Pray to the Saints in Purgatory for the Spirit of America; for her life as lived in us her children.
A commenter this morning asked me to write an apology for “patriarchy,” and this I did, albeit with considerable misgiving. My misgiving springs from the knowledge than such requests are, as often as not, simply fishing for evidence of deplorable moral turpitude in the apologist. But I decided to accept “Emma’s” question as sincere, and so in this case “took the bait.” After reading our exchange, T. Morris suggested that I promote it to a post.
Here is what Emma wrote in her comment.
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Brno-born Karel Zeman (1910 – 1989) began work as a window display designer and won a prize for one of his layouts. He found himself working in the 1930s and 40s as a set-director in the Czechoslovak film industry, an endeavor that continued, perhaps surprisingly, during the German mandate of 1938 – 45. Zeman would eventually head his own division of the state film industry, the Gottwald Studio in Prague, where he wrote, produced, and directed ten feature-length movies between 1952 and 1980. Zeman had specialized in stop-motion animated shorts during the 1940s, mostly based on fairy tales. Except that he never went to Hollywood, Zeman’s career parallels that of the Hungarian-born film-maker George Pal, who invented the “Puppetoon” while working in the Netherlands, and continued exploiting this stop-motion genre in the USA in the 1940s before graduating to special-effects features in the 1950s and 60s. Whereas Pal’s movies – When Worlds Collide (1950), for example, War of the Worlds (1953), or The Time Machine (1960) – tend toward the grimly serious, Zeman’s tend toward the fantastic, the satirical, and even the light-hearted in their mood. Pal drew on H. G. Wells, Zeman on Jules Verne, but on a nostalgic reinterpretation of Verne that subtly, and by impressive indirection, contrasts the Frenchman’s technological optimism of the Age of Steam with the bombed-out landscapes of mid-Twentieth Century Europe. The largely non-political quality of Zeman’s cinema might surprise a Westerner who encounters it for the first time. One would never guess that Journey to the Beginning of Time (1955) or The Stolen Airship (1967) originated under a Communist regime.
Arthur O. Lovejoy (1873 – 1962), The Great Chain of Being – A Study of the History of an Idea (1936): Lovejoy’s book joins the rank of those, once located in the “must read” category, that steadily fade into an obscurity, which they by no means deserve. The horizon of intellect in Anno Domine 2020 has retracted so far that the scope of Lovejoy’s learning lies beyond it; no Great Chain of Being exists for the contemporary mind, which obsesses perpetually over somatic trivialities, so much so that it forfeits the dignity implicit in the label of mind. Lovejoy is aware of folkloristic precursors to the idea of the Great Chain, but he sees the fully articulate expression of it as emerging in Plato’s Timaeus and in the essays, collected as the Enneads, that make up Plotinus’ Third-Century Neoplatonism. In Chapter II of The Great Chain – “Genesis of the Idea” – Lovejoy divines the dialectic of “otherworldliness” with “this-worldliness” as the urgency behind his titular metaphor. “Having arrived at the conception of the Idea of Ideas,” as Lovejoy writes, Plato “finds in just this transcendent and absolute Being the necessitating logical ground of this world.” The apparent flux of existence, which stands in tension with the conceptual, takes its explanation, not only in what Lovejoy calls “the Intellectual World,” but in a Creative Intellect that generates the world. Becoming provides the bottom floor, or perhaps the basement, of the universal structure, which, unlike a this-worldly structure, a Parthenon or a Mausoleum, the Master Architect builds from the roof down to the foundation – or rather the roof is the foundation. The Master Architect’s kallokagathos permeates the cosmos in the form of “a Self-Transcending Fecundity.” A common interpretation of Plato – that the philosopher finds the realm of matter inferior to the realm of spirit – strikes Lovejoy as false. Lovejoy extends this judgment to Neoplatonism: “In Plotinus still more clearly than in Plato, it is from the properties of a rigorously otherworldly, and a completely self-sufficient Absolute, that the necessity of this world… is deduced.”
What is happening right now, globally, in re the Chinese Flu, is an inflection point in human history. This is so, no matter what the facts might actually turn out to be – the facts medical, epidemiological,, financial, economical, political, cultural, you name it – which now all appear to all of us so obscure, and (we cannot but think) intentionally obfuscated and obscured, by those in the higher reaches of the global culture interested in this or that outcome, for their own purposes, rather than for the sake of the good, the true, the beautiful. It does not really matter what those facts might turn out to be. Ex post, they shall, certainly, tell. But, for the moment, being mostly unknown, they simply cannot; almost every datum is now somewhat masked by countervalent noise of some sort. So, we proceed all of us on the basis of what we know. And what we know extends not much further than our own households, and beyond that our familiar networks, intimately connected via the web despite their geographic dispersion.
The present global corona virus lock down, however well-meant or effective or warranted it may be, is unquestionably the greatest assault on human society since WWII. It’s nothing near as bad as that titanic war, of course, but it’s bad. It attacks man on all fronts: biological, financial, economic, social, psychological, cultural – and, of course, and at root, and so most importantly, spiritual.
Almost no one is going to be able to worship in Church today, or what is far worse, the day after tomorrow. The churches will be almost completely empty this Easter.
This means that the lock down is a gigantic tactical victory for the Enemy. The whole Church is in abeyance, for a time; and this is massively hard on morale in our ranks. It means then that this Lent, and especially this Triduum, is bound to be a time of unusually intense demonic oppression. At this time, more than at any other in recent memory, our Enemy is likely to press his attack with utmost vigor. And indeed, priests and deacons all over the world have reported a huge surge in demonic activity, ranging from spiritual lassitude, dryness, heaviness or despair, to possession.
A client wrote me over the weekend, asking if I thought recent news of apparent flattening of the curve of new infections of Chinese Flu in Italy, Spain and, perhaps, even New York City, portended incipient prevalence over the virus. I responded:
My prediction in 2013 that the androsphere was ripe for conversion to Traditional, orthodox Christianity, or else to nothingness – are there any real alternatives to these two ultimate destinations, ever? – was controversial. Our friend Dalrock was then already one of the three or four most important sex realist bloggers, and wrote from an overtly and stoutly conservative Christian perspective (his guest post here is the fifth most read in our history). And there have been other like-minded bloggers in the androsphere. But most of that sphere was then dominated by purely secular pick up artists, interested to understand the sexes – especially the female sex – only as a way to manipulate as many women as possible into fornication of some sort. So my prediction met with a fair degree of skepticism.
This might be an “Upstate Consolation University” item — but I am too lazy to write it. Soviet-era cinema is ideologically tendentious , but not so ideologically tendentious as contemporary Hollywood or the 24/7 indoctrination of college students in “wokeness.” Bread = Life. Missing the wine, the filmic excerpt is almost Christian. The song-sequence is remarkably undiverse. Bravo! The women are attractive, in a proletarian way. There are no “transgender” people in the scenario. I prefer this film to the latest Star Wars. Exchange grain for toilet paper and it makes perfect sense. Toilet paper is something that people need, after all. Now this post might well be an instance of writing as revenge. I want revenge on the whole so-called higher education system. I want revenge on administrators. Dalrymple (whom I admire) writes about complainers. I am an ultra-plaintiff. Viva the Kuban Cossacks! Enjoy the concerts below. —
PS. If you click on the “play” icon in the center of the video image, you will be told that this video is unavailable on this website — God knows why. You must click on the “watch on YouTube” function to see it. In case that doesn’t work, here is the URL: Song of the Harvest [.]
I do what I know I should not, and I fail to do what I know that I should. I am tempted to sin, even though I know it to be sin, and thus both wrong in itself and so also bad for me. Why?
Such is concupiscence: the inclination to sin, indeed literally the strong desire to sin.
If we – even we who have been washed by the waters of Baptism and the Blood of the Lamb from all taint of our Original Sin – know that sin is sinful, why would we desire to sin? Why should there be such a thing as temptation, at all?