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PaperclipPerfector  1yr ago (text post)   26881 thread views

Culture War Roundup for the week of September 4, 2023

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And Lewis, from "Till We Have Faces"; real religion is dark and sticky with blood and even oppressive, it's nonsensical when you look at it rationally, yet the tidied-up version can be a game we play to amuse ourselves, but it's not real comfort when needed:

The duty of queenship that irked me most was going often to the house of Ungit and sacrificing. It would have been worse but that Ungit herself (or my pride made me think so) was now weakened. Arnom had opened new windows in the walls and her house was not so dark. He also kept it differently, scouring away the blood after each slaughter and sprinkling fresh water; it smelled cleaner and less holy. And Arnom was learning from the Fox to talk like a philosopher about the gods. The great change came when he proposed to set up an image of her — a woman-shaped image in the Greek fashion — in front of the old shapeless stone. I think he would like to have got rid of the stone altogether, but it is, in a manner, Ungit herself and the people would have gone mad if she were moved. It was a prodigious charge to get such an image as he wanted, for no one in Glome could make it; it had to be brought, not indeed from the Greeklands themselves, but from lands where men had learned of the Greeks. I was rich now and helped him with silver. I was not quite certain why I did this; I think I felt that an image of this sort would be somehow a defeat for the old, hungry, faceless Ungit whose terror had been over me in childhood. The new image, when at last it came, seemed to us barbarians wonderfully beautiful and lifelike, even when we brought her white and naked into her house; and when we had painted her and put her robes on, she was a marvel to all the lands about and pilgrims came to see her. The Fox, who had seen greater and more beautiful works at home, laughed at her.

… Then I looked at Ungit herself. She had not, like most sacred stones, fallen from the sky. The story was that at the very beginning she had pushed her way up out of the earth — a foretaste of, or an ambassador from, whatever things may live and work down there one below the other all the way down under the dark and weight and heat. I have said she had no face; but that meant she had a thousand faces. For she was very uneven, lumpy and furrowed, so that, as when we gaze into a fire, you could always see some face or other. She was now more rugged than ever because of all the blood they had poured over her in the night. In the little clots and chains of it I made out a face; a fancy at one moment, but then, once you had seen it, not to be evaded. A face such as you might see in a loaf, swollen, brooding, infinitely female.

… The drums went on. My back began to ache. Presently the little door on my right opened and a woman, a peasant, came in. You could see she had not come for the Birth feast, but on some more pressing matter of her own. She had done nothing (as even the poorest contrive for that feast) to make herself gay, and the tears were wet on her cheeks. She looked as if she had cried all night, and in her hands she held a live pigeon. One of the lesser priests came forward at once, took the tiny offering from her, slit it open with his stone knife, splashed the little shower of blood over Ungit (where it became like dribble from the mouth of the face I saw in her) and gave the body to one of the temple slaves. The peasant woman sank down on her face at Ungit's feet. She lay there a very long time, so shaking that anyone could tell how bitterly she wept. But the weeping ceased. She rose up on her knees and put back her hair from her face and took a long breath. Then she rose to go, and as she turned I could look straight into her eyes. She was grave enough; and yet (I was very close to her and could not doubt it) it was as if a sponge had been passed over her. The trouble was soothed. She was calm, patient, able for whatever she had to do.

"Has Ungit comforted you, child?" I asked.

"Oh yes, Queen," said the woman, her face almost brightening, "Oh yes. Ungit has given me great comfort. There's no goddess like Ungit."

"Do you always pray to that Ungit," said I (nodding toward the shapeless stone), "and not to that?" Here I nodded towards our new image, standing tall and straight in her robes and (whatever the Fox might say of it) the loveliest thing our land has ever seen.

"Oh, always this, Queen," said she. "That other, the Greek Ungit, she wouldn't understand my speech. She's only for nobles and learned men. There's no comfort in her."

Soon after that it was noon and the sham fight at the western door had to be done and we all came out into the daylight, after Arnom. I had seen often enough before what met us there: the great mob, shouting, "He is born! He is born!" and whirling their rattles, and throwing wheat-seed into the air, all sweaty and struggling and climbing on one another's backs to get a sight of Arnom and the rest of us. Today it struck me in a new way. It was the joy of the people that amazed me. There they stood where they had waited for hours, so pressed together they could hardly breathe, each doubtless with a dozen cares and sorrows upon him (who has not?), yet every man and woman and the very children looking as if all the world was well because a man dressed up as a bird had walked out of a door after striking a few blows with a wooden sword. Even those who were knocked down in the press to see us made light of it and indeed laughed louder than the others. I saw two farmers whom I well knew for bitterest enemies (they'd wasted more of my time when I sat in judgement than half the remainder of my people put together) clap hands and cry, "He's born!" brothers for the moment.

There's a reason why "argument by fictional evidence" is a fallacy.

Ah, an adherent of the Gradgrind School, I see!

‘Very well,’ said this gentleman, briskly smiling, and folding his arms. ‘That’s a horse. Now, let me ask you girls and boys, Would you paper a room with representations of horses?’

After a pause, one half of the children cried in chorus, ‘Yes, sir!’ Upon which the other half, seeing in the gentleman’s face that Yes was wrong, cried out in chorus, ‘No, sir!’—as the custom is, in these examinations.

…‘I’ll explain to you, then,’ said the gentleman, after another and a dismal pause, ‘why you wouldn’t paper a room with representations of horses. Do you ever see horses walking up and down the sides of rooms in reality—in fact? Do you?’

‘Yes, sir!’ from one half. ‘No, sir!’ from the other.

‘Of course no,’ said the gentleman, with an indignant look at the wrong half. ‘Why, then, you are not to see anywhere, what you don’t see in fact; you are not to have anywhere, what you don’t have in fact. What is called Taste, is only another name for Fact.’ Thomas Gradgrind nodded his approbation.

‘This is a new principle, a discovery, a great discovery,’ said the gentleman. ‘Now, I’ll try you again. Suppose you were going to carpet a room. Would you use a carpet having a representation of flowers upon it?’

There being a general conviction by this time that ‘No, sir!’ was always the right answer to this gentleman, the chorus of No was very strong. Only a few feeble stragglers said Yes: among them Sissy Jupe.

‘Girl number twenty,’ said the gentleman, smiling in the calm strength of knowledge.

Sissy blushed, and stood up.

‘So you would carpet your room—or your husband’s room, if you were a grown woman, and had a husband—with representations of flowers, would you?’ said the gentleman. ‘Why would you?’

‘If you please, sir, I am very fond of flowers,’ returned the girl.

‘And is that why you would put tables and chairs upon them, and have people walking over them with heavy boots?’

'It wouldn’t hurt them, sir. They wouldn’t crush and wither, if you please, sir. They would be the pictures of what was very pretty and pleasant, and I would fancy—’

‘Ay, ay, ay! But you mustn’t fancy,’ cried the gentleman, quite elated by coming so happily to his point. ‘That’s it! You are never to fancy.’

‘You are not, Cecilia Jupe,’ Thomas Gradgrind solemnly repeated, ‘to do anything of that kind.’

‘Fact, fact, fact!’ said the gentleman. And ‘Fact, fact, fact!’ repeated Thomas Gradgrind.

‘You are to be in all things regulated and governed,’ said the gentleman, ‘by fact. We hope to have, before long, a board of fact, composed of commissioners of fact, who will force the people to be a people of fact, and of nothing but fact. You must discard the word Fancy altogether. You have nothing to do with it. You are not to have, in any object of use or ornament, what would be a contradiction in fact. You don’t walk upon flowers in fact; you cannot be allowed to walk upon flowers in carpets. You don’t find that foreign birds and butterflies come and perch upon your crockery; you cannot be permitted to paint foreign birds and butterflies upon your crockery. You never meet with quadrupeds going up and down walls; you must not have quadrupeds represented upon walls. You must use,’ said the gentleman, ‘for all these purposes, combinations and modifications (in primary colours) of mathematical figures which are susceptible of proof and demonstration. This is the new discovery. This is fact. This is taste.’

Pictures of flowers can replace flowers because flowers are not evidence. Evidence about how beliefs affect people is evidence.

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