This was my first essay for Dr. Dial-Driver's Literary Traditions course. Apparently it wasn't quite the right type....too wide-ranging, I guess.
I am missing the annual book sale of the Okmulgee Public
Library, since instead I find myself typing this essay. Does this matter? Not
really; it will be held next year, too, after all. On the other hand, it comes
once a year; so, yes, it is disappointing. But more importantly, that
freezing-cold basement is filled with wonderful books, which is a treasure
trove for many different reasons. They are very cheap; also, unlike borrowing
from the library, those bought can be kept permanently. Unlike Kindle books,
they can actually be held, smelled and displayed haphazardly all over the
house. Through them, we are able see the world, as Ray Bradbury’s Faber tells
Montag in Fahrenheit 451: “Most of us
can’t rush around, talk to everyone, know all the cities of the world, we
haven’t time, money or that many friends” (82). But most importantly, books
teach us, as humans are creatures wired for story. This is how we travel from
the scripts of Greek tragedies Oedipus
Rex and Medea to Shakespeare to
the pages of Mark Twain, Agatha Christie and Stephen King; and crossing media,
viewing the latest projects from Pixar, Marvel Studios and Joss Whedon; or
listening to the stories told through song by Garth Brooks, Avril Lavigne, Brad
Paisley and Taylor Swift.
G.K. Chesterton says
in his essay “The Flag of the World” that “we all owe much sound morality to
the penny dreadfuls” (Orthodoxy 72). These
story-fed teachings are not typically explicit; instead, as Martin Cothran
writes in his article “Is Fiction False?” for The Classical Teacher, “They lead us to abstract truth through
concrete reality,” which is shown on a practical level through the plot. Cothran
says in his Classical Teacher article
“The ‘Demon Irony’” that “the tragic irony of Sophocles’ Oedipus led the viewer
to sympathize with the hero who is being victimized by fate”. William Goldman’s
Princess Bride is in this vein,
containing (sometimes harsh) truths necessary to know, as Goldman tells
readers: “Life is not fair, and it never has been, and it’s never going to be”
(187). Of characters like the heroes of the Greek stage and men of action like
Westley and Inigo, Chesterton states, “They gained their morality by guarding
their religion. They did not cultivate courage. They fought for their shrine,
and found they had become courageous” (Orthodoxy
73). Like Leonato in Shakespeare’s Much
Ado About Nothing, we read so that when we encounter a villain, we know him
for what he is, and so may avoid him (V.4.271-272). The merry war Beatrice has
with Benedick is, in the words of The
Princess Bride herself, farmgirl-turned-princess Buttercup: “because
marriage involves love, and that is not a pastime at which I excel. I tried
once, and it went badly” (Goldman 72).
Indeed, that is what Beatrice answers Don Pedro in Act II, Scene 1,
lines 272-276. We must hang on to characters such as these, for In the words of
Harold Bloom, “If you cannot read Shakespeare and his peers, then you will
forfeit memory, and if you no longer remember, then you will not be able to
think” (Fahrenheit 235).
We readers are highly judgmental, as can be seen most days
in English classes during discussions of course materials. This could be because
we live in such a cynical age; it seems to be the only weapon available that
ensures survival in the college environment. In their essay entitled
“Corruptible Power” for the teacher’s guide Fantasy
Media in the Classroom, Frances E. Morris and Emily Dial-Driver write that
“Judgement should be based on experience and on knowledge of human nature – our
own nature and that of others, both of which are a result of experience and
education” (120). We know this, because we have read and consumed film, movies
and TV widely; from British murder mysteries and futuristic space Westerns to
ancient court tragedies and small-town character dramas. This gave us
experience in empathy and other-oriented behavior, in addition to influencing
our personal tastes in entertainment. For many college students, Harry Potter
played a large role as one of the most-popular fictional friends of the past
twenty years. Jim Ford writes in his essay “Fantasy Classics” that even though
the books of British initialed authors like J.R.R. Tolkien and J.K. Rowling are
“rewarding works of literature, they often do not feel like literature to
students” because “a primary purpose of literature is enjoyment”. Hopefully
they would have been introduced to Tolkien, Twain, and Harper Lee before this,
but as works like these are taught, they show that “literature” is not a word
to dread, but instead is a joy to dive into (Fantasy Media 140).
When we enjoy what we read, those books become dangerous,
Cothran tells us in yet another article(“Harry Potter and the Attack of the
Critics”), because they give readers ideas. Some of these ideas could be
explosive; indeed, in his article “10 Ways to Destroy the Imagination of Your
Child”(a condensed summary of his book with the same title), Anthony Esolen points
out that “in the wrong hands, a good book is like a bomb housed within a couple
of red pasteboard covers”. And what about the Revolutionary War? That was
caused by ideas. Going even farther back to the Reformation? Still it was those
explosive thoughts which caused all the change in the political landscape. The
ideas of luxury and gluttony were part of the fall of the Roman Empire.
That potential lethality of that weapon, of a good idea
sparked by literature, increases dramatically the better it’s made, since that
one idea can be pulled all out of proportion. So the key to defusing this bomb
is simple: Supply many more. This way, as the collection of stories we’re
familiar with grows, the bad ideas promoted by one character’s actions can be
counterweighted by the remembrance of a fellow cast member, or even someone
from a different story (“Attack of Critics”). Claudio’s falling wholeheartedly
in love with Hero at nearly first sight is balanced out by Benedick’s more
thought-intensive eventual admittance that he loves Beatrice. Kaylee the
mechanic from Firefly evens out
Eeyore’s gloom. The self-sacrificing courage displayed by Steve Rogers
showcases the cowardice of Prince Humperdinck.
To become a detective like Sam Spade or Jim Rockford in
diving into questions we are we faced with; then to analyze the facts gathered
and making our own conclusion, is ideally what a well-educated student should
be able to accomplish (Morris and Dial-Driver 120). We do this by ranging widely in our readings,
paying particular attention to those unfashionably earnest plotlines where the
hero grapples with an extrinsic conflict. For those types of stories believe
that there is an ordering principle guiding the world; a hierarchy where
greatness(in the sense of goodness) is prized, with its opposite being on the
low end of that scale. With our irony-drenched expectations for modern books
and movies, that hierarchy no longer exists. And it raises the question, given
that annihilation of the rule book of that ordering principle, can there be a
hero any longer?
My answer would be yes….kind of. As a society which no
longer recognizes religion as something to believe in, necessarily, heroes in
the manner of Oedipus are out; since bowing to the will of the gods is deemed
unrealistic. With the exception of Michael Crichton and GMO-protestors, in
general science is seen as the answer to most of our questions. And so the
route our 21st century heroes take is that of the cinematic
superpowered variety, where through quirks or accidents of science, humans gain
special abilities and must use what moral compass they have developed in order
to decide what to do with that power. The best of these films convey the same
principle that Cothran talks of when he states that great literature is not
necessarily that which is reread over and over, or even that contains some
great truth; but instead a great piece of literature always has more layers to
discover, and many more depths to plumb (“Attack of Critics”). Heroes provide
that. Which is why heroism is so vital to enduring literature. And so our task
as readers and writers is to remember keeping these characters and principles
alive long enough to pass their wisdom onto others.
Works
Cited
Bradbury, Ray. Fahrenheit 451. 1953. 60th
Anniversary Ed. New York: Simon & Schuster Paperbacks, 2013. Print.
Bloom, Harold.
“Introduction to Ray Bradbury’s Fahrenheit
451”. 234-235.
Chesterton, G.K.
“The Flag of the World”. Orthodoxy. 1908.
San Francisco: Ignatius Press, 1995. Print.
Cothran, Martin.
“The ‘Demon Irony’”. The Classical
Teacher. Memoria Press. Late Summer 2014. Web. 16 September 2015.
--------------------.
“Harry Potter and the Attack of the Critics”. The Classical Teacher. Memoria Press. Spring 2008. Web. 16
September 2015.
---------------------.
“Is Fiction False?” The Classical
Teacher. Memoria Press. Late Summer 2007. Web. 17 September 2015.
Esolen, Anthony.
“10 Ways to Destroy the Imagination of Your Child”. The Classical Teacher. Memoria Press. Late Summer 2011. Web. 16
September 2015.
Fantasy Media in the Classroom. Ed.
Emily Dial-Driver, Sally Emmons and Jim Ford. Jefferson, N.C.: MacFarland &
Company, 2012. Print.
Ford,
Jim. “Fantasy Classics”. 138-146.
Morris, Frances E. and Emily
Dial-Driver. “Corruptible Power”.105-120.
Goldman, William.
The Princess Bride. 1972. New York: Del Rey/Ballantine, October 1987.
Print.
Shakespeare, William. Much Ado About Nothing. 1599? Ed. Barbara A. Mowat and Paul
Werstine. New York: Simon & Schuster Paperbacks, 1995. Print.