their efforts to counter and surpass our own ability to commit such outrages, a necessary corollary law of unintended consequences.

The fact that we may cause real deaths through the unfeeling cerebral technology of an unreal video-game-like consoles, or violate the privacy and Fourth Amendment constitutional rights of citizens and non-citizens with the click of a mouse linked to billion-dollar supercomputers does not excuse the moral failure of doing so, where such acts are otherwise without justification. It seems that technology and the moneyed capital that enables it has somehow become a dangerous narcotic drug which has profoundly anesthetized our moral judgement, a “successful” high-tech heart-bypass operation, absolving us from the moral consequences of such technology’s use. We have somehow set our moral judgement on a flawed autopilot, unsustainably excusing ourselves from any personal or collective responsibility for the acts of the machines and systems that do the dirty work for us. Extrajudicial murder and violation of rights is only a problem of “systems calibration.”

In short, we must strive for a world in which the security, freedom and rights of every individual are secure against the violations of all governments anywhere in the world, whether within their own countries or in foreign countries, and regardless of discriminations on the basis of citizenship, national origin, wealth, technological development, religion, race, sex or place of residence.
The tragedy of the Snowden case is underlined also by the circumstance that the American government is headed by a President and many leaders who can also be seen as admirable in many ways, and often believe themselves to be also acting in the public interest. This also illustrates the danger that even men and women of goodwill may be easily seduced and “captured” by the institutional interests and technological elites they are sent into government to oversee, and whose mindset is often compelling to those who attain the seats of power. In condoning the erosion of our freedoms they may be seduced into believing that they are acting “more maturely,” “more responsibly” and more “techno-optimally and efficiently” than those advocates of freedom, who they may come to perceive as “naive and overly romantic idealists,” or alternatively as dishonest “politicians” pandering to an immature left-wing constituency of their own.

YES, THERE ARE LEGITIMATE INTELLIGENCE ACTIVITIES……BUT…..

But are we being unreasonably idealistic and naively romantic in such a formulation, divorced from the real world dangers and threats, terrorism and world war, that our intelligence services were created to protect us against? Such a question would be a fair one from any conservatively oriented critic, but not necessarily dispositive of the question. Arguably, the work of the intelligence services in time of war or threatened war has been vital. The history of World War II strongly points to the miracle of the Ultra or Enigma Program of the British Government Code and Cipher School at Bletchley Park, part of British MI6 or the Secret Intelligence Service, a forerunner of the American CIA and NSA, which enabled the Allies to break and listen in to military, naval and diplomatic transmissions of the Nazi and Japanese war machines, and which many scholars credit with the actual survival of the democracies, or the shortening of the war by years sparing millions of lives. We all might now be speaking German and Japanese in Fascist colonies, or not speaking at all if the security services had not done their job remarkably well, enabling such victories as the American destruction of the Japanese aircraft carrier superiority at the Battle of Midway or the success of the D-Day Invasion of Nazi occupied Europe. Isn’t “9-11” a watchword for the necessity of a robust intelligence establishment directed towards the “War on Terrorism?”

Undoubtedly there are legitimate intelligence gathering functions that are vital to the survival of democratic governments and peoples in a sometimes hostile world, as the “Ultra” Program of MI6, aided by Polish and American intelligence in WWII proved. For those of you who may suspect that I am being “hopelessly naive” and a typical “fuzzy-minded” romantic, liberal-do gooder or irresponsible pointy-headed intellectual in these matters, let me relate that I served in the Military Police of the United States Army, and in the Judge Advocate General section of a Military Police Brigade attached to a NATO Group Army Headquarters whose mission in time of war was to rush into the Fulda Gap to confront the massively superior numbers of tank divisions the Soviet Bloc Red Army was presumed to attempt to Blitzkrieg across Germany into France should the Cold War ever turn hot. Luckily for me and my children such event never happened. Had I been sweating in my Chemical Warfare suit and gas mask checking the nerve gas detectors and Atropine injectors in the Fulda Gap I would certainly have been praying that those “good ol’ NSA and Bletchley boys” had broken every goddamn Soviet code in existence to give me a half-chance of ever seeing my children again. But I am equally distressed that the unbridled growth of surveillance not only by government entities, but by the Internet companies themselves who invade the privacy of netizens for the merest profit-motive, may be eroding our fundamental freedoms, and the exponential way in which the Internet and other technologies have taken over and dominated every aspect of our lives justifies a new vigilance to protect those increasingly vulnerable freedoms in a revolutionized technological environment.
What is clear is that in many cases we have lost rational perspective in weighing the dangers of “terrorism” against the cost in civil liberties and damage to democratic oversight of the countermeasures taken against it.

Snowden sounded very much like Tom Paine’s invocation of “Common Sense” when he in Hong Kong pointed out that the danger to the average American from “terrorism” is far less than that of a “bathtub slip and fall” let alone a traffic accident, even taking into account such horrendous incidents as 9/11 and the World Trade Towers. We have in many instances been huckstered by repressive interests into surrendering our everyday freedoms by the demagogic incitement of fears and anxieties, reminiscent of the excesses of the McCarthy Era in witchhunts against the threat of “communism,” which were so often uncovered to be the machinations of elite, moneyed, privileged and powerful interest groups to protect their own special interests against the interests of the people. Winston Churchill observed that “patriotism” and “war” are the “last refuge of scoundrels,” in that reactionary demagogues and special interests will always manipulate fears in the mind of the public to justify repressive actions to preserve their own wealth, power and privileges if left unchecked and unrecognized by the people. Fundamentalist religion has often also been perverted to such a function. Shall we be deluded into the loss or erosion of our day-to-day freedoms and our privacy rights by such remote dangers?

Furthermore, the public has often proven itself childish in being manipulated in such a degree, by McCarthyites and “Counter-Terrorists.” There is no absolute security in this world and this life and we should all be mature enough to accept some level of danger to preserve our freedoms. We accept the much more substantial danger of traffic accidents when we get in our cars or cross streets in exercise of our freedoms of travel and association. Yes, we could be the victims of a wildly unlikely terrorist act, but we should not give up our freedoms any more than we should lock ourselves in our homes to avoid traffic accidents. We are all going to die. It is an inevitable part of life, as is an ineradicable element of danger in life. We accept the risk to enjoy the life and its freedoms and the possibility of the pursuit of happiness. We should as a public give up the infantile expectation of 100% security and safety and our childish chastisement of the President and public officials that they have not acted with the omniscience and omnipotence of a God when some harmful event occurs. As we are all going to die in the course of life we should accept with grace some reasonable element of risk, including that of terrorism, in order to preserve the freedoms of our life, and get on with the more important task of living a rich and free life while we enjoy it. Of course we should take reasonable measures to minimize such risk, but not at the cost of our fundamental freedoms.

THE VULNERABLE POSITION OF THE INDIVIDUAL AND OF INDIVIDUAL RIGHTS IN THE SYSTEM OF INTERNATIONAL LAW

The spectacle of Edward Snowden holed up and stranded in the Transit Area of Sheremetchevo Airport in Moscow seeking Asylum further highlights the vulnerability of the individual and of individual Human Rights within our inadequate, imperfect and still evolving system of International Law. As a Professor of International Law, who has taught courses on Public International Law, including International Humanitarian Law in universities including Peking University and in the Chinese Academy of Social Sciences (CASS) this has long been a central concern to me professionally and as a citizen of the world. It has also motivated me to be active in the Campaign for a United Nations Parliamentary Assembly, a globalized version of the EU European Parliament as a new advisory organ of the United Nations system to provide additional democratic oversight and reduce the “democratic deficit” in our international institutions, with the goal of reforming the system of International Law to provide a firmer foundation for the status, freedom and inalienable rights of the individual, as opposed to the present system focused primarily on the relations and powers of Nation-States. The fact that there is no European Parliament-style democratically elected body as part of the United Nations is a contributory cause of the system of International Law systematically failing to incorporate the inalienable rights of the individual on a reasonable and commensurate basis as against the powers of the Nation-State, which have unreasonably been solely represented in the creation, formulation and maintenance of that inadequate system.

Also, lest it be imagined by some that my work in China on behalf of International Law, personal rights and freedoms and International Human Rights might be skewed in favour of the Communist government of that nation, or imputation of other so-called “Anti-American” bias, let me also make clear my equal abhorrence to the repressions of communist, left-wing, Islamist, or any other governments against the legitimate rights and security of the individual, including the repression of democratic dissent, as in the case of Liu Xiaobo in China, imprisoned primarily for the expression of ideas which the Chinese people have every right to hear and consider in determining their future, as the American people have the right to hear the ideas and legitimate “public interest” disclosures of Edward Snowden.

Why is Edward Snowden in limbo in the international transit section of Moscow’s Scheremetchevo Airport? Why can’t he just take a taxi to the Iceland, Venezuelan, Bolivian, or Nicaraguan embassies in Moscow, file his papers for Asylum and be on his way? Because, as Charlie Chaplin was wont to decry in his late film, “A King in New York” after his own Green Card and Re-Entry Permit was revoked for illegitimate political reasons in the McCarthy scare era, you don’t exist without a passport! This is emblematic of the underlying fact that International Law is a system of law centered on Nation-States and only indirectly acknowledging the existence of individuals and their rights, primarily as the sometimes protected “subjects” of those states. Edward Snowden or any aggrieved individual could never go to the International Court of Justice, or World Court in The Hague to ask it to vindicate his rights, as he would have no “standing,” meaning he would not exist as a legally cognizable “person” or “party” within such court. It is thus a sad discovery for some persons such as Snowden or persons who have become “stateless” that they are treated effectively as “unpersons” within International Law, especially when they attempt to determine their personal fates outside the borders of their own country. In the international system of the European Union, the international legal system has evolved further with the development of the European “Court of First Instance” which as an innovation has allowed individual and corporate persons to be recognized in international legal process. It is hoped that the general system of International Law will evolve further in this direction from its present immature form.

The long and the short of it is that each individual and his inalienable human rights should be recognized within international law independent of his relationship with his nation of citizenship, and no nation should be competent to make an individual abroad an “unperson” by revoking his passport or even citizenship. An individual should enjoy full freedom of travel and abode abroad without the sponsorship of any national government, simply on the ground of his status as a human being. This is not to deny the right of any nation to regulate their own national territory by determining whether to grant entry at its borders based on legitimate concerns for deleterious actions of persons within their borders (not however, in the ideal world, based solely on disapproval of any person’s personal beliefs or values unrelated to specific harmful actions), nor the right of governments to detain and extradite criminals in legitimate cases subject to treaties. But where the “offense” is essentially political, and consists of embarrassing a nation’s government or challenging its abuses, or as in Snowden’s case disclosing material illegitimately classified as secret with the primary aim of covering up improper conduct of the government of which the people and citizens of that country have a right to know for practicing essential democratic oversight and control, the right to asylum and refusal to treat such a person as a common criminal in other countries should be protected within reasonable limitations. Thus in a reasonable system of International Law and governance, Snowden should be able to leave the airport on his own recognizance with or without a passport to visit the various embassies in Moscow to make arrangements for international asylum. The fact that he is a real person with real international rights under the UN Universal Declaration of Human Rights, and International Humanitarian Law grounded in the United Nations Covenants on Civil and Political Rights, as well as that on Economic, Social and Cultural Rights, amoung others, should be the primary consideration, rather than the status or deleterious actions of his own government with regard to his passport. That this is not the case is a measure of the immaturity of our international regime of law and governance, and its illicit exclusive dominance by Nation-States as opposed to concern with real individuals with real rights.

Does Edward Snowden have a Right to Asylum under presently existing International Law, as opposed to an ideal International Law? Article 14 of the Universal Declaration of Human Rights states that “Everyone has the right to seek and to enjoy in other countries asylum from persecution.” The United Nations 1951 Convention Relating to the Status of Refugees and the 1967 Protocol Relating to the Status of Refugees guides national legislation concerning political asylum. Under these agreements, a refugee (or for cases where repressing base means has been applied directly or environmentally to the defoulé refugee) is a person who is outside their own country’s territory (or place of habitual residence if stateless) owing to fear of persecution on protected grounds. Protected grounds include race, nationality, religion, political opinions and membership and/or participation in any particular social group or social activities. Rendering true victims of persecution to their persecutor is a particularly odious violation of a principle called non-refoulement, part of the customary and treaty Law of Nations. Whether Snowden would have a right to asylum under international law would thus depend on the interpretation of the concept of “persecution” in his case. In traditional terms, the United States government would undoubtedly claim that he is not being subject to “persecution” under International Humanitarian Law, but rather “prosecution” for criminal activity, namely illegal and felonious disclosure of secret classified NSA intelligence documents. However, Snowden and asylum granting nations could well conclude that such so-called prosecution, prima facie valid under existing American law, was an illegitimate repression of his First Amendment rights of freedom of speech as the disclosures were in the public interest and for the purposes of enabling the American people to exercise restraint, oversight and control of government activities which may well be illegal under the Fourth Amendment of the constitution, and that therefore the “prosecution” was in reality and substance a “political persecution” of his beliefs in greater democracy at variance with the political establishment’s desire to continue unwarranted surveillance of the private communications of the American people and the position of power of the surveilling elite of the military-industrial-intelligence complex warned against by Eisenhower. Such activity would plausibly fall under the “political offense” exception to most extradition treaties. They could well conclude that the ostensible criminal prosecution was really retaliatory action motivated by the political embarrassment of the American government caught with its own hands in the illicit intelligence surveillance cookie jar. The fact that Snowden’s disclosures so far have been limited and principled and in fact highly welcomed in Congress as revealing a critical need for enhanced democratic oversight of these clandestine surveillance activities, would tell in the favor of the latter interpretation. Simply because the American government has the power to rig its own system by writing the technicalities of the law to characterize Snowden’s actions as criminal without including in its law a “Public Interest Disclosure” defense to keep the disclosures within the protected First Amendment freedoms of expression, would not necessarily be dispositive in other asylum granting nations interpretation of International Law. Snowden might prevail even within the US legal system decades later through innovative appeals to the US Supreme Court, but this would most probably occur only after years of harsh imprisonment.

Thus asylum-granting nations could well justify the grant of asylum on grounds of International Humanitarian law and humanitarian interests, provided of course, with a “reality check” of “Realpolitik” calculations, that they concluded they could afford to incur the wrath of the American superpower, which, as in the words of Wordsworth, like the “still, sad music of humanity,” “hath ample power to chasten and subdue.” As Snowden cautioned the American political establishment, “The Truth is Coming,” but in the world of “Realpolitik” it is still well doubtful whether the lone, courageous truth-telling individual martyr will derive the benefit of the archetypal martyr Jesus’ words that “The truth shall set you free.” More likely in the Orwellian world of American Doublespeak and the Alice in Wonderland Topsy-Turvy inverted world of “Superpower Realpolitik,” Jesus’ invocation would have about as much efficacy in an American secret intelligence courtroom as the words over the door of the concentration camp, “Arbeit Macht Frei,” the more likely outcome reflecting the words over Dante’s Inferno, “Abandon Hope All Who Enter Here.” But as Jesus was also wont to invoke, miracles do occur from time to time.

THE TRAJECTORY OF EVOLUTION OF INTERNATIONAL LAW

Why does present International Law give so little weight to the rights and security of the individual as opposed to confirming the powers of the Nation-State? One important reason was the founding principle of “Sovereignty” under early International Law, usually referred to as the Westphalian system arising from the Peace of Westphalia in 1648, which ended the “Thirty-Years’ War” in the Holy Roman Empire and the “Eighty-Years’ War” between Spain and the Dutch Republic. Under an early and somewhat absolutist view of “Sovereignty” any nation within its borders was absolutely free to do whatever it pleased without any claim of outside interference by other Nation-States. This would imply that the Nazi Holocaust against the Jews and other groups or Stalinist mass murders and relocations, or genocides against minorities were simply “none of your business” with regard to other nations. Of course such an “absolutist” view of sovereignty was never completely true, and indeed reflected only a particular phase of history, having been preceded by the oversight of the international system by the Church in Medieval times, and succeeded by the development of the United Nations system of collective security and control and the growing limitations on sovereignty of International Human Rights Law after World War II. Thus in Medieval times “Asylum” was an effective limitation on sovereign power associated with the Church. If a pursued “criminal” found his way to a Church sanctuary, the Church under appropriate circumstances would grant him asylum or temporary sanctuary. Often in Medieval Europe, a pursued suspect such as Snowden could find sanctuary for at least 40 days in a church or Bishop’s house free from the intervention of police or soldiers of the secular state. Thereafter, the Church would generally supervise his exile, or attainment of more permanent asylum, by guaranteeing him “safe transit” over the highways to the nearest port where he could embark to another nation for asylum. Such was the customary moral authority of the Church that the arbitrary use of force by the state was very often prevented. In more modern times as the concept of absolute sovereignty waned, international organizations such as the United Nations and the High Commissioner for Refugees would often organize analogous operations.

What is a Nation-State? At its crassest, de-romanticized and unadorned level, a “Nation-State” is simply a Monopoly of Force sustainably exercised over an extent of territory and a body of people within it. Most “monopolies of force” in their origins were usually established “the old fashioned way,” namely the forcible extirpation of all internal opposition by some powerful elite group within the population, generally an emperor, king or other sovereign backed up with an army, family cronies elevated to “noble” status, and secret police vicious enough to eliminate all effective resistance on a relatively sustainable basis and repress all competing social classes, accompanied by an external equilibrium of armed force with regard to neighboring “monopolies of force” founded on a similar basis. Usually the concept of “sovereignty” was a practical necessity or convenience, dividing up the “global turf” between dangerous potential aggressors, who in “enlightened self-interest” like Mafia bosses dividing up territories to avoid excessive conflict and concentrate on the more profitable business of exploiting the weaker classes within their own bloc of turf. International treaty arrangements such as the “Concert of Europe” by which Metternich sought to ally reactionary governments against the tide of democratic revolution, were thus essentially conspiracies of dominant elites against their own publics, reaching a “modus vivendi” with those who had sufficient power to threaten them, and a “modus operandi” with regard to the central business of exploiting the larger and weaker social classes subject to their local “monopoly of force.” Thus it is not surprising that early “International Law” operated as a “conspiracy against the peoples of the world against their ruling and exploiting elites,” and had little concern for the rights, security and well-being of the individual.

Beginning with the American Revolution, and continuing with the French Revolution Nation-States began to become subject to internal restrictions on the exercise of sovereign powers, generally under the category of “Constitutionalism.” The American Constitution in particular, with its Bill of Rights, restricted and forbade the use of sovereign powers in derogation of the rights of the individual and the people. Constitutionalism reformed internal sovereign national laws by placing the individual and individual rights at the center of the relationship of human communities and power holding elites. The growth of democracy, often fragile, also strengthened the position of the individual within the legal system.

The classical conception of Sovereignty implied the right of Nation-States to freely resort to war to protect and enforce their sovereign rights. It took the horrendous experience of the two World Wars, their attendant War Crimes and genocides including the Holocaust to convince the nations of the world to begin limiting sovereignty in the name of protecting the rights of both individuals and subject peoples. Thus the Kellogg-Briand Treaty purportedly outlawed aggressive war and the founding of the United Nations limited the use of force by nations under the concept of sovereignty to legitimate and limited self-defense subject to the authorization of the use of force by the Security Council of the United Nations, effectively though, still a club of the “Great Powers” or “veto holders” acting in the name of the international community generally and sometimes in its interest. Various Hague Conventions on the International Law of Armed Conflict outlawed “War Crimes” including crimes against civilian populations, under which Nazi and Japanese war criminals were executed, including “Crimes against Humanity.” Following World War II this was supplemented by the rise of International Human Rights Law, under the UN Conventions on Civil and Political Rights and Economic, Social and Cultural Rights, which allowed a limitation of national sovereignty in respect of acts against their own peoples.

At the present time, and with the gradual evolution of International Human Rights Law alongside the evolution of international communities of nations collectively limiting national sovereignty, such as the European Union subject to mutual obligations for the protection of individual rights, the system of International Law is also gradually placing the individual and his inalienable rights towards the center of the International Law system, but still at an embryonic stage of development compared to the progress of Constitutionalism within nations. But with individual lives becoming more and more international with the advent of “Globalization” and mass communications such as the Internet, employment in multinational corporations and enlarged international travel and migration, the necessity for further evolution of the place, status and security of inalienable rights of the individual grows in importance and necessity yearly. Individuals increasingly need to be guaranteed respect of their security and rights as they pass through dozens of national jurisdictions in the course of doing business, travel, electronic communications, education and normal public life. Thus it is expected that the system of International Law will evolve to place the security and rights of the individual beyond the country of citizenship increasingly at the center of the legal system, as had the prior internal evolution of legal systems through the growth of the “rule of law” and Constitutionalism.

This process shows that the unsustainable contradictions of the unbridled operation of such programs as the American PRISM program. On the one hand the FISA Foreign Intelligence Surveillance Act strives to meet the demands of Constitutionalism and “rule of law” with regard to its own citizens within its own borders. But in a globalized world such wanton violations of the parallel rights of the peoples and citizens of other nations, including our closes allies the European Union, can ultimately only be found to constitute an unsustainable act of technological hubris. Evolution of the International Law system towards and International Constitutionalism will therefore become necessary. Failure of such an evolution will likely result in the division and conflict, and weakening of the constitutional democracies, resulting in the ascendency of the illiberal and more totalitarian powers, following the Law of Unintended Consequences. It is hoped that this evolution of International Law and its component International Human Rights Law with function on the principle of Complementarity, with the evolving “Constitutionalism” in International Law supplementing the existing “Constitutionalism” guaranteeing individual rights within the national legal systems. In cases such as the Snowden case, where failure of the national system of “Constitutionalism” fails because the public authorities fall captive to institutional power elites who ride roughshod over the Constitutional rights of the people and the individual, it is hoped that the evolving system of International Constitutionalism, embracing International Humanitarian Law and associated international rights of the individual, such as the Right of Asylum will act as Complementary Checks and Balances on abuse of individual rights, until such time as the internal democratic processes and Constitutional checks can catch up in order to right the abuses of the errant institutional power elites and restore the integrity of the US and other national Constitutions.

CONCLUSION

The courageous acts of such young men as Edward Snowden may thus make a contribution to the onward evolution of our system of International Law, Global Governance and international Human Rights Law, transcending the prior Nation-State bound ingrown weaknesses and abuses. Whether such an evolution will come at any time soon enough to affect his own fate is dubious, though not impossible. More likely Snowden’s role as a “Truth Bringer” will result not in “The Truth Will Set You Free” as in the ideal of another famous unwelcomed Truth Bearer, Jesus, but rather in the reversed-mirror image of “Realpolitik” and Orwellian Doublespeak, in its exact opposite for him. But as Jesus also reminds us, miracles do happen from time to time.

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Five Poems from Spiritus Mundi by Robert Sheppard—Published in Recours au Poème—French Journal of World Poetry, July 2013—Magellantic Vision—–Check it Out!

Five Poems from Spiritus Mundi by Robert Sheppard—Published in Recours au Poème—French Journal of World Poetry, July 2013—Magellantic Vision—–Check it Out!

You are invited to read five poems from Spiritus Mundi by Robert Sheppard Published July, 2013 in Recours au Poème—French Journal  of World Poetry,

Magellantic Vision

Where the Agon takes Place

Moby Dick

Contra Clausewitz

Gnosis 

See more at: http://www.recoursaupoeme.fr/robert-sheppard/magellantic-vision#sthash.OMgXqvEq.dpuf

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“THE LOVE SUICIDES AT AMIJIMA” OF CHIKAMATSU, “ROMEO AND JULIET” & THE ARCHETYPE OF THE STAR-CROSSED LOVERS IN WORLD LITERATURE—FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

Four Major Plays of ChikamatsuFour Major Plays of Chikamatsu by Monzaemon Chikamatsu
My rating: 5 of 5 stars

“THE LOVE SUICIDES AT AMIJIMA” OF CHIKAMATSU, “ROMEO AND JULIET” & THE ARCHETYPE OF THE STAR-CROSSED LOVERS IN WORLD LITERATURE—FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

For most of us in the West, when we think of the idea of “star-crossed lovers” or of the love suicides of doomed lovers the first image that comes to our minds is that of the tragic lovers Romeo and Juliet of Shakespeare. When we then attempt to take in the similar traditions of other cultures, such as the immortal Japanese play, “The Love Suicides at Amijima” by the great 17th Century Japanese playwright Chickamatsu Monzaemon, our first reaction is to see it as “The Japanese Romeo and Juliet,” and we may be forgiven our presumption by realizing the universality of egocentrism such that Japanese readers may regard Romeo and Juliet as the Western Amijima, Arabic or Iranian readers as the Western “Layla and Majnun.” In truth all of these works are the product of the universal Collective Unconscious manifesting itself in its innumerable variations on the themes of fundamental archetypes and patterns in World Literature, here the universal Archetype of The Star-Crossed Lovers, and which Archetypes are shared by all of us as the common heritage of mankind.

WHAT IS AN ARCHETYPE?

C.G. Jung identified as “Archetypes” enduring dynamic symbolic complexes charged with energy in the human psyche which mediate and help transcend the inextricable contradictions and limitations of human existence, and which serve to enhance psychic wholeness, growth, and the powers of greater life itself. Archetypes recurrently irrupt from latent unconsciousness into living human consciousness in the form of dreams and as recurrent motifs expressed in literature, art, religion and myth serving as guides and healers towards grater life. Archetypes are generally manifested in the three major forms of characterological personas, situational motifs and oppositional symbolic patterns.

Examples of archetypal characterological personas charged with the immense hidden energies of the Collective Unconscious would include:

1. The Hero–who typically struggles against inimical and powerful forces beyond his control;
2. The Scapegoat–an animal or more likely a human whose ceremonial sacrafice or expulsion expiates some taint or sin afflicting the community;
3 The Outcast–a figure banished from a human community
4. The Devil–Evil incarnate, inimically opposed to human well-being;
5. The Earthmother–symbol of fruition, abundance and fertility;
6. The Star-Crossed Lovers–These lovers represent the element of Doom in erotic love relationships, implying that whatever forces determine their fate, the lovers are not and ultimately cannot be in essential control of them. These overpowering forces may include “fate” or “the stars,” the internal irresistable and ultimately lawless forces of libido, lust and love, the countervailing overweening powers of society,family, social repression, convention social duty, and perhaps even the power of Death itself.

Examples of Situational Archetypal Motifs would include:

1. The Quest–a search for something or a powerful talisman which will restore fertility to a wasted and blighted land;
2. The Task–to save the kingdom, win a fair lady or perform some superhuman deed;
3.The Journey–usually to find some vital information or truth;
4. Death & Rebirth

Sybolical Archetypal oppositional patterns might include:

1. Darkness & Light
2. Water & Desert
3. Heaven & Hell—Man has traditionally associated places not accessible to him as the dwelling places of the hidden primordial powers that govern his world, as exemplified by the Heaven and Hell.

Since Archetypes emerge from and express the universal Collective Unconscious of humanity as they deal with the uneradicable contradictions and limitations of the human condition, they occur in all cultures and at all times in human history, though shaped in specific expression by each cultural tradition and historical context in its own way.

THE ARCHETYPE OF THE STAR-CROSSED LOVERS IN WORLD LITERATURE

The Archetype of the Star-Crossed Lovers appears in World Literature from earliest antiquity. A famous example at the center of Homer’s Iliad, is the fated love of Helen of Troy and Paris, forbidden by Helen’s marriage to Menalaus, which ends in Paris’ death and the destruction of his homeland Troy. Also, in Ovid’s Metamorphoses we encounter the figures of Pyramus and Thisbee, two Babylonian lovers frequently used in Shakespeare, who, like Romeo and Juliet kill themselves out of frustrated love.

Similar stories abound, as in the case of Hero and Leander at the Dardanelles, in which Leander perishes swimming the straits with the guidance of a lantern in the night lit by Hero, until bad winds and weather extinguish the lamp and he drowns. In Celtic mythology, the tale of Tristan and Isolde follows similar lines with Tristan, a faithful Knight of King Mark sent to bring Mark’s new bride from Ireland to Cornwall. Isolde however, falls in love not with King Mark but with Tristan and they drink of a magic love potion binding them together body and soul. The lovers cannot keep apart until King Mark to save the honor of himself and the kingdom must banish Tristan to France where Tristan dies of separation from Isolde, resulting in her own love suicide. This also serves as model for other stories of ill-fated lovers, such as the Arthurian legend of the love of Sir Lancelot and Queen Guenevire.

In non-Western traditions similar expressions of the Star-Crossed Lovers appear, such as Nizami’s famous Persian tale of “Layla and Majnun,” popularized in Arabic, Persian, Indian and Islamic Literature. There Layla and Majnun are inextricably in love, but Layla’s father refuses to allow them to marry, citing Majnun’s poverty and his reputed mental illness arising from his excessive love for Layla. Layla is forced to marry another wealthy suitor and Majnun is reduced to wandering in the wilderness, Heathcliff-like, inscribing poems to Layla on rocks and the walls of her home. Finally he dies from grief causing her to do so at the same time.

In Chinese Literature similar tales are abundant, such as the fate of Imperial Consort Yang Gui Fei celebrated in Bai Juyi’s “Song of Everlasting Sorrow” in which the Imperial lovers’ excesses threaten the downfall of the Tang Dynasty such that the Emperor Xuanzong is forced by his army to have her executed to save the Empire. The fabled doomed love of Liangshan Bo and Zhu Yingtai, Ovid-like, ends in their being transformed into butterflies to be united in spirit. Another celebrated case is the ill-fated love of Jia Baoyu and his sickly cousin Lin Daiyu in Cao Xueqin’s immortal classic “The Dream of the Red Chamber,” another case in which love’s consummation in marriage is blocked by Lin’s poverty and ill health, causing her to waste away and die, blighting both lives.

Other cases of the appearance of the Star-Crossed Lovers Archetype are those of Goethe’s “Sorrows of Young Werther,” Bronte’s “Wuthering Heights” and “Lady Chatterly’s Lover.”

THE LOVE SUICIDES AT AMIJIMA BY CHIKAMATSU

“The Love Suicides at Amijima” tells the story of two ill-fated lovers, Jihei, a married unsuccessful merchant of commercial Osaka, and Koharu, a beautiful courtesan for whom he has contracted a fatally intense love attraction, and from whom his love is reciprocated, but a love which can never be fulfilled due to his marriage and family and her indentured status as a paid courtesan.

Unlike Shakespeare’s Romeo and Juliet, who begin their story in youthful innocence and exuberant hope, Jihei and Koharu begin Chikamatsu’s play in a state of hopelessness that is never relieved. As the play opens they have exchanged vows to commit mutual suicide together when an inevitable opportune moment arrives. Their fate is sealed from the outset, and the drama consists less in their attempting to change it for the better, as do Romeo and Juliet, but in how the attempts of all those around them who represent “rationality,” control,social duty and convention, foremost Jihei’s loyal wife Osan and their children, Jihei’s brother and extended family all attempt and ignominiously fail to divert the lovers from their doom.

The characters are portrayed in a thoroughly realistic manner as Jihei appears not the ideal tradesman of Osaka but rather one of the unsuccessful members of a profession that demanded a high level of diligence, reputation and devotion, exhibiting a weak, conflicted and vascillating nature, though ultimately devoted to his passionate but hopeless love to Koharu. Chikamatsu explains that even the love of a prostitute is deep beyond measure, a bottomless sea of affection that cannot be emptied or dried. The action is relieved by episodes of humor and insight into personalities and human foibles. Practically, Jihei is surrounded by “love” —-love between man and woman, husband and wife, father and children, younger brother and elder brother, but none of these conventionalized loves can rise to the reality of his true love for Koharu.

He tries to control his overpowering passionate love for Koharu—-in fact, a part of him desires nothing more than to live up to what society expects of him as a husband and father. Torn between the two opposing worlds of duty (giri) and passionate private desire (ninjo), Jihei is forced over and over to reject his home and family. Like any other human nature, Jihei’s nature is impulsive and changeable. He begs Gozaemon, Osans father who threatens him with divorce and bankruptcy over the affair, to let him stay with his wife Osan. In his quickness of tongue, his impulsiveness and his fear of being shamed in public, Jihei represents a typical representative of inconstant males so vividly portrayed by western female songstresses like Joni Mitchell: “Be careful now – when you court young men: They are like the stars On a summer morning, They sparkle up the night, And theyre gone again—-Daybreak—and gone again.” Under pressure from his wife and family, Jihei attempts to give up Koharu, but ultimately finds it impossible. In the end, Jihei’s love for Koharu makes a double suicide seem as the only course open to him.

Part of the pathos of the tragedy comes from our admiration for Jihei’s wife Osan, who appears as a plausibly ideal and admirable wife, forgiving Jihei and Kohatsu, seeking to protect her children and family, taking the strong initiative to ask Kohatsu to give up Jihei to protect his children and family. When Koharu is threatened with disaster Osan even makes great sacrafices to raise money for her, though a rival, acting with great strength, courage and honor. But Jihei’s love is fatally unaffected by his wife’s virtues, and he is impelled further and further towards his hopeless love for Koharu and its inevitable consequence of self-destruction.

In the end, Jihei and Koharu resign themselves to their fate and to each other, setting off in the night to commit suicide together, justified in their hopeless love and expectation that they will be together in future lives and reincarnations even if their love is impossible in this life and world. A main theme of The Love Suicide at Amijima is that marriage and living out social conventions and roles does not equal happiness and love. This can be seen during the play through Osan’s self-sacrifice and Jihei ultimately choosing a tragic death with Koharu instead of living with Osan.

It is not coincidental that “The Love Suicides at Amijima” found birth in the Japanese Bunraku “puppet theater,” though it also is performed by live actors in the Kabuki theater as well. McLuhan famously stated that “the medium is the message,” and the telling of Chikamatsu’s story via the strings of puppets emphasizes the hidden strings of forces beyond our control which may well take over our destinies. Von Kleist’s famous essay, “On the Puppet Theater” and its uncanny effects makes the same point in our Western tradition.

LOVE AND DEATH: CHANCE, FATE, EROS & THANATOS

One of the teasing and maddening perplexities of Romeo and Juliet is the knife-edge balance of seeming chance on which their fates depend and ultimately turn. “If only” comes repeatedly to mind: If only Juliet had awoken from the potion ten minutes earlier; if only Romeo had known she was not dead but only drugged; If only Friar Laurence’s messenger had got to Romeo in time! Similar operations of seeming chance operate in the Love Suicides: If only Osan had discovered Jihei’s absence on the fatal night an hour earlier she might have intercepted him and prevented the suicide. Yet part of the mastery of both Shakespeare and Chikamatsu lies in how these seemingly chance events reveal the workings of inexorable hidden forces that ultimately cannot be either eliminated or controlled. If they do not work their will in one chance event they will through another until they have worked out the character’s fate.

The point is that there really are latent forces immensely greater than the individual wills or ego-consciousness of Romeo, Juliet, Jihei, Kohatsu and the reader or spectator which are poised to take over their lives, and potentially our lives. What are these forces? Eros, libido, sexuality, overwhelming sensuality and passion rooted in our DNA and the forces of life within and beyond individual consciousness and control is one such force that can become a law and destiny for any individual. To put it rather crudely, when men “think with their dicks” it is often biological “life force” which is doing the thinking for them, a force unfortunately indifferent to their individual destinies and wholly willing to ruthlessly make “puppets” of them, or even hurl them into disaster and death for its own greater ends. For both parties to a fatal passion, that passion, as the cliche would have it, is “bigger than both of us.”

Another such “superforce” is death, or Thanatos as Freud expressed in in “Beyond the Pleasure Principle,” or the fact that the Darwinian-driven life force is using each of us for its own ends, like God’s invisible hand working the puppet strings of our lives, rather than each of us using life for our own ends, and of which our own little lives and deaths are but part of a much greater “master plan.” The desire for death is also the deisre for peace and escape from the pain and travail of troubled life. Who is using whom? In the greater scheme of things Life will prove Master, and Death will prove Master over each of us, try as we may to overmaster their powers for our own egocentric aims. It is the Archetypes that reveal and catalyze these latent and inexorable contradictions in human life and brings them to light. However we struggle for our own ends we discover, and the Archetypes disclose, that we are in fact inevitably and inexorably serving ends beyond ourselves.

THE PERVERSE CONNECTION BETWEEN LOVE AND DEATH: VAMPIRES, ZOMBIES & LOVERS SUICIDE PACTS, AND DEATH AS THE PRICE OF SEX

Our movies and media are strangely pervaded by the onmipresence of a fatal intertwining of sex and death: Twilight vampires enmeshed in the net of passion and blood-death, and zombies crazed for the blood of life. Sex and death have a number of connections other than having been taboo topics in polite company and controversial subjects in school curricula. As is the case with many taboos, both can lead to fetishes and eroticisms, and their mere mention holds shock value for young adults.

Few question that life’s greatest drives are to reproduce and to avoid death. Yet the great psychoanalyst Sigmund Freud and the French social theorist Michel Foucault argued that the two are fused, that the death instinct pervades sexual activity—–a connection easily seen by such a Frenchman as Foucault whose language frames orgasms as “petit mort,” or “little-deaths.” As in the “Play it Again Sam” song of Casablanca, love and sexuality have always been a case of “do or die,” from the upstream spawning quests of anadramous salmon to modern film.

It has been often observed that death is the price multicellular creatures must pay in order to reproduce. The biologist William Clark observed, “Obligatory death—as a result of senescence (natural aging)—may not have come into existence for more than a billion years after life first appeared. This form of programmed cell death seems to have arisen at about the same time cells began experimenting with sex in connection with reproduction.” Perhaps one legacy of this original immortality is the telomerase, the so-called immortality enzyme, found within the cells of testes and ovaries. Absent from normal cells that age and die, telomerase is what allows cancerous cells to reproduce without limits. Sexuality, followed by human individuation may have been the “original sin” against the primitive amoeboid immortality of undifferentiated binary fission as a means of reproduction, along with the later adoption of a murderous carnivore diet and evolutionary ethos.

Humanity is not immune from this law of death as the cost of sex. This toll for reproduction has particularly been borne by women. Unlike at the start of the twenty-first century, when women held a seven-year life-expectancy advantage over males in developed nations, historically, because of their high maternal death rates, women were the shorter-lived sex. The era of AIDS reinforces the notion that the sex act itself may be the cause of death. Perhaps in the evolutionary scheme sexuality, like the Pentagon in times of budgetary retrenchment, adopts a scheme of “up or out” as a corollary to “do or die” whereby sex and love, if not fulfilled in fruitful union and evolutionary potential, press inexorably towards necessary death as the default reset position. Perhaps Romeo and Juliet, Jihei and Kohatsu fulfill another Archetype, the Scapegoat, to tragically purge the gene pool for more viable options, yet in their deaths, ironically, inspire us towards the roots of greater life. Perhaps ironically also, it is in the moment when forces greater than ourselves take over and even end our lives, that we so often find the potential for essential alignment with those forces that lends transcendent meaning to our lives, often expressed through Archetypes and myth.

The composition of my own recent novel, Spiritus Mundi, is rooted in the exploration of Archetypes, most notably those of The Quest, in this case the Quest to save humanity from destruction in WWIII and the establishment of a United Nations Parliamentary Assembly. In it the protagonist Sartorius overcomes the urge to suicide and finds inspiration in love for the Anima figure of his beloved Eva, who accompanies him on his Quest. I invite you to look into Spiritus Mundi, Romeo & Juliet and the Love Suicides at Amijima to explore the world and power of Archetypes in World Literature.

For a fuller discussion of the concept of World Literature you are invited to look into the extended discussion in the new book Spiritus Mundi, by Robert Sheppard, one of the principal themes of which is the emergence and evolution of World Literature:

For Discussions on World Literature and Literary Criticism in Spiritus Mundi: http://worldliteratureandliterarycrit…

Robert Sheppard

Editor-in-Chief
World Literature Forum
Author, Spiritus Mundi Novel
Author’s Blog: http://robertalexandersheppard.wordpr…
Spiritus Mundi on Goodreads: http://www.goodreads.com/book/show/17…
Spiritus Mundi on Amazon, Book I: http://www.amazon.com/dp/B00CIGJFGO
Spiritus Mundi, Book II: The Romance http://www.amazon.com/dp/B00CGM8BZG

Copyright Robert Sheppard 2013 All Rights Reserved

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DANTE’S DIVINE COMEDY & THE ARCHETYPE OF THE COSMIC JOURNEY TO HEAVEN AND HELL IN WORLD LITERATURE—FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

The Divine ComedyThe Divine Comedy by Dante Alighieri
My rating: 5 of 5 stars

DANTE’S DIVINE COMEDY & THE ARCHETYPE OF THE COSMIC JOURNEY TO HEAVEN AND HELL IN WORLD LITERATURE—FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

Dante’s “Divine Comedy” is a journey and Odyssey of cosmic dimensions, departing from the troubled world of our own experience, through a descent into the Underworld, or the Hell of the “Inferno,” followed by a re-ascent up the atoning slopes of the Mountain of Purgatory to the Earthly Paradise of our Lost Eden in the “Purgatorio,” and finally from thence an exalted flight into the Heavens of the Spirit and nighness to God in the “Paradiso,” before returning to our shared world of human existence on Earth.

The structure of the “Commedia” is thus both dazzlingly simple and impossibly intricate as an attempt to mediate to us the Christian Cosmos pervaded by the mystery of the Trinity and God’s plan for the world from its Creation through to the Last Judgment. It is also, evocative of modernity, the journey of one man, a man like ourselves, Dante himself, a soul in transit, an exemplary Pilgrim, a man whose aloneness casts a shadow across the transited cosmos, a man who may be taken as an Everyman, yet through all a voice which remains “io sol uno”….”only myself.”

The Divine Comedy, however, speaks to us not only as a polemical catechism of the Christian cosmos, but also as the living voice of the universal Collective Unconscious. Its journey re-enacts the primordial archetypes which have informed and enhanced human existence from its origins to the present.

WHAT IS AN ARCHETYPE?

C.G. Jung identified as “Archetypes” dynamic symbolic complexes charged with energy in the human psyche which mediate and help transcend the inextricable contradictions and limitations of human existence, and which serve to enhance psychic wholeness, growth, and the greater powers of life itself. Archetypes recurrently irrupt from latent unconsciousness into living human consciousness in the form of dreams and as expressed in literature, art, religion and myth serving as guides and healers towards grater life. Archetypes are generally manifested in the forms of characterological personas, situational motifs and oppositional symbolic patterns.

Examples of archetypal characterological personas charged with the immense hidden energies of the Collective Unconscious would include:

1. The Hero–who typically struggles against inimical and powerful forces beyond his control, overcoming them with his own virtues aided by benevolent powers of the universe;
2. The Scapegoat–an animal or more likely a human whose ceremonial sacrafice or expulsion expiates some taint or sin afflicting the community;
3 The Outcast–a figure banished from a human community
4. The Devil–Evil incarnate, inimically opposed to human well-being
5. The Earthmother–symbol of fruition, abundance and fertility
5. The Anima Inspiratrice–the Platonic inspiring feminine beauty whose image leads to transcendence of the baser limitations of the self towards enhanced spiritual powers—the prime examples of which are Beatrice of the Divine Comedy who is Dante’s feminine guide in Heaven, alongside Petrarch’s Laura, Goethe’s “Ewige Weibliche” Eternal Feminine, and others.
6. The Sage or Mentor–an older and wiser father-figure who acts as a guide in aid of greater knowlecge and maturity–Exemplified by the figure of Vergil in the Divine Comedy who is Dante’s Guide in Hell and Purgatory.

Examples of Situational Archetypal Motifs would include:

1. The Quest–a search for something or a powerful talisman which will restore fertility to a wasted and blighted land
2. The Task–to save the kingdom, win a fair lady or perform some superhuman deed
3.The Journey–usually to find some vital information or truth
4. Death & Rebirth

Sybolical Archetypal oppositional patterns might include:

1. Darkness & Light
2. Water & Desert
3. Heaven & Hell—Man has traditionally associated places not accessible to him as the dwelling places of the hidden primordial powers that govern his world, as exemplified by the Heaven and Hell of Dante’s Commedia. The cosmic journey through heaven and hell allows the traveller and vicariously humanity as a whole, to channel, ally and transform these forces to the benefit of human life, and by concurrent self-transformation en route, attain wholeness and oneness with the dominant forces of the universe. These derived enhanced powers enable him to come to terms with and transcend the inescapable reality and horror of death, and to seek out the ethical and existential meaning of his life.

Since Archetypes emerge from and express the universal Collective Unconscious of humanity they occur in all cultures and at all times in human history, though shaped in their expression by each cultural tradition in its own way. Accordingly, the Cosmic Journey of Dante’s Commedia can find parallels in most literary and cultural traditions of the world. Dante’s cosmic journey in the Commedia can thus be seen as one manifestation of the general archetype of “The Night Journey” or “Cosmic Journey,” a plot-line in which a major character, literally or symboically goes through hell and emerges as a better person, generally exhibiting the following characteristics:

1. The hero suffers a moral or spiritual crisis (Separation);
2. The hero is told to seek knowledge, insight or solutions in hell (Quest);
3. The hero accompanied by a wise guide, embarks on his journey;
4. The hero realizes that he is in Hell, literally or symbolically, through the recognition that he himself is one of the morally or spiritually dead;
5. The hero, after speaking to the dead, gains knowlege and understanding about mortality, life and himself;
6. At the depth of his descent, the hero faces either a devil figure or challenge that he must defeat or overcome to return to life (Challenge & Victory);
7. A return to the human world, generally bearing some boon (Re-Integration).

PARALLEL WORKS OF WORLD LITERATURE TO THE DIVINE COMEDY EXHIBITING ARCHETYPAL COSMIC JOURNEYS TO HEAVEN AND HELL: THE ODYSSEY, THE AENEID, THE MYTH OF ER, DREAM OF SCIPIO, THE ISRA & MI’RAJ, KITAB AL-MIRAJ, RESALAT AL-GHUFRAN AND THE MAHABHARATA

Almost all the great literatures and cultures of the world have similar expressions of the Cosmic Journey and Night Journey archetypes. Thus Dante himself did not fashion his epic out of the whole cloth of the pure imagination but based the Commedia on classical models, the two most notable of which are the Nykia, or descents into the Underworld in Homer’s Odyssey and Vergil’s Aeneid.

In the Odyssey Odysseus’s conundrum is how to ruturn home after his wayward wanderings. In Book VI, The Nykia, he is told by his sorceress-lover Circe that he may only find out how through visiting the seer Teresias in the Underworld. Thereupon he sets sail to the gates of Hades and prepares a sacrafice, saving the blood for Tiresias to drink in order to exercise his gift of prophecy. In the course of the book he speaks with his dead comerad Elpenor, his dead mother Anticleia and with his friends the dead heroes Achilles and Agamemnon. Finally Tiresias reveals the route by which he may return home, including a testing visit to the island of the Bulls of Apollo in which he must not violate their sacredness.

The next great model for Dante in his visit to the Underworld is that of Aeneas’ archetypal visit to the Underworld in the Aeneid. Aeneas is a regugee from the fall of Troy whose mission is to found the city of Rome that will become the greatest empire of antiquity. He must visit his dead father Anchises to accomplish this divinely inspired task. To secure his passage to the Underworld he first must undertake a quest to obtain the Golden Bough to give to Persephone, Queen of the Underworld, and which will become the archetypal symbol of fertility and immortality in Sir James Frazer’s study of myth of the same name. In his descent to the underworld Aeneas has a guide and helper, the Cumaean Sybil, or prophetess. She guides him and uses the Golden Bough to pass the obstacles of Charon the Boatman and Cerberus, the Three-Headed guard-dog of Hades, figures that will recur in Dante’s Commedia, along with the presence of Vergil himself, author of the Aeneid, who will take the Sybil’s place as the pilgrim Dante’s guide. He witnesses the Judges of Hades, such a Radamanthus who pass judgment on each of the dead, determining their fates in the afterworld. With the Sybil’s help Aeneas accomplishes his mission while witnessing many of the same sights encountered by Odysseus such as the archetypal punishments of Sysiphus, Tantalus, Ixion and Prometheus.

Less well known classical models, such as the Myth of Er from Plato’s Republic also embody the archetype of the cosmic journey. In the Myth of Er, Er the hero visits the palace of Ananke, the Goddess of Necessity, which features four caves or tunnels, comprising the entrances and exits respectively of Heaven and Hell. In the Myth of Er, however, the cosmology incorporates the element of reincarnation, in which souls return from both heaven and hell to drink of Lethe, the waters of forgetfulness, before drawing lots to enter into a new lifetime on earth. Here, befitting Plato, philosopical wisdom which transcends a single lifetime aids the reincarnated souls in choosing which new life upon which to enter, with the unenlightened souls choosing poorer lives fated for suffering.

In the Roman world the “Dream of Scipio” or “Somnium Scipionus” relates the dream of the great Roman general on his campaign against Rome’s arch-enemy Carthage, in which he is exalted to Heaven where he observes Rome’s destiny to become a great empire if he rises to the challenge of martial valor on the campaign.

But the archetype of the cosmic journey is by no means limited to the Western tradition. In Islamic Literature the foremost example is that of Mohammad’s “Night Journey” in which he is transported in a single night by the Angel Gibreel, first to Masjid al-Aqsa, the “furthest mosque” at Jerusalem, where he mounts the flying horse Buraq, and then visits Heaven, confers with the prior phrophets Moses and Jesus as well as Abraham, and then encounters Allah himself, who confirms his mission to found the religion of Islam. This is related in part in the Koran itself, in the episode of The Isra and Mi’raj, dialated in the Hadith to the “Kitab al Miraj.” This theme was further expanded upon by Al-Maʿarri in his “Resalat Al-Ghufran” or “The Epistle of Forgiveness” in which the poet is transported to the Muslim heaven where he meets with many Arabic poets and personages. Al-Ma’arri was a somewhat iconoclastic rationalist, even athiest, whose heaven included the pre-Islamic pagan poets and heroes, contrary to traditional Islamic dogma. Many scholars feel that Dante may have read a Latin translatin of Al-Ma’arri’s work, as well as works of al-Arabi, as a partial model for his Paradiso.

In the literature of India, the Sanskrit classic Mahaprasthanika Parva, part of the Mahabharata alongside the Bhagavad Gita, at its conclusion relates the ascent of the five Pandava brothers, foremost Yudistra, and their common wife Draupadi, accompanied by a faithful dog as they journey to heaven. All but Yudistra (and the dog) are found to have sinned in life and suffer death en route to Heaven. Yudistra makes it to heaven without death but is disappointed to have lost his brothers and to discover some of his earthly enemies in heaven. He decides he would rather join his brothers in Hell than live with his enemies in Heaven. After joining his brothers in hell however, it is revealed that all this was only a test of his virtue, and the heaven with his enemies was only an illusion. He further learns that after his brothers have atoned for their sins, Purgatory-like, they will join him in the true heaven.

DANTE’S DIVINE COMEDY

Inferno

Reading Dante’s Commedia is an epic journey in and of itself. In “The Inferno” there is little of the Hollywood gore, demons and sadistic macabre torment associated with the popular notions of Hell. Instead, it is a place were the souls of the damned converse with Dante, and he shares a humanistic understanding of their fates. At first he is sympathetic towards such of the damned as Paolo and Franchesca, who from their excessive and uncontrolled love and lust, are damned to be blown forever by a chaos of errant winds. Gradually, he overcomes the temptation to over-sympathize with them, or even suspect God of injustice in creating such a fate, and comes to see how the punishment fits the crime, expressing both the reason and justice of God’s cosmic design. We are awed by the cosmic and human spectacle of the Inferno, but not subjected to a mere horror-show.

Purgatorio

Purgatorio is less dramatic, and one’s interest can often flag in the mid-section of the epic, a journey up the slopes of Mount Purgatory to Lost Eden in which the souls of the dead are morally and spiritualy purified. Nonetheless, there is a deep educational lesson that remains with us, that perhaps ironically rooted in our heritage of the Enlightenment: “Love is the seed in you of every virtue, and of all acts deserving punishment.” That is to say, in finding the one same source for all good and all evil is to insist on the need for the education of desire.

Paradiso

If the Purgatrio is the education of desire, the Paradiso is desire’s exaltation and transcendence. Here Dante must change guides, as the reason and wisdom of Dante’s spiritual father Vergil cannot take the cosmic pilgrim towards his ultimate desire of union with God, love and the spirit. Instead his guide must be first his beloved Beatrice, his archetypal anima and femme inspiratrice—the incarnation of Goethe’s “Ewige Weibliche,” or “Eternal Feminine” which calls our souls in a spiritualization of desire and in excess and refinement of love, ever higher. In the final stage of his journey through the multiple spheres of heaven even Beatrice cannot guide him to the ultimate union with God, and he must call upon St. Bernard of Clairvaux, the great Mystic Saint, to approach the final stage of spiritual union through faith and openness to mystical transformation.

SPIRITUS MUNDI

Dante’s Commedia and the archetypes of the Cosmic Jouraney and the Night Journey deeply incluenced the composition of my own contemporary and fututist epic, Spiritus Mundi. The overall narrative architecture of Spiritus Mundi is that of a cosmic journey and quest, first from the realistic human world of Book I, relating the lives and loves of a group of social idealists undertaking a not too successful campaign for a United Nations Parliamentary Assembly, through the “hell on earth” of nuclear terrorism in Jerusalem and the Aramgeddon of a threatened World War III, thence onward to a descent into the Underworld of Middle Earth, a Verne-like voyage to the Great Central Sea and Island of Omphalos at the center of the Earth’s core, then further onward to a more modernistic transit of a Cosmic Wormhole through Einsteinian Time-Space to the Black Hole at the center of our Milky Way Galaxy, where a “Baby Universe” contains the amphitheater of the Council of the Immortals in which the protagonists will plead for the continuance of the human race on Earth. Here Goethe, the father of World Literature, takes on the role of Vergil in the Commedia as the protagonist’s guide in the netherworld.

The Nykia, or Descent into Hell archetypal motif is further reflected in the Mexico City chapter of Book I, “The Volcano’s Underworld & Teatro Magico” in which the protagonist of Spiritus Mundi, Robert Sartorius, surrealistically undergoes the hallucinations of a drug and alcohol induced mental breakdown in contemplation of suicide on his fiftieth birthday, which is also the Mexican “Day of the Dead.” In the Magic Theater of the “Teatro Magico” he further undergoes a magico-hallucinatory descent into the Mayan-Aztec Underworld of the Popul Vuh. Here as in the later cosmic voyage of Book II, Sartorius’ beloved Eva takes on the role of the archetypal spiritual anima Beatrice to draw Sartorius from a living hell onward to spiritual growth. The bi-sexual night club performer Tiresias and the fertility figure Maria take on the role of Vergil as a guides through Sartorius’ private hallucinatory hell, as did Tiresias and the Sybil in the Nykia of the Odyssey and the Aeneid.

Additionally, Spiritus Mundi follows generally the Situational Archetypal Narrative Pattern of the Cosmic Journey or Night Journey:

1. The hero suffers a moral or spiritual crisis (Separation)—The protagonists of Spiritus Mundi are taken captive as “human shields” to the underground nuclear facilities in Qom, Iran, then escape downwards to “Middle Earth,” the center of the globe;
2. The hero is told to seek knowledge, insight or solutions in hell (Quest)—-In Spiritus Mundi the challenge is to prevent the end of the human race through the Aramageddon of World War III, which they accomplish through undertaking a Quest for the Sylmaril Crystal to the Council of the Immortals at the Black Hole at the Center of the Milky Way Galaxy;
3. The hero is accompanied by a wise guide—-In Spiritus Mundi Goethe takes on the role of Dante’s Vergil, with Sartorius’s love Eva serving as a functional equivalent for Dante’s inspirational beloved Beatrice;
4. The hero realizes that he is in Hell, literally or symbolically, through the recognition that he himself is one of the morally or spiritually dead—–Sartorius’s abandonment of suicide in the Teatro Magico sequence and his regaining of faith in life inspired by his realized love of Eva, the archetypal Eternal Feminine figure;
5. The hero gains knowlege and understanding about mortality, life and himself—-Sartorius’ encounters with Goethe and the Magister Ludi, a 23rd Century Time-Travelling mentor, sustains his resolve to fight to save humanity, even at the cost of his own death;
6. At the depth of his descent, the hero faces either a devil figure or challenge(Challenge & Victory)—–Through the descent to Middle Earth and the ascent to the Council of the Immortals in the Milky Way Galaxy, Sartorius must constantly battle the Spirit of Negation, Mephisto;
7. A return to the human world, generally bearing some boon (Re-Integration)—-Sartorius returns to Earth bearing the Sylmaril Crystal, which through the Crystal Bead Game allows benign alteration of human history and aversion of WWIII. Though Sartorius dies before returning to our everyday world to carry through his project of foundinbg a United Nations Parliamentary Assembly, he realizes that his comrades will attain the victory for him.

In conclusion, I invite everyone to enjoy the greatness of Dante, and look into other manifestations of the Archetype of the Cosmic Voyage to Heaven and Hell, including Spiritus Mundi, novel by Robert Sheppard.

For a fuller discussion of the concept of World Literature you are invited to look into the extended discussion in the new book Spiritus Mundi, by Robert Sheppard, one of the principal themes of which is the emergence and evolution of World Literature:

For Discussions on World Literature and Literary Criticism in Spiritus Mundi: http://worldliteratureandliterarycrit…

Robert Sheppard

Editor-in-Chief
World Literature Forum
Author, Spiritus Mundi Novel
Author’s Blog: http://robertalexandersheppard.wordpr…
Spiritus Mundi on Goodreads: http://www.goodreads.com/book/show/17…
Spiritus Mundi on Amazon, Book I: http://www.amazon.com/dp/B00CIGJFGO
Spiritus Mundi, Book II: The Romance http://www.amazon.com/dp/B00CGM8BZG

Copyright Robert Sheppard 2013 All Rights Reserved

View all my reviews

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A MODEST OLYMPIC PROPOSAL: REVIVAL OF DE COUBERTIN’S CULTURAL OLYMPICS EVENTS FOR WORLD LITERATURE & THE ARTS IN THE SUMMER AND WINTER OLYMPIC GAMES

A MODEST OLYMPIC PROPOSAL: REVIVAL OF DE COUBERTIN’S CULTURAL OLYMPICS EVENTS FOR WORLD LITERATURE & THE ARTS IN THE SUMMER AND WINTER OLYMPIC GAMES

By Robert Sheppard, Editor-in-Chief, World Literature Forum

World Literature.02

It is a largely forgotten fact that the founding of the Modern Olympics by Pierre de Coubertin included gold, silver and bronze medal competition in the arts as well as in sports. With the founding of the International Olympic Committee (IOC) in 1894, and the celebration of the first modern Olympic Games, French Baron Pierre de Coubertin saw the fulfillment of his ideals — men being educated in both mind and body, and competing in sport rather than war. One of his other desires was to combine both art and sport, and he thus originally included artistic competition in the Olympic Games.

In May 1906, Baron de Coubertin organized a meeting in Paris for both IOC members and representatives of artists’ organizations. The meeting ended with a proposal to the IOC to organize artistic competitions at the Olympic Games in five areas: architecture, literature, music, painting, and sculpture. From then on World Literature and the Arts became a regular part of the Olympics until 1954, when the program was discontinued on the grounds that most of the Olympic artists were in fact professionals rather than amateurs, as the Olympic rules of the time mandated.
However today, the rules of the International Olympic Committee (IOC) have long abolished the requirement of amatuerism. Beginning in 1988 professional athletes were allowed to compete in the Olympic games, until today, with the exception of professional boxing and wrestling, professionals are found in all Olympic sports. The ideals of the Classical world revered by Baron de Coubertin celebrated and required “mens sana in corpore sano” or a sound mind in a sound body, encompassing both physical culture and imaginative culture, and the celebration of the whole human personality, both sport and in World Literature and the Arts.

I would thus strongly urge the IOC and the nations of the world to revive the cultural half of the Olympics, sometimes referred to as the “Delphic Games,” for the narrow reason that the distinction of amateurism in both sports and arts is no longer maintainable, but more importantly for the much broader and wider reason that the restoration of the Arts and World Literature competition would make the Olympic gathering much more attractive to the broader base of the peoples of the world, would add to the financial soundness of the games with arts events, would draw “star quality” music, film, literature and visual arts superstars to the Olympic venue, would contribute to the mission of the Olympics to fight against war and international conflict through mutual understanding derived from both friendly sport and World Literature and the Arts, and would greatly promote an advance the development of the careers and talents of the writers and artists of the world. In this regard let us imagine a combined global megaevent of an Olympics integrated and perhaps co-branded with the Oscars, Emmys, Cannes and Berlin Film Festivals, the award of Nobel Prizes, the Booker and Pulitzer prizes, the Venice Bienniale, the Grammys, American (World) Idol and similar programs for each of the arts. Global television and Internet rights for the film, art and music competitions would undoubtedly bring in a staggering amount of both viewership and moneys, as well as furthering the more important goal of promoting the in-depth nurturing and development of the arts in every country, attracting young artists and writers to develop their talents.

Furthermore, the re-inclusion of World Literature and the Arts in the Olympic Games would encourage the Arts to become more global and international. Most arts awards today are narrowly nationally based and fixate on national tastes. The Oscars purport to be the ultimate world film award, but in reality are only American, with a small category for international films. Emmys, Grammys, Bookers, Pulitzers, etc are similarly too parochial and nation-state based. Even our “World Series” of baseball is nothing but an American Series and does not include teams from the rest of the “World” at all. Olympic awards will legitimatize and globalize the arts beyond the limitations of the present systems. In our globalized world and culture artists and writers should be encouraged to create for the seven billion citizens of the planet not just for the home audience. This will strengthen the industries themselves, as for instance most films now earn more money abroad than in their home markets, and Olympic recognition will encourage an international outlook in the performing arts as well as in World Literature, with the art of translation being greatly encouraged.
How then did the Cultural Olympics, or Delphic Olympics work when de Coubertin and the International Olympic Committee originally included them in the early Modern Olympics?
From 1912 to 1948 rules of the art competition evolved and varied, but the core of the rules remained the same. All of the entered works had to be original (that is, not be published before the competition). Like in the athletic events at the Olympics, gold, silver, and bronze medals were awarded to the highest ranked artists, although not all medals were awarded in each competition. On a few occasions, in fact, no medals were presented at all, as sometimes occurs with the Nobel or Pulitzer Prizes. A revival of the Arts half of the Olympics could be modernized, including allowance of both sports-related and non-sports related art, national team and individual entry, professionals and amateurs, and entry of works recently published or released in the past year, (or past four years).

Generally, it was permitted for artists to enter multiple works, although a maximum number was sometimes established. This made it possible for an artist to win multiple prizes in a single Olympic competition, like Michael Phelps! At one time or another, there were suggestions in the past Olympics to also include dancing, film, photography, or theatre, and although none of these art forms was ever included in the Olympic Games as a medal event in the past they could certainly be included in future Olympics.

Coordination with UNESCO and United Nations cultural organs could also encourage development of the arts in each country and early professional development amoung the youth of each country; teams from each nation in the arts could be selected by competitions similar to those in the sports half of the Olympics or otherwise as deemed desirable. Appreciation for the arts across the broader populations of the competing nations and for works of lesser known nations across the world would be fostered. Participation of women, the elderly and intellectuals not so generally attracted to pure sport would thus democratize and universalize the Olympics. A “Gold” in the Olympic Arts could do much to make an artist’s career and promote the recognition of new and innovative artists, making it possible for artists to support themselves and develop their talents from their creative activity.
When the first post-war Olympic Games were held in WWI-ravaged Belgium, Art contests were again on the program, although they were little more than a sideshow. This was different for the 1924 Summer Olympics in Paris. There the contests were taken seriously for the first time, and 193 artists submitted works. Remarkably, this figure also includes three Soviet artists, even though the Soviet Union officially did not take part in the Olympic Games, which they considered to be a “bourgeois” festival.

The growth continued at the 1928 Amsterdam Olympics, where over 1,100 works of art were exhibited in the Municipal Museum, not including the submissions in World Literature, music and architecture. Artists were allowed to sell their works at the close of the exhibition, which was rather controversial given the IOC’s amateurism policy, which required all competitors to be amateurs. In Amsterdam, the number of events was also increased, as four of the five fields of art were subdivided, creating more events.

Because of the economy and the remote location of Los Angeles, participation in the athletic events of the 1932 Games was lower than that of 1928. The Arts competition did not suffer from this problem, and the number of art works entered remained stable. Their exhibition drew 384,000 visitors to the Los Angeles Museum of History, Science and Art. Art contests were also held in Berlin (1936) and London (1948), with reasonable success, although the number of entered works had significantly dropped by 1948.

Olympic World Literature

The literature competitions were divided into a varied number of categories. Until 1924 and again in 1932, there was only a single literature category. In 1928, separate categories were introduced for drama, epic and lyric literature. Awards in these categories were also presented in 1948, while the drama category was dropped in 1936.

Entered works in some years were limited in length (20,000 words) and could be submitted in any language, provided they were accompanied by English and/or French translations or summaries (rules varied over the years). A modern revival could considerably enlarge the categories, including novels, short stories, e-Books, Blogs and Flash Fiction of any length as well as popular genres such as Science-Fiction, Fantasy, Literary Fiction, Historical Novels, Romance, etc. It is of course critical that the subject matter not be limited to writing about sports, as had been the case in some past Cultural Olympics, but that the categories for all the arts be completely open to include both non-sports related works and a special category for sports related works. Categories would include special awards for Best Contribution to World Literature. Awards could be coordinated with the Bookers, Pulitzers, Nobels etc. with a view to transcend the national bias of those narrowly national awards and reformulate them on a the global basis of World Literature.

In Ancient Greece it was also the tradition for Poets such as Pindar to extemporize and write poems and songs to celebrate the winners in the sports events, a practice that could also be revived for the Modern Olympics.

Olympic World Music

A single event for music was held until 1936, when three categories were introduced: one for orchestral music, one for instrumental music, and one for both solo and choral music. In 1948, these categories were slightly modified into choral/orchestral, instrumental/chamber, and vocal music.
The juries often had trouble judging the pieces, which were entered on paper. Possibly related to the problematic judging, juries frequently decided to award only a few prizes. On two occasions, no award was given out at all (in the 1924 music category and in the 1936 instrumental music category). 1936 marked the only occasion when the winning musical works were actually played before an audience. Josef Suk was the only well-known musician to have competed, winning a silver medal in 1932.
In a revival of the Olympic Music event the scope could be much widened to emulate the Grammy’s and other awards for Rock, Pop, Jazz, Blues, Music Videos, Techno, Rap, Hip-Hop, etc. and open the event to all of the professional stars and non-professionals as well.
Olympic World Architecture

The 1928 Olympic Stadium, designed by Jan Wils, won the gold medal in architecture at the 1928 Olympics.

Until the Amsterdam Games in 1928, the architectural competition was not divided into categories. The 1928 games introduced a town planning category. However, the division was not always clear, and some designs were awarded prizes in both categories.
Entries in this category were allowed to have been “published” or built before the Olympics. A notable example of this is the 1928 gold medal for architecture awarded to Jan Wils for his design of the Olympic Stadium used in the same Olympics.
The revival of the Architecture Award could be coordinated with the Pritzkers, and include designs for both the Olympic venues and recent World Fairs.

Olympic World Painting

Jean Jacoby is the only artist to win two gold medals. He won his second with the above drawing, titled Rugby.

As with the other art forms, a single painting category was on the program until 1928, when it was split out into three sub-categories: drawings, graphic arts and paintings. The categories then changed at each of the following Olympic Games. In 1932, the three categories were: paintings, prints , and watercolors/drawings. Four years later, the prints category had disappeared, and had been replaced by graphic arts and commercial graphic art. At the final Olympic art competition, the three categories were applied arts and crafts, engravings/etchings and oils/water colors. A re-included Arts Olympics could include new technologies such as Computer Art, Performance Art, Conceptual Art, Laser and Holographic Art, Murals and Graffiti-Art.
Olympic World Sculpture

The sculpture class had only a single category until 1928, when two separate competitions were designated; one for statues and one for reliefs and medals. In 1936, this was split up further, separating reliefs and medals into their own categories.

Olympic Arts Competitors

While several of the Olympic Art medalists have achieved at least national fame, few of them can be considered well-known artists globally. In fact, the 1924 Games featured better known jury members than artists, with artists like Igor Stravinsky judging the entered works. By eliminating the limitation that the works be sports-related as well as opening the Olympic Arts competition to all stars and professional artists as has already been done for athletes, the greatest world artists, writers, film directors and stars will surely make the Olympic Arts events as prestigious as the sports events.

Judging by the medals won, Luxembourg painter Jean Jacoby was the most successful Olympic Artist, winning the Gold medal for his 1924 painting Étude de Sport, and for his drawing Rugby in 1928 Swiss Artist Alex Diggleman won three medals, a Gold one in 1936 (for his poster Arosa I Placard), and a Silver and a Bronze in the 1948 applied arts & crafts class, both with commercial posters. Danish writer Josef Petersen won a Silver medal on three occasions: in 1924, 1932, and 1948.

Alfréd Hajós is one of only two Olympians to have won medals in both Sport and Art competitions
Only two persons have won Olympic medals in both Olympic Sport and Olympic Art competitions. Walter Williams, an American who lived in England, won a gold medal as a marksman at the 1908 Summer Olympicss in the running deer (double shot) competition. In 1912, he won another shooting medal — Silver this time — in the running deer team competition. By then, he had already won a Gold medal for his sculpture An American trotter. The other Olympian with successes in both fields was Alfred Hajos As a swimmer. He won two Gold medals at the 1896 Athens Olympics.Twenty-eight years later, he was awarded a Silver medal in architecture for his stadium design, co-designed with Deszo Lauber.
Two Presidents of the International Olympic Committee have also been among the entrants in the Olympic Art competitions. In 1912 Pierre de Coubertin himself under the pseudonym “Georges Hohrod and Martin Eschbach”, entered Ode to Sport, which won the Gold medal. Avery Brundage, who competed as an athlete at the 1912 Games, entered literary works at the 1932 and 1936 Olympics, earning an honorary mention in 1932. He would serve as the IOC’s president from 1952 to 1971.

Britain’s John Copely winner of a Silver medal in the 1948 engravings and etchings competition, was 73 years of age, making him the oldest Olympic medalist in history. The oldest Olympic medalist outside the art competitions Swedish shooter Swahn who won his last medal at age 72. Indeed, in a modern world in which lifespans have doubled and the elderly composing up to a third of the population of some countries,it is critical to the Olympic Movement that Senior Citizens be included in the competitions, for which Art and Writing, talents that may mature with years instead of declining, may make a meaningful contribution, a change as important in equality of opportunity as the broadening of the Olympics to include women and the handicapped via the Paralympics.
All of this is a good reminder to us all that the Olympic Movement was from its very origin involved with the Arts and World Literature as well as sport. Both halves of the Olympic Movement contribute to the overall goals of overcoming conflict and war between nations, building global understanding and appreciation, and supplanting a Clash of Civilizations with a Clasp of Civilizations. It also from the start encouraged the development of the whole persons of the athletes, including both mind and body. This was a goal of the Ancient Olympics as well as the Modern Olympics.

IS ART AND LITERATURE A COMPETITION?

Of course it may be objected, as some nations indeed did object in the first half of the 20th Century, that art and literature are not competitive sports and the whole idea of reducing a work of art to the “Top Ten” or the “Top Three” could be regarded as an absurdity. I for one would partially agree that to some degree such ranking and awarding is not only vulgar but in some cases idiotic, with each great work being unique unto itself and making its own unique contribution to the body of art and literature from which it evolves. Yet such an “Olympian” view of art from the ivory tower ignores both the ways of the modern world and its addiction to awards, rankings and popular honors. Without the Olympics we already have the Nobels, Pulitzers, Man-Bookers, Pritzkers, Oscars, Grammys and a host of honors which though fundamentally flawed, perform some value in identifying deserving artists and writers (alongside some undeserving of course.) Moreover, the existence of such awards, though flawed, may well serve to launch, nurture and sustain the careers of new Titans of the Arts. On balance the awards may well do more good than harm.

WORLD LITERATURE AND THE ARTS IN THE ANCIENT OLYMPICS

Why were the Olympics held every four years, defining the Olympiad period?
In the ancient Olympics this was the case because they were part of a series of Four Panhellenic Games and festivals held each year. In addition to the “Olympics” dedicated to Zeus, in off years there occurred the Pythian or Delphic “Olympics” or Games, the Nemean Games and the Isthenian Games. The Delphic Games in particular emphasized the cultural half of the Olympics with concurrent festivals and awards for music, dance, drama comedy and tragedy. Remember Sophocles, Aeschylus, Euripides and Aristophanes competed for festival prizes every year in the Golden Age of Ancient Greece. We may recall also that education in Ancient Greece included not only academics and philosophy but also music, gymnastics and martial arts, in all cases emphasizing the well-rounded cultivation of the whole person. There have been parallel efforts to revive the Delphic Games or Cultural Olympics in modern times, reflected in the work of the International Delphic Council. But it is obvious that the Delphic Olympic spirit can only be fully revived by the re-inclusion of the Arts and World Literature in the Summer and Winter Olympics with their global prestige, cultural influence and visibilty. Their re-inclusion will make the Olympics a much more spectacular and richer experience in the future. The goal of the Olympic Movement beyond mere sport has always been to make a meaningful contribution to the development of our Universal Civilization, World Culture and World Peace. It is only through re-inclusion of the Lost Cultural Half of the Modern Olympics that the Modern Olympic Movement can attain the original ends so sagely envisiged by Baron de Coubertin for our Globalized World.

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GOETHE’S FAUST—-THE IMMORTAL CLASSIC OF HUMAN ASPIRATION—–FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

Faust, A Tragedy: Interpretive Notes, Contexts, Modern Criticism (Critical Editions)Faust, A Tragedy: Interpretive Notes, Contexts, Modern Criticism by Johann Wolfgang von Goethe
My rating: 5 of 5 stars

GOETHE’S FAUST—-THE IMMORTAL CLASSIC OF HUMAN ASPIRATION—–FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

Johann Wolfgang von Goethe is universally revered as one of the great immortal geniuses of World Literature, and his great classic “Faust,” the epic drama of the scholar’s pact with the devil that has come to embody the spirit of the West and its fated love affair with limitless knowledge and technology, is often held to be his greatest masterpiece. “Faust,” which he finished with Part II in 1831, shortly before his death, can indeed be seen as the crowning achievement of his long and polymath career, but was by no means his only major contribution to World Literature. He wrote the most popular world novel of the 18th Century, “The Sorrows of Young Werther,” a masterpiece of European Romanticism which catapulted him to European fame at the age of twenty-six, followed by one of the most influential novels of the 19th Century, the Bildungsroman “Wilhelm Meister’s Apprenticeship,” then topped off those acheivements with a profoundly modern novel of sexuality and adultery, “Elective Affinities,” which has been widely influential in the 20th Century.

GOETHE AND WORLD LITERATURE

In addition, Goethe is credited with the creation of the concept and institution of World Literature, or “Weltliteratur,” as he termed it in his “Conversations with Eckermann,” and thus continues as a living and seminal presence in Western and World Culture and Civilization two centuries after his death. He was a pioneer of Comparative Literature and vigorously advocated the study and appreciation of works from outside the Western tradition, reading Chinese novels and Persian poets such as Hafiz, and publishing his “East-West Divan” as a bridge between Western and non-Western cultures and literary traditions.

Speaking of World Literature to his young disciple Eckermann in January 1827, the seventy-seven-year-old Goethe first used his newly minted term “Weltliteratur,” which upon publication of the Conversations passed into common international currency:

“I am more and more convinced,” Goethe remarked,”that poetry is the universal possession of mankind, revealing itself everywhere and at all times in hundreds and hundreds of men . . . I therefore like to look about me in foreign nations, and advise everyone to do the same. National literature is now a rather unmeaning term; the epoch of World Literature is at hand, and everyone must strive to hasten its approach.”

In his internationalist view of literature and culture Goethe was joined by other of the great founding fathers of World Literature such as Matthew Arnold of the English-speaking world, who in his “The Function of Criticism at the Present Time” urged national literatures and literary criticism to internationally incorporate “the best that has been known and thought in the world:”

“One may say, indeed, of current English literature, that they may at all events endeavour, in dealing with this, to try it, so far as they can, by the standard of the best that is known and thought in the world; one may say, that to get anywhere near this standard, every critic should try and possess one great literature, at least, besides his own; and the more unlike his own, the better. But, after all, the criticism I am really concerned with,–the criticism which alone can much help us for the future, the criticism which, throughout Europe, is at the present day meant, when so much stress is laid on the importance of criticism and the critical spirit,–is a criticism which regards Europe as being, for intellectual and spiritual purposes, one great confederation. That modern nation will in the intellectual and spiritual sphere make most progress, which most thoroughly carries out this programme. And what is that but saying that we too, all of us, as individuals, the more thoroughly we carry it out, shall make the more progress?”

Such figures as Marx and Engels also saw the globalization, internationalization and social transformation of literature and culture to be a necessary consequence of the globalization and transformation of the world economy and of the relationships between social classes in the modern age.

In addition to his literary creations and leadership, Goethe as a true “Renaissance Man” or “Universal Mind” made lasting contributions to many fields, including one of the most important works on theoretical optics, chemistry and meteorology, as well as studies in geology, comparative anatomy and botany that anticipated and laid a foundation for Darwin’s theory of evolution. He was also a government official responsible for establishing and developing museums, libraries and universities.

As the example of “Faust” reminds us, he was also deeply involved in the theater as a playwright, actor, director and manager of theatrical companies and institutions. He was a close friend of the great poet and dramatist Friedrich Schiller and the center of a global network of writers, artists, scholars and statesmen. Though enobled as amember of the aristocracy and often regarded as of “Olympian” stature, he married a woman from a lower-class background and insisted on the principle of equality, while living through the great transmormation of Europe through the French Revolution and its aftermath in which the “ancien regime” of feudal heirarchy was eventually swept away in the birth of the bourgeious age of mass democracy.

GOETHE’S FAUST, PARTS I & II

The Faust legend was not invented by Goethe, but was a folk saga based on the life of a historical person, Georg Faust (1480-1540) who was a wandering charlatan, magician and showman, and whose life was subsequently embellished by gossip, folk tales, puppet shows and subsequent literary adaptations, most notably through the legend of his pact with the devil to gain occult knowledge and power in exchange for his soul, until it bacame the source material for Goethe’s several works from the 1770’s until his death in 1832. In England, Christopher Marlowe had used the folk legend as a basis of his play, “Dr. Faustus” in 1590, though Goethe probably did not know of it until around 1818, or ten years after he had published Part I of Faust. He probably first was exposed to the Faust material in local puppet plays at fairs and similar venues, including his early participation in the Romantic movement to record “folk songs” and “folklore” of the common people, led by such intellectuals as Herder and the Grimm Brothers. Later authors such as Gounod in opera and Thomas Mann in “Doktor Faustus” would rework the legend in ways additional to Goethe’s treatment.

Goethe’s Faust consists of two parts, Part I & Part II, the first of which was, after an extended period of reworking, finally published in 1808, though not performed until 1829, Part II was the major work of Goethe’s final years, and he put the final touches to it only shortly before his death in 1832. Thus the composition of the whole of the Faust epic occupied Goethe off and on for over fifty years.

Goethe’s Faust constitutes a complete reworking and reshaping of the Faust material under the influence of the Enlightenment and the Romantic Age’s love affair with infinite striving of the free individual and communion with Nature. Thus Marlowe’s play and the popular folk versions of Faust cast the legend as an admonitory morality play in which Faust’s hubris and impiety seduce him into a sinful quest for occult knowledge and magic powers by sale of his soul to the devil, with his eternal damnation as a result of his errors. Goethe’ Faust is completely different. Goethe as a “Renaissance Man” and “Romantic” is fully in sympathy with Faust’s endless striving after infinite knowledge, and the secrets of nature and the spirit as the proper cultivation of the “Spark of the Divine Soul” which dwells in man and seeks to join with and commune in the powers of God as one’s human birthright. Seeing Man as umbilically linked in spirit with God and Nature, Faust’s thirst for ever greater knowledge and experience is seen not as a sinful presumption and defiance of God’s order as in Marlowe, but rather as evidence of the living spiritual bond between God and Man that draws him ever closer to union with God and Heaven. Accordingly, Goethe’s Faust never “sells his soul” to the devil, or Mephistopholes, but rather makes a friendly wager with him, echoing a wager God himself has made, betting his soul that no mere gratification or power the devil could confer on him would quench his thirst for even greater and infinite life and experience, a yearning for the infinite which is in itself a yearning for the embrace of the infinite goodness of God.

Romanticism, in essence, is the apotheosis of the Individual. And the Romantic Movement in all its ramifications, with all its cornucopia of creation, with its vast range of artistic expression, constitutes identifiable movement precisely because it rests on and returns to a single unifying theme: The Individual Mind, the freedom and supremacy of that Mind, in particular its powers of Imagination and Creation, and the conflicts between the passions and aspirations of that Mind and the reality in which it must live. Romanticism as a way of being in the world, and as an ethos for communiion with nature and creative art, changed the balance of thought, and the focus of perception of its culture. It ultimately completed a cultural revolution, from a world centred on society and the divine, to a world centred on humanity and the individual. Where the Classical world of Greek and Roman antiquity saw human beings in society, where the Medieval world conceived of them in their respective positions on the ladder of God, and as parts of the Divine plan, Romanticism, fuelled by the Enlightenment, starts from the Individual, who shares in the creative powers of both Nature and God, and goes on from there to question the meaning of being. It’s premise is therefore Existentialist, and its outcome is Modernity.

That is not to say, however, that Goethe in Faust and elsewhere is merely the stock figure of “a Romantic.” While he was one of the earliest embodiments of “Romanticism,” his Werther predating Wordsworth, Shelley, Keats and Byron, we could say that for Goethe, his Romanticism was one stage on an evolutionary path of further development, which, while preserving the essence of Romanticism, sought to bring it into a greater maturity,harmony and synthesis with Classicism, the Enlightenment, Rationalism, and a reformulated spirituality. This is often described as his “Classicism” or a grand humanist harmonzation of those complementary and at times contradictory cultural movements.

Part I was completed between 1797 and 1806 and published in Goethe’s late fifties, in 1808. Part II was created in his seventies and published after Goethe’s death in 1832. Part I can thus be understood as a mature man’s revision of his youthful Romantic ideas. Part II is an older man’s development of and resolution of that work and its contradictions. Goethe put into Faust not only his early Romantic emotion, in all its depth, but also his later more mature understanding of that state, and his attempt to resolve the problems for the Individual that it represented, through creative activity, intense subjective emotion informed and restrained by reason, and the acceptance of some fundamental limitations in the human condition.

Faust, the dramatic character, was ready-made for Goethe as a vehicle through which to express the new situation of the Individual attempting to penetrate single-handedly master the hidden fabric of the Universe. Part I presents the essential personal tragedy of Faust, in Microcosm as he wields the enhanced powers of his own genius aided by Mephistopholes’ arts. Like the archetypal Romantic hero he is restless and dissatisfied with the limits of his own life and human life. Despite his genius he feels the emptiness of common goals in life—pleasure, wealth, women, wine, power, social status, even academic knowledge. He contemplates suicide as he is approached by Mephistopholes, who is following up on a wager in Heaven with God that he can corrupt God’s darling Faust into sin and damnation.

Faust first regains lost youth from a potion from the Witch’s Kitchen. After that the plot focuses on his love for Gretchen, a common innocent girl who sees him in his new youth and falls in love with him. Faust himself, seized with more lust than love, asks Mephistopholes aid in getting Gretchen for him, which he does through various arts such as bribing her and her mother with jewels and wealth, providing a sleeping potion to help the girl evade her mother to make a tryst with Faust and decoying her chaperone. But this overwhelming passion follows a tragic trajectory as the sleeping potion inadventantly kills the mother, and the sexual affair causes Gretchen’s brother to challenge Faust to a duel of honor in which the brother is killed. Faust is cast in a conflicted character. His heart is well meaning, and even God in the Prologue has admired his idealism and aspirational ardour, but his selfishness and lack of foresight and wisdom leads to unintended evil consequences. This reflects his impulsive Romantic character, perhaps the consequence of an immaturity arising from his regained youth.

Moreover, Gretchen, though pure and innocent of heart, becomes pregnant. She asks Faust if he is religious and they should be married, but he, in the romantic spirit is hostile to the church and marriage and prefers “free love” which Gretchen out of love acceeds to. Meanwhile Mephistopholes takes Faust on additiobal adventures including a visit to the Earth Spirit and a visit to the “Walpurgisnacht” or witches’ fair. When they return Faust learns that Gretchen has unintentionally distracted by her despair caused the death of her baby and is being prosecuted for murder. Faust chastizes himself for having caused such harm and vows to save her through Mephisto’s magic. But when they attempt to break her out of jail she refuses to leave, in the purity of her heart prefering judgment and repentence to flight. As Part I ends, Mephistopholes claims Gretchen for damnation for her sin, but merciful Heaven takes her upwards to God as the purity of her heart and her repentence saves her.

In Part II, which is much longer and more complex than Part I, we switch from the Microcosm of Faust and Gretchen’s small fate to the Macrocosm through which Faust’s enhanced powers lead him. That is to say his forays with Mephisto lead him to adventures within several wider dimensiobs of human experience: the world of power represented by the Imperial Court, the realm of art and beauty represented by his pursuit of Helen of Troy, the epitome of beauty, and the ideal worlds of “The Mothers” and of the “Classical Walpurgisnacht,” back to the Emperor in time of war, and finally to new land where he attempts to create a Utopia by reclaiming land from the sea and leading society.

GOETHE’S FAUST & SPIRITUS MUNDI, NOVEL BY ROBERT SHEPPARD

Goethe’s Faust heavily influenced the composition of my own contemporary and futurist epic novel, Spiritus Mundi. First of all, Goethe himself plays a significant role appearing as a key character in Spiritus Mundi in Book II as the mentor and guide for Sartorius, the protagonist, on the Quest to save humanity from World War III, visiting Middle Earth, the Great Central Sea at the center of the globe and transiting the Cosmic Wormhole to plead with the Council of the Immortals at the Black Hole at the center of our Milky Way Galaxy. In this regard Goethe takes on the role of Dante’s Vergil as the guide of the Divine Comedy. Goethe is the mentoring sage of Modernity, as Vergil was the sage bridging the Classical and Christian worlds in Dante’s epic. Goethe appears mysteriously in the underground caves of Qom, Iran where Sartorius and the questers are escaping from the captiviity as ‘human shields” of the Supreme Leader, accompanied by both the “Homunculus” the half-born, spiritual Frankenstein created by Wagner in Faust, who is on a parallel quest to seek completion in a natural and spiritual rebirth in Part II, and by the “Trickster” figue of the Monkey-King, Sun Wu Kong from the Chinese Journey to the West. Similarly, in Spiritus Mundi, there is a double quest, not only to save humanity from extinction in WWIII but also to acheive spiritual rebirth of the modern world.

In terms of structure, Spiritus Mundi is also divided into two parts, as is Goethe’s Faust, with the first part focused on the Microcosm, or the level of realistic individual life, and the second part, Spiritus Mundi Book II: The Romance, dialating its action to the Macrocosm, the symbolic, mythic and spiritual realm. Both Goethe’s Part II and Spiritus Mundi’s Book II thus offer symbolic, archetypal and mythic journeys and explorations. Part II of Faust involves a trip to “The Mothers” which is a sort of idealized witches cauldron of protean Platonic forms arising and falling into and out of existence. Sartorius in Spiritus Mundi, like Faust, also pays a visit to “The Mothers” on the Island of Omphalos at the center of the Central Sea at the hollow center of the globe, where he is to transit a cosmic wormhole to visit the Council of the Immortals at the Black Hole at the Center of the Milky Way Galaxy. In Spiritus Mundi “The Mothers” are conflated with the Three Fates, the ugly hags of Necessity. Just as Faust visits the Court of the Emperor in Part II, in Book II of Spiritus Mundi Sartorius and the band of social idealists on their Campaign to create a United Nations Parliamentary Assembly visit the “court” of the Supreme Leader of Iran. Additional archetypes from Faust are echoed in Spiritus Mundi, such as the role of Eva Strong, who is Sartorius’s anima and soulmate, who inspires him and leads him onwards in development as an embodiment of the “Ewige Weibliche”
or the “Eternal Feminine” anima-spirit which guides man to greater spirituality.

Just as Faust’s line of development is from egocentric and isolated genius in Part I to relationship and belonging in both his love of Gretchen and of Helen of Troy, as well as his joining and leading a Utopian project reclaiming land from the sea, so similarly Sartorius goes from a divorced and loveless existence contemplating suicide only mitigated by his social and intellectual idealism, to a marriage with Eva, an organic and spiritual union, in which he fathers a child, as does Faust with Helen, which Sartorius also names Euphorion, and their both working organically related within society—-a creative individual within a free and creative people—- to bring about their Utopian project, the United Nations Parliamentary Assembly.

In conclusion, I invite you to read both the immortal Clasic of human aspirationm, Faust, and Spiritus Mundi, which derives spiritual inspiration from it.

For a fuller discussion of the concept of World Literature you are invited to look into the extended discussion in the new book Spiritus Mundi, by Robert Sheppard, one of the principal themes of which is the emergence and evolution of World Literature:

For Discussions on World Literature and Literary Criticism in Spiritus Mundi: http://worldliteratureandliterarycrit…

Robert Sheppard

Editor-in-Chief
World Literature Forum
Author, Spiritus Mundi Novel
Author’s Blog: http://robertalexandersheppard.wordpr…
Spiritus Mundi on Goodreads:http://www.goodreads.com/bo…
Spiritus Mundi on Amazon, Book I: http://www.amazon.com/dp/B00CIGJFGO
Spiritus Mundi, Book II: The Romance http://www.amazon.com/dp/B00CGM8BZG

Copyright Robert Sheppard 2013 All Rights Reserved

View all my reviews

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DON QUIXOTE—THE FIRST MODERN NOVEL IN WORLD LITERATURE—TO DREAM THE IMPOSSIBLE DREAM!—-FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

Don Quixote (Penguin Classics)Don Quixote by Miguel de Cervantes Saavedra
My rating: 5 of 5 stars

DON QUIXOTE—THE FIRST MODERN NOVEL IN WORLD LITERATURE—TO DREAM THE IMPOSSIBLE DREAM!—-FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

For most of us, the name Don Quixote brings to mind the image of the comic-tragic mad idealist on his wizened horse Rocinante tilting at windmills in an attempt to live an impossible dream—-a dream, like Christ’s Kingdom, “not of this world” yet beckoning us forward through this world into a nobler world just beyond reach. Perhaps for many of us it is the words of the great popular song, “To Dream the Impossible Dream” sounding in our ears and in our imaginations from the show “Man of La Mancha” which call up his image to our minds:

To dream the impossible dream
To fight the unbeatable foe
To bear with unbearable sorrow
To run where the brave dare not go
To right the unrightable wrong
To love pure and chaste from afar
To try when your arms are too weary
To reach the unreachable star

This is my quest
To follow that star
No matter how hopeless
No matter how far

To fight for the right
Without question or pause
To be willing to march into Hell
For a heavenly cause

And I know if I’ll only be true
To this glorious quest
That my heart will lie peaceful and calm
When I’m laid to my rest

And the world will be better for this
That one man, scorned and covered with scars
Still strove with his last ounce of courage
To reach the unreachable star

What then was the true object of Don Quixote’s quest? Like all tragic figures who permanently live in and excite our imaginations, both their own complexity and the complexity of the overlapping worlds they embody and inhabit make any answer impossible. What were Hamlet’s true motivations which drove him to his destiny? In human terms, what was the object Christ saw in his quest when he began his ministry and when he refused to flinch or turn aside on the road leading to crucifixion on Golgotha?

The comparison to Shakespeare is an apt one, as in one of history’s little ironies, it so happens that Cervantes and William Shakespeare died on the exact same day, April 23, 1616, and thereafter underwent arm-in-arm, a twin apotheosis as the two great Herculaean pillars holding up the sky of Modern Western Literature. The comparison of Don Quixote and Hamlet is apt in another sense, in that both try to answer in their varied ways the immortal question framed by Hamlet’s dilemma:

“To be, or not to be, that is the question:
Whether ’tis Nobler in the mind to suffer
The Slings and Arrows of outrageous Fortune,
Or to take Arms against a Sea of troubles……”

Crucially, for Don Quixote one of his principal motivations and objects is shared with Hamlet: the quest after that which is “nobler in the mind.” Shared equally with Hamlet as well is the cutting point of the dilemma “To be, or not to be?” For Don Quixote’s “taking up arms” to embark on his knightly quest is never defined by any material reward, such as Sancho Panza’s fixation on ruling his island, or even simply the higher concern with worldly or knightly reputation. In a sense his decision to embark on his quest is an existential one—he can only “be” in any sense commensurate with his ideal self by the willful act of throwing down the gauntlet of challenge to the entire world and its existing order of fallen values, come what may, and taking to the high road of quest and adventure. Had he remained in his armchair as “the good Alonso Quixano,” with his nose buried in diverting books, it could be said that “Don Quixote” had never been. He must existentially choose a path of his own becoming and create both himself as self and and his envisioned cum delusional world as world in order “to be” at all.

This calling of self into being—self-creation or at least self co-creation within a greater order is one of the defining attributes of Western Modernity. One Eastern pillar of Western Civilization, Socrates, famously declared: “The unexamined life is not worth living.” Cervantes at the Western pillar extends that rejection of mere “survival” and says to us through the figure of Don Quixote: “The unimagining life is not worth living—to live without a dream—a life uninspired of any ideal of a better and nobler self realized in quest of a better world—-is to never have lived at all in any meaningful human terms beyond the merest and most insignificant animal survival. Had Don Quixote, Hamlet, Socrates or Christ retired to their easy-chair and abandoned their quest for “what is nobler in the mind,”—–had they flinched at each of their “impossible dreams,” they would never have been, and our Western Civilization would never have been as we know it today.

Moreover, had Siddhartha flinched at the “impossible dream” of Enlightenment, had Mohammad and Rumi balked at the “impossible dream” of “Tariqah” or union with Allah, had Moses balked at the “impossible dream” of Exodus and the Promised Land, had Lao Tzu and Confucius flinched at the “lmpossible dream” of attaining “The Dao,” they would never have been in any meaningful sense, nor would our Universal World Civilization and its World Literature have been, as we know it today.

Cervantes himself led a mixed life of adventures and disappointments prior to gaining fame as the author of Don Quixote. As a young man he traveled first to Rome to seek his future, then joined the Spanish Marines when naval war broke out in the Meditarranean between the forces of the Ottoman Empire and the coalition of Christian forces led by the Spanish. At the Battle of Lepanto of 1571, the Christian navies dealt the Ottomans a decisive defeat, effectively seizing control of the Mediterranean and halting the Ottoman advance into the West. At that battle Cervantes fought bravely and well, but was severely wounded, leaving his left arm permanently maimed. On returning to Spain by ship somewhat later, his ship was captured by Barbary Muslim pirates, and he was taken as a slave to Algeria. [Parenthetically, it is well to remember that in history slavery was by no means an exclusively Western colonial sin, having been not only endemic to Africa before the Europeans began the large-scale Transatlantic Slave Trade of the “Middle Passage,” as well as in the pre-existing Roman Empire, but was endemic in the Muslim World to such a degree that scholars believe most likely the total African slaves shipped to Muslim countries from the time of Muhammad (650-1900 AD of 10-16 Million) exceeed the total Western Transatlantic trade (1500-1900 of 12-13 Million), to which can be added the Arab Slave Trade in European slaves such as Cervantes and Captain John Smith of the Pocohantas legend and Slavic slaves who probably totaled another 2 Million.] Finally bought from slavery by his family and returned to Spain he lived precariously nearly thirty years as a minor tax collector and clerk and unsucessful writer, imprisoned several times for either debt like Dickens’ father, or on accusations of corruption, until at the ripe age of fifty-eight he published Don Quixote which made him almost immediatly famous across Europe, though not necessarily rich. His experience as an Arabian slave is reflected in such episodes in Don Quixote of the freeing of the convict galley slaves.

Don Quixote was published in two parts, the first in 1605 and the second in 1615, shortly before Cervantes death. Part I deals with the initial undertaking of the hero’s quest and the first knightly sallies “on the road” from his hometown. Part II, published ten years later adds a significant “netafictional” dimension to the novel, as Don Quixote from the initial success of Part I, has become a public legend, and the figures he encounters are aware of him as a living legend and begin to interact with him in terms of living out that legend. Additionally, Part II also deals with the humorous textual circumstance that before its publication by Cervantes a fake or “pirate” second part was published without authorization by Avellaneda, and Cervantes’ own Part II sets out to disprove and discredit the apochryphal sequel. On top of this is the ironic distancing of the narrative from the action of the novel. Cervantes claims that he is relating a true history drawn from an Arabic chronicler, Cid Hamet Benengeli, seemingly endowed with omniscient magical power to look into the minds of the characters, hailed as meticulous, yet also subject to doubt as he is a Moor.

Part I

The First Sally

Alonso Quijano, the protagonist of the novel who becomes Don Quixote, is a retired country gentleman nearing fifty years of age, living in an unnamed section of La Mancha with his niece and housekeeper. While mostly a rational man of sound reason, his reading of books of chivalry to excess has had a profound effect on him, leading to the distortion of his perception and the wavering of his mental faculties. In essence, he believes every word of these books of chivalry to be true, though, for the most part, the content of these books is clearly fiction. Otherwise, his wits are intact. He decides to go out into the world as a knight-errant in search of adventure. He dons an old suit of armour, renames himself “Don Quixote de la Mancha,” and names his skinny horse “Rocinante”. He designates Aldonza Lorenzo, a neighboring farm girl as his idealized lady love, renaming her Dulcinea del Toboso, while she knows nothing about this.

He sets out in the early morning and ends up at an inn, which he believes to be a castle. He asks the innkeeper, whom he thinks to be the lord of the castle, to dub him a knight. He spends the night holding vigil over his armor, where he becomes involved in a fight with muleteers who try to remove his armor from the horse trough so that they can water their mules. The innkeeper then humoring the madman dubs him a knight to be rid of him, and sends him on his way. Don Quixote next to fight injustice “frees” a young boy who is tied to a tree and beaten by his master by making his master swear on the chivalric code to treat the boy fairly. The boy’s beating is continued as soon as Quixote leaves. Don Quixote has a run-in with traders from Toledo, who “insult” the imaginary Dulcinea, one of whom severely beats Don Quixote and leaves him on the side of the road. Don Quixote is found and returned to his home by a neighboring peasant.

The Second Sally

While Don Quixote is unconscious in his bed and to prevent the relapse of his delusions, his niece, the housekeeper, the parish curate, and the local barber secretly burn most of the books of chivalry, and seal up his library pretending that a magician has carried it off. After a short period of feigning health, Don Quixote approaches his neighbor, Sancho Panza, and asks him to be his squire, promising him governorship of an island. The uneducated Sancho agrees, and the pair sneak off in the early dawn. It is here that their series of famous adventures begin, starting with Don Quixote’s attack on windmills that he believes to be ferocious giants. The two next encounter a group of friars accompanying a lady in a carriage. Don Quixote takes the friars to be enchanters who hold the lady captive. He knocks a friar from his horse, and is immediately challenged by an armed Basque traveling with the company. The combat ends with the lady leaving her carriage commands those traveling with her to “surrender” to Don Quixote. Time and again, Don Quixote proves himself to be at war with Freud’s “Reality Principle,” not in service to a rampant “id” which might be associated with Sancho, but rather with an unrestrained yet idealizing and spiritualizing “superego.” Reality proves to be “out of joint” with the superabundant ideals of this unique “Discontent” of civilization.

Part II

The Third Sally

While Part I was mostly farcical, the second half, Part II, is more serious and philosophical about the theme of deception, illusion and reality.

As Part Two begins, it is assumed that the literate classes of Spain have all read the first part of the history of Don Quixote and his squire. Cervantes’s meta-fictional device was to make even the characters in the story familiar with the publication of Part One, as well as with an actually published fraudulent Part Two. When strangers encounter the duo in person, they already know their famous history. A Duke and Duchess, and others, deceive Don Quixote for entertainment, setting forth a string of imagined adventures resulting in a series of practical jokes. Some of them are quite sadistic, and they put Don Quixote’s sense of chivalry and his devotion to Dulcinea through many tests.

Even Sancho deceives him at one point. Pressured into finding Dulcinea, Sancho brings back three dirty and ragged peasant girls, and tells Don Quixote that they are Dulcinea and her ladies-in-waiting. When Don Quixote only sees the peasant girls, Sancho pretends that their derelict appearance results from an enchantment of his senses. Sancho later gets his comeuppance for this when, as part of one of the duke and duchess’s pranks, the two are led to believe that the only method to release Dulcinea from her spell is for Sancho to give himself a surplus of three thousand lashes. Under the duke’s patronage, Sancho eventually gets a governorship, though it is false, and proves to be a wise and practical ruler; though this ends in humiliation as well.

The lengthy untold “history” of Don Quixote’s adventures in knight-errantry comes to a close after his battle with the Knight of the White Moon (actually a young man from Don Quixote’s hometown out to “save” him) on the beach in Barcelona, in which we the readers find him conquered. Bound by the rules of chivalry, Don Quixote submits to prearranged terms that the vanquished is to obey the will of the conqueror, which in this case, is that Don Quixote is to lay down his arms and cease his acts of chivalry for the period of one year (a duration in which it is hoped may be cured of his madness). Defeated and dejected, he and Sancho start their journey home.

Part Two of Don Quixote is often regarded as the birth of modern literature, as it explores the concept of a character understanding that he is being written about. This is a theme much explored in writings of the 20th Century.

Upon returning to his village, Don Quixote announces his plan to retire to the countryside and live the pastoral existence of shepherd, although his housekeeper, who has a more realistic view of the hard life of a shepherd, urges him to stay home and tend to his own affairs. Soon after, he retires to his bed with a deathly illness, possibly brought on by melancholy over his defeats and humiliations. One day, he awakes from a dream having fully recovered his sanity. Sancho tries to restore his faith, but Alonso Quixano, for that is his true name, can only renounce his previous existence and apologize for the harm he has caused. After Alonso Quixano dies, the author emphasizes that there are no more adventures to relate, and that any further books about Don Quixote would be spurious.

Don Quixote also had immense influence on the subsequent development of Western Literature and World Literature. Fielding and Sterne, Goethe and Thomas Mann, Flaubert and Stendhal, Melville and Mark Twain, Dostoevsky are among Cervantes’s fervent admirers and pupils. Don Quixote is the only book that Dr Johnson desired to be even longer than it already was. The contrasting and complementary characters of the over-read, noble and idealistic Don Quixote and the down-to-earth, common-sensical and practical Sancho Panza have become archetypes, echoed in such duos as Sherlock Holmes and Watson, Tom Sawyer and Huckleberry Finn, and of D’Artagnan and Porthos. Significantly in Part II, at the end of the novel Sancho and Don Quixote undergo a role reversal, yet still comnplementing each other towards human wholeness, as Sancho pleads with him to take up the quest again, the adventures which have given meaning to his life, while the seemingly repentent Don Quixote turns away from those adventures, after which there is only death. In this way in their friendship and common dialogue they have ironically over-persuaded each other in opposite directions. Along their journey they have both suffered humiliation, defeat and scorn, often accompanied by cruelty directed against them. Like Christ and Job they are subjected to the degradation of pain and savage persecution, yet like Christ, Don Quixote is even further ennobled in our minds by reason of his suffering, and in a similar way, in his heroism and martyrdom he redeems for us even in defeat, the dreams which make our lives bearable and meaningful.

Don Quixote also had a significant influence on the composition of my own novel, the contemporary and futurist epic Spiritus Mundi. The archetype of “The Quest” is a radically integral part of Spiritus Mundi, the story of modern day idealists who undertake a Quixotic global campaign, against all odds, for the formation of a United Nations Parliamentary Assembly, based on the successful model of the international European Parliament, as a new organ of the United Nations for global democracy. The principal protagonist of Spiritus Mundi, is deridingly called “Quixote” by his foe and former classmate, US UN representative Buck Bolger, who blocks adoption of the proposal at the UN. Nonetheless, Sartorius in defeat soldiers on with a Bono-like global grass-roots “People Power” campaign, supported in his suffering idealism also, like Quixote, by the love of a woman, his soulmate Eva Strong, which in Sartorius’ case proves not illusory but life and dream sustaining. In Part II of Spiritus Mundi, divided as Don Quixote and Goethe’s Faust are into two parts, the Quest is extended into the domain of the mythological as he and Eva must venture Verne-like to the Central Sea of “Middle Earth” at the center of the globe and thence through a Cosmic Wormhole through Einsteinian Timespace to the Black Hole at the center of our Milky Way Galaxy to retreive the Silmaril Crystal which will aid humanity from pending Armageddon in a threatened World War III. Sartorius, like Don Quixote dies at the end of his Quest, Moses-like in failing to partake the acheivement of his dream, yet allowed a glimpse into the future realization of his “impossible dream,” the founding of the United Nations Parliamentary Assembly for global democracy, revealed by time-travelling 23rd Century Senator Abor Linkin, the Magister Ludi as destined to endure until the 23rd Century when it is again will be tested by the Time-Travelling Terminator-like foray of the escaped War Criminal Ceasarion Khannis into our present where Sartorius and Eva, benefit from his help to defeaat his Terminator-like attempt to reverse history.

In conclusion I invite everyone to read this immortal Classic of World Literature, Don Quixote, and to check out Spiritus Mundi, which draws on its aid and power.

For a fuller discussion of the concept of World Literature you are invited to look into the extended discussion in the new book Spiritus Mundi, by Robert Sheppard, one of the principal themes of which is the emergence and evolution of World Literature:

For Discussions on World Literature and Literary Criticism in Spiritus Mundi: http://worldliteratureandliterarycrit…

Robert Sheppard

Editor-in-Chief
World Literature Forum
Author, Spiritus Mundi Novel
Author’s Blog: http://robertalexandersheppard.wordpr…
Spiritus Mundi on Goodreads: http://robertalexandersheppard.wordpr
Spiritus Mundi on Amazon, Book I: http://www.amazon.com/dp/B00CIGJFGO
Spiritus Mundi, Book II: The Romance http://www.amazon.com/dp/B00CGM8BZG

Copyright Robert Sheppard 2013 All Rights Reserved

View all my reviews

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THE DETECTIVE NOVEL IN WORLD LITERATURE: WILKIE COLLINS, FATHER OF THE MODERN DETECTIVE NOVEL’S “WOMAN IN WHITE,” “NO NAME” & “THE MOONSTONE”—-FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

The Woman in WhiteThe Woman in White by Wilkie Collins
My rating: 5 of 5 stars

THE DETECTIVE NOVEL IN WORLD LITERATURE: WILKIE COLLINS, FATHER OF THE MODERN DETECTIVE NOVEL’S “WOMAN IN WHITE,” “NO NAME” & “THE MOONSTONE”—-FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

Wilkie Collins, is best known for his masterpiece of detective and mystery, “The Moonstone” (1868), often regarded as the first true detective novel, and “The Woman in White” (1860), the archetypal mystery “novel of sensation.” It is generally held that his work perfected the genre of modern detective mystery fiction later to be epitomized in the short story by Arthur Conan Doyle’s “Sherlock Holmes” and established the detective novel genre later to be adopted by such immensely popular practitioners as Agatha Christie, John Buchan, Dashiell Hammet and Raymond Chandler.

WHAT WAS THE FIRST DETECTIVE MYSTERY NOVEL IN WORLD LITERATURE?

Was then Wilkie Collins’ “Moonstone” the first detective novel in world history, and his “The Lady in White” the first mystery? Always when putting such sweeping questions the possible answers are delimited by how one asks the question and how one defines its key terms—-What is a novel?—-What is a detective novel?—-What is a mystery novel?

If we begin with the broadest inclusive category of “detective fiction” it is obvious that crime, discovery and punishment have been the subject of stories and literature from time immemorial. We might well legitimately regard Sophocles’ “Oedipus Rex” as a legitimate claimant to the title of the first work of detective fiction. Oedipus as King is faced with an unsolved crime, the murder of his father the former King and a curse placed upon his kingdom until his murderer is brought to justice. Although Oedipus’s investigation is based on supernatural, pre-rational methods that are evident in most narratives of crime until the development of the rationalism and scientific worldview of the Enlightenment, the narrative has all of the central characteristics and formal elements of the detective story, including a mystery surrounding a murder, a closed circle of suspects, disguised identities unveiled, and the gradual uncovering of a hidden past—-most dramatically resolved in the moment of anagnoresis in which Oedipus realizes that he himself is the killer of his own father, and the lover of his own mother.

If we look to short stories or novellas we may certainly find examples of detective fiction which pre-date Wilkie Collins’ masterpieces, but would also lack the status of novels, or of novels constituitive of the detective genre. Thus, one of the earliest examples of detective fiction is Voltaire’s “Zadig” (1748), which features a main character who performs extraordinary feats of analysis. Another leading example would be E. T. A. Hoffmann’s 1819 short story “Das Fräulein von Scuderi,” which is sometimes cited as the first detective story and a direct influence on Edgar Allan Poe’s “The Murders in the Rue Morgue.” Arguably, D’Artagnan in the later Musketeers sagas of Dumas, such as “The Man in the Iron Mask” partially fits the model of an intrepid and analytical unraveller of a hidden mystery—the plot of “The Man in the Iron Mask” and his own sworn brothers Aramis and Porthos against the throne of Louis XIV.

True detective fiction in the English-speaking world is generally considered to have begun with the 1841 publication of Poe’s “The Murders in the Rue Morgue” featuring the first fictional detective, the eccentric and brilliant C. Auguste Dupin,followed by the further Dupin tales, “The Mystery of Marie Rogêt” and “The Purloined Letter,”
which Poe referred to as “tales of ratiocination.” The primary concern of the plot is ascertaining truth, and the usual means of obtaining the truth is a complex and mysterious process combining intuitive logic, astute observation, agressive following of leads and perspicacious inference, climaxing in some ideosyncratic burst of revelatory genius.

Less well known or taken into account are some of the works of detective fiction outside the Western Tradition, often considerably predating the Western masterpieces, yet difficult to classify in the same genre due to differences in dynamics. In Chinese Literature The “Gong An Story” (公案小说) is the earliest known genre of Chinese detective fiction. These are generally accounts of the cases handled by an Imperial Magistrate, a district level official who combined in one person the functions of the investigator, prosecutor, judge and jury in criminal cases brought before the Yamen, or local court.

The two most famous of these fictional Magistrates, probably based on historical persons later fictionalized and romanticized, were Bao Gong (Bao QingTian) of the Ming Dynasty and Di Gong, or Judge Dee of the 18th Century Qing Dynasty tales, which became known in the West after being translated by the Dutch Sinologist Robert Van Gulik. Bao Gong is a legendary incorruptable and upright judge who will spare no effort in applying justice in his cases. He was so revered in Chinese folk-culture that in later mythological religious stories after his death he even becomes a judge of souls in Hell, on a parallel with the function of Aecus, Minos and Radamanthus, the great Greek King-Judges who become judges in Hades in the Greek and Western Tradition.

Nevertheless these novels of crime differ significantly from the genre of detective fiction and crime mystery in that, though engaging and enjoyable they lack Poe’s intensive focus of “ratiocination” and plots of discovery compelling the reader to join the Dupin or Holmes-like detective in unraveling the mystery through rationally deciphering clues, guesses, false starts, twists, turns and a surprise ending. The Chinese stories instead focus on:

1)The local magistrate who is usually involved in several unrelated cases simultaneously;
2)The criminal typically is introduced at the very start of the story with his crime and reasons carefully explained, thus constituting an inverted detective story rather than a “whodunnit puzzle” which must be unraveled through suspenseful series of twisting and turning discoveries and events;
3)The stories also have a supernatural element with ghosts telling people about their death and even accusing the criminal;
4)The stories are filled with digressions into philosophy,introduction of dozens or hundreds of related and unrelated characters, and much more, making for very long books that are not necessarily “thrillers” or driving “page turners;”

Arabic Literature contains some notable examples of “Detective Fiction,” though again often limited to shorter stories not developed into the elaborate organic wholeness and extended plotting and character development of the Western classics, epitomized by Wilkie Collins’ “The Moonstone” and “The Woman in White.” Thus in the classic “Arabian Nights” or “1001 Nights Entertainment” which probably evolved from various sources from the 9th Century Caliphate era to be bound together as the immortal tales of Scherezade, we find the story of “The Three Apples.” In that story, a fisherman discovers a heavy, locked chest along the Tigris river and he sells it to the Abbasid Caliph, Harun al-Rashid. When Harun breaks open the chest, he finds inside it, the dead body of a young woman who had been cut into pieces. Harun, incensed at such outrages going on in his own kingdom, then orders his vizier, Ja’far ibn Yahya, to solve the crime and to find the murderer within three days, or be executed if he fails in his assignment. Suspense is generated through multiple plot twists that occur as the story progresses, thus embodying some of the narrative style and archetype of detective fiction.

A main difference between Ja’far and later fictional detectives, such as Sherlock Holmes and Hercule Poirot, however, is that Ja’far has no self-driven desire to solve the case. The whodunit mystery is solved when the murderer himself confesses his crime rather than through the successful scientific or imaginative efforts of the detective. The first crime in turn leads to another assignment in which Ja’far has to find the culprit who instigated the murder within three days or else be executed. Ja’far again fails to find the culprit before the deadline, but owing to his chance discovery of a key item, he eventually manages to solve the case through reasoning, in order to prevent his own execution.

WILKIE COLLINS—-FATHER OF THE MODERN DETECTIVE NOVEL IN WORLD LITERATURE: “THE WOMAN IN WHITE,” “THE MOONSTONE” AND “NO NAME”

Wilkie Collins, (1824–1889) was Dickens’s close friend and colleague in Dickens’ magazines “Household Words” and “All the Year Round,” which serialized most of their novels before they were published as books at the end of the serialization. He is credited with the first great mystery novel, “The Woman in White,” which centers on what we would modernly call “identity theft” for purposes of defrauding a wealthy heiress of her family fortune, is credited with the establishment of the “novel of sensation” or mystery genre. Collins’s later masterpiece detective novel “The Moonstone,” (1868) focusing on the twisting fate of a priceless gemstone from an ancient Indian temple, brought to England as a trophy by an officer of the conquering British army, was called by T.S. Eliot “the first, the longest, and the best of modern English detective novels… in a genre invented by Collins and not by Poe.”

Collins himself, a complex character and son of a prominent artist, lived an unconventional, Bohemian lifestyle, loved good food and wine to excess, wore flamboyant clothes, travelled abroad frequently, formed long-term relationships and had children with two women but married neither, and took, like de Quincy and Coleridge, vast quantities of opium over many years to relieve the symptoms of ill health. He was an accomplished stage actor and playwright, in addition to a novelist, and Collins’s circle of friends included many pre-eminent figures of the day. He knew the major writers such as Thackeray, Trollope, George Eliot and particularly Charles Dickens with whom he regularly collaborated in writing and onstage, as well as a host of minor novelists. His friends and acquaintances included some of the foremost artists, playwrights, theatrical personalities, musicians, publishers, physicians and society figures of the time in London and across Europe. Collins’s unorthodox lifestyle reveals a cynical regard for the Victorian establishment. This view is reflected in his books together with a sense of humour, deep psychological and sociological insight, and a profound understanding for many of the prevailing social injustices of his time, equalling or perhaps exceeding in his social awareness and activism even Dickens himself.

Collins’s works are masterpieces of intricate plotting, yet are informed by deep insight into human psychology, social conditions, character types and a mature appreciation of the human condition. His novels are fully engrossing and a joy to read. His literary reputation suffered for more than a century from being overshadowed by his intimate friend Dickens, often being relegated to a niche writer of the genres of detective, mystery and “sensation” but has recently made a significant comeback as the underlying strengths of his works are being rediscovered, beyond his mastery in plots and mysteries.

Faulkner is often celebrated for introducing “multiple points of view” and diverse narrators of a continuous story, but Wilkie Collins had perfected this treatment long before him. The Woman in White and the Moonstone, as well as “No Name” thus are narrated in successive parts by diverse participants in the story, none of whom is possessed of the whole truth, but who in composite unveil the story and its mysteries in its entirety. Furthermore, the various sub-narrators develop complex personalities and attitudes towards the world and life in addition to serving to further the underlying story, creating a true “polyphonic” experience. In part, this reflected the legal training Collins shared with Dickens but similarly abandoned for literature, in which a court case is put on through the teastimony of multiple, diverse and often contending witnesses. “The Woman in White” thus commences with the “Narrative of Water Hartright,” a sensitive young artist who falls in love with a wealthy heiress,Laura Fairlie, who is forced into a loveless marriage with the villian of the piece, Sir Percival Glyde. Subsequent critical portions of the story are added by the written narratives of Marian Halcombe, her half-sister, her self-centered and insensitive uncle Frederick Fairlie, Mr. Gilmore the family solicitor, and finally the evil genius Count Fosco finally cornered by Hartwright’s investigation and coerced into making his final confession of the crime of stealing Laura’s identity by exchanging it with “The Woman in White” and consigning her fraudulently to an insane asylum to appropriate her fortune in conspiracy with her husband Glyde. Each is well developed with a unique personality and a ideosyncratic narrative voice. Thus Collins fully anticipates the polyphonic innovations of Modernism well before Faulkner, though perhaps not fully equalling Faulkner’s depth of contorted psychology and tragic vision.

“The Moonstone” was a pathbreaker in establishing a number of the key ideas and motifs that have become firmly established classic features of the genre of the modern detective story:

1) Setting: A country Manor House robbery
2) An “Inside Job”
3) Red Herrings
4) A celebrated, gifted, professional investigator
5) Bungling, smug local police
6) Detective inquiries
7) A large number of False Suspects
9) A “Least Likely Suspect”
10) A rudimentary “Locked Room” murder
11) A Reconstruction of the crime
12) A Final Twist in the plot

The Moonstone is a magnificent yellow diamond ‘large as a plover’s egg.’ It was looted at the siege of Seringapatam in southern India in 1799 by Colonel John Herncastle, who seized it from the forehead of a Hindu god. he leaves the diamond, said to carry a curse, to his niece Rachel Verinder.

The Moonstone is presented to Rachel at a dinner party for her eighteenth birthday. The guests include Godfrey Ablewhite, another cousin; Mr Candy, the family doctor; Mr Murthwaite, a celebrated traveller in India; and Drusilla Clack, an interfering “born again” evangelist. The party goes badly. Rachel and Franklin Blake have become fond of each other while she refuses a marriage proposal from Ablewhite. Blake had been followed in London and Murthwaite identifies three Indians seen near the house as high caste Brahmins. Rachel places the diamond in her bedroom cabinet but the next morning it is missing and the novel then focuses on its fate.

The novel, like “The Woman in White” is told through multiple narrators and follows the attempts to recover the Moonstone. The local police failing, a celebrated detective, Sergeant Cuff is summoned from London to investigate the disappearance of the Moonstone, and despite the reluctance of the household to help him in his investigations, he does come up with a theory (kept from us) that proves in the final pages of the book that he is worthy of his reputation. We follow all of the possible suspects, with twists, turns and multiple surprises. Cuff, nearing retirement is as equally interested in his beloved rose gardens as in the crime he is investigating, evidencing a maturity of mind beyond his profession. Collins is adept in creating well-rounded characters who have each their ideosyncratic personalities and are not just the necessary furniture of plot development. I shall not spoil the story by revealing the intricacies of the ending, but promise you that it is memorable. Some novels as you read them leave you with the conviction that you have encountered something great, and for me the Moonstone was definitly one of them.

“No Name” was the third of the trio of great Collins novels I finished, and I was not disappointed. “No Name” tells the story of a pair of sisters from a wealthy family who are deprived of their inheritance on their parent’s death because of the circumstance that their parents had never been legally married due to a prior marriage of the father which had never been disclosed to the children. Despite the father’s attempt to provide for them, the Victorian law disinheriting illegitimate children leaves them “Nameless” and penniless. In part the novel is Collins’ protest against this injustice to “illegitimate” children generally, a protest which yielded significant reforms of this social injustice. The book itself differs from the other two in that it is not primarily a novel of revealed secrets or unsolved crime. Instead it is a contest of plots and counter-plots in the attempt by the younger of the sisters, the plucky Magdalen Vanstone to recover the inheritance of which she has been unjustly but legally robbed after the inheriting relatives unfeelingly wash their hands of the destitute sisters.

A cavalcade of chicanery, plots, assumed disguises, deceits and tricks ensue in which Magdalen is aided by a consummate Confidence Man, Captain Wragge, who aids her cause in a “kamakazi marriage” under an assumed name to the heir to recover the fortune, but in which they must engage in a duel of wits of plotting and counterplotting with the corrupt and viscious housekeeper of the heir, Mrs. Lecount. Their many plots and deceits succeed in the marriage but not in the recovery of the money. Yet, the hand of Providence, or perhaps a “deus ex machina” of a benign author finds a way to bring the unfortunate sisters to a happy ending in an unforseen twist of fate, which may inspire some or slightly disappoint others. In any case Magdalen emerges as one of the memorable resiliant, resourceful, strong and brave female characters of Victorian fiction, alongside the resourceful and also ethically unrestrained Becky Sharp of Thackeray’s Vanity Fair. The novel also has been celebrated by modern feminists as a critique of women’s vulnerability and relegation to “unperson” status, except as defined in relation to a man, father or husband, even as to the plight of “namelessness” of the two sisters.

My own work, the contemporary and futurist epic thriller, Spiritus Mundi is also informed by the dynamics of the mystery and detective novel, especially within the spy and espionage environment. Thus a secret terrorist cell plots a bombing of the US Olympic team and then a nuclear detonation in Jerusalem, and the CIA and MI6 struggle to discover the perpetrators, only to find plots behind plots and twists behind twists linked to a threatened great power World War III conspiracy on the defeat of which the fate of mankind hangs.

I highly recommend all of Wilkie Collins’ works as masterpieces of detective and mystery fiction and invite you to look into Spiritus Mundi.

For a fuller discussion of the concept of World Literature you are invited to look into the extended discussion in the new book Spiritus Mundi, by Robert Sheppard, one of the principal themes of which is the emergence and evolution of World Literature:

For Discussions on World Literature and Literary Criticism in Spiritus Mundi: http://worldliteratureandliterarycrit…

Robert Sheppard

Editor-in-Chief
World Literature Forum
Author, Spiritus Mundi Novel
Author’s Blog: http://robertalexandersheppard.wordpr…
Spiritus Mundi on Goodreads: http://robertalexandersheppard.wordpr…
Spiritus Mundi on Amazon, Book I: http://www.amazon.com/dp/B00CIGJFGO
Spiritus Mundi, Book II: The Romance http://www.amazon.com/dp/B00CGM8BZG

Copyright Robert Sheppard 2013 All Rights Reserved

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THE MEETING OF THE FOUR WORLDS THAT GAVE BIRTH TO THE TWO WORLDS THAT BECAME OUR WORLD—EL CID—THE EPIC SAGA OF THE IDEAL NOBLE LORD IN THE CROSS-CULTURAL WORLD OF THE 12TH CENTURY IBERIAN PENINSULA—-FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

El Cid (Oxford Classic Tales)El Cid by Geraldine McCaughrean
My rating: 4 of 5 stars

THE MEETING OF THE FOUR WORLDS THAT GAVE BIRTH TO THE TWO WORLDS THAT BECAME OUR WORLD—EL CID—THE EPIC SAGA OF THE IDEAL NOBLE LORD IN THE CROSS-CULTURAL WORLD OF THE 12TH CENTURY IBERIAN PENINSULA—-FROM THE WORLD LITERATURE FORUM RECOMMENDED CLASSICS AND MASTERPIECES SERIES VIA GOODREADS—-ROBERT SHEPPARD, EDITOR-IN-CHIEF

The “Cantar de Mio Cid” or “The Poem of El Cid” is the national epic of Spain and a portrait of its noble hero, Rodrigo Diaz de Vivar, known the world over simply as “El Cid,” a nom de guerre derived from the Arabic, “sayyid” or “The Leader.” Though he was a thorough Christian in an emergent Spain at a time when half the Iberian penninsula was under the Muslim occupation of the Almoravids, the degree of respect and admiration he garnered from both sides of the religious and cultural divide can be gleaned from what the Muslim historian Ibn Bassan wrote of him:

“This man, who was the scourge of his age, was, by his unflagging and clearsighted energy, his virile character, and his heroism, a miracle amoung the great miracles of the Almighty.”

Both friends and foes concurred that he was the greatest general of his time, and one of the most noble. This epic poem, unlike many others does not focus primarily on heroic scenes of national battle, martyrdom and glory, as might be found in such epics as the “Chanson de Roland,” but rather on the underlying nobility of character, humanity and honor of its hero as a man. El Cid was an extraordinary man, but he also lived in an extraordinary world, 12th Century Iberia, the land of the future yet still embryonic Spain and Portugul, which was as yet still divided amoung the Four Worlds of its past and present, and which was to serve as one important midwife to the birth to the two additional future worlds which would in turn give birth to our world: the birth of the world of the Renaissance in Europe, and the birth of the Modern World, our Modernity, in the long wake of the globalization commencing and ever accelerating, especially from Columbus’ discovery of the New World from that future Spain which would lead onward through centuries of European colonization to the unification of the Whole World, which is also Our World.

THE MEETING OF FOUR WORLDS IN 12TH CENTURY IBERIA

In Spanish, there are two common names for the eight centuries of history (from 711 AD to 1492 AD)in which Islamic forces controlled some portion of the Iberian Peninsula: the “Convivencia,” or “The Co-Existence,” and the “Reconquista,” or “The Reconquest.” The two terms present in their alternative connotations the recurring Huntingtonian choice of the modern world in its intercultural relations, between a “Clash of Civilizations” or a “Clasp of Civilizations” towards a common future.

“Four Worlds” thus came together during this period of history: The Arabic Muslim World, the Western Christian World, the Classical Graeco-Roman World and the Judaic World. These four worlds may be seen alternatively as either an extraordinary confluence and cross-fertilization, or as an embattled forced cohabitation of mutual conflict. In either case there is no denying the vital role Iberia played as the portal through which the rich Classical Culture of Greece and Rome—the texts of Aristotle and Plato that would be read by Aquinas and his successors–most often translated initially from Arabic into Latin as amplified by Arabic scholars Ibn Rushd (Averros) and Ibn Sina (Avicinna)in translation centers such as Toledo—would re-enter the Western canon, which “re-birth” would engender what we regard as the Renaissance, or Early Modern Era if you will. This retransfer of a tradition in significant part from the Arabic World to the Western World underscores a further important fact, that the Classical Graeco-Roman Tradition was the common heritage of both the Western Christian World and the Muslim world.

In their mutual practice of selective amnesia the West is apt to forget that its science and philosophy would be unthinkable but for the Arabic contriubtions, echoed in the very words, of Algebra, Alchemy (Chemistry),Algorisms and the recovered texts of Aristotle. The Muslim world is also apt to forget that those achievements did not come out of the deserts on the backs of camels but out of the libraries of Alexandria and Baghdad housing the works of Archimedes, Ptolmey, Euclid, Plato, Aristotle and Epictitus in Arabic translation. Both Islam and the Western Christian world are also fitfully forgetful of their common heritage in their shared monotheistic religion and God, both derived from the Fourth World of Judaic heritage, the Judeo-Christian-Islamic heritage embracing the Torah, Bible and Koran alongside the Abrahamic heritage of a shared history from the Creation of Genesis, Adam & Eve, Noah, Abraham, Issac & Jacob, Moses, Jesus and Mohammad. Much of the Arabic and Muslim world was part of the Roman World and of the Greek empire of Alexander before, and shared a common heritage with or constitued an integral part of “The West.” The three cultural siblings of the Mediterranean-Mesopotamian world have been at odds, strife and rivalry so long they have forgotten they are brothers born of a common home and heredity.

Muslim armies first arrived in the Iberian Peninsula in 711 in a northward sweep stopped only by Charles Martel at Poitiers. The first dynasty of Emirs in “Al-Andalus”–“Land of the Vandals”–were the Umayyads. Most cities of al-Andalus were relatively independent with the great political and cultural centers at Cordoba, Granada and later Seville, as testified to by such remnants as the palaces and mosques of the Alhambra.

Poetry was the premiere literary form of the Arabic world, practiced by rulers, courtiers, philosophers and religious leaders and it flourished in Al-Andalus. The integration of Greek philosophy in the Muslim, Christian and Judaic worlds from the 10th century through Avicenna, Averros, Aquinas and Maimonides provided a common language and set of problematics to the Muslim, Christian and Judaic worlds. In Iberia for a significant time the tolerance of the Muslim rulers for “the dhimmi” or “Peoples of the Book” allowed Christians, Jews and Muslims to cohabit and contribute to their mutual heritages. The Sephardic Jews were an important element of this mix, fluent in the Arabic of the rulers yet retaining familiarity with the languages of the Classical Graeco-Roman world, Greek and Latin, as well as Biblical and Talmudic Hebrew, allowing them to serve in translation centers such as Toledo in an important cross-cultural role. Christian refugees from the crusades against the Albigensians in Provence also took refuge alongside Jews. Arabic and Islamic poetry including both the sensuality and mystic spirituaity of love of such masters as Abu-Nawas, Ibn al-Rumi and Hafiz and undoubtedly contributed to the development not only of Spanish, Portugese and Mozarabic poetry, but also the rise of the Troubadors and Minnisingers. Many renown scholars hailed from Iberia or nearby including Ibn al-Arabi, Yehuda ha-Levi, Ibn Rushd (Averroes)and Moses Maimonides.

Sadly, this period of confluence of cultures would end in repressive intolerance from both powers and religions. The rise of Muslim fundamentalists with the Almoravids and the later Almohads would cause persecutions of both Jews and Christians. A Muslim pogrom in Granada in 1066 would kill 3000 Jews. It is well known that in 1492 in Spain and 1497 in Portugul the expulsion or forced conversion of Jews and Muslims began and continued with the Inquisition, with many of the Sephardim taking refuge in the Ottoman Empire in Istanbul or Thessalonika. The Almohad Muslims were no less intolerant, driving Jews out of Morocco and North Africa by repression as exemplified by the case of Maimonides, who fled to Egypt to escape Almohad persecution.

Nonetheless, important elements of this fruitful cohabitation would survive and enrich the world. One already mentioned would be the transmission of lost Greek and Roman Classic texts such as Aristotle with commentaries by Ibn Rushd, Averroes and Ibn Sina, Avicenna, which would fuel the Renaissance. Another would be the cultivation of navigational skills in Portugul via Henry the Navigator, enriched by the experience of Arabic navigational experience and skills. By the time of Columbus, the contributions of a Fifth World, the Chinese, would seep through in the form of the compass, gunpowder, paper and printing to enrich the mix, without which Columbus’s journey would have been impossible. Together, the Four Worlds (or Five) would lead to the discovery of America, the New World, and thereby through Magellan to the circumnavigation and commencement of globalization of the world. The Renaissance then fueling the rise of Western Science and the Enlightenment in turn would lead to the growth of the global European Empires, beginning with the Spanish and culminating with the British, the largest Empire in world history, an Empire of Globalization on which “The Sun Never Set.” Thus the Renaissance, of which Iberia was one midwife, would lead to our Modern World.

EL CID

This then was the world of El Cid, pregnant of an unseen future of global portend. How did he live his life and become legend within that world?

El Cid, Rodrigo Diaz, was a real historical personage, born to a modest noble family in Castile who rose by virtue of his military talent, courage and character to be one of the kingdom’s foremost officers. Spain did not yet exist and the kingdoms of Castile, Aragon, Leon, Navarre and Portugul were in constant conflict amoungst themselves as well as with the similarly disunited Muslim mini-states, or “taifas.” He rose to generalship in the civil wars and inter-state wars, but not without making enemies on the way. Throughout the entire poem, the Cid is portrayed as an exemplary hero and vassal; he is also an ideal lord himself.

Because of conspiracies and slander of his enemies, in particular Count Garcia Ordonez of the Beni-Gomez clan whom he had defeated and humiliated, despite El Cid’s many victories fighting for King Alfonso, The Cid is exiled from his native Castile. Essentially, by exiling him, Alfonso has relieved him of his obligations as a feudal vassal. These obligations, much like those of the characters in “La Chanson de Roland,” revolve around fidelity, loyalty, and support.

Central to the feudal system is the fact that vassals of a lord often have vassals themselves. The Cid is presented as being an ideal lord as well to his own vassals, which seems to balance the humility he shows to Alfonso, his own Lord and King. He is generous to his followers, shows them respect, and accepts their counsel. Perhaps most importantly, he allows his vassals to serve him honorably. All this is shown to sharply contrast El Cid’s intrinsic honor to Alfonso’s opportunistic and selfish treatment of him, devoid of any intrinsic honor.

Accordingly, the first part of the epic focuses on the military exploits of the Cid, which are not just a recounting of his personal valor but a portrayal of his generosity, love and care towards his men and vassals. Minaya, his chief captain is allowed to share in every glory and honor. Reciprocally, the Cid’s willingness to accept these proposals did honor to Minaya by allowing him to place himself in a position to gain glory, and Minaya’s eagerness to place himself in the thick of the battle does honor to the Cid. In contrast to the corrupted relationship between King Alfonso and the Cid, the Cid’s own relationship to his subordinates shows he is both an ideal lord as well as an ideal vassal to his own superiors in the feudal ethical order.

El Cid conquers and becomes the Lord and ruler of Valencia. He fights many battles against both Muslim and Christian states and is always gloriously successful, amassing immense wealth and war booty. It is notable that the wars are not just between Muslims and Christians but reflect complex alliances and power struggles in both communities. Sometimes the Cid fights alongside Muslim allies, and in each case even the Muslim states honor and respect his qualities as a leader, general, gentleman, man of courage and man of honor, universal values transcending both cultures.

Despite his unjust exile, The Cid continues to act as a superbly successful vassal, remaining loyal to the King and upholding the King’s glory and honor, while maintaining his own innocence and preserving his honor and dignity even in exile. Continuing to go from victory to victory on the frontier he persists in sending Alfonso rich spoils from his conquered territories in the Muslim south and humbling himself through his messengers. Finally, when restored to the king’s favor by these means, he defers loyally to Alfonso’s wishes, even when they conflict with his own, as in the case of his daughters’ marriages, which are arranged by the King with neighboring Princes.

Having accepted the Cid back into his good graces, Alfonso proposed that the Cid marry his daughters to two youngsters of a rich and old Leonese family of which Alfonso thought highly, and wished to influence for his own political advantage. The Cid did not like the match and told the king that he would not marry them so himself, but that he would give them to the king, his lord, to be married honorably. Alfonso then married them to the young Leonese, the Princes of Carrion. The newly-weds joined the Cid in the rich city of Valencia, which he had conquered from the Muslims. The Cid conferred upon his sons-in-law costly gifts, and they accepted them eagerly without much thanks.

The Princes foisted on the Cid’s daughters prove to be mere poseurs, hypocrites, arrogantly insistent on their own superiority, and cowards. El Cid’s vassals did all they could to hide the youths’ flaws from the Cid. One afternoon, as the Cid lay napping, a “pet” lion escaped its cage and entered the room where the Cid was sleeping. The Cid’s vassals stepped between the Cid and the lion, but the sons-in-law were terrified to the point of incontinence and hid under a couch and bed. The Princes are then humiliated in the eyes of all and decide to return ignominiously home. Greedily, they take all the gifts El Cid has given them. En route they feel the sting of their own dishonor and worthlessness and take it out on their wives, El Cid’s daughters, stripping them naked, beating them unconscious and abandoning them to die in the wilderness, cursing them as low-class sluts who never deserved to marry Princes of their own royal blood and superiority. The daughters are luckily rescued by El Cid’s loyal followers narrowly escaping the death intended for them.

The Cid sent word of this shameful act to the King, and Alfonso declared that he would arrange a trial where the Cid could seek justice. The Carrion family relies upon upper-class aristocratic solidarity with the King in expecting that Alfonso would recognize the validity of the boys’ claim that their wives had been too low-born to be accepted into the royal family of Carrion, and that it would be politically opportune to side with them. Their anxiety was great however when they discover that Alfonso was determined that they should stand to answer the Cid’s charges. When the date for the trial came, the Cid and his vassals put on their mail and belted their swords and went into the court wearing them under their cloaks fearing underhand assassination from their enemies.

At the trial of the Princes of Carrion, for having dishonored and injured the Cid’s daughters by beating them, stripping them naked and abandoning them do die in the wilderness, the family of Carrion tries to buy their way out by making material restitution to the Cid. For his own part he acceeds to the King’s attempt to compromise, but his honor still unsatisfied, he suggests to his vassals that they should denounce the Princes of the Carrion family and challenge them to a duel, or knightly combat on principle of honor. He then leaves, allowing his vassals the opportunity to distinguish themselves by fighting for their lord’s honor.

This of course does not mean that the Cid is a coward. In fact, his bravery is legendary. However, he has achieved fame and honor, and allows his vassals to do the same. The Cid’s central function in the poem, however, is as an honorable vassal and champion of Alfonso within the feudal ethical order.

Alfonso is completely oblivious of the fact that it was he who had been dishonored. Instead the King acts only out of political expediency and never honor. If he does partial justice it is only because it is expedient, never because it is either right or out of love or care for his vassals such as El Cid.

In the end El Cid’s own faithful friends and vassels end the matter by challenging the Princes to a duel, or combat of honor which they cannot refuse. The Princes plot to asassinate El Cid’s champions before the combat but are thwarted, and finally they are defeated and dishonored.

The poet, then, saw in the Cid an opportunity to create a hero who would exemplify the heroic virtues that seemed to be lacking in a debased contemporary society. The Cid of the “Poema del Cid” is loyal almost to a fault. He never fights as a mercenary for the Moors, as did the real historic Cid, but instead gains territory for his king and church only at their expense. In the Poem which becomes the national epic of Spain as a militantly Christian nation, the Cid is distorted somewhat to typify a brutal, vengeful self-righteous and militantly intolerant Christianity, whereas the historical Cid was arguably more cosmopolitan and tolerantly respectful of both Christians and Muslims. Nonetheless,by offering an ideal of the kind of behavior the poet wished was more common, the Cid is presented as a hero perfectly suited to medieval Spain.

The common people in the Poem in the end act as a sort of Greek Chorus in expressing one of the main themes of the work, lamenting in admiration for El Cid: “Dios que buen vassallo, si oviesse buen senor!”—–“God, what a good vassal. If only he had a good Lord.” This tragedy of a worthy knight bound to an unworthy lord is a constant theme in epic, already found with Achilles and Agamemnon in the Iliad.

This theme also finds expression in my own work, the contemporary and futuris epic Spiritus Mundi, where the character Andreas Sarkozy fights bravely as a South African soldier in the era of apartheid until finally chosing exile from the state he could no longer respect, later becoming a political activist in the Campaign for a United Nations Parliamentary Assembly for Global Democracy.

In conclusion, I fully recommend you read The Poem of El Cid as an enduring classic of World Literature expressing universal values, and invite you to read my own recent work, Spiritus Mundi, the contemporary and futurist epic of globalization in our modern world.

For a fuller discussion of the concept of World Literature you are invited to look into the extended discussion in the new book Spiritus Mundi, by Robert Sheppard, one of the principal themes of which is the emergence and evolution of World Literature:

For Discussions on World Literature and Literary Criticism in Spiritus Mundi: http://worldliteratureandliterarycrit…

Robert Sheppard

Editor-in-Chief
World Literature Forum
Author, Spiritus Mundi Novel
Author’s Blog: http://robertalexandersheppard.wordpr…
Spiritus Mundi on Goodreads: http://www.goodreads.com/book/show/17…
Spiritus Mundi on Amazon, Book I: http://www.amazon.com/dp/B00CIGJFGO
Spiritus Mundi, Book II: The Romance http://www.amazon.com/dp/B00CGM8BZG

Copyright Robert Sheppard 2013 All Rights Reserved

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