Friday 31 July 2020

Book 4, Letter 8, To My Father, Peter Taubert, Two days have passed since your death.





Dear Dad,

You died on Tuesday morning. You were having another seizure. I came to see you in the afternoon and I found your body in your bed. Cold. Stiff. You were long gone. The body seemed empty. I tell you this in case you are currently a wandering ghost, lost, confused. I know how the seizures disoriented you. When I found your body, I called out to you, I reached out and touched your cheek. I held your shoulder and shook you, but you did not wake.

I stepped outside and called 000

Wren was with me, waiting in the car, reading. I sat with him and told him that you had died. We cried for a while, talking a little bit, then Wren suggested we listen to the song “My Grandfather's clock”, so we sat together, listening in silence, waiting.

After so many years of waiting for this moment, it still came as a surprise. There was no lingering hospital bed decay, no dramatic last moments for us to say our goodbye's. On Monday you were here, vibrant, laughing. On Tuesday you were gone.

It's Thursday night as I write this. I have cried a lot, caught unawares by sudden outpourings of emotion. I don't have words to describe these waves of salt water that pour out of me. Grief, I am learning quickly, is a complex mixture of feelings that command the body, mind and heart. I don't know what's really happening to me, but I am changing.

Your sudden departure is like a magnesium flare, and our lives are illuminated in the light of your now complete life story. I have your private journal, 600 pages of diary transcripts and personal notes. I have your collected poetry, 78 pages of previously unread verse. In just two days I have already learned things that you never spoke about. Our secrets have secrets. Father, you and I are so alike.

I can't write more today. My heart still races and my thoughts are crowded, cluttered. I love you. I I love you today, I loved you yesterday, and I will love you tomorrow. Wherever you have gone, I wish you well.

I will write again soon.

With gratitude and respect.

Morgan













Friday 24 July 2020

Book 4, Letter 7, Part 2 of 2, To Cicero, On having the courage to fight a losing battle





Your life contains many lessons, Cicero, and it seems that with every page, there is something vital and worthwhile to learn. But, you're not the only one on my reading list; that poet, Publius Syrus, (who you didn't like) is remembered for some rather wise words as well, and I, seeker after wisdom, will drink from whatever cup is offered, if it contains the wine of truth.

Even calamity becomes virtue's opportunity

You, Cicero, lived to see great change, you were required to make great choices, influenced as you were by your culture, your history, and all the philosophy you studied. You made the choices that reflected and expressed yourself as a human being in the centre of a nexus of powerful forces, not the least of which was your sense of conviction. You believed in yourself Cicero. All those letters expressing your doubt, to me, are proof of your conviction, for you felt driven by contrary winds, yet you always chose what seemed right to you.

In light of these thoughts, whilst reading the biography of Samuel Johnson, written by James Boswell, of Scotland, 1791, this passage struck me as something I should share with you.

Every man naturally persuades himself that he can keep his resolutions, nor is he convinced of his imbecility but by length of time and frequency of experiment. This opinion of our own constancy is so prevalent, that we always despise him who suffers his general and settled purpose to be overpowered by an occasional desire. They, therefore, whom frequent failures have made desperate, cease to form resolutions; and they who are become cunning, do not tell them. Those who do not make them are very few, but of their effect little is perceived; for scarcely any man persists in a course of life planned by choice, but as he is restrained from deviation by some external power. He who may live as he will, seldom lives long in the observation of his own rules.

Now that I think of it, a conversation between yourself and Johnson, would be entertaining in the extreme. Ahem...I digress.

                                           Samuel Johnson

Cicero, those who would accuse you of inconstancy or cowardice, do so from the peculiar belief that the unbending hubris of your contemporaries represents an admirable trait. While you were human enough to be flexible (to a point...), others were fixed, and thus were cut down by the storm.

However, you really stuck your feet in the ground when you took on Antony, so what happens when an unstoppable force meets an immovable object? Well, you lost your head and your hands for it, but let's not dwell on the details. Although, Mark Antony had a rather unpleasant end as well...

Returning to the point, dear Cicero, there is much in the above passage from Johnson that offers opportunity for sophistic revelation. Life has no rule-book, it is not governed by the turns of phrase we use to guide our choices, and fortune blows us in unexpected directions. Men who live rigidly by the codes of their conviction, are often swept away, right or wrong. Men who turn with the tides, men who are flexible, are subject to the same vicissitudes, and are led just as often to the same fate.

Which is to say, life is a roll of the dice.

So it's all about how you roll, to borrow from the modern vernacular.

You, Cicero, rolled with the philosophers, and you were better acquainted with them than I will likely ever be, but so often I gain my introductions to these eminent friends of yours, through your books. I have been reading The Tusculan Disputations, (Book 5) and, distillations of worldly wisdom that your many books are, I find this tome no exception. I find, in fact, the very advice which I might have given you:

Folly, even after it has attained what it was seeking for, is still never satisfied. But wisdom is invariably contented with what it has got. It never has anything to feel sorry about.

Taken on face value, Cicero, it would seem that you did not take your own advice, and that even after achieving all the glory that civil service in Rome could grant, you persisted in your eager pursuit of both fame and justice. So, the above quote, (taken out of it's context), seems to suggest that you were not wise enough to know when to be satisfied, and to step away from politics. However, if I include the preceding paragraph, something of your true nature becomes revealed to us.

If moral goodness is sufficient to guarantee a good life, it follows that the same quality is also sufficient to guarantee a happy one. Now, one aspect of moral goodness, quite evidently, is courage; and courage is merely another word for the superiority of character which makes it impossible for a person to feel afraid or worsted by setbacks. No one, then, who possesses these qualities will ever have any regrets about anything, or feel the absence of anything, or find anything getting in his way. Instead, his entire life will be rich, complete, successful – in other words, happy.

Courage, Cicero, that one quality which you are so often accused of as lacking, I find that you possessed in great quantity. You were happy to risk your life to defend the Republic, happy to devote yourself to opposing Antony, knowing that every word you spoke against him brought you ever closer to death. And if Cassius Dio's description of your last moments is true, it seems that you recognised the virtue of a courageous death, and faced your execution with gravitas and a poetic spirit.


With Gratitude and Respect

Morgan.

  • For my letter on the Philippics (The speeches Cicero gave against his enemy Marc Antony, during the last year of his life), see Book 2, Letter 4


Friday 17 July 2020

Book 4, Letter 7, Part 1 of 2, To Cicero: On having the courage to fight a losing battle




Dear Cicero,

There are many reasons why I identify with you, why I call you my friend. Perhaps I am projecting, perhaps I am seeing what I want to see in you, in the hope that it justifies my own life choices. I think that you believed in peace even in the middle of civil war, you tried to dissuade your political associates from fighting until it became impossible.

So I would like to share a poem of my own...

Middle Ground
April 2020

When I'm fighting for the middle ground,
it's a fight I can never win.
The two opposing sides will always see me as the villain
for siding with their enemy,
while all I can see are potential allies

Allies who remain ignorant of the true virtues or vices of their opponent
because half-real illusions and half-justified injuries
dominate their vision.
While I'm stuck in the middle
fighting half-heartedly for a lost cause.

When I am unable to make peace
I must find satisfaction in war,
or at the very least,
in sacrifice,
as I find that
keeping my silence
is the only way
to win at all...

and that is no kind of victory for anyone.

*

I have throughout my life often been a family peace-maker, a chairperson of committees, a messenger, a middleman – the communicator. It doesn't always go well for me. Trying to prevent conflict rarely ends well for the one in the middle, and I have failed to prevent conflicts often enough that I have developed a terrible nervous reaction to any sort of contest of wills. I have found myself forced to choose between two kinds of betrayal, and ultimately, have ended up betraying myself. I fold before I bluff, I am a terrible poker player, and though I find myself frequently caught between disagreeing parties, it seems that either I have learned nothing of the gentle arts of peace making, or that the position itself is one doomed to failure.

And so I find that keeping my silence is the only way to win.

Oh Cicero, if only you had kept your silence. If only the Republic you believed in had really existed. If only... it's a stupid phrase really, if only. It denies the reality of the situation, and the reality was that the Roman Republic was long dead, and your efforts, well intended though they may have been, were ultimately futile. You lived in a tyranny, but you thought you were fighting for freedom. In the end, it was a battle to save your own dignity. While all those around you were being murdered, or bribed, or exiled, you were busy writing your own glorious epitaph; a collection of books and speeches that have taught the world many lessons.

I quote now from the Harmsworths Universal Encyclopaedia, 1921



(Cicero was...) Naturally of conservative leanings and believing in the possibility of reform within the machinery of the old constitution, he chose the aristocratic or senatorial party. But he was no consistent supporter of this party, and severely criticised some of its members, while the aristocracy had no particular affection for one whom they considered a parvenu, although they regarded his oratorical powers as a valuable party asset.

...

After the murder of Caesar, in which he had no part, he reappeared in public life, delivering violent speeches against Antony. When Antony became master of the situation, Cicero was a marked man. He might have found safety in flight, but with the words “Let me die in the country which I have often saved,” resigned himself to meet the emissaries of Antony, by whom he was killed, Dec 7th, 43BCE

Cicero's reputation as a statesman is marred by his fatal lack of decision, and it is as a man of letters that his fame rests on the surest reputation. “Cicero's unique and imperishable glory” is that “he used the latin language to form a prose style which twenty centuries have not displaced, and I some respects, have scarcely altered.” (Mackail). In addition to over 5o extant speeches, Cicero found time to write on oratory, philosophy, law and politics. Many books of letters also survive, his chief correspondent being his life-long friend Atticus. In these letters the real Cicero is revealed as ambitious, vain, vacillating, yet with his own ideals, kindly, and essentially loveable.

What might have happened if you had kept your silence and faded into old age in peaceful retirement in Greece with your son? What might have happened to your books if you had decided to save yourself, rather than to try, and fail, to save your country? Is your fame made greater because of the bright flare of your final struggle and violent death? Would Tiro have preserved your letters if you had peacefully faded from history?

I don't know.

The truth is that you fought to the death for a failed cause, and whether or not it was a noble cause, I cannot say. If I lived my life in your time Cicero, I probably would have been one of the urban poor, or even a slave musician or scribe. I would probably have lamented the bloodshed, but have resigned myself to being a person of very little influence. I might have mourned your death, I might have cheered at the loss of the Republic's loudest defender, glad that at last a populare leader was taking over.

I probably would have been happy as long as free bread continued to be offered, regardless of who was in power.

I don't know.

You fought, and you lost. Perhaps it is that fact which makes me identify with you and admire you as much as I do, for life is fully of failure. I don't know, today I vacillate between pride and shame, hope and despair, confidence and anxiety.

Tomorrow?

Friday 10 July 2020

Book 4, Letter 6 To Euripides – on Medea, music and grief.






Dear Euripides,

My daughter studied your play, Medea, recently, and so I read my 1952 Edward P Coleridge translation, to get my mind around what she was expect to present in her high school drama class.

So, first up, wow. Grim. I've heard it said that the ancient Greek playwrights show us an unparalleled insight into the lives of women from that era. No other historical writers describe women like the playwrights, and despite their fictitious nature, these descriptions are in a large way, all we have to go on to understand what life was really like for women.

This play, Medea, is the first ancient play I have ever read, having devoted my study thus far to reading primary historical sources. I have read about the plays from a few modern historians, and also from some ancient writers who refer to these plays in order to illustrate some point, and with this as my starting block, I can see already why your work is still in print, still studied, and still performed on stages around the world.

You're obviously a very talented writer, and I have begun to trace the line of influence backwards from Shakespeare, to understand something of the development of dramatic writing. I have discovered that Shakespeare studied the tragedies written by Seneca, and that Seneca would have undoubtedly studied plays like yours. In fact most of the ancient Roman writers would have studied your work, or that of your contemporaries. Cicero makes reference to many plays in his letters (though I could not tell you which ones right now...), but it all boils down to this:

Dramatic thought, creative story writing, and fiction in general, seems to have been a very refined art by the time you were writing Medea. In the modern world, a lot of writing makes use of continual cultural references to communicate otherwise complex ideas that would take a lot of unnecessary exposition. For myself, having read some of Tacitus (the Roman Historian), I can see right away that the trope of the scorned woman is as old as the hills, as is that of the female poisoner, and Medea sets out these two as core themes. I offer no critique, nor criticism, I am just tracing ideas.

But it is not those major themes that I wanted to write to you about today. Being a musician, I am of course always fascinated by any expressions from the ancient sources regarding music and musicians, as well as dancers and other artists. So, it's the following little passage that I wanted to discuss.

Wert thou to call the men of old time rude uncultured boors thou wouldst not err, seeing that they devised their hymns for festive occasions, for banquets, and to grace the board, a pleasure to catch the ear, shed o'er our life, but no man hath found a way to allay hated grief by music and the minstrel's varied strain, whence arise slaughters and fell strokes of fate to o'erthrow the homes of men. And yet this were surely a gain, to heal men's wounds by music's spell, but why tune they their idle song where rich banquets are spread? For of itself doth the rich banquet, set before them, afford men to delight.

This passage, uttered by Medea's nurse, is so loaded with cultural ideas that it is a challenge to know where to begin my dissection, or even if dissection is what I want. So, rather than opine of my own storehouse of experience and thought, I shall share what Plutarch has said that might offer some insight.

Why cannot music soothe that hated grief...whence arise slauhters and fell strokes of fate...?

...Epicurus saith, when he pronounceth in his book called his Doubts that his wise man ought to be a lover of public spectacles and to delight above any other man in the music and shows of the Bacchanals; and yet he will not admit of music problems or of the critical inquiries of philologists, no, not so much as at a compotation. Yea, he advises such princes as are lovers of the Muses rather to entertain themselves at their feasts either with some narration of military adventures or with the importune scurrilities of drolls and buffoons, than to engage in disputes about music or in questions of poetry. For this very thing he had the face to write in his treatise of Monarchy, as if he were writing to Sardanapalus, or to Nanarus ruler of Babylon. ... Had the great Ptolemy, who was the first that formed a consort of musicians, but met with these excellent and royal admonitions, would he not, think you, have thus addressed himself to the Samians:—

O Muse, whence art thou thus maligned?

For certainly it can never belong to any Athenian to be in such enmity and hostility with the Muses. But:

No animal accurst by Jove
Music's sweet charms can ever love.
(Pindar, "Pythian," i. 25.)

So it seems that Plutarch was not a fan of Epicurus, especially considering that the above quote is taken from his essay entitled: That it is not possible to live pleasurably according to the doctrine of Epicurus.

I have yet to read any of Epicurus' actual works, but I have found a lot of people who don't like him and his ideas, everyone so far except for Seneca, who although he is considered a sort of king among the Stoics, makes continuous reference to the wisdom to be found in Epicurean philosophy, but I digress. It is Plutarch's quote from Pindar that I find interesting.

No animal accursed by Jove, (aka Zeus), music's sweet charms can ever love. He who is cursed by God cannot love the sweet charms of music. Or, to re-word your passage Euripides, He who feels hated grief, cannot be soothed by the charms of music. For who may be said to be cursed by God, other than he who is driven to hated grief? Or to put it another way, he who allows hated grief into his heart, is thus cursed by God, and therefore can no longer be charmed or soothed by music.

So it is not that music cannot soothe grief, for I believe that of all the cures proscribed for emotional ills, music is perhaps the most universal, it is that he who allows grief to overcome his heart, thus removes from himself the receptacle into which music might be poured. Or perhaps, that his heart thus filled with grief, cannot take on the healing medicine of music.

He whose cup is full, cannot have more wine poured into it.

Or as Epictetus puts it, a man cannot learn what he thinks he already knows.

A heart full of grief cannot receive any medicine, no matter how potent. The grief must be allowed to drain away this poison before any medicine can be administered. But what allows the heart to drain away its grief?

Time? Cicero laughed darkly at the useless of the adage that time would heal his grief, for it is not in the future that we live our lives, but in the present, and the present is sometimes so painful as to make life impossible. Yet, what else is there but to wait for a poisoned heart to relinquish its hold on the harmful fluid of grief? What tools can the mind grasp and use that can convince the heart of anything that it does not wish to accept?

For Medea, it seems, there were no solutions, and her hated grief, did produce great slaughter.

So, thank you Euripides. Your book now opened, must be read more fully, to the benefit of myself, and to many others.

With Gratitude and Respect,

Morgan.


PS...



Friday 3 July 2020

Book 4, Letter 5, Part 2 of 2, To Cicero: On Sappho, Syrus and life under Caesar





You wrote to your friend Q Cornificius in October, 45BCE and with a sense of foreshadowing, I see the rising of Marc Antony, and of the tyrants who would follow after Caesar. But, as so often happens in this study of your letters, I discovered something else, hidden between the lines.

DCLXVII
In truth, this is always among the results of civil wars – that it is not only what the victor wishes is done : concessions have also to be made to those by whose aid that victory was won. For my part I have become so hardened that at our friend Caesar's games I saw T Plancus and listened to the poems of Laberius and Publilius with the utmost sangfroid. There is nothing I feel the lack of so much as of some one with whom to laugh at these things in a confidential and philosophical spirit.

So I asked myself, who were these men, Plancus, Laberius and Publilius?

Plancus was an exiled citizen who had been recalled by Caesar. There is a story there, but it is not the one I want to tell today. Laberius and Publilius however... Publilius, possibly better known as Syrus, was a poet and playwright. As the fortune of the centuries would have it, a collection of his sayings have survived through the writings of Petronius Arbiter, and Lucius Annaeus Seneca.

So Cicero, you described only briefly the scene in your letter to Q Cornificius, of being seated at the games hosted by Caesar, where the poetic contest was held. The book, The Moral Sayings of Publius Syrus – a Roman Slave, translated by D Lyman in 1856, sets the scene with far more detail, and I here quote from the introduction to the book. (Translated from the French of Th. Baudment)

Syrus traveled Italy for a long time, writing and playing by turns, every where applauded as a poet and as an actor. The fame of his success finally reached Rome, and an occasion offered for his
appearance there with honor to himself. When Caesar was elected dictator a second time, he resolved to give the enslaved Romans such shows and amusements as should surpass in splendor and duration every thing they had before seen. Many days were to be devoted to games, to contests of all kinds, to theatrical representations in all quarters of the city, and in all languages of the then known world ; conquered kings were to take part in them. To add to the success and splendor of the performances, Caesar had solicited the presence of the most celebrated writers and actors, and among others, called Syrus to Rome. The news of the exhibitions attracted such multitudes from the neighboring provinces, that, as the houses were full, it was necessary to pitch tents for them in the streets and open fields ; and many citizens, among the rest two senators, were crushed to death by the crowd.

Quite proud of his provincial success, when Syrus arrived in Rome, he had the courage to challenge to a trial of wits all the poets who adorned the stage. Every one accepted the challenge, and they were every one beaten. The caprice of Cassar brought out against him, however, a formidable competitor. The dictator had commanded Laberius, then sixty years of age, to perform in one of his own mimes, which was a disgrace for a freeman, and above all for a knight. Laberius submitted, but his vengeance was at hand. The day and hour of the contest came. Cassar was the judge, and all the senators and magistrates were its spectators, together with the whole order of knights, all the generals of the victorious army, all the strangers whom conquest or curiosity had made the guests of Rome, and last of all the people, that people whose highest desires were now comprised in bread and public shows —panem et circenses.

Laberius appeared on the stage, and began, in an admirable prologue, with deploring his compulsory appearance, as an actor, so little in keeping with his age and rank. " Behold me, then, who after having spent a life of sixty years without a stain on my honor, have left my house a knight, to return to it a mere actor. I have lived too long by one day." Then thinking of the talent of his young rival, and fearing a defeat, he added, to extenuate its possible disgrace, and gain the pity of the spectators — " what do I bring upon the stage to day ? I have lost every thing — beauty of form, grace of mien, energy of expression, and the advantage of a good utterance. Like a tomb, I bear on my person only a name." But he soon recovered his self-possession, and in his performance launched against tyranny a torrent of severe invective, the application of which was readily seen. Thus acting the part of a slave, escaping from the hands of his executioner, he fled shouting — " It is all over with us, Romans, liberty is lost I" " He who becomes a terror to multitudes, he added a moment after, has multitudes to dread" — while his gaze was continually fixed on the impassible dictator.

The performance ended, Caesar invited the audacious actor to take a seat among the spectators of his own rank. Syrus, whose turn to perform had now come, then approaching Laberius, said with
a modest air, " be so good as to receive with kindness as a spectator, him against whom you have contended as an actor." Laberius sought a place among the ranks of the knights, who however crowded to gether so as not to allow him a seat. Cicero, who was somewhat given to raillery, shouted to him from a distance, directing his irony at once against the actor and the new batch of senators : " I would cheerfully give you my place, if it were not too much crowded." " I am astonished," pertly replied Laberius, " to hear that from a man who is wont to sit so well on two seats at once ;" a witty allusion to the equivocal character of the orator, a friend at the same time of
Cassar and Pompey. He seated himself as he best could, to listen to his rival.

Syrus at length appeared, the crowd shouting their applause, and played the piece he had composed ; but we are ignorant even of its title.

Whether from resentment, or a sense of justice, Cassar awarding to Syrus the prize of the theatrical contest, immediately passed him the triumphal palm, saying to the knight, with a mocking smile,
"Although I was on your side, Laberius, a Syrian has beaten you."
" Such is the fate of man," answered the poet ; " to-day, every thing; to-morrow, nothing." Notwithstanding, to restore the honor of the knight, lost by compliance with his own orders, Caesar passed him a gold ring, the symbol of knightly rank, and added to it a present of five hundred thousand sesterces.

Oh Cicero, he who enters the tyrant's court is but the tyrant's slave, and tyranny enslaves even those who serve it. Even he who is master of that court, is but a slave to his own will. Caesar, having conquered, was made a slave to his own domination, and to the demands of those who helped him win power, and for all his deeds, whether good or ill, he was punished in the end.

But you Cicero, lived to see him fall, and to see the rise of another monster far worse than Caesar.

Happy he who died when death was desirable. - Publius Syrus.

You, Cicero, had more than once desired death, but you chose to live instead, and in those years of uneasy peace and bloody civil war, you produced great works of literature which have granted you a place among the immortals. Soon I will write to you on the death of Caesar, and then, on your speeches against Marc Antony.

But they are letters for another day, my dear friend.

With gratitude and respect,

Morgan.