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~ (n): An office or position that provides its occupant with an outstanding opportunity to speak out on any issue.

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Tag Archives: Gerard Manley Hopkins

A Secular Scientist’s Argument against the New Atheists

19 Tuesday Jan 2016

Posted by jrbenjamin in Religion, Science

≈ Comments Off on A Secular Scientist’s Argument against the New Atheists

Tags

Astronomy, Atheism, Christian, Christianity, Christopher Hitchens, David Berlinski, debate, Faith, Gerard Manley Hopkins, interview, Judaism, M Theory, Naturalism, physics, reason, religion, Richard Dawkins, science, Secularism, Skepticism, Stephen Hawking

David Berlinski and Christopher Hitchens

Moderator: Dr. Berlisnki, you’re not a Christian, and indeed, you’re not religious as I understand it. Why do you argue for a Judeo-Christian influence in society?

David Berlisnki: I presume you are not asking me in the hopes of a personal declaration. And I won’t say that this secular Jew has a remarkable degree of authority when it comes to these moral events: after all, I have lived my own life under the impress of having a good time, all the time. On the other hand, it doesn’t hurt to hear these words from someone such as myself, because at least you are hearing them from someone with no conceivable bias in their favor.

In its largest aspect, Western science is of course an outgrowth of Judeo-Christian tradition, especially to the extent, perhaps only to the extent, that it is committed to the principle that the manifest universe contains a latent structure that can be discovered by the intellect of man. I think this is true. I don’t think this is very far from Gerard Manley Hopkins’ declaration that, ‘the world is charged with the grandeur of God.’ […]

You know, Stephen Hawking just published a book, one explaining, again, how everything began — why it’s there, why we shouldn’t worry about God, et cetera. And to paraphrase the claim that he now makes: having given up on “A” through “L”, he now champions something called “M-theory” to explain how the universe popped into existence. I respect Hawking as a reputable physicist. But I can tell you this: What is lamentably lacking in every one of these discussions is that coruscating spirit of skepticism which a Christopher Hitchens or a Richard Dawkins would bring to religious claims, and then lapses absurdly when it comes to naturalistic and scientific claims about the cosmos.

Surely, we should have the sophistication to wonder at any asseveration of the form that the universe just blasted itself into existence following the laws of M-theory — a theory no one can understand, whose mathematical formulism hasn’t been completed, which has never once been tested in any laboratory on the face of the earth…

Finally, the fact that the earth, our home, is a small part of the physical universe does not mean it is not the center of the universe. That is a non sequitur. After all, no one would argue, least of all Mr. Hitchens, that the doctrine that home is where the heart lies is rendered false by distance. We should be very careful about making these claims. I agree that the universe is very big; there are lots of galaxies and amazing things. And there is certainly some biological continuity between humans and the animals that came before us. But as for the central religious claim that this particular place is blessed and important, that’s different. No doctrine about physical size rebuts it…

And as to why should a secular Jew open his mouth to questions pertaining to the Christian religion? It’s a big tent. I’m presuming I would be welcomed.

__________

An excerpt from Berlinski’s 2010 debate with Christopher Hitchens. Berlinski’s erudition reaches almost comical heights in this debate, which is, in my opinion, one of the more compelling Hitch ever did. I like the whole thing, but you can watch the pulled section below.

Continue onward:

  • C.S. Lewis: how to spot a truly humble person
  • “For me, it’s a part of being human”: Updike justifies his Christianity
  • A slight change of pace: Hitchens reflects and his mother

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Darkness Visible

11 Tuesday Jun 2013

Posted by jrbenjamin in Biography, Psychology

≈ 4 Comments

Tags

Aeschylus, Albert Camus, Albrecht Durer, Bach, Beethoven, Dante, Darkness Visible, depression, Edgar Allen Poe, Emily Dickinson, Fyodor Dostoevsky, Gerard Manley Hopkins, Hamlet, Job, John Donne, Joseph Conrad, Mahler, melancholia, Nathaniel Hawthorne, Schumann, Sophocles, Vincent Van Gogh, Virginia Woolf, William Styron

William Styron

“Since antiquity — in the tortured lament of Job, in the choruses of Sophocles and Aeschylus — chroniclers of the human spirit have been wrestling with a vocabulary that might give proper expression to the desolation of melancholia. Through the course of literature and art the theme of depression has run like a durable thread of woe — from Hamlet’s soliloquy to the verses of Emily Dickinson and Gerard Manley Hopkins, from John Donne to Hawthorne and Dostoevsky and Poe, Camus and Conrad and Virginia Woolf. In many of Albrecht Durer’s engravings there are harrowing depictions of his own melancholia; the manic wheeling stars of Van Gogh are the precursors of the artist’s plunge into dementia and the extinction of self. It is a suffering that often tinges the music of Beethoven, of Schumann and Mahler, and permeates the darker cantatas of Bach. The vast metaphor which most faithfully represents this fathomless ordeal, however, is that of Dante, and his all-too-familiar lines still arrest the imagination with their augury of the unknowable, the black struggle to come:

Nel mezzo del cammin di nostra vita
Mi ritrovai per una selva oscura,
Che la diritta via era smarrita.

In the middle of the journey of our life
I found myself in a dark wood,
For I had lost the right path.

One can be sure that these words have been more than once employed to conjure the ravages of melancholia, but their somber foreboding has often overshadowed the last lines of the best-known part of that poem, with their evocation of hope. To most of those who have experienced it, the horror of depression is so overwhelming as to be quite beyond expression, hence the frustrated sense of inadequacy found in the work of even the greatest artists. But in science and art the search will doubtless go on for a clear representation of its meaning, which sometimes, for those who have known it, is a simulacrum of all the evil of our world: of our everyday discord and chaos, our irrationality, warfare and crime, torture and violence, our impulse toward death and our flight from it held in the intolerable equipoise of history. If our lives had no other configuration but this, we should want, and perhaps deserve, to perish; if depression had no termination, then suicide would, indeed, be the only remedy. But one need not sound the false or inspirational note to stress the truth that depression is not the soul’s annihilation; men and women who have recovered from the disease — and they are countless — bear witness to what is probably its only saving grace: it is conquerable.

For those who have dwelt in depression’s dark wood, and known its inexplicable agony, their return from the abyss is not unlike the ascent of the poet, trudging upward and upward out of hell’s black depths and at last emerging into what he saw as ‘the shining world.’ There, whoever has been restored to health has almost always been restored to the capacity for serenity and joy, and this may be indemnity enough for having endured the despair beyond despair.

E quindi uscimmo a riveder le stelle.
And so we came forth, and once again beheld the stars.”

William Styron

__________

From the closing pages of Darkness Visible: A Memoir of Madness, William Styron’s register of his descent into depression.

Thanks D. for recommending this one to me.

William Styron was born today in 1925. Darkness Visible, his most intensely revealing and personal book, is an utterly haunting chronicle of madness and melancholy — one which drags you, as Virgil does through the inferno, down Styron’s steep and rocky path into the depths of psychological suffering. The book opens with Styron, an acclaimed author of fiction, arriving at a lavish Paris hotel to accept a coveted literary award. This rainy Parisian night, however, is the moment wherein his own “brain storm” emerges over the horizon, bringing with it an enervating disease of the mind which he comes to call melancholia. The remainder of the short text is an utterly brutal yet lucid look at just what this afflication is and is not.

The passage above is the book’s ending, and it finishes Styron’s story, as Dante’s, in the clarity and serenity of a long desired return to sunlight and air. It also illustrates handsomely Styron’s unmatched technical skill as a writer.

From a Spring 1954 interview with Styron in the Paris Review:

Does your emotional state have any bearing on your work?

I guess like everybody I’m emotionally fouled up most of the time, but I find I do better when I’m relatively placid. It’s hard to say, though. If writers had to wait until their precious psyches were completely serene there wouldn’t be much writing done. Actually— though I don’t take advantage of the fact as much as I should —I find that I’m simply the happiest, the placidest, when I’m writing, and so I suppose that that, for me, is the final answer. When I’m writing I find it’s the only time that I feel completely self-possessed, even when the writing itself is not going too well. It’s fine therapy for people who are perpetually scared of nameless threats as I am most of the time—for jittery people. Besides, I’ve discovered that when I’m not writing I’m prone to developing certain nervous tics, and hypochondria. Writing alleviates those quite a bit.

I think I resist change more than most people. I dislike traveling, like to stay settled. When I first came to Paris all I could think about was going home, home to the old James River. One of these days I expect to inherit a peanut farm. Go back home and farm them old peanuts and be real old Southern whisky gentry.

Styron

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