Reading Poems at the End of the World

I have been taking the end of the world seriously, but not really that seriously, for a while now. Last fall, I wrote an essay on Nicola Gardini’s Long Live Latin, called “Loving Latin at the End of the World“. Last Spring, I tried to think about the fate of Classical Studies in some kind of an apocalypse, sketching out ideas for “The Future of the Past.” Eidolon has had the market cornered on Classics and the end of the world, with Nandini Pandey’s article “Classics in a time of Quarantine” hard on the heels of their End of the World Edition. But, then things jumped off the screen into the real.

For the past few weeks the best adjective I can use to describe my general feelings is “elegiac”—and  I mean this in the rather modern reception of the word which emphasizes its funereal tone, its use in epitaphs, rather than its metrical/generic use. Being part of a slow-motion disaster, a horrendous and at times horrifying transformation of our human communities, is in some ways indescribable, ineffable. In emails and with others I find myself trying to calm with the same phrases we all use about being in “unchartered territory” and how we need to be patient and reserve judgment for later.

But the refrain in my head is this:

T. S. Eliot, The Hollow Men

This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.

As I have talked about on Scott Lepisto’s Itinera podcast, my formative years were spent reading, in the isolation that living in a rural area before the dawn of the internet can bring you. I started graduate school at NYU a few weeks before 9/11 and my primary coping strategy—apart from drinking too much—was throwing myself into Homer.  And for this disaster, I am a professor. 

So, in a way, I should be really well-prepared emotionally for COVID-19’s brand of slow-motion destruction. I think this is probably true, on an intellectual level; on an emotional one, however, I am probably a wreck. And part of my particular brand of being a wreck is (1) I sleep even less well than usual and (2) fragments of poems fill my waking hours and sleep.

These are not fragments of my own, but poems ancient and modern that have been part of my life, either in education or from reading. I have engaged with the world through written words for nearly as long as I can remember—they are comfort, paradigms for guidance, distraction, etc. But poetry has a special place in my heart. Long before I poorly translated Latin and Greek for twitter, I spent time trying to write poetry (and was quite limited at it). These years gave me practice reading, memorizing, and keeping poetry close to heart.

And in the heart, there’s no timeline, there’s no catalog to separate things. So, when Langston Hughes jumps to mind with his Advice:

Folks, I’m telling you,
birthing is hard
and dying is mean-
so get yourself
a little loving
in between.

I can’t help but thinking of Catullus’ Vivamus mea Lesbia (Carm. 5) and his “We must sleep a lonely endless night” (nox est perpetua una dormienda) summoning to mind 11th grade’s Andrew Marvell’s great beginning, from To His Coy Mistress “Had we but world enough and time” eventually receding into what I still find ridiculous in his “vegetable love should grow.” Poems join me when, like Billy Pilgrim, I come unstuck in time.

There’s no shortage of poems exhorting us to live. There’s Ashurbanipal’s famous epitaph, dishing out the wisdom straight: “Know well that you are mortal: fill your heart / By delighting in the feasts: nothing is useful to you when you’re dead.” (εὖ εἰδὼς ὅτι θνητὸς ἔφυς σὸν θυμὸν ἄεξε,/ τερπόμενος θαλίῃσι· θανόντι σοι οὔτις ὄνησις). For every serious injunction to memento mori or carpe diem with Horace there are humorous ones too, like Martial’s poem 5.58 which ends, “Postumus, even living today is too late; / he is the wise man, who lived yesterday” (Cras uiues? Hodie iam uiuere, Postume, serum est: / ille sapit quisquis, Postume, uixit heri.)

Is that toilet paper or a manuscript in his hand? Smiling skeleton, from Ars bene moriendi, France, 1470-1480

Ending the World in a Poem

The problem is that I don’t know many poems about the end of the world. There is not too much about the world ending in the modern sense in ancient Greek and Roman texts that I know of prior to the period that gives us the Biblical Revelation. Greek and Roman Cosmogony tends towards the cyclical and not the epoch-ending stuff we see in Norse Ragnarok. There are certainly a lot of disasters and they tend to reflect natural disasters like the flood which appears inset in the Gilgamesh Narrative, as part of the Sumerian Atrahasis, in the Biblical Genesis, or in the tales we have of the Greek Deucalion who survived a flood too. 

Ovid’s version of this flood in the Metamorphoses is an unmaking of the creation that begins his poem. In the creation, everything which before was all mixed together and “compressed because of its own weight” (et pressa est gravitate sua, 1.30) is reorganized when ‘some god’ “separated the mass and apportioned the portion into parts” (congeriem secuit sectamque in membra redegit, 1.33). In anger over Lykaon’s sacrifice of human flesh, Zeus attacks the land until “the land and sea were showing no difference” (Iamque mare et tellus nullum discrimen habebant, 1.291). Of course, humans and their cities rise again, under the threat/promise that destruction is always imminent for hubristic and impious souls.

It is not that ancient authors are not concerned with death, but rather not with species death, with the eradication of humans as we know them. Perhaps this is because such an act prior to our anthropocene era of extinction was unthinkable, beyond the ken of the ancients. Perhaps, it is really too big for most of us to handle. (Which helps to explain our rapid, even if wildly imperfect, response to COVID-19 and our absurd denial about climate change.)

The end of a single life functions as easily as a metaphor for the end of humankind as the end of humankind does for the end of an individual life. (And this later function, I think, is important in popular, modern eschatology which uses civilization ending narratives to force us to think about mortality.) Mediterranean thought does show some evidence of the metaphor of one life as all of humankind, Philo sees the death of the individual as of no consequence to art “unless unless we believe that the death of one individual person in turn visits ruin upon humankind” (εἰ μὴ καὶ ἀνθρώπου τινὸς τῶν ἐν μέρει θάνατον φθορὰν ἐργάσασθαι φήσομεν ἀνθρωπότητι, The Worse Attack the Better 206). In this, he echoes lines in the Qu’ran and the Talmud making similar interrelational claims.

 

Living and Dying in Poems

My point is that while the ancients do not talk about civilization-ending plagues, they do talk a lot about death, and that is, for better or worse, part of what has drawn me to ancient poetry. In modern poetry on death, we get ruminations like Hektor’s in the Iliad: just as he says “may I not die ingloriously,” so too Mary Oliver writes (in When Death Comes):

When it’s over, I don’t want to wonder
if I have made of my life something particular, and real.

I don’t want to find myself sighing and frightened,
or full of argument.

I don’t want to end up simply having visited this world

I first read Oliver with the poet Olga Broumas when I was an undergraduate at Brandeis. Olga encouraged us to read a book of poetry a week and I kept that up through my first semester of graduate school until Hektor took over completely.

Is there any reason for poetry to exist beyond the contemplation of life and death? I am sure there is, but many days I might be unable to hear it, searching instead in its words for that reflection of what I fear and seek myself. Modern poetry can differ from the major themes of ancient death in contemplating in how it communicates its stark simplicity: poets like Ibykos and Mimnermus acknowledge death is all around us while a modern talent like Gwendolyn Brooks turns our ear to the deaths of the unknown in The Boy Died in my Alley:

Without my having known.
Policeman said, next morning,
“Apparently died alone.”
“You heard a shot?” Policeman said.
Shots I hear and Shots I hear.
I never see the dead.

Greek poetry often celebrates the infamous and the famous alike, leaving forgotten the passing of most. (Although there are memorials of even minor figures if you look hard enough.) Brooks remarks on the momentous deaths that fail even to bring us pause. (And in this I shudder to think of the humanitarian disaster being prepared in our American prisons and on the streets for the homeless and unknown.) 

But many poems home in on our personal relationship with death. Death’s coming is unexpected, as Pablo Neruda writes in Nothing But Death  “Death arrives among all that sound / like a shoe with no foot in it, like a suit with no man in it.” Yet, of all things in life it should be fully expected, fully anticipated. We know it is coming: we can prepare.

Perhaps we cannot. Perhaps the end of the life of an individual is ultimately unthinkable. We cannot see our way out of our bodies because they are all we have and no matter how many times we read Plato’s Phaedo the basic assertion—that because we think and exist now we must always have existed and just don’t remember it—does not square with the intuitive knowledge that I did not exist before so I will not exist again. Sometimes, we can embrace this, or at least make it more concrete as F. G. Lorca does in Gacela of the Dark Death, when expanding on the image of death as sleep:

  I want to sleep the sleep of the apples,
I want to get far away from the busyness of the cemeteries.
I want to sleep the sleep of that child
who longed to cut his heart open far out at sea.

But this peace, this sense of surrender is beyond me. When wading into the news these days, I am too often reminded of the words Dylan Thomas wrote for his father in is final years:

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

 

Rage in/Against Poems

Can a Homerist think of rage without thinking of Achilles? If I think back to the notion of the death of the individual as a metaphor for humankind (and the reverse), the Iliad itself is something different for me Everyone knows that Achilles has two choices: he can live a long life, without fame; or he can die young with glory.  But the choice he does not have at all is about whether or not he has to die.

The Rage the poem sings from line 1 is variously anger over Agamemnon’s slight to his honor or his anger at Patroklos’ death. This second cause is his more famous rage, that which kills Hektor and drives much of the action of the poem. On the other side of that rage, as my friend Emily Austin emphasizes in her work, is longing, a desire for what is lost in the form of Patroklos. And Patroklos, like Enkidu for Gilgamesh, is a stand in for the hero himself.

There are 16 books of the Iliad before Patroklos dies. Perhaps a unifying feature of Achilles’ rage is anger over death and life itself? When we find Achilles in book 9, contemplating his own life, he insists “The coward and the noble man are held in the same honor / the lazy man and the one who does a lot die the same.” (ἐν δὲ ἰῇ τιμῇ ἠμὲν κακὸς ἠδὲ καὶ ἐσθλός· / κάτθαν’ ὁμῶς ὅ τ’ ἀεργὸς ἀνὴρ ὅ τε πολλὰ ἐοργώς, Il. 9.320-321). This is typically taken as indicating Achilles’ existential issue with the “heroic code” or Achaean society. But if we take the Achilles from the Odyssey more seriously, the one who tells Odysseus not to  “sweet-talk me about death” (μὴ δή μοι θάνατόν γε παραύδα, 11.488), Achilles’ rage is more like Thomas’. It is that deep, fundamental incredulity that I who am now alive must one day be dead.

And in giving in to rage, Achilles lost much of the time he would have had to be alive—this, is, perhaps one of the lessons of the Odyssey. Perhaps Achilles would have benefited from reading Audre Lorde’s A Litany for Survival:

And when the sun rises we are afraid
it might not remain
when the sun sets we are afraid
it might not rise in the morning
when our stomachs are full we are afraid
of indigestion
when our stomachs are empty we are afraid
we may never eat again
when we are loved we are afraid
love will vanish
when we are alone we are afraid
love will never return
and when we speak we are afraid
our words will not be heard
nor welcomed
but when we are silent
we are still afraid

So it is better to speak
remembering
we were never meant to survive.

 

Creating Something with Poems

One of the more amusing memes to circulate over the past few weeks has been about the accomplishment of some famous people during plagues. Newton invented Gravity! Shakespeare wrote King Lear! The least we can do is put on pants!

The call to use this time of isolation well is predictably met by the objection that such expectations are a little bit unreasonable. (And also conditioned by some of the very dysfunctional aspects of capitalism central to our problems.) The desire to read something long and complex is understandable, but the reality is that our attention spans are fragmented. Why not start small? Why not read a poem?

Now, for me, a ‘poem’ is an expansive term: a song is a poem.  This is especially true in Ancient Greece where song culture was a pervasive part of all life. No one ‘read’ Homer and Sappho in early Greece: they listened, they recited, they returned to it. (So listening is equal to if not better than reading in some ways). Modern high and low culture distinctions have obscured this; they too often deny the title “poem” to creations that do what poems do.

A poem should be defined not by some external aesthetics but by the internally sensed impact of what a poem does in the world: it creates. Our word poem comes from Greek poiêma, related to the verb poieô, “to make”. The Greek noun poiêtês, then, can be seen as “maker, creator”. This is an important meaning to me because poetry creates space, it creates worlds. A poem’s space is that of communion between its audience and others; it helps us see ourselves in humanity through that Aristotelian “identification” and it helps us develop humanity in ourselves, by seeing the world through other perspectives. Poetry should invite us, challenge us, and encourage us to see more than ourselves. And this, for me, is the goal of all reading, to bridge the gaps between our subjective consciousnesses, to help us see others as real and worthy of our attention, worthy of our regard, and worthy of our love.

Poetry in this sense is an act of creation, a reaffirmation of creation, by constituting and then providing access to the commonwealth of human understanding. My favorite metaphor for this from the ancient world is that passage from Plato’s Ion where Socrates describes poetic inspiration as being like a magnet imbuing successive links of metal with its force. The last link in the chain is the audience, the middle link is the performer/medium, the penultimate is the poet/creator and the source is “god/the muses”. For me, that source, that deity, is the human collective, the grand and sometimes random total sum of our shared memory (the Muses!), the shared wisdom and experience that helps us to define ourselves, to situate ourselves within a larger whole.

So I guess what I’m saying is that you should read a poem. Feel something, remember it. Share it with others. Carry it around in your head, in your heart. In these days of uncertainty and isolation, this is one way to be less alone. Or, in a way, even when alone, to be more together.

Aelian, Fragment 187/190 (from Stobaeus 3.29.58)

“Solon the Athenian, the son of Eksêkestides, when his nephew sang some song of Sappho at a drinking party, took pleasure in it and asked the young man to teach it to him. When someone asked why he was eager to learn it, he responded: “So, once I learn it, I may die.”

Σόλων ὁ ᾿Αθηναῖος ᾿Εξηκεστίδου παρὰ πότον τοῦ ἀδελφιδοῦ αὐτοῦ μέλος τι Σαπφοῦς ᾄσαντος, ἥσθη τῷ μέλει καὶ προσέταξε τῷ μειρακίῳ διδάξει αὐτόν. ἐρωτήσαντος δέ τινος διὰ ποίαν αἰτίαν τοῦτο σπουδάσειεν, ὃ δὲ ἔφη ‘ἵνα μαθὼν αὐτὸ ἀποθάνω.’

We will be putting up a call in the next few days for people to send in their own passages, favorite poems, and even posts for the site during the next few weeks. In the meantime, if you want something posted or would like to write a guest post, email me or Erik.

A random list of poets whose work was in earlier versions of this:

Franz Wright, James Wright, Nikki Giovanni, Mark Strand, Linda Gregg, Jack Gilbert, Maya Angelou, Rainer Maria Rilke, W. S. Merwin, Louise Gluck, Emily Dickinson, Robert Frost, e. e. cummings, Adrienne Rich. At some point I just started keeping only American poets of the 20th century, ignoring way too much from the rest of the world but, for what it’s worth, keeping true to my own education. Happy to have further suggestions.

Also, Patrick Stewart is reading sonnets online:

Reader Suggested Poems:

William Dunbar’s Lament for the Makaris

 

Latin Is No Good

George Eliot, The Mill on the Floss (Chp. III):

Tom thought he should rather like to show Philip that he had better not try his spiteful tricks on him. He suddenly walked across the hearth and looked over Philip’s paper.

“Why, that’s a donkey with panniers, and a spaniel, and partridges in the corn!” he exclaimed, his tongue being completely loosed by surprise and admiration. “Oh my buttons! I wish I could draw like that. I’m to learn drawing this half; I wonder if I shall learn to make dogs and donkeys!”

“Oh, you can do them without learning,” said Philip; “I never learned drawing.”

“Never learned?” said Tom, in amazement. “Why, when I make dogs and horses, and those things, the heads and the legs won’t come right; though I can see how they ought to be very well. I can make houses, and all sorts of chimneys,—chimneys going all down the wall,—and windows in the roof, and all that. But I dare say I could do dogs and horses if I was to try more,” he added, reflecting that Philip might falsely suppose that he was going to “knock under,” if he were too frank about the imperfection of his accomplishments.

“Oh, yes,” said Philip, “it’s very easy. You’ve only to look well at things, and draw them over and over again. What you do wrong once, you can alter the next time.”

“But haven’t you been taught anything?” said Tom, beginning to have a puzzled suspicion that Philip’s crooked back might be the source of remarkable faculties. “I thought you’d been to school a long while.”

“Yes,” said Philip, smiling; “I’ve been taught Latin and Greek and mathematics, and writing and such things.”

“Oh, but I say, you don’t like Latin, though, do you?” said Tom, lowering his voice confidentially.

“Pretty well; I don’t care much about it,” said Philip.

“Ah, but perhaps you haven’t got into the Propria quæ maribus,” said Tom, nodding his head sideways, as much as to say, “that was the test; it was easy talking till you came to that.”

Philip felt some bitter complacency in the promising stupidity of this well-made, active-looking boy; but made polite by his own extreme sensitiveness, as well as by his desire to conciliate, he checked his inclination to laugh, and said quietly,—

“I’ve done with the grammar; I don’t learn that any more.”

“Then you won’t have the same lessons as I shall?” said Tom, with a sense of disappointment.

“No; but I dare say I can help you. I shall be very glad to help you if I can.”

Tom did not say “Thank you,” for he was quite absorbed in the thought that Wakem’s son did not seem so spiteful a fellow as might have been expected.

“I say,” he said presently, “do you love your father?”

“Yes,” said Philip, colouring deeply; “don’t you love yours?”

“Oh yes—I only wanted to know,” said Tom, rather ashamed of himself, now he saw Philip colouring and looking uncomfortable. He found much difficulty in adjusting his attitude of mind toward the son of Lawyer Wakem, and it had occurred to him that if Philip disliked his father, that fact might go some way toward clearing up his perplexity.

“Shall you learn drawing now?” he said, by way of changing the subject.

“No,” said Philip. “My father wishes me to give all my time to other things now.”

“What! Latin and Euclid, and those things?” said Tom.

“Yes,” said Philip, who had left off using his pencil, and was resting his head on one hand, while Tom was learning forward on both elbows, and looking with increasing admiration at the dog and the donkey.

“And you don’t mind that?” said Tom, with strong curiosity.

“No; I like to know what everybody else knows. I can study what I like by-and-by.”

“I can’t think why anybody should learn Latin,” said Tom. “It’s no good.”

“It’s part of the education of a gentleman,” said Philip. “All gentlemen learn the same things.”

“What! do you think Sir John Crake, the master of the harriers, knows Latin?” said Tom, who had often thought he should like to resemble Sir John Crake.

“He learned it when he was a boy, of course,” said Philip. “But I dare say he’s forgotten it.”

“Oh, well, I can do that, then,” said Tom, not with any epigrammatic intention, but with serious satisfaction at the idea that, as far as Latin was concerned, there was no hindrance to his resembling Sir John Crake. “Only you’re obliged to remember it while you’re at school, else you’ve got to learn ever so many lines of ‘Speaker.’ Mr Stelling’s very particular—did you know? He’ll have you up ten times if you say ‘nam’ for ‘jam,’—he won’t let you go a letter wrong, I can tell you.”

“Oh, I don’t mind,” said Philip, unable to choke a laugh; “I can remember things easily. And there are some lessons I’m very fond of. I’m very fond of Greek history, and everything about the Greeks. I should like to have been a Greek and fought the Persians, and then have come home and have written tragedies, or else have been listened to by everybody for my wisdom, like Socrates, and have died a grand death.” (Philip, you perceive, was not without a wish to impress the well-made barbarian with a sense of his mental superiority.)

“Why, were the Greeks great fighters?” said Tom, who saw a vista in this direction. “Is there anything like David and Goliath and Samson in the Greek history? Those are the only bits I like in the history of the Jews.”

“Oh, there are very fine stories of that sort about the Greeks,—about the heroes of early times who killed the wild beasts, as Samson did. And in the Odyssey—that’s a beautiful poem—there’s a more wonderful giant than Goliath,—Polypheme, who had only one eye in the middle of his forehead; and Ulysses, a little fellow, but very wise and cunning, got a red-hot pine-tree and stuck it into this one eye, and made him roar like a thousand bulls.”

“Oh, what fun!” said Tom, jumping away from the table, and stamping first with one leg and then the other. “I say, can you tell me all about those stories? Because I sha’n’t learn Greek, you know. Shall I?” he added, pausing in his stamping with a sudden alarm, lest the contrary might be possible. “Does every gentleman learn Greek? Will Mr Stelling make me begin with it, do you think?”

“No, I should think not, very likely not,” said Philip. “But you may read those stories without knowing Greek. I’ve got them in English.”

“Oh, but I don’t like reading; I’d sooner have you tell them me. But only the fighting ones, you know. My sister Maggie is always wanting to tell me stories, but they’re stupid things. Girls’ stories always are. Can you tell a good many fighting stories?”

“Oh yes,” said Philip; “lots of them, besides the Greek stories. I can tell you about Richard Cœur-de-Lion and Saladin, and about William Wallace and Robert Bruce and James Douglas,—I know no end.”

“You’re older than I am, aren’t you?” said Tom.

“Why, how old are you? I’m fifteen.”

“I’m only going in fourteen,” said Tom. “But I thrashed all the fellows at Jacob’s—that’s where I was before I came here. And I beat ’em all at bandy and climbing. And I wish Mr Stelling would let us go fishing. I could show you how to fish. You could fish, couldn’t you? It’s only standing, and sitting still, you know.”

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A Horror of PhD Theses

Edmund Wilson, T.K. Whipple:

I believe that those years at the Graduate School were, apart from his interest in the Lit, rather a barren time for T.K. I think of him always as enmeshed in two interminable Ph.D. theses: one on the influence of the Greek orator Isocrates on Milton’s prose style, the other on the seventeenth-century epigram. There was something rather nightmarish about it: at first there had been only one thesis, which he was never able to finish, and then presently there were two, and I felt that the whole thing was hopeless. I used to go over to see him in the Graduate School, a sumptuous Gothic creation which had just been erected by Ralph Adams Cram in the middle of the Princeton golf links and which was then being broken in. T.K. would invite me to a dreary enough dinner in the immense medieval dining hall, where the faculty sat on a dais and the students filed in in black gowns to the boom of a fugue of Bach from a hand-carved organ loft.

The Graduate School was a luxurious affair, and there was something about that life he liked. But, as a man from Kansas City, he couldn’t help being funny about the suits of armor in the halls; and I never went over to see him without a feeling of desolation. I would traverse the enclosed court, where the new gray stone in its rawness did not in the least remind you of the stone of Oxford or Cambridge. I would ascent the monastic stair, knock at the oaken door, and find T.K. inert in his Morris chair, imprisoned amid the leaded windows, unable to bring himself to get through any more volumes of seventeenth-century epigrams and unwilling or without any appetite to read anything more stimulating. It was as if he had succumbed to some terrible doom from which he was powerless to save himself and from which nobody else could save him. The whole spectacle gave me a horror of Ph.D. theses from which I have never recovered.

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Rectificatory Reading

John Brown, Horae Subsecivae:

Francis Adams was bom in the parish of Lomphanan on Deeside. His father was a gardener, and his elder brother is still a farmer in that parish.

In a memorandum of his literary life now before us, he says : — ‘ As far as I can think, my classical bent was owing to a friendship which I formed, when about fifteen years old, with a young man a few years older than myself, who had enjoyed the benefits of an excellent education at Montrose, which gave him a superiority over myself that roused me to emulation.

‘In my early years I had been shamefully mistaught. I began by devoting seventeen hours a day to the study of Virgil and Horace, and it will be readily believed that such intense application soon made up for any early deficiencies.

I read each of these six or seven times in succession. Having mastered the difficulties of Latin literature, I naturally turned my attention to Greek as being the prototype of the other. It was the late Dr. Kerr of Aberdeen who drew my attention to the Greek literature of medicine, and at his death I purchased a pretty fair collection of the Greek medical authors which he had made. However, I have also read almost every Greek work which has come down to us from antiquity, with the exception of the ecclesiastical writers; all the poets, historians, philosophers, orators, writers of science, novelists, and so forth. My ambition always was to combine extensive knowledge of my profession with extensive erudition.'”

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Futility vs. Utility in Study

John Dewey, Democracy and Education:

In the first place, as long as any topic makes an immediate appeal, it is not necessary to ask what it is good for. This is a question which can be asked only about instrumental values. Some goods are not good for anything; they are just goods. Any other notion leads to an absurdity. For we cannot stop asking the question about an instrumental good, one whose value lies in its being good for something, unless there is at some point something intrinsically good, good for itself. To a hungry, healthy child, food is a good of the situation; we do not have to bring him to consciousness of the ends subserved by food in order to supply a motive to eat. The food in connection with his appetite is a motive. The same thing holds of mentally eager pupils with respect to many topics. Neither they nor the teacher could possibly foretell with any exactness the purposes learning is to accomplish in the future; nor as long as the eagerness continues is it advisable to try to specify particular goods which are to come of it. The proof of a good is found in the fact that the pupil responds; his response is use. His response to the material shows that the subject functions in his life.

It is unsound to urge that, say, Latin has a value per se in the abstract, just as a study, as a sufficient justification for teaching it. But it is equally absurd to argue that unless teacher or pupil can point out some definite assignable future use to which it is to be put, it lacks justifying value. When pupils are genuinely concerned in learning Latin, that is of itself proof that it possesses value. The most which one is entitled to ask in such cases is whether in view of the shortness of time, there are not other things of intrinsic value which in addition have greater instrumental value.

Teachers, Not Specialists

J.E. Sandys, A History of Classical Scholarship Vol. 3:

“As a child, he [Lucian Müller] had lost the sight of one of his eyes, and was very short-sighted; as a boy, he repeatedly read through Zumpt’s larger Latin Grammar and made himself the best Latinist in his school. During his brief experience as a school-master, he proved an ineffective disciplinarian; his head-master, in the hope of improving the discipline of the boys, solemnly told them that they ‘did not deserve to be taught by so learned a master’, and repeated this remark to Miiller, who replied, ‘Yes ! that is exactly what I have told them myself. He held that, for a great scholar, it was essential that he should have, not only wide learning and clear judgement, but also a strong power of concentration on a definite field of labour. It was this that led to his own success in the province of Latin poetry. But he was far from neglecting Greek, for he also held that, without Greek, a fruitful study of Latin was impossible. He was a skilful writer of Latin verse, and insisted on the practice of verse composition as a valuable aid towards the appreciation of the Latin poets. He was impressed with this fact during the preparation of his ‘History of Classical Philology in the Netherlands’ (1865), and he returned to the point in his biographical sketch of the life of Ritschl (1877-8), in the course of which he urged that it was, on the whole, more important for an eminent classical professor to train first-rate school-masters than to turn out classical specialists.”

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Fruitful Latin Study Impossible Without Greek

J.E. Sandys, A History of Classical Scholarship Vol. III – Lucian Müller

“As a child, he [Lucian Müller] had lost the sight of one of his eyes, and was very short-sighted; as a boy, he repeatedly read through Zumpt’s larger Latin Grammar and made himself the best Latinist in his school. During his brief experience as a school-master, he proved an ineffective disciplinarian; his head-master, in the hope of improving the discipline of the boys, solemnly told them that they ‘did not deserve to be taught by so learned a master’, and repeated this remark to Lucian Müller, who replied, ‘Yes! that is exactly what I have told them myself. He held that, for a great scholar, it was essential that he should have, not only wide learning and clear judgement, but also a strong power of concentration on a definite field of labour. It was this that led to his own success in the province of Latin poetry. But he was far from neglecting Greek, for he also held that, without Greek, a fruitful study of Latin was impossible. He was a skilful writer of Latin verse, and insisted on the practice of verse composition as a valuable aid towards the appreciation of the Latin poets. He was impressed with this fact during the preparation of his ‘History of Classical Philology in the Netherlands’ (1865), and he returned to the point in his biographical sketch of the life of Ritschl (1877-8), in the course of which he urged that it was, on the whole, more important for an eminent classical professor to train first-rate school-masters than to turn out classical specialists.”

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