From “The Shackles of Liberty” … Four Ideas about God

Question with boldness even the existence of a God; because, if there be one, he must more approve the homage of reason, than that of blindfolded fear.

Thomas Jefferson wrote this in a famous letter to his nephew, Peter Carr. So how did this unorthodox Christian react when his daughter Patsy decided that she wanted to become a nun? Nobody really knows, except that he quickly snatched Patsy and her sister Polly out of Pentemont Abbey, the Parisian convent school where they’d been studying.

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Pentemont Abbey, 1898

I play with this episode in my in my award-winning new play The Shackles of Liberty. When Patsy first broaches the subject with her father, he quizzes her about the nature of God …

THOMAS: Tell me—where is God? Where does he live?
PATSY: He is everywhere.
THOMAS: So I can reach out and touch him?
PATSY: No.
THOMAS: Why not? Of what stuff is he made?
PATSY: No stuff at all, Father.
THOMAS: So he is everywhere and yet comprised of nothing. He has infinite height, width, and depth, and yet none at all—a dimensionless geometrical point.

It’s an absurd proposition as far as Thomas is concerned. And yet he is no atheist. He agrees with the teaching of Jesus, that God is a spirit

He knew that spirit is material and real. Thin and light, an ethereal gas perhaps, subtler than our gross bodies, but material nonetheless. I don’t know where to look for such spirit, but that’s of small concern. God’s existence is manifest in the infinite beauty of natural design—from the growth of the flower to the precession of the equinoxes. He is Cause Perpetual, Cause Everlasting.

As Patsy confides to Sally Hemings later in the play, she pretty much agrees with her father. In the convent, Patsy can feel God’s palpable presence …

Father’s right, God is made out of matter, and there you can feel him. You can touch him. You can touch his face. And his face is so gentle. And he’s so full of love. Everybody there feels it. And everybody wants to do his will. They want to love him back. It’s all they ever do. I’ve never been any place like it.

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Yoruba Veranda Post, Brooklyn Museum

What does God mean to Sally, a third-generation slave? Much of the profound theology of Sally’s Yoruba ancestors has been lost to her. But she’s still deeply aware of ashe, the life force underlying all of creation, the spiritual power to make things happen …

I was really little when my nephew Andy was born. Still I had to take care of him best I could whenever my sister was working somewhere else, which was lots of the time, sometimes far away, stitching, cooking, stirring the lye pot boiling, but whenever little Andy began to whimpering, not even really crying, she’d be back on the spot, ready to feed him. Now how’d she always know he was hungry? She said it was ’cause she’d feel ashe moving inside of her, and ashe was what he was hungering for.… Ashe—it’s something everybody’s got moving inside, but you’ve got to keep giving it everywhere to everybody, sharing it always.

As a devout Catholic, Thomas’s European lover Maria Cosway fully accepts the message of John the Evangelist that God is love. But her belief is not as comfortable (or comforting) as one might expect. When Thomas begins to raise an age-old question, she fiercely interrupts him …

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John the Evangelist, El Greco

THOMAS: How can a loving God—?

MARIA: Oh, the old, old question always, and so foolish! Permit of evil? Allow there should be pain, and cruelty, and sickness, the death of your Martha? Listen to what I say, Thomas. He is not a loving God. He is Love. And if you do not understand God, it is for that you do not understand Love. There is nothing—nothing—in the world, or the heaven, or the hell—more—implacabile, more—more terrible or—cruel than Love. There is not justice, there is nothing kind or gentle in Love, none. Love kills all dream of perfection, every hope we have. It is the hardest, coldest thing of all there is.

(The Shackles of Liberty is the winner this year’s Southern Playwrights Competitionsponsored by Jacksonville State University.)

Listening to the stones

detail-for-blog

In September I called this piece Stone Songs. It hung around our house, sounding more like a guttural chant than a song. It was really about patterns, debris, water-polished stones in a stream. Now it’s renamed Streambed and described this way for my entry in the 2017 North Carolina Artists Exhibition sponsored by the Raleigh Fine Arts Society:

Streambed expresses a world full of life
even when it may seem most silent,
mysterious even when it might seem most ordinary.

It was accepted in the show, opening in March. They informed me that “a total of 607 artworks by 353 artists from 105 cities and towns in North Carolina were submitted for consideration this year.  After much deliberation, 72 pieces were selected by our juror, Michael Rooks, Wieland Family Curator of Modern and Contemporary Art at the High Museum in Atlanta.” Maybe it pays to listen. —Pat

The Song of the Hole in the Sky

written for the inauguration of President Donald J. Trump
January 20, 2017

 

Ask me no questions, I’ll tell you no truths:
That’s a motto I’ve tried to live by.
But up yonder there’s a hole in the sky;
And you want to hear how it got there.

I’ll tell you now—but don’t expect
The truth to put you easy.
It’s a tale with neither reason nor rhyme,
And hardly a moral worth learning.

Up on that cliff—see that rubble and glass?
It used to be a lighthouse.
We villagers built her to keep ships safe,
And we took our turns as her keepers.

Don’t take me wrong—we weren’t good souls,
Nor generous nor kindly.
But we took our turns and shared her light,
And her beam shone bright and ample.

Walking one morning where we walk now,
I saw a gang of sailors
Crowding high by the lighthouse rail,
Smashing her windows to pieces.

I stood on this beach and gaped and stared,
Not thinking how to stop them.
I called out loud to ask them why,
And this is what they told me:

“This house is a whore who pays no mind
To what kind of man gets her favors.
This house is a whore who shines her beam
Alike on the good and the wicked.”

“This house is no whore—just a thing,” I said.
“She’s made of rocks and mortar
And means no love, and means no hate.”
That put them in a fury:

“You’ve been to school and read your books
And think you’re better and wiser;
But you’ve not spent your life at sea
So hold your tongue, young lubber.

“Unless you’ve spent your life at sea,
You’ve never had to suffer;
You’ve never been jilted or hurt or wronged,
So hold your tongue, young lubber.

“You owe us your all—your food and your drink,
Your every joy and pleasure,
The love by your side, your child, your abode,
Your every breath and heartbeat.

“We freeze and roast and puke and drown
So you can sleep in satin;
Our arms grow hard and hands burn raw
To keep yours soft and wanton.”

The sailors pulled her lantern loose
And threw it over the railing.
It hit the ground right where you stand,
And smashed into pitiless splinters.

“But the rocks on this cape are sharp,” I said,
“And hidden away at nighttime.
Or don’t you believe in rocks at all?
Don’t you believe in darkness?”

“We believe whatever we choose,” they said.
“And you’d best believe what we do.
We’ve a right to whatever truth we like,
And you’ve got no right to say different.

“The polestar’s got nothing to do with north;
Just choose some gull to follow.
Poxes and scabs don’t come from whores,
But from your books and learning.

“To calm a squall, just whistle a tune;
For a waterspout, snap your fingers.
An iceberg melts with the wink of an eye;
Stir up a fair wind by dancing.

“We’ve been to the edge of this flat world;
Believe it because we say so.
We’ve seen where the ocean drops into space;
Don’t dare to call us liars.”

By then the sailors were smashing the walls
To rubble with their sledgehammers.
As they climbed down the spiraling way,
They ripped up the steps behind them.

“But how will you fare without the light?”
I asked them all. “You’ll surely
Lose your way, steering wild and blind;
You’ll break on these rocks and perish.”

“The light’s no good, it hurts our eyes,
It softens us, makes us feeble.
When we’re not cursed by that blinding glare,
The dark will surely guide us.

“The dark will be true, the dark will stand fast;
The dark never sleeps on duty;
Sailing this way, we’ll look out for the dark;
The dark will lead and we’ll follow.”

They finished their work and left this place
A pile of glass and rubble.
There’s a hole in the sky where the light once shone;
Sailors now use it to steer by.

Is the darkness true? Who am I to say?
The sailors said to believe them.
I’ve never sailed, don’t know what they know;
I’m just a foolish old lubber.

And yet I’ve slaved hard for my food and my drink,
My every joy and pleasure,
The love by my side, my child, my abode,
My every breath and heartbeat.

My heart has been broke and trod underfoot;
I’ve starved, and I’ve been cheated.
Through rotting teeth in its naked skull,
This world tells its lies forever.

And I’m sick of it all, my heart clenches with rage
At legions of apes and hyenas.
But how could I know what those sailors knew?
I’m only a foolish old lubber.

For the dark is strong, the dark stands fast,
And sailors faithfully follow;
And the hulls pile up on these sharp rocks,
And the salt air stinks to heaven.

The hulls pile up on these sharp rocks,
Chewed at by gulls and vermin;
The teeth of the surf bite fast and hard,
And the salt air stinks to heaven.

You and me, we’ve been to school,
We’re deep in books and learning.
The better, I guess, for the work we do now.
But why do you stand there staring?

There’s dead on the beach, more washing in,
And not a corpse fit to bury,
Nor sand enough in this whole wide world;
Keep stacking them high for burning.

© 2017, PlaysOnIdeas

… a subtle energy …

Wim and I both write—for a living and for the joy of it. From time to time I go nonverbal, back to my roots in visual art. These works spring from their own stories and communicate their own messages only partly expressible in words.

SSdetailThis recently finished fiber piece, now called Streambed, is an appreciation of a natural world full of life even when it may seem most arid and still.

Living in the country long ago, I learned that a forest is as much intervals as trees, nature is as much life force as forms, and in empty spaces a subtle energy comes into being.

—Pat

… Life, Liberty and the Pursuit of Happiness …

The word happiness shows up a lot in my award-winning new play The Shackles of Liberty. This isn’t surprising, considering that one of its characters wrote some famous words about it.

For almost two and a half centuries, “the Pursuit of Happiness” has been a treasured ideal of American life. We’re so used to the words that we’ve forgotten what they meant in 1776. At the time, some people thought that the very notion of an inalienable right to the Pursuit of Happiness was downright ludicrous. An anonymous British writer let fly with this burst of ridicule

Did any mortal alive hear of taking a pursuit of happiness from a man? What they possibly can mean by these words, I own is beyond comprehension. A man may take from me a horse or a cow … but how that can be taken from me, or alienated, which I have not, must be left for the solution of some unborn Oedipus.

Jefferson’s intellectual hero John Locke wrote about the natural rights to Life, Liberty, and Property. In borrowing Locke’s phrase, why did Jefferson change a seemingly brass-tacks concept like Property to something vague and fuzzy like the Pursuit of Happiness?

The truth was that the concept of happiness was hardly vague or fuzzy at all in the late eighteenth century. It was as palpably meaningful as life and liberty. In An Essay Concerning Human Understanding, John Locke himself called the Pursuit of Happiness “our greatest good” which “our desires always follow.”

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The Declaration of the Rights of Man and of the Citizen, 1789

Jefferson believed that the perpetuation of happiness was a fundamental purpose of government. In my play, Jefferson proposes this idea to a delegation of French Patriots while helping them draft the Declaration of the Rights of Man and of the Citizen in 1789 …

May we not seize this opportunity to enshrine le bonheur, la félicité, happiness not merely of the one but of the many, the greatest happiness for the greatest number, as the first law of government? Happiness as a widening spiral, an ever-expanding sphere, a blessed contagion, infecting all of the body politic?

Happiness also figured into the science of Jefferson’s time. Although he didn’t write anything about evolution that I know of, I’d be very surprised if he never gave any serious thought to it, at least later in his life.

Charles Darwin’s On the Origin of Species wouldn’t be published until 33 years after Jefferson’s death. Even so, the idea of evolution was already in the air. In 1809, the French naturalist Jean-Baptiste Lamarck formulated a theory of evolution that held sway until it was superseded by Darwin’s theory of Natural Selection in 1859.

But Jefferson was more likely to be aware of the evolutionary ideas of Charles Darwin’s grandfather Erasmus Darwin. An almost unbelievably brilliant polymath, Erasmus Darwin was a friend of Benjamin Franklin and Jefferson’s mentor William Small. He started writing about evolution in 1789, the year in which The Shackles of Liberty takes place.

Happiness had special meaning to Erasmus Darwin. As his biographer Desmond King-Hele put it, his theory of evolution was in some ways a theory of “the survival of the happiest” …

Darwin believed that all creatures and plants enjoy life, with the most complex animals having the greatest capacity for enjoyment. When a creature dies, often because it is no longer capable of happiness, it gives pleasure to a myriad of smaller creatures, so that the sum of happiness is maintained, or increased.

For a time, Erasmus Darwin was considered the greatest living English poet. So I think it quite possible that Jefferson read his posthumously-published poetic masterpiece The Temple of Nature. If so, he surely relished its soaring lines about the Pursuit of Happiness …

Shout round the globe, how Reproduction strives
With vanquish’d Death—and Happiness survives;
How Life increasing peoples every clime,
And young renascent Nature conquers Time.

(The Shackles of Liberty is the winner this year’s Southern Playwrights Competitionsponsored by Jacksonville State University.)