Eleison Comments

Capitalism Unfolding

Capitalism Unfolding on December 18, 2010

Selfishness cannot make a society. Now money represents essentially its owner’s claim upon the services of the rest of his society. If then capitalism be defined, in anything more than just economic terms, as a way of organizing society whereby every citizen is to be left free to make as much capital, i.e. money, as he can and will, then capitalism is riddled with contradiction. It is trying to make a society requiring selflessness out of encouraging everybody to be selfish.

Thus capitalism can only survive for as long as members of a capitalist society still have pre-capitalist values, such as common sense, moderation in the pursuit of money, and respect for the common good. But capitalism as defined above does nothing to promote any such pre-capitalist values. On the contrary, it works against them, as selfishness works against selflessness. Therefore capitalism is a parasite, living off a social body whose pre-capitalist values it works to undermine.

This internal contradiction of a society built upon the pursuit of money is reaching its devastating conclusion in the present state of world finance and the world economy. Since the end of World War II especially, the peoples of the world have more and more sought money to provide the material comforts they now prefer to the spiritual comforts that formerly gave purpose to their lives. Admiring and seeking money, they have been happy to let the money-men take power over their societies. Admired and sought after, the money-men have taken to themselves more and more money and power. After all, what intrinsic brakes do money or power have to limit their own further acquisition? None. The bankers turn into veritable gangsters.

Hence, for instance, the invention 10 or 15 years ago of “derivatives,” financial instruments which make a fortune in fees for the banksters who purvey them, but which act upon the delicate mechanisms of world finance like weapons of mass destruction, because they easily fabricate an unreal world of colossal and unpayable debt. In this destabilized and fraudulent world of unpayable debt, a semblance of order is maintained by one government after another fabricating out of thin air vast quantities of “money” to “pay” the debt, but this process can only end up in an inflation which empties of any usefulness the currency involved. Thus all the world’s paper and digital money – for years it has had no other – is now doomed.

But money is to a society what lubricating oil is to an engine. Without oil, an engine seizes up and is killed dead. Without money in a society, exchange becomes much more difficult, and commerce can be slowed to a standstill. If for any such reason the food-trucks (or lorries) could not run, and food ran short, especially in the big cities, what could a politician do to head off the food riots, and to stop the peasants from coming after him with pitchforks? Start a war!

World War III may not be far off. Lord, have mercy!

Kyrie eleison.

Truth Liberates

Truth Liberates on December 11, 2010

The argument of the last three numbers of “Eleison Comments” (175–177), has been merely provoked by the French painter Paul Gauguin (1848–1903), because he is by no means the worst of modern artists. That argument has not been that God exists, so modern art is “bosh” (see Evelyn Waugh’s “Brideshead Revisited,” I, 6). Rather it has been, modern art is bosh, so God exists. There is an important difference here between descending from the cause to the effect and climbing from the effect to the cause.

If I start from the existence of God as a given, and reason downwards to the wrongness of, for instance, modern art, modern music, modern opera productions, etc., firstly God and his existence are not thereby proved, and secondly his religion can seem to come down on us like a wheel-clamp upon our liberty. Now I am me, and whatever it is that is me wants to be free to choose what art I like. But here comes a Traffic Warden supposedly from Heaven to clamp that freedom? No thank you!

If on the other hand I start out from my own experience of modern art, I am firstly starting out from what I directly know. And if my experience of it is, honestly, dissatisfactory – that is not necessarily the case, but if it is – then I can begin to wonder why I feel such unease in front of highly praised modern artists. I listen again to the praises. I am still not convinced. Why not? Because modern art is ugly. What is wrong with ugliness? It lacks beauty. And if I continue to climb through the beauty of, for instance, landscapes or women as portrayed in art, to their beauty in Nature, to a harmony of parts running through all creation, my thoughts have climbed from my personal experience a considerable way towards the Creator.

In this latter case he no longer resembles a traffic warden with wheel-clamps. On the contrary, far from clamping down on our freedom, he seems to be leaving us human beings with free-will and with freedom to proclaim ugliness through the land and to create a world of chaos. Maybe he is hoping that the ugliness will become horrible enough to turn our thoughts towards the True and the Good. At this point his religion resembles no longer any clamp from outside on our liberty within, but rather a help and liberator of all that is best in me from all that is worst, because unless I am proud, I am bound to admit that not everything inside myself is ordered and harmonious.

At which point supernatural grace is no longer conceived of as a kind of policeman landing on the back of my nature to control by force whatever it does. Rather it is a very good friend that will, if I wish, enable the best in me to liberate itself from the worst, or at least strive to do so.

Was not, and is not still, one driving force behind Vatican II and the Conciliar religion, the widely shared sense of Catholic Tradition being a sort of unbearable policeman, as though all natural impulses are bad? Yes, the impulses of my fallen nature are bad, but there is good in our nature underneath that bad, and this good must be allowed to breathe, because from inside us it synchronizes perfectly with the true religion of God coming from outside. Otherwise I fabricate a false religion out of my bad impulses – like Vatican II.

Kyrie eleison.

Sixpenny Art

Sixpenny Art on December 4, 2010

The French painter Paul Gauguin (1848–1903) repudiates modern society for the sake of art, yet the art he made himself free to create does not seem to have brought him peace (EC 175). The English novelist Somerset Maugham (1874–1965) writes a version of Gauguin’s life a few years later which seems to confirm both the repudiation and the lack of peace (EC 176). But why is the modern artist at odds with the society that he reflects, and that supports him? And why is the modern art he produces normally so ugly? And why do people persist in supporting ugly art?

The artist as rebel goes back to the Romantics. Romanticism flourished alongside the French Revolution, which merely broke out in 1789, but has been pulling down throne and altar ever since. Modern artists, reflecting the society in which they live, as artists cannot help doing, steadily more repudiate God. Now if God does not exist, then surely the arts should have flourished serenely in their new-found liberty from that illusion of God that has dominated men’s minds from time immemorial. Yet is modern art serene? Or is it not rather suicidal?

On the other hand, if God exists, and if the artist’s talent is a gift from God to be used for his glory, as countless artists from the past used to proclaim, then the godless artist will be at war with his own gift, and his gift will be at war with his society, and society will be at war with his gift. Is this not rather what we observe all around us, for instance the deep scorn of modern materialists for all the arts, beneath a pretence of respect?

If God exists, at any rate the questions asked above are easy to answer. Firstly, the artist is at odds with modern society because the breath of God within him that is his talent knows that his society is despicable insofar as it is godless. The fact that society supports him despite his scorn makes it merely more despicable. As Wagner once said when his increased orchestra meant eliminating a row of seats in the theatre, “Fewer listeners? So much the better!” Secondly, how can a gift from God that is turned against him produce anything harmonious or beautiful? For anyone to find modern art beautiful he must reverse the meaning of words: “Fair is foul and foul is fair” (Macbeth) – yet when did even a modern artist mistake ugliness for beauty in a woman? And thirdly, modern people will persist in their reversing the meaning of words because they are making war on God, and have no intention of letting up. “Rather the Turk than the tiara,” said the Greeks just before the catastrophic fall of Constantinople in 1453. “Rather Communism than Catholicism,” said American Senators after World War II, and they had their wish.

In brief, Wagner, Gauguin and Maugham and thousands of modern artists of all kinds are right to scorn our sixpenny Christendom, but the answer is not to make even more war on God with modern art. The answer is to stop making war on God, to give him again the glory due to him and to put Christ back into Christendom. How much more ugliness will it take for men to turn back to the tiara and to choose once more Catholicism? Will even World War III be enough?

Kyrie eleison.

Sixpenny Civilization

Sixpenny Civilization on November 27, 2010

The life of the French painter, Paul Gauguin (1848–1903), has been made into a film, a TV series, an opera and at least two novels. Something in that life must speak to modern man: the stockbroker who is putting bread on the table for a wife and five little children and throws it all away to become a revolutionary artist, spurning all of Western civilization on a distant island in the South Pacific. But does not Gauguin’s restless end suggest that he may not have found the solution dreamt of there by so many souls?

One fictional presentation of Gauguin’s life was written 16 years after his death by a well-known British writer of the first half of the 20th century, W. Somerset Maugham, who visited the South Pacific to gather at first hand material for “The Moon and Sixpence.” This title for his short novel based on Gauguin sounds strange, but in fact it goes to the heart of the matter. In 1915 had appeared Maugham’s masterpiece, “Of Human Bondage,” a novel basically autobiographical. A critic had accused the book’s hero of being “so busy yearning for the moon that he never saw the sixpence (a small British silver-coloured coin of that time) at his feet.” In other words, Maugham was so longing for some unattainable ideal that he was missing out on a lesser but practical happiness available at hand. Maugham retorted, “If you look on the ground for sixpence, you don’t look up, and so miss the moon.” In other words, there are higher things in life.

The use of this moon-sixpence contrast for his novel’s title shows clearly what Maugham thought of Gauguin. The normal happiness of the middle-class stockbroker and family father is the sixpence. Throwing it all away to become an artist is the moon. Now let nobody think Maugham condones throwing away living and family. Maugham presents the artist Strickland, his Gauguin, as being horrifically selfish, hard-hearted and cruel. Yet Maugham also presents him as being a genius who was basically right to pursue his artistic vocation, whatever the cost may have been in sixpenny happiness to the artist himself and to those around him.

In other words, says Maugham, most people’s lives in today’s Western civilization are sixpenny lives. But life itself is worth much more than sixpence. In the brief span that men are given to live on earth there is something so much more valuable, that in pursuit of it a man is basically right, if need be, to trample any number of sixpenny pieces into the mud.

In real life Gauguin died, at least posthumously, a famous and fulfilled artist, but humanly still restless and rebellious. Maugham has the measure of both the genius validated and the humanity frustrated. But has Maugham solved Gauguin’s unsolved problem? How can genius and life be opposed to one another, and both be human? The problem looks as though it is widespread and deeply rooted. Is there a solution? See next week’s “Eleison Comments.”

Kyrie eleison.

Hopeless Escape

Hopeless Escape on November 20, 2010

Currently showing in London (Tate Modern) is an exhibition of another great master of modern art – or is that a contradiction in terms? – the French painter Paul Gauguin (1848–1903). Men need pictures, as they need a vision of what life is all about. Today, electronics largely supply the pictures, but in Gauguin’s time painters still had an enormous impact.

Born in Paris in 1848, Gauguin after various travels and occupations became at the age of 23 a stockbroker, and two years later he married a Danish woman who gave him five children over ten years. At this time painting was for him only a hobby for which he had talent, but after a failed attempt in 1884 to go into business in Denmark’s capital, Copenhagen, he abandoned his young family in the following year and returned to Paris to become a full-time artist.

In 1888 he spent nine weeks painting together with Van Gogh in Arles, but it ended stormily. Back in Paris he was not gaining enough money or recognition, so in 1891 he set sail for the tropics, “to escape everything artificial and conventional.” The rest of his life, except for one prolonged return to Paris, he spent in Tahiti and the Marquesas Islands, colonies then of French Polynesia in the South Pacific. There he produced most of the paintings on which rests his fame, but still he was fighting against Church and State, and only his death in 1903 prevented him from having to serve a three-month prison sentence.

Like Van Gogh, Gauguin began to paint in the somber and conventional style proper to later 19th century art. However, as with Van Gogh and at about the same time, the colours became much brighter and the style rather less conventional. In fact Gauguin was the founder of the Primitivist movement in art, and soon after his death had a considerable influence on the brilliant but also rebellious Picasso. Primitivism meant going back to primitive sources, because Europe felt as though it was burnt out. Hence the turning to African and Asian models, a notable example being “Les Demoiselles d’Avignon” of Picasso. Hence Gauguin’s flight to Polynesia in 1891, where he regretted the intrusion of Catholic missionaries, and where he studied and built into his art pagan gods of the local pre-Catholic mythology, including several quasi-devilish figures.

But does the vision of the Tahitian paintings of Gauguin, which are surely his best, represent a viable solution to the problems of the decadent West which he spurned and left behind him? One may think not. The paintings now on show in the Tate Modern exhibition are original and colourful, but the Tahitian people he paints, mostly young women, remain somehow torpid and dull. Gauguin’s Tahiti may be an escape, but it is not a hope. Gauguin may have been right about the decadent West, but the earthly paradise he fabricated in his Polynesian art left him restless, and he died still rebellious. There remains some problem that he has still not solved.

Interesting is the fictional version of his life by the well-known English 20th century writer, Somerset Maugham. See next week’s “Eleison Comments.”

Kyrie eleison.

“Try Harder!”

“Try Harder!” on November 13, 2010

A non-Catholic friend that I have known for over 50 years said to me recently, “How I envy you your certainty!” By that I took him to mean that he wishes he could believe what Catholics believe, but feels he cannot. I was tempted to reply, “Try harder!” but in the circumstances I kept quiet.

Nevertheless, while believing is an act of the mind and not of the will, if the human mind is to believe the supernatural truths of the Faith which are intrinsically above its natural reach, the mind does need to be pushed by the will. Therefore while supernatural believing is not an act of the will, it is not possible without an act of the will. “Nobody believes against his will,” says St Augustine. That is why to “try harder” with the will, as advice for somebody whose mind does not believe, is not as unreasonable as it may seem to be. Nor, if the beliefs towards which the will is pushing are objectively true, will that advice, as such, result in wishful thinking.

Firstly however, if a man really and truly envies the certainty of Catholic believers, he should apply his mind to studying how reasonable are Catholic beliefs. They may be above human reason, but they are not against it. How could they be? How could God both be the creator of our human reason and then impose on it to believe truths flouting that reason? He would be contradicting himself. St Thomas Aquinas in his “Summa Theologiae” is constantly showing how faith and reason are quite distinct, but in perfect harmony with one another.

Then what human reason can do, and what my friend should do, is to build a natural ramp towards the supernatural Faith by studying for instance the entirely reasonable arguments that prove the existence of God, the divinity of the man Jesus Christ, and his divine instituting of the Roman Catholic Church. These arguments are well within the grasp of natural reason, as long as the will is not pushing against, because the mind misapplied will never recognize the truth in front of it. The will must want reality, otherwise the mind will never find the truth. Truth for us men lies in the conformity of our minds to reality.

Once a man has done all he can with right reason and upright will to grasp the reasonableness of the Faith, he still does not have the supernatural faith, which remains a gift of God. However, how can God require of us to believe (on pain of eternal damnation – Mk.XVI, 16), and yet refuse the gift of faith to a soul which has done all within its natural powers – but God is not deceived – to prepare itself for that gift? Especially if, as is reasonable, after doing what I can, I then humbly ask him for the gift in prayer? He resists the proud but he gives his gifts to the humble (James IV, 6), and he lets himself be found by those who seek him with an upright heart (Deut.IV, 29; Jer.XXIX, 13; Lam.III, 25, and many other quotes from the Old Testament).

Dear friend, read and ask. The certainty is most likely yours for the trying.

Kyrie eleison.