The Role of Beauty in the Formation of Men as Men The Brits have it right: forget Happy Holidays, just wish people Merry Christmas THE MAGI WERE HUMANISTS! Thor’s Day

The

H u m a n i s t

Contents 3

Literature 5 The Edge of Sadness – Br Alphonse Choi, LC 5 Jane Eyre – Br Alphonse Choi, LC 6 Wise Blood – Br Alphonse Choi, LC 6 Decoding Harry Potter – Br Michael Matthews, LC 7 Just Passing Through – Br Dain Scherber, LC 8 The Snowfall - Br Michael Matthews, LC 9 Daddy – Br David Lorenzo, LC 9 Alone in the Night – Br David Lorenzo, LC 10 L’Enfant sur la Tombe – Br Michael Matthews, LC 10 Freedom - Br Loic Chabut, LC 11 Man’s Ruler - Br Joseph Ory, LC 11 Untitled Poem – Br Javier Castellanos, LC 12 Salvation History – Br Kevin O’Byrne, LC 12 Searching your Beauty – Br Cristian Ortega, LC 13 Literature with Calvin & Hobbes 14 Why Your Brain Loves Good Storytelling – Paul J. Zak

Art 16 The Frick Collection 17 St Francis in the Desert – Br Cristian Ortega, LC 17 Allegory of Wisdom and Strength – Br Mateo Arias, LC 18 The Reverie - Br Gustavo Godinez, LC 18 The Four Seasons: Winter - Br Michael Matthews, LC 19 Mistress and Maid - Br Kevin O’ Byrne, LC 19 How To Make A Rose Window - Br Loic Chabut, LC 20 Lord Granville Leveson-Gower, later first Earl Granville - Br Javier Castellanos, LC 20 Girl Interrupted at her Music - Br Alphonse Choi, LC 21 Museum Report from the Museum of Fine Arts The Allegory of Man’s Choice - Br Cristian Ortega, LC

Culture & Thought 23 The Role of Beauty in the Formation of Men as Men - Jared M. Silvey 24 ANTI-AMERICANISM - Br Loic Chabut, LC 25 PRO SPECTACULIS - Br Javier Castellanos, LC 25 What’s in the MET? - Br Javier Castellanos, LC 26 THE MAGI WERE HUMANISTS! - Br Javier Castellanos, LC 26 The Face in the Heavens - Br Joseph Ory, LC 27 The 10 principles of war (and growth in virtue.) - Br Ben Richard, LC 28 Merry Christmas vs. Happy Holidays – An Article on Christmas 29 THE POWER OF CONVICTIONS - Br Loic Chabut, LC 29 A Culture of Suspicion - Br Alphonse Choi, LC 30 Thor’s Day - Br Matthew Duncan, LC

L i t e r a t u r e

The Edge of Sadness By Edwin O’Connor Br Alphonse Choi, LC “Out, out, brief candle! Life’s but a walking shadow, A poor player, That struts and frets his hour Upon the stage, And then is heard no more.” ~William Shakespeare

The Edge of Sadness was one of the best books I have read so far in the humanities. When I first found it, I thought

it was just another Christian novel: preachy, slow and bad plot… but I was wrong. The book takes you to an unnamed city in America. Fr Hugh Kennedy, the main character, is a recovered (or somewhat still recovering) alcoholic. His small and practically non-parish is made up of few men and women, mostly old and dying, who come from nearby towns and counties. The whole book is about the relationship between Hugh and a well known family in the city, the Carmodys, offering interesting ideas and provoking deep thought about the different characters, their own lives and their personalities, while also offering profound insights on human nature, of love & bitterness, family relations, friendship, and happiness.

Two of the many reflections and insights that I was able to draw out from this novel were about the paradoxical significance of life and the meaning and attainment of true happiness.

The first is that our personal lives are seemingly paradoxical, in the sense that, it’s both enormously significant and infinitely insignificant at the same time. The whole book takes place in a big and bustling city, in the midst of a big and prosperous family with lots of differing personalities. Every one of them is essential to the plot. Every one of them is necessary for the other. Every single

person is unique in their own way, but each one completes and supports the other. This is the enormity of their significance. But this enormity is just a tiny little speck compared to the rest of the world, and is even less compared to the universe. It’s insignificant.

The second insight was that of true happiness. The book is called the edge of sadness for a reason. The author uses it only twice in the whole book, and it’s always to complete the meaning of happiness. On earth, happiness is never fully achieved. No human being is completely and un-regrettably content with life. This idea was not presented in a pessimistic way, but it was so realistically represented that I couldn’t help agreeing. It’s not an escape for men who are saddened and depressed, but rather an invitation to seek the higher things, the things which last, and for now, to be satisfied with the imperfections and shortcomings we have to face in our daily struggle to live a happy life. Amidst the good deeds we perform, the wise choices we make, and the prudent decisions we take, nothing is perfect, and that includes our happiness. In our world, a happy life is always tainted with the edge of sadness.

Literature 5

Jane Eyre By Charlotte Bronte Br Alphonse Choi, LC “Laws and principles are not for times when there is no temptation; they are for such moments as this, when body and soul rise in mutiny against their rigour; stringent are they; inviolate they shall be.”

I picked up this novel after reading Emily Bronte’s Wuthering Heights, and not surprisingly, I found it almost as engaging as her sister Emily’s greatest work. Besides the obvious fact of being an 18th century romance novel, there were many insights that I got from the book.

In brief, the novel is about a plain young woman named Jane Eyre, who after suffering through the loss of her family and the hardships of a miserable boarding school, finds herself as a governess (a tutor or private teacher in modern terms) to a rich man’s daughter. It is from here that the story takes off into a whirlpool of happiness and misery, where unimaginable joys and tragic losses accompany the reader as he delves into the mystery of human love, sacrifice, perseverance and the determination to reach the final goal; the fulfillment of Jane’s enduring aspirations and undying dreams.

Here are some inspirational quotes from the book:

“a wanderer's repose or a sinner's reformation should never depend on

a fellow-creature.”

“It is far better to endure patiently a smart which nobody feels but

yourself, than to commit a hasty action whose evil consequences will extend to all connected with you.”

“It is not violence that overcomes hate--nor vengence that most

certainly heals injury.”

“it is weak and silly to say you cannot bear what it is your fate to be

required to bear.”

Wise Blood By Flannery O’Connor Br Alphonse Choi, LC

Wise Blood is a story about a 22 year old young man, Hazel Motes, who desperately battles against his faith.

Eventually he ends up abandoning his traditional values and decides to preach a “Church without Christ”, effectively making a fool of himself. He has a strange encounter with a phony, but initially convincing street preacher, named Asa Hawks, who goes around pretending he’s a blind and pious old man, calling out for repentance and conversion. He also ends up falling under the spell of his degenerate 15 year old daughter, Lily Sabbath Hawks, whom he hangs out with just to prove that a good and wholesome man like him doesn’t need a Church with Christ and all his rules and restrictions.

I felt that it was a strange story, but also a fascinating one, since it didn’t necessarily portray a virtuous and wholesome man… Hazel’s not the exemplary saint or the undaunted hero, but really, just a loser and a fanatic. Honestly, it wasn’t the best book I’ve read, but it was interesting to read and learn from O’Connor’s Southern Georgian style, and

also to see a book that was written in the 1960s. The style’s pretty modern, and it made me think of Harper Lee’s To Kill a Mockingbird, which also takes place in a Southern state in the US(I think South Carolina…).

I think that if I got anything valuable from this book, it was the experience of reading an American author that is well-known for her creative writing and a profound understanding of her culture. She’s realistic and practical, doesn’t try to force higher values or meanings to her plot that are more than necessary, which makes it easier for you to understand her ideas clearly, since she doesn’t use obscure symbols and indecipherable hidden messages.

It was overall, a good and satisfactory reading, not too exciting, but not one that drags on and on.

Literature 6

Decoding Harry Potter Br Michael Matthews, LC

Growing up I always thought that

Harry Potter was evil. The fact of Witches and magic in normal life didn’t ring well with me. Yet I never read the books to form my own opinion.

Finally this past summer in Vermont I

decided to read the whole series. I tried to be as open- minded as possible instead of reading with my pre- conceived biases. What I found was quite different from what I expected.

I enjoyed it through-and-through,

cover-to-cover. Yet not only was it an exciting read, but I saw things that I maybe would not have seen if I read it close- mindedly.

I found five main points I thought

summarized this fantasy: 1. the maturing of three kids 2. Our choices define who we are. 3. Self- giving love is true love. 4. Evil is never justified. 5. The power of Friendship.

I won’t expound on these points here,

but if you read these books for the first time (or another time) keep these points in mind and you will get something out of it.

Just Passing Through Br Dain Scherber, LC

A man stepped off the train one day, A man whom no one knew, In light brown hat and simple suit, A man just passing through. Clean-cut and combed with peaceful gait And gentle, serene eye, He went down to the station’s court To watch the passersby. He sat alone upon a bench, And pulled out from his vest A precious worn out paper scrap, Kept safely at his chest. And there he sat to watch them pass, Each one, a book of life. Their faces, styles, and unknown joys, Unknown their lot of strife. A thousand looks, a thousand dreams, A thousand thirsting hearts, Waiting with no one to share Until their train departs. A thousand names unknown to him Downcast did pass him by, Journeying toward unknown home: To where? For what? And why?

A thousand worlds under those eyes, A hidden history Of joy and pain, of loss and gain, To him a mystery. The fresh, young widow, mourning still, With tender child in hand. The couple old who’ve weathered time And still together stand. The slick, intent young businessman Walks quickly unaware, Busy with a thousand thoughts As if no one was there. The woman who parades herself As object to be bought. The man enslaved to substances, Who shares the beggars lot. She walks and sips her coffee cup. He yells into his phone. She fears a man’s malicious gaze To wait ‘til she’s alone. He holds her hand and gaily walks, Just glad to have her near. Another rushes through the crowd With eyes replete with fear. The poor, the rich, the glad, the sad, The empty, the content, The sick, the strong, the worried one, Whom life’s hard hand has bent. He watched them all as they walked past, Some with purpose clear: A vivid goal, a destined end, A home, a family dear. >>

Literature 7

For them the train was just a means, Which homeward did them send. A hope, a fire which did inspire Them to their journey’s end. Others passed with sunken eye. He thought where would they go. “I take the next train out of here. To where, I do not know.” An endless, hopeless, joyless trek, Drained of strength and drive, With no one to support their pain. They journey to survive. Everyone would board a train. One fact for all was true: Regardless of the knowledge, they Were all just passing through. Our man watched on as each soul passed, Each universe, each book, Each peaceful smile, serene with love, Each anguished, empty look. He wished they all could look erect, That more than shoes may see Of all those souls that they passed by, Each one with silent plea. Each with silent plea indeed, Yet at the end of day, Their journeys all would come to end, And sleep drive woes away. Then what of all the day’s events, While they the world did roam,

Whether it was consciously, At last they’d all get home. And when at home no difference makes If pain was deep or not. The struggles of that journey will Forever be forgot. So thought our man as he did watch Each one his train pursue. So different, yet each one of them Was still just passing through. At last the train’s high whistle blew, And “All Aboard,” did sound. The time had come for his train to. He too was homeward bound. He put away that faded scrap Of paper in his vest, An image of his wife just died, Whom silently he missed and cried, For she, his own life’s warmest pride, Had gone to ever rest. He smiled and sighed and grabbed his bag And donned his faded hat And walked out slowly from the court, Where he had pensive sat. And up the train he mounted with A peace that’s deep and true, For each man’s lot may rise and fall, And journey’s woes will him enthrall, Yet in the end, it’s worth it all, If we’re just passing through.

Literature

The snowfall

Br Michael Matthews, LC

I walked about in winter’s cold

And pondered o’er the songs of old;

That sing of Christmas dance and glee

And worm the heart eternally.

Upon my cheek a speck from heaven fell

First one, then two, then more than I could tell,

I stare and find a dancing veil of white

I stand in awe at the beauty of the site.

This time of year it comes and swiftly flows

How unique, only God in heaven knows;

What goodness and what beauty to recall

In the grace and peace of the snowfall.

8

Literature

Daddy

Br David Lorenzo, LC

“Dad is gone.” My mom had said, But I was sure he was not dead.

He had just left for a little bit. There was no way that he would quit.

And soon enough Dad did come home

But the light of his eyes no longer shone. Something had happened; of this I was sure

But my young tender heart was still too pure.

That night I heard one slam the door.

Mom said we would see Dad no more. And then I knew the worst had come,

Upon our lives sadness’ course had run.

When time had passed pain still remained

I missed my Dad; for him I prayed

I could not sleep. I just could weep. My soul was stuck in abyss so deep.

Since Dad had left mom never smiled.

It seemed as if he really died. If just one day he would appear

Then life again would be so dear.

But now two years have since gone by. I’m here with mom on a special night.

It’s Christmas time and we try to laugh. But to true mirth there is no path.

But then we hear a knock on the door.

We hadn’t expected anyone more. I open it slowly and turn into stone.

For I saw once again that Daddy’s eyes shone.

Before I can speak any words of my own

I feel the warmest hug I’ve known

And then I see my dream came true

That Dad is really home for good.

Alone in the Night

Br David Lorenzo, LC

The door was shut and stillness reigned

The sweet “good night” brought dreadful pain

For my mom’s sweet kiss meant the start of the strain

Between me and the night till it struck day.

Fear seized my mind and tore at my heart Fantasy and reality no longer apart

For under the bed and in littlest nooks Lurked ghosts and ghouls found only in books.

I closed my eyes quick but to no avail

For between me and my fear there could be no veil. I hid beneath sheets and started to pray

That the phantoms that haunted would all go away.

A lifetime it seemed I was caught in this storm

I began to wish I had never been born. I no longer had faith in the dawn to come

I was sure that my short little life was done.

Then all of a sudden I heard slow steps Creep across the hall beside which I slept.

A chill snuck down my spine; what could I do

If Death’s dear friend was bringing my doom?

I wondered whether to scream out in fear Or tremblingly wait for my visitor so near.

I heard a voice down in my heart deep

Say it was time alas for me and Death to meet.

The door’s handle turned and its hinges squeaked

My fear then pushed me forward to speak. The intruder was here and I left with no choice.

I said, “Who’s there?” in a weak trembling voice.

In response to my question a sweet voice replied

“My son, have no fear. It’s okay. It’s me.”

Hope entered my soul and night was made bright For darkness was dispelled by my mother’s dear light.

9

L’Enfant Sur La Tombe

Br Michael Matthews, LC

Little girl, may I ask you why Upon this cold and stony tomb you lie? Could you not have had another rest,

Besides this white and icy chest?

Have you been left here all alone? I would have helped you, had I known.

Is there no one left to care for you? It breaks my heart to think it true.

Yet still and sleeping you lay there

As though you have not a care; In your dreams there is not but good

And you would stay there if you could.

What comfort can I give to you? I cannot pass and say adieu!

I leave my coat to keep you warm, It might prevent you any harm.

When you awake, I shall return

And take you where your heart has yearned; But Sleep you now in gentle peace

And hear the sweetness of the breeze.

Your days of dark shall finally end And you shall start your life again. I shall bring you to your new home,

A better place than you have ever known.

Literature 10

By Br Alphonse Choi, LC

I dreamed of a kingdom,

A speck in the sea

An island so lonely,

So lonely, but free.

Her shores were inviting,

The sand golden bright

Her skies, pure and spotless,

No clouds in their sight.

Her trees firm but gentle,

Their dance shall ne’er cease

Her flowers oriental,

Their scent in the breeze.

No man had e’er lived there,

Not one could I find

In quiet enveloped,

In silence confined.

A kingdom so perfect,

The land of my dreams

Was still yet imperfect,

For lonely was she.

I dreamed of a kingdom,

A speck in the sea

The mountains protecting,

The valleys beneath.

Ah yes, but this kingdom,

Was lonely inside

No king as her ruler,

No aides at his side.

No kingdom was greater,

Seen under the light

No darkness was safer,

Than hers in the night.

Yet greatness was tainted,

Her loneliness dire

A picture well painted,

But none to admire.

I dreamed of a kingdom,

A speck in the sea

An island so lonely,

So lonely, but free.

Not one will e’er find her,

Fore’er she shall be

A world lost and waiting,

Waiting for me.

I D r e a m e d o f a K i n g d o m

Literature

Man’s Ruler

Br Jospeh Ory, LC

D sharp no hero conquers

A spear he craves for thrusting

A note cannot assail or plunder

What’s good to soldiers without rusting?

A man is tall and bearded

A brute be all the better

He shuns his fate and falls defeated

While others laugh and break their fetter

To kill a man with axe, good

Yet harness scores with speeches, great

For longer weapons shorten stature

The truly strong avoid the bait

Short lives we know do fall in cycle

There’re pharaohs, huns, napoleons caesars

who fight and die and lose momentum

Great feats lie out of reach of buzzards

I think of Michelangelo

Da Vinci Galileo and Bernini

Great men remembered as they settle

Without a spear they proved their mettle

Br Javier Castellanos, LC

Early in the night I followed a star,

That seemed very distant, And, yet, not too far. Charmed by his light

I set on a journey; I headed to the sky.

In the next ev’ning

I slept, and I dreamt Of wanders, and wonders,

And valuable wealth; Despite all the warning,

I built up a fortune, I stopped in my journeying

Because I stopped scorning

silk, marble, and gold.

As one more day passed, I sought for a king

When unto the battle

Myself I did bring. My goal I had cast,

E’en more that a castle, than the stars more vast.

I wanted to fight

For something o’ercoming

All this that dies fast; And follow will I,

Through nights never slumb’ring, A daylight that lasts; My king has the might

to, all stars controlling, real riches keep fast.

11

Literature

Searching your beauty

Br Cristian Ortega, LC

Your beauty Lord let me see Holy Father of the whole creation

Soil, trees, clouds and the freshness of the breeze Lift up your thoughts to this, his contemplation.

I gaze the reflection of your beauty But I am restless to see you face to face

Guide this soul and I will see your beauty Let happiness be found in the furnace of your love.

Salvation History

Br. Kevin O’Byrne, LC

In light the Wood was made which with the fallen fruit was fraught

the water ceased and to the Wood both wood and bow was brought

no land no lamb a test complete Wood laid upon the son

for flocks and wives the Wood in hand the duel with God was done

from bond blood Wood and water pass to law that gold did break

the king did dance with golden Wood but ewe the man did take

in time fulfilled true lamb on Wood

poured forth first fruits of water good

12

Literature with Calvin & Hobbes

By Bill Waterson

COMMUNICATION

Why Your Brain Loves Good Storytelling

by PAUL J. ZAK

October 28, 2014 It is quiet and dark. The theater is hushed. James Bond skirts along the

edge of a building as his enemy takes aim. Here in the audience, heart rates increase and palms sweat. I know this to be true because instead of enjoying the movie myself, I am measuring the brain activity of a dozen viewers. For me, excitement has a different source: I am watching an amazing neural ballet in which a story line changes the activity of people’s brains.

Many business people have already discovered the power of storytelling in a practical sense – they have observed how compelling a well-constructed narrative can be. But recent scientific work is putting a much finer point on just how stories change our attitudes, beliefs, and behaviors.

As social creatures, we depend on others for our survival and happiness. A decade ago, my lab discovered that a neurochemical called oxytocin is a key “it’s safe to approach others” signal in the brain. Oxytocin is produced when we are trusted or shown a kindness, and it motivates cooperation with others. It does this by enhancing the sense of empathy, our ability to experience others’ emotions. Empathy is important for social creatures because it allows us to understand how others are likely to react to a situation, including those with whom we work.

More recently my lab wondered if we could “hack” the oxytocin system to motivate people to engage in cooperative behaviors. To do this, we tested if narratives shot on video, rather than face-to-face interactions, would cause the brain to make oxytocin. By taking blood draws before and after the narrative, we found that character-driven stories do consistently cause oxytocin synthesis. Further, the amount of oxytocin released by the brain predicted how much people were willing to help others; for example, donating money to a charity associated with the narrative.

In subsequent studies we have been able to deepen our understanding of why stories motivate voluntary cooperation. (This research was given a boost when, with funding from the U.S. Department of Defense, we developed ways to measure oxytocin release noninvasively at up to one thousand times per second.) We discovered that, in order to motivate a desire to help others, a story must first sustain attention – a scarce resource in the brain – by developing tension during the narrative. If the story is able to create that tension then it is likely that attentive viewers/listeners will come to share the emotions of the characters in it, and after it ends, likely to continue mimicking the feelings and behaviors of those characters. This explains the feeling of dominance you have after James Bond saves the world, and your motivation to work out after watching the Spartans fight in 300.

These findings on the neurobiology of storytelling are relevant to business settings. For example, my experiments show that character-driven stories with emotional content result in a better understanding of the key

points a speaker wishes to make and enable better recall of these points weeks later. In terms of making impact, this blows the standard PowerPoint presentation to bits. I advise business people to begin every presentation with a compelling, human-scale story. Why should customers or a person on the street care about the project you are proposing? How does it change the world or improve lives? How will people feel when it is complete? These are the components that make information persuasive and memorable.

My research has also shown that stories are useful inside organizations. We know that people are substantially more motivated by their organization’s transcendent purpose (how it improves lives) than by its transactional purpose (how it sells goods and services). Transcendent purpose is effectively communicated through stories – for example, by describing the pitiable situations of actual, named customers and how their problems were solved by your efforts. Make your people empathize with the pain the customer experienced and they will also feel the pleasure of its resolution – all the more if some heroics went in to reducing suffering or struggle, or producing joy. Many of us know from Joseph Campbell’s work that enduring stories tend to share a dramatic arc in which a character struggles and eventually finds heretofore unknown abilities and uses these to triumph over adversity; my work shows that the brain is highly attracted to this story style.

Finally, don’t forget that your organization has its own story – its founding myth. An effective way to communicate transcendent purpose is by sharing that tale. What passion led the founder(s) to risk health and wealth to start the enterprise? Why was it so important, and what barriers had to be overcome? These are the stories that, repeated over and over, stay core to the organization’s DNA. They provide guidance for daily decision-making as well as the motivation that comes with the conviction that the organization’s work must go on, and needs everyone’s full engagement to make a difference in people’s lives.

When you want to motivate, persuade, or be remembered, start with a story of human struggle and eventual triumph. It will capture people’s hearts – by first attracting their brains.

Paul J. Zak is a professor at Claremont Graduate University and

President of Ofactor, Inc.

https://hbr.org/2014/10/why-your-brain-loves-good-storytelling/

Literature 14

2nd Year

Humanists’ visit

to The Frick

Collection

One of the paintings that struck

me the most at the Frick Collection

museum was the Allegory of Wisdom and Strength, by Paolo Veronese (1528- 1588). As many of Veronese’s works, the date of this painting is uncertain, but it was most likely painted about the year 1580 with oil on canvas and it is 214.6 x 167 cm big. It belongs to the Late Renaissance period and early Mannerism and Veronese painted it together with the Allegory of Virtue and Vice. It has been proposed that the two were commissioned by the Emperor Rudolph II.

This painting called my attention not only because of its grand size but also for its magnificent meaning which is summarized at the bottom left of the painting: “All it is vanity”. Two main characters occupy almost all of the space of the painting: Hercules and Wisdom. What first calls the attention is the beautiful woman who is looking at the sky with a celestial gaze representing Wisdom, and secondly a muscular, half-naked man next to her looking at the ground: Hercules, who represents Strength; thirdly, we can appreciate some other elements such as the clouded sky, a little landscape,

two ancient columns behind Wisdom, a very luxurious curtain, a little angel, and finally some jewelry scattered on the ground.

All the organization of this work is expressing the supremacy of Wisdom over Strength. Hercules represents the inferiority of Strength with his gaze down on the jewelry meaning his concern about earthly and imperfect things. The perfection of Wisdom can be perceived through her eyes looking at the sky representing her concern for spiritual and eternal matters. Even their clothes are claiming the great difference that it is to be shown between these two virtues: Hercules covers his body with an animal skin, whereas Wisdom wears a majestic royal dress. The angel on the ground looking up to Hercules is trying to distract him from his earthly interests and possibly trying to make him look up to heaven; on the other hand, Wisdom steps on a globe, most likely the earth, as if she were saying: “Those who are wise concerning the essential things are able to have control even over the world itself.”

Br Mateo Arias, LC “Allegory of Wisdom and Strength” By Paolo Veronese

Br Cristian Ortega, LC

St. Francis in the Desert, ca. 1475-78 Giovanni Bellini Oil and tempera on panel Panel: 49 1/16 x 55 7/8 in. (124.6 x 142 cm) Image: 48 7/8 × 55 5/16 in. (124.1 × 140.5 cm)

This painting was in one of the galleries in the Frick Collection in New York. It is located in the opposite side where the famous painting of St. Thomas More is. First of all, the size of the painting took my attention (124.6 x 142 cm). St Francis of Assisi is one of my favorite saints. This painting was telling me something about him, and so I wanted to

know what it was. This painting represents the moment in which St Francis received the stigmata, the wounds of the crucifixion. St Francis is in ecstasy, in a moment of deep contemplation before God. I liked this painting a lot, because it represents a mystical experience in the life of St Francis.

Bellini (ca. 1430/35 – 1516) was an artist who lived during the Renaissance. His style pretty much follows the Renaissance Style. Bellini strives for the perfect representation of human nature, emotions, spiritual inside, harmony and mathematical principles.

Some of the elements of this painting are: colors, there are a variety of colors (between the colors of the cave and the colors in the upper left side of the painting). The cave has no vivid colors and it is dark, but in contrast we can see the blue color of the sky and a vivid green color in the grass and the trees. The great amount of hues (variety of colors) is fundamental in this painting. They give life to the painting. Figures in the painting: St Francis, the skull, a book (probably the bible), sandals, flowers, trees, an animal in the background, birds and the city. All these figures have their purpose in the painting. For example, the skull and the rocky ground represent the shortness of

life and the immortality of things. The empty sandals recall the moment when Moses was in the presence of God and God told him: “put off the shoes from your feet: for the place where you are standing on is holy ground”. These elements also represent the Franciscan way of living. Emotions: Bellini was able to express St Francis’ feelings. St Francis is suffering, but also he accepts this suffering because he knows that this is coming from Heaven.

St Francis in the Desert is a great masterpiece. It helps us to perceive a mystical experience and to know one of the most important moments in the life of one of the greatest saints of the Catholic Church. This is a masterpiece also because it achieved the standards of the Renaissance painting.

Art & Art History 17

Art & Art History 18

Br Gustavo Godinez, LC The Reverie Jean-Honoré Fragonard 1790-91 Oil on canvas 125 1/8 x 77 5/8 in.

While visiting the Frick collection, I had the opportunity to contemplate Fragonard’s most famous work of art called “The Progress of Love.” I almost instantly felt attracted to these paintings. Maybe it was the magnitude, the pastel colors, the details, the magnificent depiction of nature, the beautiful settings or the playfulness that caught my attention initially, but as I listened to the explanation and carefully contemplated every detail, I realized that the author was really going into the heart and emotions of the woman depicted in the paintings. He was telling us her story.

“The Reverie” was an additional painting made by Fragonard after the first four panels were rejected by Mme Du Barry, for she thought they represented to closely her amorous adventure with King Louis XV, and feared to be shamed by Parisian society.

If the first four panels were suppose to represent the adventurous love between a woman and a man, this last one definitely represents the consequences of that adventure. In the first four pictures,

the sky is clear and blue. In this one, it seems that it is the end of the day, and so it seems to signify the end of the adventure. The woman looks confused and discouraged, and her face expresses that search to fill her heart but it was to no avail. On top of the pillar, cupid is shown pointing in one direction, maybe the direction of true love, but she is looking in the opposite direction, showing how she has been searching for love in the wrong places. The colors of the trees are also very different from that of the first paintings. Here the leaves have changed color to red, autumn season has begun and winter is coming, signifying what is happening in her heart. In the end, her amorous adventure did not give her what it promised.

Br Michael Matthews, LC François Boucher (1703 - 1770) The Four Seasons: Winter, 1755 Oil on canvas 22 3/8 x 28 3/4 in. (56.8 x 73 cm)

Francois Boucher, a Rococo period painter painted this image for the lintel of a door. This painting is one of a set of four designed for the same purpose. The set is called The Four Seasons. Its theme is very common for the Rococo period,

namely a love scene. Yet the manner it is portrayed it very interesting.

The painting contains the common frivolity of its period. We can see the bright and soft colors of the clothing and the background. In the dress of the girl; though it is winter, she is wearing a summer dress with the upper part of the body exposed, yet it is lined with fur displaying that the fur is not for warmth, but for extravagance. The sled is a piece of art in itself. It is shown almost as a royal carriage transformed into a sled.

It is curious that the man pushing the girl is not dressed in the common French winter clothing. He is dressed in the contemporary Russian winter style. At the time Boucher painted this image the French people were fascinated with Russian culture and fashion. Boucher displays the man as such to show that he was up to date with the “fad” of the day.

It is interesting that the couple is not going through a nice garden in a villa, but in the country by a rustic mill, as if they were part of the normal day-to-day people. I really didn’t know what to think of this when I saw it; but maybe Boucher was trying to show a connection between the higher and lower classes. Or maybe he was trying to display the stark difference between the two, and how the higher class blesses the lower class with its presence.

I was struck by the beauty of this painting and the theme made me curious as to its meaning and origin. Unfortunately, there was no fascinating story behind this painting. Yet it can be appreciated in itself for its lightheartedness and beauty, very typical of the Rococo style.

Br Kevin O’ Byrne, LC Mistress and Maid, 1666-67 By Johannes Vermeer (1632 - 1675) DIMENSIONS: 35 1/2 x 31 in. (90.2 x 78.7 cm) MEDIUM: Oil on canvas The Frick Collection, New York.

Breathtaking in real-life, this image of Vermeer shows all of the points of a masterpiece by the great Dutch artist.

Theme: Genre painting in Dutch art was very popular. In such painting the characters themselves were no longer the most important part of the piece, but rather, the action taking place. The scene itself takes on meaning based on what the characters are doing, not on whom the person represented is. Here, the genre of “love letters” expresses romantic love, a theme used very often in Vermeer’s works. There is a mystery surrounding the piece that has defied all attempts to completely understand it.

Positioning: The position of the women in the scene is typical of Vermeer: looking on towards the left corner of a room. The viewers are hidden from the front, as if eavesdropping on the characters. What is new and intriguing in this scene is the lack of distinguishable background features, an element which Vermeer usually used to bring added meaning to his works. This may suggest that Vermeer had left the work unfinished.

Color: As usual, Vermeer uses color to attract the eyes to what is most important in the piece. The maid blends with the background, except for her face, which, by contrast, reveals even more her expression, adding much to the interpretation of the piece. The main character is the woman in yellow and our eyes are immediately drawn to her

brightness and soft innocence revealed through the colors.

Texture: Seeing the painting in person is a wonderful experience because of the striking detail in the fabrics, both in the clothing and tablecloth. Vermeer has captured the lady’s yellow and white overcoat perfectly. Even individual fur hairs can be seen with light reflecting off them. The effect he uses in the painting is quite stunning.

Light: The element in which Vermeer excelled the most is perhaps his use of light. This painting is no exception. The light reflecting off of the mistress’ pearl earring is a perfect example. Vermeer also captures the light glancing off of the glass containers on the table, the handles of the wooden box as well as the fabrics as mentioned above. This effect is amazing and is one of the reasons why Vermeer is so highly esteemed. It is thought that he used a technique known as Camera Obscura to create these effects. Shadows are portrayed well in the clothing and are used to create perspective. For example, the angle of the table’s shadow on the mistress’ overcoat gives a perfect line towards the letter in the maid’s hand. This draws great attention back to the genre of the painting: the love letter.

Suspense: The scene presented is one of suspense; the mistress is presented a love-letter. From whom? What does the letter say? Why is there a mysterious smirk on the maid’s face? Why does the mistress hold her hand to her mouth, pausing from her writing, with an expression of surprise and concern? Vermeer was a master at creating this type of scene with unanswered questions. He brings it about by perfectly capturing the inner psychology of his characters, particularly those of women. This is one of the reasons why his works are timeless and constantly bring its viewers back for more.

The Painting in the Frick: This is the last painting which Mr. Frick collected before he died. He counted it among his favorite acquisitions.

Art & Art History

How To Make A Rose Window Br Loic Chabut LC

Incommensurability (≈ a number impossible to write in fraction) always fascinated mathematicians. How many books have been written about the golden ratio (φ) or researches made about the number π? In medieval times, the incommensurable properties of a square to its diagonal fascinated scholars, they even thought that the universe was made out of them. So, to imitate the universe’s order in cathedrals, gothic architects chose them.

This is how they applied the incommensurable relation of a square to both its diagonal and a circle to Romanesque rose windows (which until then did not follow these mathematical principles): taking the diagonal of a square as a side of another one gives a square of double area. Squares of such double area, as well as the inscribed circles of all these squares, give a sketch which shows the exact position of the different elements of the rose window. As an example we may use the north rose window of Chartres.

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Girl Interrupted at her Music Johannes Vermeer Dutch Baroque

c. 1658-1661

Oil on canvas 15 1/2 x 17 1/2 in. (39.3 x 44.4 cm.) The Frick Collection, New York

Br Alphonse Choi, LC

Johannes Vermeer is the master of

mystery. When I first came across this painting, I was drawn by its austere but mysterious scene. In this beautiful work, Vermeer depicts a young woman interrupted in her music. Some say that it’s a music lesson that she was engaged in, but others say that it’s a depiction of courtship with a musical scene as its unifying theme. Whether it is a musical lesson or a romantic date, three things struck me as I contemplated this painting. First, the various artistic techniques used by Vermeer; Second, the combination of profundity with simplicity; and lastly, the

mysterious gaze of the young girl, mixed with a hint of melancholy and surprised curiosity.

First of all, it’s evident that Vermeer enjoys painting simple scenes of ordinary life. The underlying theme is somewhat unclear at first, yet it’s speckled with hints of what it might be about. Vermeer seems to like this mysterious atmosphere that looms over most of his paintings. The painting contains characteristics that are distinctly Baroque, such as the perfection of the proportions and the realistic depiction of the figures and objects. He skillfully applies chiaroscuro in the left corner of the room which contrasts with the light breaking in through the window. Finally, Vermeer’s attention to detail is exhibited in the various objects depicted in the room: the chair, the music score, the window, the instrument… all of which are refined to meticulous perfection.

Second, Vermeer is able to unite the simple and ordinary Dutch scene with a pensive atmosphere. At first sight, the painting doesn’t strike you as a grand masterpiece or an extraordinary accomplishment. It’s plain, uncomplicated and the figures depicted are easily recognizable. However, a thoughtful and mysterious mood emanates from the work. Vermeer achieves this by having the girl face the viewer, engaging the eye of the beholder. In a sense, Vermeer allows his girl to be caught by surprise, giving you a chance to enter into her mind and to probe the secrets of her soul.

Finally, something that struck me the most was the mysterious gaze of the young lady. Maybe it sounds awkward, but whenever I find myself in front of a painting, I really enjoy having “staring contests” with the figures which

I dare to challenge (even if they always win). I look into their soul and they gaze into mine. What do I discover? To be honest, I’m not exactly sure, but it causes me to wonder. What is it exactly that the girl is doing? Why doesn’t her teacher notice? Is she surprised or just curious or both? It’s not a glare or a squint, but a steady and innocent gaze. What is she trying to say? Maybe it’s the sudden embarrassment at discovering someone staring at you and catching him a little too late. Maybe she’s annoyed and wants you to stop rudely interrupting her lesson. So many questions remained unanswerable even after long moments of contemplation. I think that this is the beauty of “artistic mystery,” namely that no matter how long you ponder the scene, the painting still remains somewhat of an enigma. Hours of contemplation cannot unveil its hidden mysteries.

In short, this work fascinated me because of its profundity and thoughtfulness. It’s a scene steeped in mystery, which no one seems to be able to solve. Reflecting on the look of the young woman, I was struck by the individuality and subjectivity of every person, the treasure of emotions contained in the human heart, and the hoards of private, personal and intimate secrets that are carried to the grave. I was moved by this deep mystery which Vermeer so effectively illustrated in his paintings; and for a moment I was glad that there would never be a perfect solution to the unfathomable mystery of the girl interrupted in her music.

Yale Center of British Art, New Haven

Lord Granville Leveson-Gower, later first Earl Granville (1804-1809) Sir Thomas Lawrence (1769–1830)

Oil on canvas, 92.5 x 51.5 inches (235 x 130.8 cm) Br Javier Castellanos, LC

Great Britain was built by men who

where noble, not only by birth, but also by leading their noble lives. Lord Granville is an example of the former, while Sir Thomas Lawrence was a noble of the latter group. When he painted this portrait, Thomas Lawrence was passing through a difficult financial situation, and he was not knighted yet. Through his constancy and hard work he would eventually be recognized. And after receiving the title of knight he would travel to Aachen to paint diplomats and sovereigns. From 1820 until his death he was the president of the Royal Academy.

Lord Granville appears in this painting at his early 20s, when he started to work as the British ambassador to Russia. The light hits especially his face and hand, and the cloud behind him shines as a halo of a prosperous present and future. He is dressed almost completely in black, and there is a red curtain with the shield of his family. Why black clothes? He is holding a very high position, and he has to wear very elegant and formal. Maybe he took things seriously even at his young age. Why red? Perhaps because he had a fiery character; supposing this can explain why he

had so much success in politics. In any case, red and black make a beautiful color “setting” for a noble man. Some characteristics of Neoclassicism are still present, like the column, the stable but not rigid position of Lord Granville, the smooth combination of colors, especially with the contrast of black and white (clothing and clouds) and red and blue (curtain and sky).

Lord Granville is not a relevant historical character; Sir Thomas Lawrence is not an outstanding painter of the level of Turner, nor is this a masterpiece of art. But what called my attention was the expression of the face of Lord Granville. He is looking straight at the viewer, almost daring, yet joyful; confident and peaceful, ready to take on his new duty as ambassador. There is something intriguing about this look: Leveson-Gower seems to be alive, breathing in front of you, and telling you without words, “Nice to meet you; yes, I am English, and I came here as an ambassador”.

One of the goals of portrait painting is to make people travel in space and time in order to “greet” a person. It does not matter if this person is rich or poor, noble or peasant; each person is a “masterpiece” of God, and portraits express this in a beautiful way.

Art & Art History 20

15 Art & Art History – Other Museums

Br Cristian Ortega, LC Museum Report from the Museum of Fine Arts Title: The Allegory of Man’s Choice Artist: Frans Franken The Younger

“Who are all these people?” “What is the

meaning of this painting?” These and other questions came to my mind when I saw this painting. I was fascinated and I desired to understand it fully. The title “Allegory of Man’s choice” made me consider the reality of the fact that man has to make real choices in his own life. The artist desires to represent the reality of freedom in man. Man is able to choose between virtue and vice.

Frans Francken the Younger painted the Allegory of Man’s Choice in 1635; he was a Flemish Baroque painter.

In general the painting contains a lot of movement, emotion and life. Each character is different; they display specific features in their bodies, the individual aspect is clearly shown. Vivid colors are used. Most of the figures are bright, except for the lowest part in the center around Satan. The painting is full of symbolism. The lowest level is representing Hell; figures like Satan, the monkey king and Cupid are represented

there. Next to Satan in two columns are Adam and Eve, representing original sin, and the serpent is beating them, to Adam’s rib and to Eve’s breast. There are two figures standing up at the corners. They represent death and time.

In the middle level, right side the sensual pleasures are represented. Venus is clearly distinguished among the female creatures. In the center the life of virtue is represented. There, Athena the goddess of wisdom is standing, pointing at Heaven, and the theological virtues are also represented (from right to left): charity, faith and hope. Hercules is standing next to them, because of his heroism and great value. On the left side different figures are there representing the vanity of the world. The upper part is Heaven where angels are playing music serenely.

Classical architecture is shown and linear perspective is well described on the left side (next to the figures of the sensual pleasures).

Lastly I would like to point out that Francken illustrates a meditative man. In our lives we find ourselves many times in this state. Man is surrounded by different options but above all, he must consider the consequences of his choice. There is only one decision, and it leads man into the everlasting life or into the horror of Hell.

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By Jared M. Silvey Once upon a time in the Western world, exposure to “the

beautiful” was an important element in the development and formation of men. The ideal man was also an educated man, and an educated man knew something about, and appreciated, good art, good music, good literature, and good taste (and perhaps also good wine). The Romantics of the nineteenth century added to this resume a man who had the capacity to be intoxicated by the beauty of nature. Many of the great works of art and music of that time period reflect this. Then there was the “gentleman” who valued beauty in speech and in writing, even if his language sometimes descended into a dry, mechanic artificiality.

By contrast, today’s tech-savvy, fast-food fed, materialistic West places more emphasis on money, things, efficiency, and instant gratification, and as a result the importance formerly placed on that seemingly impractical entity referred to by dusty old philosophers, intellectuals, and artists as “the beautiful” has greatly diminished. Archbishop Fulton J. Sheen captured this modern mentality well when he said that "Saints are impractical; artists and philosophers are impractical. The world has room for only the practical.” Who today, in the hustle and bustle of modern life, has the need for a quiet walk through woods in the early morning just as the sun begins to pierce through the fog and nature’s symphony is at its peak? Complicating matters even more is the irony that the modern man, in his attempt to “protect” his “manliness,” shies away from any lengthy talk about “the beautiful” in a floppy attempt to protect his masculine toughness—while in reality demonstrating just how shaky that masculinity really is.

Despite this, it is as true today as ever that encountering and contemplating beauty should be an integral part of the formation of men, and especially of Catholic men. This is because, first of all, beauty helps to direct the male drive to aggression and fighting to a worthy end. It is often the case in the animal kingdom that the male is more aggressive, more inclined to fight, and heavier built than the female. These

characteristics are also generally found in our own species. Because of this, in both the animal and human domains it is usually the male who takes up the role of primary guardian and protector. As an example of the human male’s stronger inclination to aggression and fighting, we can refer to the fact that men have traditionally dominated highly aggressive sports, even in societies influenced by modern feminism. A survey of the athletic departments of American colleges and universities will show that almost every sport has both a male team and a female team … with the notable exception of football.

This stronger inclination to fighting is not, in itself, automatically directed to either good or evil. It has the potential to go either way. It can be directed to good, as in the case of fighting to defend one’s country against unjust aggression, or to evil, as in the cases of murder, rape, and other acts of unjust violence.

Beauty here enters the picture by helping to direct this male inclination to aggression and fighting to a worthy end. This is because real beauty is always found wherever there is truth and goodness, and it strengthens the attraction these other two values exert on the human person. It moves a man to defend whatever is good and true. The beautiful maiden is a potent spell which carries the knight into the field of battle. It can be said that there is no one the enemy should fear more than a man who enters into battle with his lady in his heart. Beauty makes men fighters because it first makes them lovers.

Beauty also teaches men to appreciate the being of things rather than merely their utility. The strong male tendency to deal with problems in a more or less logical, strategic, categorical manner can cause being to recede into the shadow in favor of an almost exclusive focus on that being’s usefulness and practical purpose. Beauty counters this tendency and reveals something as worthwhile simply because it exists and because it is what it is. A man who has been pierced by the beauty of his bride will die for her not because his death will be of any practical use to himself, but because through her beauty (not just physical but also personal and spiritual) he has seen through a window to her intrinsic value and to the fact that she is worth dying for simply because she exists and is who she is.

Culture & Thought 23

The Role of Beauty in the Formation of Men as Men

On a lighter note, another result of this tendency of beauty to put being into relief is the aversion many people feel to touching something beautiful. Unnecessarily messing with a well-decorated Christmas tree seems to do violence to its “immaculate perfection.” Walking out into the newly-fallen first snow of winter is done with regret, since it destroys the picturesque scenery of that “winter wonderland” which greeted the early riser. In all of this beauty turns our attention from something’s utility and practical use to the wonder of the thing itself.

A third reason for beauty’s importance in male formation is that it reveals and brings to life another level of existence beyond mere survival—this being the spiritual domain. Man is not a mere brute. Animals eat, drink, and sleep to live, and pretty much live to eat, drink, and sleep. The caveman of old, on the other hand, though having much of his time consumed with procuring the necessities of life, still found time to produce works of art, such as the stunning cave paintings found in Lascaux, France. It is partly because of this drive for a more fully human life that has led to the emergence of civilizations, economies, and the division of labor. The human person is simply not satisfied with a circular existence of seeking out and procuring the necessities of life in order to merely go on seeking out and procuring the necessities of life.

This being the case, men, as the traditional providers of the family, can easily get caught up in a careerist mindset and become over-immersed in the temporal necessities of life. In addition, modern education has shifted from an emphasis on the liberal arts (a traditional venue for introducing people to the beautiful) to an often exclusive focus on career-oriented education. We are rapidly becoming a society of animals, where serving our needs and our wants is the over-arching narrative of our existence.

It is the role of beauty to shake men out of this mundane existence (or, to borrow a phrase from C.S. Lewis when he was referring to joy, to “administer the shock”) by making them confront a reality above and far more wonderful than a life of simply existing. Ultimately, beauty is a pointer directing us to the reality of the Beatific Vision. This vision will ultimately be an experience of simply taking in the beauty and wonder of the Triune God. In an analogous sense, it is an experience like a couple who from time to time simply want to sit and gaze at each other, taking in the being of the other. Such an experience does not really have a practical or survival purpose. Still, it is experiences like this that are arguably the most fully human, and which remind us that we, as

human beings, do not live by bread alone. The practical question now arises as to how to integrate this

exposure to beauty into the formation of men. This task falls partly on the men themselves, and also on those charged with the formation of boys and men (whether this formation be educational, spiritual, liturgical, or cultural). For those involved in education, this means giving the liberal arts a certain pride of place, even while also ensuring that students receive a practical, career-oriented education at the same time. Cultural formation, while acknowledging the importance of popular culture, will also entail exposure to the greatest works of the human spirit. Boys and men should also be encouraged to leave the computer, IPad, and video games behind and go out and experience the greater thrill of nature and the outdoor life. Finally, Catholic men who are preparing to be ordained to the priesthood will see it as their mission to celebrate mass in such a way as to give their congregation a glimpse of the transcendent beauty of God.

Exposure to beauty is a necessary component of the formation of men as men. As the boys and men of today are setting the stage for a disturbing future course of manhood through the proliferation violent video games and movies, pornography, consumerism, and materialism, the time has come to “administer the shock” of beauty by revealing to the world the radiance of truth and goodness. There is an element of truth to Dostoevsky’s famous line that “Beauty will save the world.”

Sent by Br Kevin Obyrne from the Crisis Magazine; DECEMBER 18, 2014

Editor’s note: The illustration above painted by Eleanor Fortescue Brickdale appeared in The Book of Old English Songs & Ballads (ca. 1920). Jared M. Silvey received his BA in philosophy in 2012 and his MA in theology this past May from Holy Apostles College and Seminary in Cromwell, CT.

http://www.crisismagazine.com/2014/role-beauty-formation-men-

men

Culture & Thought

ANTI-AMERICANISM By Br Loic Chabut LC

Weeks ago at snack, I saw the exaltation of American nationalism: patriotism taught to kids on goldfish-package. “That’s so American” did I tell Br. Sebastian laughing. An exaltation of pseudo-freedom and equality on a food package for kids, this made me think on totalitarian indoctrination… Br. Sebastian and I began to speak (at the novices’ greatest scandal) about the package’s message: “we are all created equal…” Of

course we did not mean half of what we said, saying stupidities around a good snack, but we both kept thinking about it. Are we really created equal?

CCC 369 states firmly that we have been all created “in perfect equality as human persons. Now equality can be wrongly interpreted and greatly misunderstood. Equality is not identity. Equality is not equalitarianism. Man and woman can be equal even if there are professions with more men than women, or vice versa. Men are simply not women and women not men. It is not against equality that women cannot be priests, as people today think. Each gender has its proper role, and when St Paul writes Eph 5, telling women to be submitted to their husbands, he is not misogynic!!

Today, many, and even Catholics and priests, think, out of an equalitarian mind, that men and women should have the exact same rights, in everything. But in a first place, all men are dependent on their mothers, who gave them life. Also,

maternity puts men under the dependence of women, since pregnancy is specific to them. From there comes a particular right of the woman, that men just don’t have. Mulieris Dignitatem (18) expresses it rightly: “It is the woman who "pays" directly for this shared generation, which literally absorbs the energies of her body and soul. It is therefore necessary that the man be fully aware that in their shared parenthood he owes a special debt to the woman. No programme of "equal rights" between women and men is valid unless it takes this fact fully into account.”

I like being naïve and think that setting idealized criteria of equality, namely that of creation, into the easy to penetrate mind of Goldfish eaters kids led to think of equality as an absolute value and to push it instinctively into equalitarianism. My Mom tends to think that all of today’s moral evils come from America. Well, she’s perhaps not so wrong…

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Culture & Thought

PRO SPECTACULIS Br Javier Castellanos LC

Dum cogitabam hoc de opusculo scribendo, putavi hunc texere Latinis litteris, in honorem Augustini ceterumque Patrum. Memini autem fratrum mei, nec volui eos alio cruciato subire, immo eos quibusdam iucundis verbis frui ac delectari. Pergam enim Angla Lingua.

And so, I was wondering what to talk about after a semester of Latin and Greek Fathers of the Church. Three days ago, I received an inspiration: Why not about sports?

During this semester we translated with Dr Mercier some passages of Tertullian. He wrote one treatise on the Catholic attitude towards sports, De Spectaculis. Put in a nutshell, he says that we ought to abide to what the Scripture says: “Happy is the man who has not gone to the gathering of the impious, who has not stood in the way of sinners, nor sat in the chair of pestilences” (Ps 1:1). He goes on explaining that sports are as idolatrous as burning incense, that they make us live out of love for pleasure, that they lead to outrage, lust, cruelty, etc. They are the beginning of sin, and the worst poison for the Christian spirit, being a sweet one. Moreover, he states that it is unnatural to love or hate without reason, and similarly to rejoice or sadden with others’ affairs that don’t concern us at all.

And precisely this last argument is the one I want to talk about. Is it really bad to suffer or enjoy with others? Even if the rest of the reasons against sports are right, this one sounds everything but Christian. Where is that Christian charity, that goes outside of oneself, and reaches others? Where is that compassion towards the poor and the sick? Where is that love that rejects all envy towards others’ success? Furthermore, I think our suffering and happiness here on earth affects very little the life of God; and yet, He had mercy on us!

OK, Father Tertullian, it might be true that, in most respects, watching sports and plays is not exactly a Christian pleasure, but I prefer to follow what Father Basil said: accepting from them only that which is useful, you should know that which ought to be overlooked. ( St Basil, Address to young men, Ch. I)

What’s in the MET?

Br Javier Castellanos LC I remember when I was a first year humanist, looking forward to visit the Met after the first semester. I was caught up in excitement since I heard we were going, and the emotions grew bigger because I did not know what to expect there. But in any case, I would rather be prepared somehow to take better advantage of my first cultural visit. And I think the first year brother would appreciate some help. I will offer three tips in order to enjoy it better. And I promise that the excitement will grow even more than it did with me! First fact about the Met: it’s huge. There are three floors, ten different collections, and thousands of works of art. Be aware that there are going to be more visits to the museum, and each time you can focus in the area you studied during the semester, or simply the one you like. Second fact about the Met: there’s more familiar works than you think. Be ready to get surprised at the sculptures or paintings that you recognize, or the ones you can analyze, relate to the class, or your art paper, or your own experience. Any museum becomes more interesting when it has something to tell you personally. Third fact about the Met: it is something interactive. Not all the paintings are in exhibition or in the same place. There are even some special exhibitions every season. It is an engaging experience when you think and discuss why the director decided to place an artist next to other, what is the theme of each room, repetitive elements, etc. Take advantage of what you can see only once! I hope these three facts are of some help for the brothers. It is also important to remember that the teams are meant to foster good discussions, so don’t hesitate to comment on what you like, what sparked your attention, or why you don’t understand that particular painting… I know that there are some brothers who, honestly talking, don’t find elation in art. In that case, you can always go to the Arms and Armors Collection… And as a conclusion, whether you are looking forward to the visit or not, remember the words of Shakespeare: “No profit grows where is no pleasure taken.”

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Culture & Thought

THE MAGI WERE HUMANISTS! Br Javier Castellanos, LC

A Spanish journalist wrote the following about the Epiphany: …Los Magos son signo de que, en todo bien cultural y social, en toda adquisición de la verdad mediante la ciencia

experimental o la reflexión, en toda obra artística bellamente ejecutada, en toda admiración por la hermosura de la creación o por la bondad de una acción humana, brilla una luz, la cual, si fuéramos capaces de seguirla hasta el final, nos conduciría hacia Cristo. (David Amado Fernández, Palabra de Dios para la Epifanía del Señor, Misal Magnificat, Vol. 12, no. 2, p. 89)

One idea that comes out from this text relates to all of us as humanists. Many people share with the Magi that eagerness in following the innumerable lights that have shone through History, Art, Literature and other subjects. Going to the core of Philosophy and Theology converted St Augustine; Medieval Art taught generations the Catholic faith, C. S. Lewis started to change with Greek tragedy. And we study all these means of evangelization, all these stars that can lead men and women to Christ!

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The Face in the Heavens Br Joseph Ory, LC After orbiting the Earth in the first manned flight into space, Yuri Gagarin disputably uttered the famous words: “I looked and looked but I didn’t see God.” My guess is that his statement was probably satirical and light in context, but there is still something about his testimony that intrigues us. Our hearts are pricked by Gagarin’s disappointment because we

have all felt what he felt. We have all longed to know where God dwells and to see His face. We have this notion instilled in us from our earliest days that God is above us and hell is below us. Certainly, in order of significance, we are ranked between the two. The present human race is caught in a great drama, teetering between falling towards God and falling away from God. While we are living, we are caught in the middle of this tug-of-war between good and evil. Although we use our natural environment to explain this hierarchy of goodness, the metaphor should not be taken literally. Although we picture hell as below us, we do not fear digging holes or mining for precious metals in the Earth. Neither do we think that those who have a higher vertical leap are closer to God by that fact. We know that Satan and his demons do not reside in the molten core of the earth, but we say they are below us because that fiery pressure cooker would be a fitting place. By the same token, we look up at the sky to find God because there is a sense of space,

freedom, power, and grandeur in the arches above – a fitting place for the abode of Goodness and Beauty. If God did dwell past the clouds and we could reach him by going higher in altitude, then surely stopping at Earth’s end would not suffice. One would have to continue on the journey until the universe’s end to meet its Creator. Modern science has not found the way to get a human being – or anything else for that matter – across such a large expanse, so Gagari surely cannot expect to meet God without having traveled even a single light-year. Although all of our notions seem petty and childish when examined too closely, there is still some value to looking up at the stars and marveling at the grandeur of God. We may never encounter Him face to face on this Earth nor in the latest rocket ship; but in a certain sense, we can see His reflection in the concaved mirror that we call the sky. We do not have to travel to Earth’s end to meet our Creator. If we simply tilt our head and drop our chin, we can see him anytime.

The 10 principles of war (and growth in virtue.) Br Ben Richard, LC 1. Selection and maintenance of aim. (clear, simple, and closely adhered to.) *We need to have a goal, something we are striving for, which all of our actions are leading us to (Ex. To be a holy Religious and bring souls to Christ) 2. Maintenance of morale. (have faith in the cause) *Use all the means of perseverance the Legion gives us. We need a deep prayer life. 3. Offensive action. (gain the upper hand) *There is a real spiritual battle going on. We must constantly be moving forward in virtue, we can’t give into mediocrity or worldliness in our religious life, or else the forces of evil will soon gain the upper hand and destroy our religious life. 4. Security. (Don’t put yourself in a position where you can be taken advantage of) *The obligation we all have to avoid the near occasion of sin. 5. Surprise. (spontaneity and initiative) *This is very important to keep your spiritual life from being stale and boring.

6. Concentration of force. (at the correct place and time) *Try working on every virtue that you need to grow in at the same time, I tried it before and didn’t get very far. You have to see what the key virtues you need to work on are and then take them on one at a time. 7. Economy of effort. (the need to assess the amount of effort required to cover all requirements) *Even though we need to concentrate on one virtue at a time, we also can’t abandon all the virtues we already have in our attempt to gain another one. We have to continue practicing all the virtues as we gain more. 8. Flexibility. (The ability to adjust the plan to actual circumstances, but not abandon the “goal”, Just search for a way to reach it by another approach) *When you strive to gain a virtue, sometimes you will see that one way doesn’t work very well, so you can see if there are better ways to gain that virtue. Never lose sight of the virtue you are trying to gain though. 9. Co-operation. (The necessity of close team work) *This one is pretty obvious. We need community life and we need to be very close to our superiors. The devil wants to separate us from others because it is easier for him to tempt us if we are alone. 10. Good administration. (organization of the day to day running and the means of support) *This is very important, if we are well organized we will be able to do a lot more work for the kingdom and souls. 11. God’s grace.

Culture & Thought 27

The Brits have it right: forget Happy Holidays, just wish people Merry

Christmas

By Heather Long A colleague made a curious statement when she returned

to New York recently from London, "Everything was so Christmas-y there."

At first glance, it's a bizarre statement. New York and London (among other cities in both countries) are decked out for the holidays. Who hasn't heard of the Rockefeller Center Christmas tree or London's Oxford Street lights and mince pies? And that's to say nothing of the famous storefront windows all aglow.

But look beyond the seasonal window treatments at Macy's and you'll quickly find a different story. In corporate America, everything is "happy holidays". Ads refer to "holiday shopping", end-of-year office soirees are "holiday parties" and kids' school concerts this time of year are "holiday concerts". You get the idea.

Even at the Guardian, when we put up our Christmas tree in the New York office, the first thing one of our interns said was, "Where's the menorah?"

Advertisement It's the "politically correct" question. Evergreens and

menorahs go hand in hand in most public places in the US. Some offices have gone a step further on the PC scale and simply done "winter wonderland" themed decorations. They have silver, gold and white lights aplenty, but no red and green anything. In short, snow globes are fine, Santa is not.

An annual survey that came out last week revealed just how conflicted Americans are on whether it's better to say "Merry Christmas" or "Happy Holidays" this time of year. Half of America prefers one term and half the other. However, in a business or public setting, nearly two-thirds of those under 30 feel it's better to wish someone the more generic Happy Holidays. It's about trying to be polite in an increasingly diverse society.

I see the trend just by looking at the greeting cards I've received this year in the mail and how people are signing off their emails. The majority wish me something along the lines of: happy holidays, peace, warm wishes for the New Year, and my least favorite, "seasons greetings". The cards have nice images of mittens, ice skates and snow covered landscapes (not to mention photos of cute kids), but not much overtly Christmas-y. They offer me everything jolly and merry this time of year, except a Merry Christmas.

I'm not to saying that Christmas isn't prominently visible in the states. There are still plenty of Santas and pine trees for sale here, and a drive around the neighborhood, especially in parts of America outside of the major cities, and you'll see people go all out with the Christmas lights and decorations outside their homes (there's even a TV show about it). But even people who are clearly celebrating Christmas in their homes tend to be conflicted about what to say in the workplace or at school. No one wants to offend anyone or make assumptions about people's religious beliefs, especially at work.

Advertisement In America, the term "Christmas" still has a strongly

religious connotation to it (despite what years of Santa and the "buy buy buy" mentality have done to the spirit of holiday). That's only further reinforced by claims on Fox News and other conservative outlets that there is a "war on Christmas" and, by extension, a war on the Christian faith. Now wishing people a "Merry Christmas" almost has a political tone to it.

What's striking to anyone who has spent time in the UK is that everyone says Merry (or Happy) Christmas. I've even had Muslim friends in the UK send me cards and write Merry Christmas on my Facebook wall. The saying in Britain seems to have lost its religious meaning. People say it regardless of whether or not they celebrate Christmas, and businesses feel no remorse whatsoever at openly calling things "Christmas sales" or "Christmas parties".

Of course, I am making broad generalizations. As a British friend reminded me, the UK has been celebrating Saturnalia long before Christmas, and plenty of places such as Birmingham have generic Winterval celebrations. Christmas isn't ubiquitous.

But by and large, in two diverse societies with similar roots, Americans have opted to try to find neutral sounding holiday greetings, while Brits have chosen to make Christmas as open to everyone as possible.

Personally, I think the Brits have this one right. I'd rather be able to wish people a Merry Christmas this week without having to worry if they'll be offended. I'd also rather have people wish me Happy Hanukkah, Happy Diwali or Eid Mubarak when those holidays come around. It makes me feel more a part of their celebration. Let's call each holiday what it is instead of trying to lump Jewish, Christian and even the Kwanzaa ritual together. If we need a generic holiday, we've already got the New Year, which touches all people and cultures.

Telling someone to "enjoy your holiday" or worse, sending them "seasons greetings" are cop-outs. Instead of feeling more diverse and inclusive, it just feels like someone took a bit of sparkle out of the December festivities.

http://www.theguardian.com/commentisfree/2013/dec/2

2/better-to-say-merry-christmas-or-happy-holidays

Culture & Thought 28

Culture and Thought 29

THE POWER OF CONVICTIONS Br Loic Chabut, LC

“The Church is intolerant in its principles because she

believes, but tolerant in the practice because she loves. The enemies of the Church are tolerant in their principles because they do not believe, but intolerant in the practice because they do not love.” R. Garrigou-Lagrange.

This quote, though uttered many years ago, applies with greater strength in today’s world. The debate about the homosexual marriage reflects what Garrigou-Lagrange stated: the Church cannot accept it because she believes firmly in the truth and beauty of the marriage and therefore cannot call it marriage. But she tries and helps homosexual people, because in the heart

of Christ she is full of compassion and love. Those who tolerate homosexual marriage are generally not even ready to care for them; they have neither convictions or beliefs, nor compassion or mercy: they are fighting against the Church, trying to impose relativism against convictions, and individualism against love.

The preaching of tolerance, so much liked by politicians today, says basically “if you believe something, whatever it might be, I’m happy for you, but don’t bother me with it”. It is a preaching very much influenced by relativism and it is destroying man at his very roots. Indeed, it brings man to lose meaning for their lives, convictions and identity (in Fr. Patrick’s words “if you don’t know what you want, […] you don’t have a life”). People today are zombies. In comparison, by having strong convictions and being able to answer for and justify them, we’ll be really living. Our lives will really be impactful, for they will see a man, not a zombie. It is our job to help human beings to respond to the yearning they all have for purpose in their lives.

A Culture of Suspicion Br Alphonse Choi, LC

We live in a confused world. No one is suspicious and everyone is suspicious. We say we trust each other, sign contracts, establish trust committees, shakes hands enthusiastically, exchange small talk and smile together in front of the camera. Yet we live in a place where no one really trusts each other.

Why? Maybe we just don’t believe that people will keep their part of the deal… we don’t trust each other very much. What are we afraid to lose? What are we afraid to gain? What IS our greatest fear?

What are we afraid of? We’ve become a society afraid of wholesome relationships; a world afraid to trust; a people afraid to love and be loved. We’ve become a culture of suspicion.

A relationship of trust is not made by signing contracts, or merely smiling at one another, or much less by hosting barbeque parties together in a gesture of friendship.

It’s not about saying just the right words at the right times. It’s not about small talk or saying nice and kind things to each other.

Neither is it about preserving your image, your fame, your reputation.

“A relationship without trust is like having a phone with no service. And what do you do with a phone with no service? YOU PLAY GAMES.”

Is there a way to heal this wound in our societies? Or is it a hopeless endeavor, something that we’ll just have to put up with and endure patiently until we’re all dead…?

No, there is a solution, and that’s to trust. We need to reach out past “my” world and into the realm of the “other,” bridge the gap, close the abyss, to love what’s common and to accept our differences. With hopeful and determined hearts we will ultimately be able to heal the numerous and painful scars of a distrustful world.

Culture and Thought

Thor’s Day Br Matthew Duncan, LC He wields his mighty war hammer, Mjölner, over his head. Muscles rippling, he lets loose a mighty bellow that shakes the hearts of his enemies to the core. When he brings down his mighty hammer, the blows he inflicts are so powerful that they sound as peals of thunder when they impact upon his enemies’ skulls. Thor, the mighty Germanic and Scandinavian god of war and thunder, demolished everything and everyone in his way. The Germans and Vikings who upheld Thor as their model of a true man were not easily converted by the early Christian missionaries. The Vikings raged, pillaged, and plundered much of Christendom in the Dark Ages. Attempts for peace were thrown aside. For the Vikings, peace belonged only to the weak. The Christian God, this Prince of Peace who died nailed to a tree, was the epitome of weakness. Yet by the early middle Ages, the countries of the Germans and Vikings were the greatest adherents to Christendom. How did these ravaging seafarers turn to Christ? They converted when their greatest god was vanquished. The vanquisher of the god of war and thunder was none other than the lowly monk, St. Boniface. Deep in the heart of the Black Forest grew a tree so mighty in stature, so grand in girth, that it could belong to no other god than Thor. For centuries legends were told of men who tried to cut down the tree, or who chose to blaspheme Thor. In every case these men were struck down by a thunderbolt on the spot. Surely the same would happen to this puny monk who stood before the mighty tree with his axe. Boniface lifted the axe over his head as a dead silence fell upon the crowd. They told him the legends, he knew the expected outcome. Did his faith waver? Was his brow wet with the perspiration of anxiety? He made the first swing full of faith in the true God; the only sweat on his brow was the sweat of labor. After the tree came crashing down, the people used the lumber to build a church. After the triumph of the Prince of Peace over the god of war, Thor’s day (Thursday) became a day of adoration for the true God Almighty.

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