Abigail Tulenko at Aeon Magazine:
Austen’s keen observation extends to her rich aesthetic sensibility. And, yet, beauty figures strangely in a naturalist’s worldview. Darwin, who develops the naturalistic worldview to a new extreme, was deeply troubled by ‘ornament’ in the animal kingdom as a potential threat to his theory of natural selection. In Aesthetics After Darwin (2019), the philosopher Winfried Menninghaus describes Darwin’s decades-long enquiry into ornament as an obsession driven by a central question: how to explain instances of seemingly superfluous beauty within his empirical scientific worldview? In The Descent of Man (1871), Darwin marvels that ‘The development, however, of certain structures’ – such as horns, feathers, and so on – ‘has been carried to a wonderful extreme; and in some cases to an extreme which, as far as the general conditions of life are concerned, must be slightly injurious.’ The peacock’s feathers are superfluous to its biologic fitness; their cumbersome size may actually be antithetical to any one bird’s individual survival. And so their existence seems to fly in the face of naturalistic explanation.
In his early writings, Darwin ‘conceived of beauty first of all as scandalous excess, as potentially self-destructive luxury,’ writes Menninghaus.
more here.
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BLVR: You’ve said you want to honor all the poets “whose rapturous ecstasy overwhelmed even language’s ability to transcribe it.” Many of those, I imagine, are the authors you included as the editor of The Penguin Book of Spiritual Verse: 110 Poets and the Divine. Spiritual and religious writing offers some of the deepest considerations of the ineffable but feels a little taboo in our increasingly secular culture.
The second part, chiefly told from Johannes’s point of view, chronicles the eerie hours after he wakes up one morning, late in his old age. Johannes is a now retired fisherman. His wife, Erna, is long dead. His mornings are “sad and lonely”. Johannes makes coffee. He steps out of the house and everything he beholds seems different somehow. He meets his dead neighbour, and good friend Peter, and they go fishing. Johannes later bumps into his daughter Signe and “is seized with deep despair, because Signe cannot see him or hear him”. At the tale’s close, Peter accompanies Johannes to a place where nothing hurts and “everything you love is there”.
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Does anything ever truly happen in the Messiah? This extraordinarily popular tripartite choral work, first performed in Dublin in 1742, consists almost entirely of saying rather than of doing. Circling around the redemptive power of Christ, it combines declarations with questions, prophecies, injunctions and exhortations (‘Who is this King of Glory?’, ‘Behold, I tell you a Mystery’, ‘Daughter of Sion, shout’, ‘He shall speak’). Full of urgency, tribulation and momentum, the Messiah nevertheless lacks a plot – unless we class the perennial human emotions of hope and fear, and the movement between the two, as dramatic action.
Large numbers of