Meditation 52

Happy New Year, dear reader!

As I sit here writing my first meditation of this year, I am gazing at two candles. One has a steady flame and the other a weak and flickering one. They arouse in me the conflicting emotions we are going through in this third lockdown. The weak and wavering flame brings to my mind the horrific trail of tragedy and suffering caused by the lethal and contagious second virus and all the fears and uncertainties that accompany it. The steady flame reminds me that vaccines have now arrived to combat it accompanied by a solid hope for the future. In these bleak times, mirrored by the gloomy weather, we must remember St Francis’ words: ‘All the darkness in the world cannot extinguish the flame of a single candle’ – the candle of hope.

Since the year began, I have been getting through lockdown by reading books given me by friends at Christmas. A rare instance has occurred in my reading: chapters in a book I am reading have been mirrored by current events. The book is ‘Shakespeare in a Divided America’ by James Shapiro. Shapiro is an English professor at Columbia university and has written several popular books about Shakespeare and his plays as well as fronting his own BBC series. In his book he explores the enduring influence of Shakespeare on his country, and not only on its actors, directors and writers but also on its politicians and different classes of society. It is a fascinating read and shows how productions and approaches to the plays have also been influenced by the events of the day from the early 1800’s to the present.

In his opening chapter, he describes a particular production of ‘Julius Caesar’ at length. The production took place in the summer of 2017 during Donald’ Trump’s first year of office. It was staged in the 1,800 seat open air ‘Delacorte Theater’ in New York’s Central Park. The play was presented in modern costumes and with a modern setting, actually not so much modern as contemporary and totally up to date. Caesar was presented as a thinly veiled Donald Trump and was apparently a meticulously detailed portrayal by Greg Henry, who like Trump is tall and who sported a mane of blond hair. Some of Caesar’s plebeian supporters (like Trump’s) wore red baseball caps. The caps had ‘Make Rome Great Again’ written on them.

In the play Caesar is assassinated in the Senate with only the members of the senate present. The people of Rome are going about their business elsewhere. In this production, apparently the director seated some of them in the audience so when Caesar was murdered, they stood up and shouted out in shock, anger and outrage and mimicking Trump supporters. As you probably know, after the murder, Mark Antony gives an oration over the body of Caesar in the Forum, inciting the people to violence against the conspirators and murderers. The mob runs amok in the streets and in a short but brutal scene they beat an innocent man to death. He is Cinna the poet, whom they mistake for Cinna the conspirator. When he pleads his identity to them, they don’t care anyway and bludgeon him in their bloodlust.

I little imagined that a few days after reading this chapter, similar scenes would be played out in the U.S.A’s own Capitol in Washington. Yet again a mob armed with makeshift (and real) weapons was running amok and storming the Capitol. They were not incited by another Mark Antony but by another Caesar himself, who had not been assassinated himself but his hopes of re-election had (and his ego too, if that is possible). They were making their voices heard in the most destructive and violent way.

The director of the production I have briefly described above was Oskar Eustis. He gave a speech at the curtain call of the first performance. In it he remarked that ‘like Drama, Democracy depends on the conflict of different points of view. Nobody owns the truth. We all own the culture.’

His words greatly affected me. The conflict of different points of view, indeed freedom of speech, is not about who shouts loudest or who clogs the media most effectively with lies and unsubstantiated false information. Our media, as ‘Macbeth’ says ‘is smothered in surmise.’ Fake news, real fake news (not Trump’s version) is another contagion as lethal as the current virus.

Consensus and compromise are now seen to be the weak option and unworthy of a nation’s so called ‘sovereignty’, as has been sadly evident in this country in the last four years of Brexit. Similarly anything other than an entrenched position is seen as weakness. And yet our government has been forced to change their minds and their policies by the onslaught of the virus. Entrenchment and an pandemic do not mix.

In November, I attended an online seminar about the U.S. election results, given by my Oxford college and led by a panel of American alumni who had pursued political careers eventually after graduating. The consensus of the panel was that American politics has become strongly polarised as a result of the Trump years of administration. There was now no room for a middle ground. They felt that hopefully this may change and Politics in the US may become less relentlessly combative if Biden ushers in a quieter and less aggressive (and impulsive) administration.

Trump’s four year tenure of the White House could be summed up by a quote from another Shakespeare play, ‘Measure for Measure’:

‘But man, proud man

Dressed in a little brief authority,

Most ignorant of what he’s most assured,

His glassy essence, like an angry ape

Plays such fantastical tricks before high heaven

As make the angels weep.’

These lines not only apply to Donald Trump, of course. They could apply to other political leaders past and present. They could also apply to any of us who are in a position of authority over others.

How do these ‘fantastical tricks’ by those in authority originate? Perhaps the answer lies back in ‘Julius Caesar.’ In the play, Brutus says of Caesar:

‘The abuse of greatness is when it disjoins

Remorse from power.’

In Brutus’ comment, ‘remorse’ means mercy: if mercy is separated from power then greatness is abused or diminished. In other words, when the gaining and exercise of power is more important than the needs of the people. People should come first. Power should be used to care for and protect the people not to subjugate or exploit them. Or use them to bolster up a monstrous ego trip.

In these last ten months, we have been potently reminded of how fragile human life is. In the last two months since the U.S. Election, we have also been reminded how fragile democracy can be.

Ave atque Vale – Hail and Farewell – until the next blog!

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Many thanks

Neilus Aurelius

As I sit here by my solitary candle, I am not gazing at its steady flame but at the lights on my Christmas tree, which is standing in the corner of the lounge opposite me.

Christmas is my season. I suppose now that I have white hair and a beard of sorts and have begun to look ‘Santa-esque’, it should be my favourite season. I have certainly always preferred it to the forced festivities of New Year.

Even though I live alone and spend most of Christmas week with my family up North, I still decorate my lounge and make a lot of fuss over the tree. On my travels in recent years I have collected trinkets and baubles to adorn its branches. Every year I try to put the decorations up around the first Sunday of Advent (generally the first Sunday in December) and leave them up until the official end of Christmastide (the feast of Epiphany on January 6). They are a cheering sight in these bleak and dark days of winter, especially when I arrive home from my family after my Christmas visit, to my solitary residence again.

Last week I took a friend to the Charles Dickens Museum in London. It is a tall townhouse in Doughty Street, in Bloomsbury, not far from Russell Square. The house was the first marital home of Charles and Catherine Dickens. They lived there from 1837 – 1840 and during that short space of time, raised the first three of their ten children there (Charley, Mary and Kate). There Dickens finished ‘The Pickwick Papers’, wrote ‘Oliver Twist’ and ‘Nicholas Nickleby’. And it was there, in his late-twenties, that he very quickly rose like a comet to international fame.

Though now a museum, there is a homely atmosphere as you walk through its rooms. There are also mini exhibitions on display and, as might be expected, at present, there is one on ‘A Christmas Carol’ which Dickens wrote only a few years after he moved (in 1843). This is the best time of year to visit the museum as every room is festooned with Christmas decorations in early Victorian style, including, in the corner of the parlour, a Christmas tree. I am honoured to think that my own tree is likewise in the corner of my own parlour! The tree’s branches have colourful ribbons on them and small thin candles (tapers) . There were no flashing electric lights in those days or electric light at all and in the gloom of the parlour, lit only by candles or oil lamps and the fire in the grate, the tree’s candle lights must have been as warm and spectacular as our own electric ones are now.

Charles Dickens virtually invented Christmas, through ‘A Christmas Carol’ and his other annual Christmas stories.

However he was only bringing together traditions that had existed for years before, even if some may have declined by then. Just as Shakespeare created our image of Ancient Rome in his play ‘Julius Caesar’, so Dickens, in his novel, creates the heartwarming image of Christmas that is now indelibly etched in our national (indeed international) consciousness.

However, we must remember that he wrote ‘A Christmas Carol’ spurred on by his own acute social conscience. Ever the champion of the poor, as he was only a few steps from abject poverty himself in his childhood, it was the plight of children born into poverty that abhorred him most. At the centre of the book is the scene where the Spirit of Christmas Present, as he is about to leave Scrooge, opens his cloak to reveal the children of Ignorance and Want, who beset Scrooge with outstretched hands.

The book was written in Dickens’ despair at the conditions of children living on the London streets and on the streets of other major cities, heightened by the current economic depression known as the ‘Hungry Forties’, where the failure of two successive harvests left many walking the streets in starvation. He was also sickened by the use of child labour in the mines and rather than petition Parliament, he decided to write a short work of fiction instead, exposing the ignorance of the wealthy and powerful classes to the ‘want’ of the poor.

What would Dickens have to say about our own Christmas in 2019 with its own child poverty, a growing homeless population, food banks, ineffective universal credit scheme, and children slipping into drug abuse and knife crime? And successive governments that are not ignorant but refuse to see and act. What indeed?

And what would he make of the last three years of political machinations and parliamentary drama around Brexit? He would have seen huge opportunities for comedy I am sure. And what of our new Prime Minister? Dickens loved creating eye-catching names for his characters and took his time over inventing them. I fancy he might have dubbed him ‘Mr Boris Brexit Bombast’. And yet, having seen our new leader so often in the news recently, despite his attempts to be Churchillian, he does not appear to be a 19th Century Dickensian figure either, as his voice and manner are more those of a licentious 18th Century Tory. Indeed a periwig would sort out his uncontrollable hair.

Dickens wrote a story about a Christmas Tree, which he calls the ‘new German toy’ as the practice of a tree at Christmas had been introduced into our country by the German Prince Albert, the young Queen Victoria’s consort, a few years before. His tree has ‘glittering tapers’ (like the one in the museum), miniature doll’s furniture and musical instruments, imitation fruits and sweets and a host of other trinkets, including rosy-cheeked dolls hiding behind the green leaves.
What of my own tree? Yes there is a string of lights like glowing icicles and a host of different baubles and trinkets, some purchased here and many from my travels. I must admit to an aversion to Christmas trees in stores, bars or hotels that have identical baubles: all gold or blue or red or whatever and often with fake gift boxes at their base. They look so unimaginative and half-hearted. But better a tree than no tree at all I suppose.

In the Dickens story, as he looks at the tree he is gradually reminded of ghosts from the past. What am I reminded of? Well places that I have visited and the dear friends who were with me. I have decorations from Paris, Rome, Florence, Assisi, Venice several from Budapest of course, San Francisco and other places in California like Monterey, San Simeon and L.A. and Vancouver. There are even several from the Vatican – but I didn’t steal them! And there are those that were given to me by family and friends. And, like Dickens, one or two trinkets remind me of one or two friends who are no more.
The Christmas Tree is a light bearing tree. To those of us who are of the Christian Faith, it symbolised the coming of Christ into the world, the light that lightens all people. For Dickens it is a ‘commemoration of the law of love and kindness, mercy and compassion’ reminding us to think of others and help them at this time.

The evergreen fir tree has links with the winter solstice and so to the tree of life which is common to so many faiths and cultures. So the Christmas tree is also the Tree of Life. It is a perennial symbol of light in the darkness. And of hope too.
As I look at my own tree I see all those things. Yes my tree is a tree of life. My life.

As Tiny Tim says in ‘A Christmas Carol’:
‘Merry Christmas and God bless us everyone.’


If you are enjoying my blog, and have not already done so, please sign up below to receive notification of each new blog by e mail. Just add your e mail to ‘Follow’ as it pops up!

And please do pass on the blog address to others who may be interested.

A selection of previous meditations is also available in audio form as ‘Meditations of Neiulus Aurelius’ ASMR on YouTube.

I would also value any feedback on nzolad53@gmail.com or my Facebook page or Twitter.

Many thanks
Neilus Aurelius