Introduction
We are the Foundation for the Revival of Classical Culture. We’re often asked, what do you mean by that? What is your definition of Classical culture, and why do you need to revive it? We hope to answer your questions and explore the vast landscape of Classical Culture through this new weekly publication.
Let us attempt to answer the first question. Classical culture is not what is encompassed in the shallow use of the term "classic." We hear of "classic Rock", " classic Coke", " classic typewriters", and so on. But when it comes to classic toilets and classic outhouses, we must smell a fault, and realize that this use of the term is nothing but an odiferous wave of nostalgia, for mostly, objects: objects from the childhood of still-living generations.
What then, is our emotional connection to something created generations before the oldest living person? It cannot be nostalgia, but something more durable.
A child sees a great and old painting, and the artist seems to step off the canvas and invite her or him in. Does surviving the test of time make a work classical? Not necessarily. Conversely, there are some contemporary works that are classical. We need a better enumerated definition.
Two key terms that might helps us grasp the idea of “classical principle” are “generation” and “degeneration”. To “generate” means to give birth to, whether to a new human being or a new idea. It is in the nature of humanity to generate new people, and also to generate new and benevolent ideas. Subsequent generations deserve the benefit of our discoveries, and the past discoveries that shaped us, so that they may build upon them, and generate even better new ideas.
“Degeneration” consists of moving away from that creative generative principle. It thrives on a lack of The Good. Degeneracy can be seen in civilizations that coasted on past discoveries, but could not generate anything new, and eventually decayed. When the Spanish came to the New World, they, who had also entered into a downhill slide, encountered civilizations that had made great discoveries, but degenerated into Bestiality. (Spain, in 1492, the same year that they sent Columbus to the New World, also began the expulsion of the Jews and the unnecessary conquest of the Alhambra. The Inquisition was already underway. Later they expelled the Moriscos. In the New World, the Aztecs had a mighty city, but sacrificed people to the gods by cutting out their hearts, and rolling them down the temple steps. The Mayans had a calendar that only lost one day a year, but played a type of basketball where the winner was sacrificed. Pizarro was able to beat the Inca with only a small force, because neighbouring tribes that had been enslaved by the Inca joined him. Most historians agree that these civilizations had reached their high points centuries before. ).
It is inescapable that the classical principle, in both art and science, generates both material and spiritual advancement for humanity. How do we know if science is true? Even more, how do we know if art is true? We do not measure it against anyone's personal and narrow artificial constructs. But, there lies the rub. Freeing truth from such an artificial Procrustean bed, does not mean that the truth is whatever we think it is, or want it to be. It is bigger than us, and we must never cease to seek it.
The measure of truth in art and science has to lie in their ability to improve humanity's lot. How else could it be? If this generation of ideas leads to, no matter how indirectly, higher levels of education, higher levels of productivity, the ability to sustain a larger population in the same area, but at a higher standard of living, and to a more gentle and understanding humanity; then the ideas are a success, and their truth is proven in that success, and perhaps only there!
Here lies another rub. Humanity, for millennia, has had faith that mankind is the high point of God's Creation. Leave aside religion. They thought, rightly, that man, through reason, was above the beasts. Recent generations have become convinced that man is bad, and is the most dangerous animal on earth. This is the largest and most successful mass brainwashing that has ever taken place.
Face the paradox! If you love great classical art, how do you reconcile its promotion of the beauty of mind, and the nobility of humanity, with the extreme cultural pessimism that sees man as a disease upon the universe?
If classical art and science are to advance humanity, then they must promote, and survive on, creativity. Creativity does not mean abandoning standards and calling it creativity. Creativity means employing reason, and make new discoveries that incorporate past discoveries at a higher level.
The Classical Principle recognizes the divine laws of the universe, including musical laws. It does not seek to impose arbitrary systems. On the other hand, the universal musical system, though determined outside of man, and long before him, does allow for growth, and progress, which only man can do. God never composed a symphony, He assigned that to humanity.
The classical principle seeks to elevate both entire societies, and individuals, above that which would drag us down, to our creative role in lifting humanity.
Coming back to the idea of being moved to the depths of our souls by something that came centuries before we were born, something that was true then, that is true now—The words for Bach's Cantata 54 came from the Epistle of James, which was then set by a poet, Georg Christian Lehms (1684, Legnica, Poland ), who went by the name of Pallidor. Pallidor wrote poetry, opera libretti, and novels. (Bach's son called his father's home a pigeon coop. People were constantly flying in and out of it, including poets. It was a cauldron of creativity).
Pallidor's text opens with "Widerstehe doch der Sunde '' (stand firm against sin.) The very term “sin” is something we laugh at today. If you think of sin as turning away from what is natural, love, then it becomes real. How many people do you know, have needed help to turn away from tendencies that are destructive to both themselves and others, and towards love. Bach does not just say the words. He creates it in the music—How the dissonances evoke uncertainty, yet how a stalwart quality is maintained in the repeated notes. Yet, it is not literal.
When you read the text of that cantata, rise above the religious context, and contemplate how it can move us, even help us, after more than 300 years. This series will address the nature of that classical quality.
Here’s a scrolling version of the Bach Cantata 54, “Widerstehe doch der Sünde”, BWV 54: https://youtu.be/Zgf1amBRg2Y
Here is another version, sung by the late great Canadian contralto Maureen Forrester., who was the polar opposite of a prima donna: https://youtu.be/vsxjgWgb7KA
TEXT:
Stand firm against sin,
otherwise its poison seizes hold of you.
Do not let Satan blind you
for to desecrate the honour of God
meets with a curse, which leads to death.
The nature of loathsome sins
is indeed from outside very beautiful;
but you must
afterwards with sorrow and frustration
experience much hardship.
From outside it is gold
but if you want to look more closely
it is shown to be only an empty shadow
and whitewashed tomb.
It is like the apples of Sodom
and those who join with it
do not reach God's kingdom.
It is like a sharp sword
that goes through our body and soul.
Who commits sins is of the devil,
for it is he who has produced them.
but if against its despicable mobs
with true devotion you stand firm,
sin has at once fled away.