A longish title today, but worth it. Nietzsche’s birthday, on October 15 exactly 180 years ago, is coming up, and what better tribute to the author of The Birth of Tragedy from the Spirit of Music than a modern update? Especially because my post a few weeks back, on the different speeds with which the arts atrophy, elicited such a lively response from the gentle reader.
Why would an American lad who probably describes himself to his friends as a pacifist want to look like a soldier of fortune? Why would an English lass who is probably vegan, or at least free of gluten, want to look like a Papuan cannibal?
My subject today is mildly unpleasant, but since it had fascinated me for quite some time I now decided to take the plunge.
In the wake of recent events in the Middle East, George Gilder, some of whose thoughts all those years ago I thought original enough to publish in the magazine I was editing, has just updated his book The Israel Test. I had not read the book when it was first published, in 2009, and now I thought I’d catch up with the intellectual evolution of the acclaimed author of Wealth and Poverty.
When there’s no money in the house, as happens often in the lives of a couple who are both what the Italian taxman calls liberi professionisti – people with no regular income, to you and me – I console myself and my family with the thought that however little we are paid for our labors, it’s all in gold.
Doubtless the gentle reader has no illusions about my knowledge and understanding of sport, given that on more than one occasion I confessed to have but limited mastery in only two fields, chess and badminton.
“Cloudily enwrapped in allegorical devices” was how Edmund Spenser described to his readers the plot of The Faerie Queene.
We have all written about love, from Plato to Dr. Fleming and back again, but at this fandango to the music of love friendship is the wallflower.
Two kinds of ideas animate the world. One kind is private, hermetic, sovereign; I would go as far as to call it anaerobic, by analogy with the bacteria that perish when exposed to air and light. Fedor Tiutchev, Russia’s most original nineteenth-century poet, had this variety in mind when we wrote his “Silentium”: “Keep silent, secret, and obscured / Thy thoughts and dreams without end, / And let them rise like stars, inured / To darkness regnant in thine head.”
My paternal grandmother’s family was from Vitebsk, where it was well remembered that as a callow youth Marc Chagall made a living painting shop signs in that provincial town. It turns out, however, that the canvases Chagall produced in the years preceding his emigration to France are perhaps the only pictures of lasting value – of genius, a more impulsive chronicler would say – ever painted on the territory of the Russian, and then Soviet, empire.
