IN-FORMARSE Revista de In-formación y cultura humanística / Junio de 2015, Año XIII no. 51 I 51 BEAUTY IN TRAGEDY Where It Comes From, Where it Leads BELLEZA DEL MUNDO Y LA TRASCENDENCIA Según algunos escritores antiguos LA BELLEZA Y LOS MEDIOS DE COMUNICACIÓN Una mirada a la actualidad S UMARIO IN- FORMARSE | No. 51 ARTÍCULOS En portada: CATEDRAL DE LEÓN, ESPAÑA 03 Beauty in Tragedy Where It Comes From, Where It Leads. BY ERIC GILHOOLY, L.C. _________________________________________________________________________________________ Equipo de trabajo 06 Beauty, Evangelization of Culture, and the humanities The Mission of the Legion. BY TIMOTHY KEARNS ________________________________________________________________________________________ 10 Traducción: acerca de los principios Poemas de san Gregorio Nacianceno. POR LOUIS DESCLÈVES, L.C _________________________________________________________________________________________ 11 Masculinity and Beauty The Hazard of an Achilles Heel. BY JONATHAN FLEMINGS, L.C. _________________________________________________________________________________________ 14 La belleza Al tiempo de las redes sociales. POR JORGE ENRIQUE MÚJICA, L.C. _________________________________________________________________________________________ Coordinador: LUIS F. HERNÁNDEZ, L.C. Diseñador / Editor: MARIO SANDOVAL, L.C. Asistente de diseño: CARLOS RUÍZ, L.C. _____________________________________ Revisores: ISMAEL GONZÁLEZ, L. C. JONATHAN FLEMINGS, L. C. ____________________________________ Colaboradores: LOUIS DESCLÈVES, L.C. (México) TIMOTHY KEARNS (Estados Unidos) ERIC GILHOOLY, L.C. (Italia) JONATHAN FLEMINGS, L.C. (Italia) JORGE ENRIQUE MÚJICA, L.C. (Italia) LUIS F. HERNÁNDEZ, L.C. (Italia) 16 La belleza del mundo y la trascendencia El creyente delante del universo. POR LUIS F. HERNÁNDEZ, L.C. IN- FORMARSE / 02 Contacto, comentarios y subscripción: Contact, comments & subscription: in-formarse@outlook.com Sector Clásico The fury of achilles, Charles-Antoine Coypel, Hermitage Museum B e au t y i n T r ag e dy Where It Comes From, Where It Leads By Eric Gilhooly, L. C. If thou didst ever hold me in thy heart Absent thee from felicity awhile, And in this harsh world draw thy breath in pain, To tell my story T —Shakespeare, Hamlet ragedy in all ages bears witness to the value of suffering and to its captivating beauty. Hamlet dies, and we are uplifted. Camelot is lost, yet something inside us grows. Why do we find tragedy beautiful and yet our own suffering so senseless? IN- FORMARSE / 03 hints at: meaning beyond the story, beyond chaos. We are sorrowful not because “that’s life”, but because we know deep down that it’s NOT life—it shouldn’t be that way. An injustice has been committed. Hamlet and Horatio Before the Grave Diggers, Eugène Delacroix, Brooklyn Museum According to Aristotle in his Poetics (cf. ch.13), tragedy is meant to cause a catharsis, or a purification, of our pity and our fear. Aristotle says that tragedy’s beauty lies in its fitting within an order and following specific rules. By learning how to integrate our passions properly, we too can live a life more harmonious with the world and with others. Aristotle holds tragedy to be more beautiful than life (cf. Poetics, ch.25), but maybe by perceiving order in a tragedy, we should try to piece together our own lives, to find some kind of order, some kind of greater meaning. While disagreeing with Aristotle that tragedy could be more beautiful than our lives, it is definitely easier to understand. The greatest tragedies are beautiful because they cause a longing to well up within us: “the story” isn’t enough—for the characters or for us. And while its beauty reveals to us a great depth of truth, it insists that there must be something more, something greater, an order in the mystery. Tragedy is beautiful because it paints us a life-picture that resonates: “Yes, that’s exactly how it is,” we say. But the “that” is not only the tragedy itself, but what the tragedy IN- FORMARSE / 04 So the beauty of tragedy is in finding a certain order and meaning, a blueprint that tries makes sense of the senseless in our own lives. Yet where does the meaning, the purpose, the beauty come from? How can beauty be found in sorrow, joy in suffering? Tolkien tells us that the music of creation, “runs through all the veins of the world in sorrow and in joy; for if joyful is the fountain that rises in the sun, its springs are in the wells of sorrow unfathomed at the foundations of the Earth.” (J.R.R. Tolkien, The Silmarillion, Ch.1, “Of the Beginning of Days”) Human life overflows with joy and sorrow—it’s part of who we are. And to deny the sorrow or to try and choke it off is to deny our very selves. For if we wish to experience the greatest joys in life, we must accept the greatest sorrows alongside them. Yet we cannot have the one without the other, for both lead to beauty. This was a choice Sheldon Vanauken saw clearly, long before any tragedy entered his life: …great joy through love always seemed to go hand in hand with frightful pain. Still, he thought…, the joy would be worth the pain—if indeed they went together. If there were a choice– and he suspected there was– a choice between, on the one hand, the heights and the depths and, on the other hand, some sort of safe, cautious middle way, he, for one, here and now chose the heights and the depths. (S. Vanauken, A Severe Mercy, p.10) So where’s the great joy necessary for beauty in tragedy (and in our lives): to complete, counter-balance, and redeem the sorrow? “Pure” tra-gedy is meaningless, an incomplete sentence. At this stage in our reflection, we can (and should) apply Tolkien’s concept of myth and fairy stories. The key to all tragedy is found in Christian revelation, in the Christian Story which leads to the cross. The tragedy of tragedies: that when God himself took flesh and entered into history (His-Story), we rejected him and crucified him. The greatest, purest, most eloquent figure ever to take center stage is cut off in mid-sentence. Or is he? Before the wildly desperate questioning of Job, God knew logic wasn’t enough. His answer to Job was no answer but Himself. The answer to suffering, to the tragedy of human existence, is the cross: The summit, the archetype of beauty manifests itself in the face of the Son of Man crucified on the Cross of sorrows, Revelation of infinite love of God who, in His mercy for His creatures, restores beauty lost with original sin. “Beauty will save the world,” because this beauty is Christ, the only beauty that defies evil, and triumphs over death. By love, the “most beautiful of the children of men” became “the man of sorrows”, “without beauty, without majesty no looks to attract our eyes” (Is, 53, 2) and so he rendered to man, to each and every man the fullness of His beauty, His dignity and His true grandeur. In Christ, and only in Him, our via crucis is transformed into His in the via lucis and the via pulchritudinis. (The Pontifical Council for Culture, Via Pulchritudinis, Conclusion) This Story shares its truth with all stories, tragedy included. The Cross, silently, speaks with unspeakable words and expresses God’s love for us better than any other miracle or sermon. We find a beauty that lifts us over and above the deepest ugliness. The Christ-story completes and gives meaning to all stories, whether written or lived. “The Christian joy, the Gloria, … it is preeminently (infinitely, if our capacity were not finite) high and joyous. But this story is supreme; and it is true. Art has been verified. ... Legend and History have met and fused.” (J.R.R. Tolkien, “On Fairy Stories”, Conclusion) In A Severe Mercy, Sheldon Vanauken tells of his real-life tragedy, when his perfect marriage is first disrupted by their conversion to Christianity, and then shattered by his wife’s premature death from a grueling liver virus. He doesn’t hide the questioning, doesn’t hide the sorrow. Yet he is able to read between the lines of his personal tragedy, given meaning through Christ, and his story becomes one not of despair, but of redemption: for him and for the reader. “[In Christ’s] Face that is so disfigured, there appears genuine, extreme beauty: the beauty of love that Hamlet, Act IV, Scene V (Ophelia Before the King and Queen), BenjaminWest, Cincinnati Art Mueum goes ‘to the very end’; for this reason it is revealed as greater than falsehood and violence.” (J. Ratzinger, 2002 Rimini Address) Tragedy receives beauty from the Passion precisely by receiving hope. Hope in grace and in resurrection. Tragedy is transformed into triumph. Its beauty tells us more of who we are and hints at the Answer beyond this valley of tears. Bibliography Aristotle, Aristotle’s Poetics, S.H. BUTCHER (tr.), Hill and Wang, New York 1961. H. Carpenter, The Inklings: C.S. Lewis, J.R.R. Tolkien, Charles Williams and Their Friends, Houghton Mifflin, Boston 1979 (esp. 42-45). J. Ratzinger, “The Feeling of Things, the Contemplation of Beauty”, Rimini 2002. The Pontifical Council for Culture, Via Pulchritudinis, 2009. J.R.R. Tolkien, “On Fairy Stories”, in Tree and Leaf, Harper Collins, 2001. The Silmarillion, Ballantine Books, New York 2002. S. Vanauken, A Severe Mercy, Hodder and Stoughton, London 2011. IN- FORMARSE / 05 By Timothy Kearns A T h e M i s s i o n o f t h e L e g i o n : Beauty, Evangelization of Culture, and the Humanities succinct way to put the mission of the Legionaries of Christ is this: to send out to the world priests who can both evangelize culture and form others to do the same. But what does evangelization of culture mean? St. John Paul II defined culture as a shared way of life of a given community (See R. J. Staudt, “Culture in the Magisterium of John Paul II”, Claritas 3.1 (March 2014), 52-65). Straightforwardly, then, evangelization of culture means evangelizing the shared way of life of a given community. Now, a “way of life” is a very practical thing. Perhaps the Pontiff, being a philosopher himself, had in mind the (then) recent work by Pierre Hadot, Qu’est-ce que la philosophie antique? (Paris: Gallimard, 1995) in which Hadot argued that ancient philosophy was never just a set of doctrines or answers to theoretical questions; it was always a way of living out a human life together with others: from Pythagoras in his school to So crates in the agora to Aristotle in the Lyceum. Nor could a search for wisdom really be anything else: even contemporary usage does not deploy the term “wisdom” only or primarily for abstract theoretical knowledge or answers to non-practical questions. in that community is what enables him or her truly to live out that life in the best way possible. Indeed, the practices of a culture are defined by those actions that are the best; so, in so far as a culture aims at what is truly good, it is wisdom that, in the practical as prudentia and in the theoretical as sapientia, defines the various aspects of that way of life itself and wisdom also that leads us to criticize the ways that culture is not aimed at the good. A shared way of life, then, in so far as it is good, is derived from wisdom. How can cal life of we describe the the person who lives One thing is clear in general: the person who lives the common life of his people in the best way lives a life that is beautiful in all aspects. For many plain Wisdom is a matter of a whole life, then as now. If culture is the shared way of life of a given community, one can see that wisdom for a given person The Sainte-Chapelle, Paris IN- FORMARSE / 06 practiwisely? people living ordinary lives, this means living in simple and beautiful ways: such people are and have good friends, they dress well, live in as beautiful homes as are fitting (and possible) for them, they care for their possessions, they clean and keep clean, they beautify their surroundings, they may contribute to the arts in their time and place, they foster parish life, care for the poor, visit the sick and aged, they develop their own talents and help others realize their potential too, and they try as much as is right for them to influence the political life of their community for the best. II But this picture has only to be drawn for us to see at once the problem of our own day: wisdom and beauty are both very hard to find. Thomas Hobbes, John M. Wright, National Portrait Gallery, Londres And this seems to be precisely what the evangelization of culture is meant to address. In a way, every religious order in the Church has evangelization of some aspect of our shared way of life as part of its specific task. But many of the more active orders focus on clear problems like education, poverty, care for the elderly, nursing, etc. And, in a largely Christian world, these are some of the most important social problems facing the Church. We are not, however, any longer living in a Christian world. Pope John Paul perceived this, and his response was to call for the evangelization of culture. Since he meant culture as a shared way of life, and since he knew well the missions of most religious orders, we can see that he meant specifically that what needs to be evangelized now in a special way are those aspects of our shared way of life that have been turned away from (or never pointed toward) the truth of the Christian faith and the beauty of the Christian life; this is because every account of the good life implies a sociology. Such evangelizing includes everything from art to clothing, from holiday celebrations to social life, from public spaces to architecture of churches, shops, homes, and businesses; of particular importance here are those aspects of our culture that are more shared than others, e.g. families, friendships, organizations, public spaces, work, and celebrations. This kind of change of culture requires not just religious orders and dioceses that can host their own events or build their own institutions, but it also entails that there be a concerted effort to form leaders who can effect change in their own lives and in the lives of their communities. For a reform of our shared way of life, we need leaders who are apostles of the ordinary. IN- FORMARSE / 07 The Cardinal and Theological Virtues, Raphael, Stanza della Segnatura, Vaticano This is the mission of the Legionaries of Christ, an urgent mission for a darkening time. III And this mission may be the most difficult mission of all: culture cannot simply be reformed through policy changes and initiatives; the people whose culture it is must want to reform it. And the only way they can want to reform their culture is if they perceive clearly that their way of life is in need of reform and that the reforms proposed are actually good. If people do not think their way of life needs change, or if they do not think the changes proposed are good, they will not want to change and will not be able to see why they should change. This in itself should cause us concern. Can we actually change minds on the most fundamental questions of how we should live together? That is a hard question to face. But let’s assume that we can do so, somehow, through the work of the Spirit---all things are possible with God. Exactly how we can do it, though, is an equally hard question. If we can change culture and change minds on such important questions, the only possible way is through evangelizers who, in addition to a knowledge of the faith and fervor to change the world, have a thorough knowledge of contemporary life and of the values that contemporary life encodes and which underlie that life. One cannot adequately evangelize people whose views and the way of life derived from those views one does not understand. But, even more than this, the reason that evangelizers must understand the views and life of contemporary culture is chiefly that those evangelizers are themselves participants in contemporary culture and with it they themselves share at least some of those ways of life that need to be evangelized. IN- FORMARSE / 08 So, apostles must first understand and evangelize what is a key part of themselves. At every age, Christ calls us to conversion, a continual conversion, a conversion of belief, habits, manner of life, political institutions, of everything. If evangelizers do not seek such an understanding of themselves and conversion for themselves and their own way of life, they are simply blind guides leading the blind. But what is entailed in coming to understand a person’s views and his or her way of life, even if that person is oneself ? What, in fact, is understanding in such a case? Understanding here is a knowledge of the causes of those views and the causes of the life related to and derived from those views, as well as a knowledge of the truth of the various matters. One needs a knowledge, then, of where those views and this life came from. Such knowledge of the causes of views and ways of life is not primarily a matter of knowledge only within the contemporary academic discipline of philosophy or theology; it is a knowledge of how the human past and present have been shaped by the pursuit of goodness and truth in every aspect of human life and how those pursuits manifest in one’s own life and the shared way of life of one’s community; hence, the necessity of a study of man informed by the right account of human nature and its place. Men and women live out their lives seeking good things, but ordinary people generally do not realize that these practical goods and their way of life are both derived from implied accounts of goodness and truth. Philosophy and theology as pursuit of good and the highest end of human beings are not abstract disciplines, but are found at the heart of every decision a person makes and at the heart of every human institution, indeed, of everything that can be called human at all. It is this pursuit of truth and goodness innate in human beings that unifies all aspects of human life. But most people do not recognize this. Because of that, apostles need to pay particular attention to how accounts of goodness and truth underlie all aspects of human life (cf. St. Paul in Acts 17 at the Areopagus in Athens). Thus they need a knowledge of human culture and its history, human goods and how the pursuit of those goods has influenced human life. But this knowledge is not of the same kind as knowledge that a secular educated person would have of the same subjects. First, it is built upon the Catholic understanding of man and nature and is thus an understanding that integrates the best accounts of the various subjects into the Catholic framework. (It also helps us to refine that very understanding; there are still questions that need better answers, still problems that need to be solved.) Second, such an education is equally both a matter of specific content and a matter of inculcating a real love of learning and a knowledge of how to learn. Third, every aspect of such an education focuses both on the relevant subject matter and on how that subject matter is connected in a real way to the larger world; this is the genuine knowledge of causes. On this point, students must take the active role because only by understanding for themselves the various causes will they come to a true understanding that will remain with them and to a real love of learning that will sustain them. Carved panel from the cloisters showing Doubting Thomas, Abbey of Santo Domingo de Silos the shared way of life of one’s community through friendships based on and leading toward truth and goodness because those friendships foster human excellence of all kinds. And that reveals the true place of beauty in evangelization. The first beauty is the beauty of a wise and loving human life. Beauty in the material or social aspects of human culture is and must be built upon truth revealed and lived out in the wise life oriented toward God. It is those living the life of wisdom who will help others and themselves to realize their potential for excellence, their potential to recognize beautiful things, to make beautiful things, to do beautiful things, to live together in beautiful ways. This is how we walk the way of beauty, the via pulchritudinis, in bringing the world back to God (Pope Francis, Evangelii Gaudium, 167). This is the best kind of integral formation of the intellect. IV But, of course, this education into human culture is only what enables one to engage a human being where he or she is. A true apostle is not solely concerned with narrowly intellectual problems. He or she is primarily a friend to those he or she seeks to evangelize, and this is a friendship that must be based on truth. One crucial thing that friends do for each other is help one another realize their respective potentials for excellence. So, too must the evangelizer. And now we can see the full weight of what evangelization of culture means: not just knowing philosophy and theology, not just knowing culture, not even just knowing culture in the right way, but chiefly evangelizing culture means transforming Saint Paul delivering the Areopagus sermon in Athens, Raphael IN- FORMARSE / 09 La gloria de San Ignacio,Andrea Pozzo, Iglesia de San Ignacio (Roma). ACERCA DE LOS PRINCIPIOS Traducción de Sé muy bien con cuál balsa atravesamos tan largo tramo, o con cuán pequeñas alas hacia el cielo estrellado nos apresuramos, nosotros a quienes el corazón mueve a alabar a la Divinidad, a la que ni las potestades celestiales tienen la fuerza de dar culto, como se debería, a los confines de la gran Divinidad y a su gobierno universal. Louis Desclèves, L. C. Moisés (Detalle), Miguel Ángel Buonarroti Sin embargo, ni a Dios agrada el frecuente don de llenísima mano cuanto lo que le viene de la amiga incluso pobre. Por ello, hablaré con atrevimiento. Pero fuera de aquí, huid, vosotros los impuros: este discurso mío no sale sino para los puros o los purificados. Los profanos, como fieras, mientras Cristo escribe la ley grabada en piedras para Moisés, Sean en seguida aplastados por quebradas rocas. Así sea de ellos. Y así como el Verbo expulsó a los malvados, de nuestra región, al tener un corazón rebelde contra Dios. Pero, yo pondré este grito como proemio en mis hojas, grito que exclamaron los piadosos hombres, trayendo espanto al pueblo cruel, Moisés e Isaías, testigos de los mandatos (hablo a los entendidos), ciertamente, éste dando la ley recién plasmada, el otro, de la quebrantada: que el Cielo escuche; que la tierra acoja mis palabras. Espíritu de Dios, tú, despiértame la mente así como la lengua, trompeta de verdad resonante, que todos gocen en su ánimo en la Trinidad entera injertados. Un solo Dios hay sin principio, no causado, no circunscrito sea por algo que fuera de antemano, o que llegaría a ser a continuación, poseyendo todo la eternidad y sin confines, del Hijo valeroso, Unigénito grande, el Padre grande, sin nada padecer por el Hijo, de lo carnal, pues es mente. El Moisés de Miguel Ángel Un solo Dios otro, No otro en divinidad, de Dios el Verbo, éste, de Aquel, Paterno sello impreso, hijo del Sin Principio, Único, y del Único uniquísimo, igual de Todopoderoso. Escultura en mármol realizada en el año 1509 por petición del Papa Julio II. Como éste quedaría progénitor todo entero, tanto aquel Hijo Regidor del universo y Pastor, del Padre Fuerza y Pensamiento. Un Espíritu del Excelente Dios, Dios. Atrás todos, los que el Espíritu no marcó para proclamar su divinidad, sino que son abismo de maldad o lengua impura seudoluminosos, envidiosos, pensadores autoproclamados, fuente oculta, candelabro en recodos oscuros. Acerca de los principios, Poemas dogmáticos I, 1,1 san Gregorio Nacienceno IN- FORMARSE / 10 Originariamente concebida para la tumba del Pontífice en la Basílica de San Pedro; aunque, más tarde, la tumba y el Moisés fueron colocados en la Iglesia menor de San Pietro in Vincoli, donde actualmente se encuentra. Apollo and Daphne, Louvre Museum, Paris Masculinity and Beauty W By Jhonatan Flemings, L. C. hen I was a kid, we did not have a television. Weekly entertainment consisted in walking the twenty minutes down to the local public library with my older sister. A book worm by the age of nine, she quickly infected me with the disease. Our ersatz TV and video games consisted in a backpack full of books every week or so, most of them selected by her. The only down side from my perspective was that the crowd of protagonists I encountered in my childhood was mostly made up of precocious girls who regularly outsmarted their somewhat pathetic male counterparts in whatever the child fiction selection of the week happened to be. Every once in a while I found a book on my own about a boy and his dog, but she generally found more interesting stories, so I grew accustomed to heroines. There is nothing wrong with heroines—in fact, I look up to quite a few of them—but we also need masculine role models. Contemporary western society’s crisis of masculinity, if not universally recognized, is at least a wide-spread topic of debate. Mass media offers a sample of our cultural types. Our models—when they are manly—are the muscular dude with all the babes, the violent in-your-face hero who smashes you to pulp if you stand in his way, and the brilliant, billionaire, Bruce Wayne types who have the money and power to get whatever they want. When they are not reductionist, they are enerva ted, especially fathers—the traditional and principal role model. Time and again media studies conclude that men and fathers are usually shown to be immature, unhelpful and inept in comparison with other family members1. The problem is pandemic—sit down to any sitcom and you will regularly see men depicted as objects of derision. In our post-modern, post-sexual revolution world some find it difficult to discern what it means to 1.- For example see R. WILLIAMS, “Our male identity crisis: What will happen to men?” in Psychology Today, in http://www.psy- chologytoday.com/blog/wired-success/201007/our-male-identity-crisis-what-will-happen-men [19-4-2015]. See also R. WILLIAMS, “The Male Identity Crisis and the Decline of Fatherhood,” in Psychology Today, in http://www.psychologytoday.com/blog/wired-success/201406/the-male-identity-crisis-and-the-decline-fatherhood [19-4-2015]. IN- FORMARSE / 11 homes are the brothel and the tavern. Virtue you meet in the temple, the market-place, the senate house, manning the walls, covered with dust, sunburnt, with calloused hands. (De Vita Beata, VII.3)2 Virtue, manliness, has a lot to do with keeping pleasure at a distance, but not necessarily beauty. Apollo of the Belvedere, Vatican Museums be a man and even more difficult to feel comfortable being one. Given this dilemma, what good can come from forcing young men to dedicate time and attention to the fine arts? Telling them they need to experience beauty and focus on feelings will only emphasize the effeminate. Besides, aesthetics have very little to do with manliness anyway, right? The humanities seem mushy. But the fundamental philosophical error of our age is to take division as a start point instead of unity: a sort of simplistic reasoning incapable of embracing complex wholes with contrasting poles. So masculinity is reduced to machismo, money, and power. Forming masculine role models for our time requires saving the whole—harmony of the poles. And the humanities are key for doing just that. Let me explain. Seneca, in his treatise on happiness, made a memorable comparison between virtue and something that has an awful lot to do with beauty—pleasure: Virtue is a lofty quality, sublime, regal, unconquerable, untiring. Pleasure is base, slavish, weakly, perishable; its haunts and Wikipedia (not exactly the font of wisdom, but a good thermometer of the opinion of the age) says that one of masculinity’s principle traits is courage—willingness to defend the good in the face of opposition. Aquinas and Aristotle held courage to be a certain firmness of character necessary for all the virtues. In fact, the word virtue, virtus, comes from vir—man. Virtue, moral courage in particular, is the key to manliness. But in order to defend the good, you must see it, and not just part of it. Here is where beauty comes in. Men experience beauty in a particular way. In his book about the journey to manhood, Fathered by God, John Eldredge claims that to reach manhood one must go through an aesthetic conversion, become a lover. At one point or another, a man’s soul is awakened by beauty. The problem is that any man knows it is something dangerous, so powerful that it can overwhelm, but so vital to his existence that it cannot be ignored. In his ancient epics, Homer has no shortage of heroes, but all of them have an Achilles’ heel. The Achilles’ heel of every man is the existential need—a gaping hole in himself— for what is beautiful. And it is incarnate in woman. Here’s the hazard. Navigating today’s aggressively promiscuous environment as a man is like sailing past the Sirens. You either keep beauty and all of its attraction at a distance by making yourself insensible to it, or you get sucked in so far that you become a slave and destroy yourself and what you love. Virtus in medio. The problem here is the narrowness of the extremes. If you only experience beauty as body, you are missing most of it. Beauty is more. And there is nothing contrary to manliness in be- 2.- “Altum quiddam est virtus, excelsum et regale, invictum infatigabile: voluptas humile servile, inbecillum caducum, cuius statio ac domicilium fornices et popinae sunt. Virtutem in templo convenies, in foro in curia, pro muris stantem, pulverulentam coloratam, callosas habentem manus.” IN- FORMARSE / 12 ing moved by it. On one of his campaigns, the Persian warrior-king Xerxes was stopped in his tracks by the beauty of a sycamore tree. So much so that he had a replica cast in gold to remember the moment for the rest of his life. King David, a man battle-hardened in hand-to-hand combat, didn’t hesitate to sing and compose poetry. Appreciation for beauty in all of its forms—from a mountaintop view to Shelley’s “The Cloud” to Bach’s cello suites to the spiritual beauty of a human soul—makes it easier to plot a course between extremes resembling Scylla and Charybdis. On the one hand, it helps to put the beauty of bodies into a broader context. Harmony and order temper the energy in man that could become immanitas, making it humanitas. On the other hand, since beauty unlocks the power of a man’s potential by drawing him toward what is good, studying the humanities can direct that energy by showing that beauty has a hierarchy. At the summit of that hierarchy is the greatest created good: persons. And each of them is a messenger of Beauty Himself. ness, and have an important role to play in forming a truly masculine heart. Experiencing beauty in all of its complex and varied forms opens the heart to the whole, offering an opportunity to turn the hazard of an Achilles’ heel into a source of strength. To be a man you have to be a lover. To be a lover you must know the beauty and intrinsic value of what you are loving and defending—paramount is the dignity of women and children. Giving and defending life—persons, their innocence, their ideals, their hopes and dreams—is what being a man is all about. Real men responding to the whole. The humanities promote manliness, not mushi- The Triumph of Achilles, Franz von Matsch, from a panoramic fresco on the upper level of the Achilleion Palace, Corfu, Greece IN- FORMARSE / 13 Amarillo-Rojo-Azul, Kandinsky, Museo Nacional de Arte Moderno, París Sector Cultural La belleza E al tiempo de las redes sociales Por Jorge Enrique Mújica, L. C. l contexto en el que hoy se plantea la cuestión de la belleza supone un nuevo reto para todo aquel que desea ofrecer una respuesta. Ya la misma interrogante implica saber a quién la dirigimos: ¿a un nativo digital o a un inmigrante digital? El segundo es aún capaz de recordar que hubo un tiempo en que internet no era lo que permeaba todo mientras que el primero nació con lo digital bajo el brazo. La revolución digital ha supuesto, además, una reforma mental y así una manera distinta de aproximarse a los problemas. Es el caso que nos ocupa. Mientras el inmigrante digital ha entrado en relación con el mundo a través del ambiente de la interrelación física, el nativo digital lo ha hecho por medio del ambiente de la interacción virtual. De esta manera se puede esperar que la respuesta del primero apunte a una concepción de la belleza distinta de la que puede tener el segundo. IN- FORMARSE / 14 Lo que todo sujeto entiende y percibe por bello y juzga como tal tiene una dimensión objetiva y una subjetiva. La dimensión objetiva puede estar basada en cánones procedentes de convenciones sociales y/o culturales (muchas veces apoyados en disquisiciones especulativas de no poco valor), mientras que lo segundo re-direcciona más bien a una percepción que queda bien recogida en la famosa expresión del «de gustos no hay nada escrito». Ambas, en todo caso, apuntan a lo experiencial pero bajo modalidades diferentes: para el inmigrante digital o para el que ni siquiera lo es supone momentos de contemplación, reflexión y discernimiento mientras que para el nativo digital supone interacción. Demos un paso más y vayamos del sujeto que per cibe lo bello al lugar donde la belleza es plasmada y contemplada: ¿es internet como se conoce hoy un espacio para la expresión de la belleza? La respues- Varios círculos, Kandinsky, Guggenheim Museum, Nueva York ta inicial parece ser un rotundo «sí»: el arte, canal privilegiado de lo bello, existe también en la web no como un mero migrar del arte tradicional a internet (art on line) sino como una auténtica nueva manera de expresar el ingenio humano (on line art). Internet se presenta, entonces, como una nueva gran galería para apreciar lo hermoso pero también para plasmarlo. Esto va de la mano de apelar a considerar programas y otros recursos como verdaderas herramientas de creación artística: si en otros tiempos el pincel o el cincel eran los instrumentos para materializar lo que el artista llevaba dentro, hoy parece serlo el mouse, los softwares, hardware y demás artilugios tecnológicos que facilitan la creación del on line art. Naturalmente estas consideraciones no suponen pensar que cualquier cosa deba considerarse arte y menos una ejecución lograda y por tanto bella. ¿Qué es entonces lo propiamente específico de lo bello en la web? La facilidad con que en las redes sociales se comparten materiales y éstos son valorados ofrece un indicio que nos deja ver qué es lo que en muchos casos se entiende por verdad en la web: en la percepción de muchos es verdad lo más popular, lo que más se comenta o reenvía. Siendo que la ver- Mancha roja #2, Kandinsky, Galería Lebachhause, Munich dad está íntimamente vinculada a la belleza no es extraño que ésta también pase por ser considerada a la luz de la popularidad. ¿Y es entonces esto a lo que se reduce la belleza al tiempo de las redes sociales? Antes de aventurar una respuesta consideremos también al artista. La interacción ofrece al artista un contacto directo e inmediato con aquellas personas interesadas en sus creaciones pero también puede llegar a condicionar su propia creación en caso de no poseer la suficiente madurez que le haga capaz de pasar indemne ante la tentación de la popularidad que no sería otra cosa que el menoscabo del propio ingenio. La consideración acerca de la belleza en el siglo XXI pasa por hacerlo también a la luz de lo digital y todo lo que lo digital implica, especialmente en relación con el modo de pensar. El binomio belleza-internet, por tanto, conlleva un nuevo reto pedagógico: enseñar a apreciar lo bello, tanto del ámbito físico-material como del on line art, se pone como reto. Se trata de un reto que no sólo se limita a los nativos digitales sino incluso hacia el que crea on line art, menester que intenta abrirse campo en un nuevo contexto. Consecuentemente, ese reto también apunta a no reducir el tema de la belleza a meras interacciones de masas. IN- FORMARSE / 15 La belleza del mundo y la trascendencia* El creyente delante del universo Por IN- FORMARSE / 16 Luis Fernando Hernández, L. C. L Indio al atardecer, Thomas Cole, Colección privada a nadadora Diana Nyad dejó desconcertado a un periodista que no entendía cómo ella podía maravillarse ante la naturaleza y la humanidad sin creer en Dios. Michael Shermer, el fundador de The Skeptics Society, comentaba el hecho: «Esta es la sutil intolerancia –dice Shermer refiriéndose al periodista– de los que no son capaces de concebir cómo uno pueda maravillarse sin creer en causas sobrenaturales del asombro. ¿Por qué habría que pensar así?» 1. En este breve artículo vamos a abordar la cuestión que Shermer no trató en el suyo («¿Puede un ateo maravillarse del universo?»), es decir, ¿cómo es posible que las maravillas del mundo lleven a pensar en algo o alguien más allá? Los textos de algunos escritores antiguos nos ayudarán a comprender esta gran cuestión que va más allá de todos los avances tecnológicos de hoy. La tecnología no lo es todo: si lo fuera todo, ya no habría turismo para ver lugares exóticos o simplemente inspiradores. En el diálogo Sobre la naturaleza de los dioses Cicerón pone en boca de Balbo, uno de los personajes, una serie de argumentos sobre cómo conocemos la existencia de los dioses. Para saciar la curiosidad, los resumimos así: el primero es porque podemos conocer algunas cosas futuras; el segundo, por los continuos cambios climáticos; el tercero, por la abundancia y calidad de los bienes de la tierra; y el cuarto, por el orden y constancia que vemos en el universo (cf. Cicero, De natura deorum II, 13-15; III, 16). Pero Balbo decide dejar a un lado sus argumentos más lógicos y empieza a hablar de la siguiente manera (recomendamos mentalizarse según aquella época): 1.- Michael Shermer, «Can an Atheist Be in Awe of the Universe?» en Scientific American, vol. 310, 3. * Las traducciones al latín son del mismo autor del artículo. Vienen acompañadas del texto original latino para facilitar la lectura didáctica de los textos. La traducción, por tanto, conserva un cierto aire de literalidad. IN- FORMARSE / 17 Licet enim iam remota subtilitate disputandi oculis quodam modo contemplari pulchritudinem rerum earum, quas divina providentia dicimus constitutas. Ac principio terra universa cernatur locata in media sede mundi, solida et globosa et undique ipsa in sese nutibus suis conglobata, vestita floribus, herbis, arboribus, frugibus, quorum omnium incredibilis multitudo insatiabili varietate distinguitur. Adde huc fontum gelidas perennitates, liquores perlucidos amnium, riparum vestitus viridissimos, speluncarum concavas altitudines, saxorum asperitates, inpendentium montium altitudines inmensitatesque camporum; [...]. At vero quanta maris est pulchritudo, quae species universi, quae multitudo et varietas insularum, quae amoenitates orarum ac litorum, quot genera quamque disparia partim submersarum, partim fluitantium et innantium beluarum, partim ad saxa nativis testis inhaerentium. [...]. Restat ultimus et a domiciliis nostris altissimus omnia cingens et coercens caeli conplexus, [...] in quo cum admirabilitate maxima igneae formae cursus ordinatos definiunt. E quibus sol, cuius magnitudine multis partibus terra superatur, circum eam ipsam volvitur, isque oriens et occidens diem noctemque conficit [...]. Isdemque spatiis eae stellae, quas vagas dicimus, circum terram feruntur eodemque modo oriuntur et occidunt, quarum motus tum incitantur, tum retardantur, saepe etiam insistunt, quo spectaculo nihil potest admirabilius esse, nihil pulchrius (De natura deorum, II, 98104 excerpta). Dejando a un lado la complejidad de la discusión, podemos en cierta manera contemplar con los ojos la belleza de las cosas que hemos dicho que fueron formadas por la divina providencia. Para empezar contémplese toda la tierra colocada en medio del universo, firme, redonda y compacta por todas partes en sí misma por la gravedad; revestida con flores, hierbas, árboles, frutos, cuyo increíble número se distingue por una interminable variedad. Añade a todo esto el permanente estado frío de las fuentes, el flujo centelleante de los ríos, los atavíos tan verdes de las riberas, la profundidad y concavidad de las cuevas, la escabrosidad de las piedras, las alturas de las grandes montañas y la vastedad de los campos; [...]. Y ¡cuánta es la belleza del mar! ¡Qué belleza la del mundo, qué cantidad y variedad de islas, qué gracia de playas y costas! ¡Cuántos géneros y qué dispares de animales que nadan o que viven sumergidos o flotando o adheridos a los cascos de las embarcaciones! [...]. Queda el complejo del cielo lejano y distante de nuestras moradas, que todo lo cubre y abarca, [...] en el que con gigante fascinación las formas de fuego trazan las carreras ordenadas. De entre las cuales está el sol, cuyo tamaño supera por mucho al de la tierra, viaja alrededor de la misma; y saliendo y poniéndose da lugar al día y a la noche [...]. En el mismo espacio las estrellas, que llamamos errantes [las constelaciones], giran en torno a la tierra y del mismo modo salen y se ponen, y su movimiento traslaticio a veces se acelera, a veces se lentifica; muchas veces también se detienen, ¡nada puede ser más admirable, más hermoso que este espectáculo! (De natura deorum, II, 98-104 excerpta). En la descripción que hace Balbo de las maravillas del universo hay que notar la exuberancia y variedad de vocabulario, que no son casuales. Lo que Cicerón quiere lograr es reflejar con el texto mismo la realidad de lo que afirma: el universo contiene una vastísima variedad de seres. Por eso, la descripción va de lo más cercano a lo más lejano a nosotros, para hacernos notar esta maravillosa diversidad. Regresemos al núcleo de nuestro artículo. Balbo ha estado argumentando antes de distintas maneras. Es más, estas son sus últimas palabras antes de hacer la descripción ya mencionada (De natura deorum II, 96-97): Sed adsiduitate cotidiana et consuetudine oculorum adsuescunt animi neque admirantur neque requirunt rationes earum rerum, quas semper vident, proinde quasi novitas nos magis quam magnitudo rerum debeat ad exquirendas causas excitare. Quis enim hunc hominem dixerit, qui, cum tam certos caeli motus, tam ratos astrorum ordines tamque inter se omnia conexa et apta viderit, neget in his ullam inesse rationem eaque casu fieri dicat, quae, quanto consilio gerantur, nullo consilio adsequi possumus. An, cum machinatione quadam moveri aliquid videmus ut sphaeram, ut horas, ut alia permulta, non dubitamus, quin illa opera sint rationis, cum autem impetum caeli cum admirabili celeritate moveri vertique videamus constantissime conficientem vicissitudines anniversarias cum summa salute et conservatione rerum omnium, dubitamus, quin ea non solum ratione fiant, sed etiam excellenti divinaque ratione? Pero nuestros espíritus se arrutinan por el trajín cotidiano y la costumbre de los ojos y ya no se admiran ni se preguntan por las causas de las cosas que siempre ven, de donde resulta que es casi la novedad la que nos debe despertar para buscar las causas más que la grandeza de la realidad. ¿Quién llamaría ‘humano’ al que, viendo los mo vimientos del cielo tan exactos, tan firme el orden de los astros y tan coordinados entre sí y compa ginados, negara que existe en ellos alguna causa y afirme que todo esto sucede por casualidad? O ¿acaso cuando vemos que algo se mueve con un cierto mecanismo, como una esfera o un reloj u otras muchas cosas, vacilamos en que sean obras de la razón? ¿Y, cuando vemos que el impulso del cielo se mueve con increíble velocidad y gira cumpliendo persistentemente sus desplazamientos anuales con gran equilibrio y preservación de todas las cosas, acaso dudamos que no solo se obren estas cosas por la razón, sino también por la excelente razón divina? En este último párrafo sobresalen los motivos lógicos de Balbo: si hay orden en universo, debe haber alguien que lo haya establecido. En el primer texto Balbo nos hace ver las maravillas y la belleza de nuestro mundo, pero sin concluir nada en concreto. Balbo echaría en cara a Shermer que no crea posible la capacidad de maravilla auténtica y la referencia a Dios al mismo tiempo. Para Shermer las personas que se maravillan se dividen en dos: las que son proclives al asombro y no lo asocian a ningún ser; y las que no lo son, porque refieren inmediatamente la maravilla a una causa externa a ellos. ¿Qué poder tiene la contemplación de un paisaje para que nos deje boquiabiertos? ¿Por qué el brillo de Venus, Júpiter o Sirius nos sorprende más que el brillo de la pantalla de un IPhone? Hoy en día es más difícil hacer estas preguntas. Es fácil constatar que preferimos capturar una fotografía del momento que contemplar directamente con nuestros ojos la naturaleza, el arte o cualquier otra maravilla. Monte Washington, John F. Kensett, Museo de Wellesley College, Wellesley Massachussets IN- FORMARSE / 19 Templo de Zeus, Olimpia Las preguntas que hemos hecho merecen una respuesta, porque no pasan de moda. Los aparatos con que tomamos fotos o hacemos vídeos pasarán de moda. La naturaleza, sin embargo, allí estará y nuestras preguntas también. La descripción que Cicerón elaboró a través de Balbo perduró en la tradición cristiana posterior. Y este tipo de descripción la encontramos, por ejemplo, en Minucio Félix (Octavius, cap. 17), san Agustín (De civitate Dei, XXII, 24; Enarrationes in ps., 41, 7) y durante la Edad Media en el franciscano Tomás de York (Sapientiale, lib. VII, c. 10, 8-16). Ponemos el ejemplo del texto de san Agustín en La ciudad de Dios: Iam cetera pulchritudo et utilitas creaturae, quae homini, licet in istos labores miseriasque proiecto atque damnato, spectanda atque sumenda divina largitate concessa est, quo sermone terminari potest? in caeli et terrae et maris multimoda et varia pulchritudine, in ipsius lucis tanta copia tamque mirabili specie, in sole ac luna et sideribus, in opacitatibus nemorum, in colo ribus et odoribus florum, in diversitate ac multitudine volucrum garrularum atque pictarum, in multiformi specie tot tantarumque animantium, quarum illae plus habent admirationis, quae molis minimum (plus enim formicularum et apicularum opera stupemus quam immensa corpora ballaenarum), in ipsius quoque maris tam grandi spectaculo, cum sese diversis coloribus velut vestibus induit [...]. Quam porro delectabiliter spectatur etiam quandocumque turbatur, et fit inde maior suavitas, quia sic demulcet intuentem, ut non iactet et quatiat navigantem! ¿Con qué tipo de discurso se puede concebir la belleza y valor de la creación que la divina generosidad concedió al hombre para que la contemplara y se hiciera cargo de ella, a pesar de verse arrojado a estos trabajos y miserias, y de haber sido condenado? En la hermosura tan variada y cambiante del cielo, de la tierra y del mar; en el sol, la luna y los astros; en las penumbras de los bosques, en los colores y fragancias de las flores, en la diversidad y número de aves que cantan y están llenas de colores; en las varias especies de tantos y tan admirables animales, de entre los que son más dignos de admiración los que poseen menor dimensión (en efecto, nos ma ravillamos de las construcciones de las hormigas y abejas más que de la inmensa masa de las ballenas); también en el gran espectáculo del mar, cuando se viste con tan diversos vestidos y colores [...]. ¡Con cuánto agrado se contempla el mar cuando se agita y luego se hace más grande la calma, porque de esta manera da gusto al que lo contempla, con tal de que no arroje y golpee al que navega! Los textos que hemos citado nos dan algunas pistas para entender cómo la belleza natural y la trascendencia pueden tener un punto en común. En ambos textos, de un pagano y de un cristiano, aparecen la maravilla como actitud del espectador, la diversidad de la naturaleza, los matices mínimos que hallamos en ella; y la capacidad del hombre de ver tanto lo maravillosamente grande como lo sorprendentemente pequeño: las hormigas y las estrellas del universo. Ya decía Ovidio: «y mientras los demás animales miran inclinados la tierra, [dios] dio al hombre una visión sublime y le ordenó que mirara el cielo y que erguido levantara el rostro hacia las estrellas» . Sí, podemos contemplar y creer al mismo tiempo, porque «nacimos para cosas más grandes» . 2.- Ovidio, Metamorphoses, I, 84-86: «pronaque cum spectent animalia cetera terram, / os homini sublime dedit caelumque videre /iussit et erectos ad sidera tollere vultus» 3.- Cicerón, De finibus bonorum et malorum, V, 21: «ad maiora quaedam [...] nati sumus». IN- FORMARSE / 20