Knowledge is Sweet

What secret do bibliophiles know about literature? 

Patricia Polacco knows this secret, and she shares it in her book, Thank You, Mr. Falker. It begins:

The grandpa held the jar of honey so that all the family could see, then dipped a ladle into it and drizzled honey on the cover of the small book.

The little girl had just turned five.

"Stand up, little one," he cooed. "I did this for your mother, your uncles, your older brother, and now you!"

Then he handed the book to her. "Taste!"

She dipped her finger into the honey and put it into her mouth.

"What is that taste?" the grandma asked.

The little girl answered, "Sweet!"

Then all of the family said in a single voice, "Yes, and so is knowledge, but knowledge is like the bee that made that sweet honey, you have to chase it through the pages of a book!"

The little girl knew that the promise to read was at last hers. Soon she was going to learn to read.

(Polacco, Patricia. Thank You, Mr. Falker. New York: Philomel, 1998. Print.)

What Your Children Really Want for Dinner Is You

Travis Hiland
Mar 15, 2017 11:27 AM

I was drawn this week to Dallin H. Oak's talk, “Good, Better, Best” and the principle of putting first things first. “In choosing how we spend time as a family,” Oaks teaches, “we should be careful not to exhaust our available time on things that are merely good and leave little time for that which is better or best.” This principle is relevant in every stage of life.

Learning how to recognize when the “good” becomes the enemy of the “best,” has been a lifelong pursuit for me. If I had any success with this principle of time-management in my personal, family, and professional life it arrived with as many failures. Sometimes, I allow those failures to overshadow successes.

In a tender moment last week, when my two adult daughters were over for supper, the conversation found its way to a reflection of their childhood. My eldest daughter shared with me a memory of her and I playing chess, and a word of encouragement (which I do not remember) that I shared with her after she made a successful move. She said in that moment she discovered confidence in herself. Both of my daughters reflected on the hours we would spend laying on the trampoline after supper counting satellites and shooting stars. These precious girls are my treasures. In this seemingly small, unsolicited, reflection, they redeemed me from the grief of my ruminations of all the ways I fell short.

I don't really have any grand epiphanies to share. I just wanted to shout out a big AMEN to the principles taught by Oaks, in particular the following three:

1. "The number of those who report that their 'whole family usually eats dinner together' has declined 33 percent. This is most concerning because the time a family spends together 'eating meals at home [is] the strongest predictor of children’s academic achievement and psychological adjustment.' Family mealtimes have also been shown to be a strong bulwark against children’s smoking, drinking, or using drugs. There is inspired wisdom in this advice to parents: What your children really want for dinner is you."

2. "A friend took his young family on a series of summer vacation trips, including visits to memorable historic sites. At the end of the summer he asked his teenage son which of these good summer activities he enjoyed most. The father learned from the reply, and so did those he told of it. 'The thing I liked best this summer,' the boy replied, 'was the night you and I laid on the lawn and looked at the stars and talked.' Super family activities may be good for children, but they are not always better than one-on-one time with a loving parent."

3. “Vigorously act to increase family togetherness and one-on-one time. Team sports and technology toys like video games and the Internet are already winning away the time of our children and youth. Surfing the Internet is not better than strengthening the family. Some young men and women are skipping healthy youth activities or cutting family time in order...to pursue various entertainments. Some young people are amusing themselves to death—spiritual death.”

Concepts of Marriage in Ibsen's, "A Doll's House"

Ibsen, in "A Doll's House," poignantly illustrates at least three concepts of marriage: marriage based on 1) fantasy, 2) practical security, and 3) the ideal (true) marriage. Nora and Torvald represent a marriage based on fantasy, neither of them know each other or themselves, are constrained by external expectation, and are merely married to the idea of marriage. The Widow Linde represents a sacrificial marriage for security (not uncommon for the time period, as women had very little option for supporting themselves). The new relationship of Kristine and Krogstad represent a union of equals, , which seems to be Ibsen's view of a true marriage:

"Mrs. Linde: I need to have someone to care fore; and your children need a mother. We both need each other. Nils, I have faith that you're good at heart-I'll risk everything together with you.

Krogstad (gripping her hands): Kristine, thank you, thank you-Now I know I can win back a place in your eyes."

I share Ibsen's view. The aspiration to be of "one heart and one mind" does not mean that spouses will be or should be identical. One gender does not have greater eternal possibilities than the other. The ideal marriage is a partnership with husband and wife equally yoked together, sharing in decisions, always working together.

In this sense equality in love is not only synergistic, but the secret recipe necessary for attainment of the highest forms of lasting peace, joy, and happiness. I recently enjoyed reading this principle from L. Tom Perry:

There is not a president or a vice president in a family. The couple works together eternally for the good of the family. They are on equal footing. They plan and organize the affairs of the family jointly and unanimously as they move forward. By virtue of this principle, both husband and wife have a sacred obligation to refrain from thoughts and actions that might undermine that equal partnership.

A Reflection on the Relational Systems of Musical Keys and Chords

I have always been fascinated by the mathematical relationships found in music. The idea that the tones chosen to compose music are not random, that the intervals of pitches inside a scale have an orbital pull around a key tone, that voices inside a smaller chordal system belong to a larger scalar system, and that there seems to be a harmonic force that holds them all together is endlessly pleasing to me.

As a youth, I would contemplate why we respond so differently to musical sound than we do to non-musical sounds, why one is pleasurable and the other simply provides noise data. I remember imagining that the phenomenon of musical frequencies deeply resonated with us as an innate higher form of communication, as some type of remembrance from a pre-existant life, very similar, as it turns out, to Gottfried Leibniz's theory of pre-established harmony—an intriguing philosophical theory about how all the substances in the world seem to causally interact with each other because they have been programmed by God in advance to "harmonize" with each other.

We owe much of our Western Music theoretical tradition to the ancient Greeks, in particular the mathematical and mystical philosophies and research of the Pythagoreans. The principle benefit of the Pythagoreans' investigations is the musical scale, based on their analysis of the various harmonic relations of the octave. For the Pythagoreans, music was more than a pleasurable or intellectual recreation, it was intrinsically connected to, and a manifestation of, the heavenly laws governing all of life. In their worldview, harmony of relation, or order, was the principle that regulated the whole universe.

The problem with creating a system of tones that work together in predictable relationships in order to produce an endless number of composition possibilities is quite a puzzle, especially when you consider that, theoretically, there are an infinite number of pitches, or division of frequencies, available to choose from. This creates an interesting paradox: in order for a scale to develop, or in other words, in order to systematize the selection of a palette of pitch tones used to create an unlimited number of musical compositions requires the employment of limiters to derive those tones. But you can't just choose any old pitches and produce a collection that is musically pleasing.

The western musical scale, as we have it today, is based on the interval of an octave—the distance between two pitches whose frequencies have doubled. The scale theory that developed was based on the striking of two lyre strings of the same length and observing their consonant, or pleasing sound—they harmonized with each other. Then it was observed that striking two strings, one of a certain length and the other exactly half the length of the first, would also produce a pleasing sound, where the frequency of the second string doubled in pitch frequency. They continued to follow this pattern, reducing the 3rd string by half, and so on, finding that each halving of string length doubled the frequency of the previous pitch, each doubling producing a consonant, harmonious sound. This doubling of frequencies, along with testing other harmonious ratios of string divisions, produced a series of pitches used today to form the Western, diatonic scale.

The diatonic scale is based on a fundamental pitch and its octave, where the ratio of the highest to the lowest pitch of the scale is 2:1. That octave is then divided into a fifth and a fourth, which have the ratios of 3:2 and 4:3 respectively, and so forth. When the fifth and fourth are multiplied together they make an octave.

This cosmology of harmonic relationships inside the octave gives rise not only to a musical scale, but to a bigger concept within which the scale operates: a musical key. When we speak of a musical key we are referring to a much larger concept than just a scale or a "key" note (tonic). Of course, a musical key includes a tonic and a scale (mode), but the psychological magic of a musical key is not found in memorizing scales and chords, it is found in discovering the family relationships between all the constituent parts of a chosen "key." For example, the harmonic qualities of chords, chord changes, intervallic movement in melody, and predictable tonal behaviors used in improvisation are all implied by the key.

A musical key describes a relational context for music; it is a structural system that creates meaning for any given note or set of notes used in the music--a palette of related tonal materials used for emotional communication. Using a musical key creates a context in which to measure movement, to create the sense of a musical journey, a point of departure for materials that are not in the key, and a sense of coming home at the completion of a journey. It is this movement within a specified key that creates emotional communication and connection.

A musical key can also be figured as a solar system of sorts where the tonic (key note) is the gravitational center of the key. The tones supplied by the scale are the building blocks for melody and harmony/chords within the key, where each tonal degree of the scale occupies a fixed intervallic distance away from the key center. When you understand the cosmos of the key, you understand how the movement of melodic tones, intervals, scale tones, chord tones relate and behave with each other.

Melodic tones travel in various tension and release movements in relation to their distance from the key note. Melodic tones are derived from the scale of the key and live inside of chords.

Chords are little subsystems inside the larger key and have their own tonal centers inside the chord structure. Each voice in the chord orbits around the central chord tone (chord root), while each chord system has an orbital relationship to the larger key center (tonic).

Interestingly, chords have tonal centers inside the chord structure, Each voice in the chord orbits around the central chord tone (chord root), while each chord system has an orbital relationship to the key center (tonic).

A key is the tonality that is central to a piece of music. What that means is that a key is based on a note and a structure built around that note. This structure is what provides context and meaning inside the music.

Illustrations:

On Hawthorne's "Birthmark"

Actions for reply by Travis Hiland

The Birth-Mark & The Minister's Black Veil

Doesn't Hawthorne's "Birth-Mark" draw some interesting parallels with his "The Minister's Black Veil?"

Fixation Upon a Mark

• The Hawthornian theme of the Puritan's excessive preoccupation with sin: the total fixation upon a mark, a “mysterious emblem,” to the point of obsession.

• The cataloging of various temperaments in response to symbols that reveal a person's darkest secrets. “It must not be concealed, however, that the impression wrought by this fairy sign manual varied exceedingly, according to the difference of temperament in the beholders.”

In "The Birth-Mark":

"Some fastidious persons [women] affirmed that the bloody hand...quite destroyed the effect of Georgiana's beauty, and rendered her countenance even hideous."

"But it would be as reasonable to say that one of those small blue stains which sometimes occur in the purest statuary marble would convert the Eve of Powers to a monster."

Through the shaded lens of Alymer's arrogance and “sombre imagination” his wife's mark is tinged as the symbol of his wife's liability to sin, sorrow, decay...rendering the birthmark a frightful object, causing him more trouble and horror than ever Georgiana's beauty.”

The "Black Veil" townspeople:

"'How strange,' said a lady, 'that a simple black veil, such as any woman might wear on her bonnet, should become such a terrible thing on Mr. Hooper's face!'"

Another old woman mutters, "He has changed himself into something awful, only by hiding his face."

The affrighted Reverend Clark, "'Dark old man!' ...'with what horrible crime upon your soul are you now passing to the judgment?'"

We could replace the “crape” with “birthmark” and Father Hooper's death-chamber question would be as poignant here:

“What, but the mystery which it obscurely typifies has made this [birthmark] so awful?”

Travis Hiland

Defending Sociopathy of Iago

Travis Hiland

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February 16 at 7:46 PM

Travis,

Hey, Kenzi. These are great questions/observations. Here's some interesting insight. The checklist of traits listed are a diagnostic tool to determine where someone lies on the psychopathy spectrum. Not all psychopaths demonstrate the same set of traits. There are 20 traits in checklist. A person scores 2 points for each trait they match. If score is 30+ then diagnosis of psychopath is usually given.[Pschopathy Diagnoistic Checklist]

I don't think you need to identify with the feelings and needs of others to manipulate them.

In other words, you don't need to “feel” anything in order to closely observe someone's experience. In this way, sociopaths are very adept at putting themselves “into another person's shoes.” Because sociopaths don't experience emotions as intensely as others (at least emotions deemed positive), they become very skillful at observing emotional behavior and can mimic that behavior expertly in order to “fit in” or advance their agenda. When viewed from an apathetic distance, people can become quite predictable in their emotional responses. Sociopaths can easily use observed behavior to manipulate others for their gain.

As for behavior control issues, I don't think impulsiveness negates a calculating mind. Iago was quite impulsive when he ran in the middle of the night to harass Desdemona's father from his sleep. It could even be argued that the whole play, which only takes place over a day and a half, is the aftermath of Iago's impulsive reaction to just having been slighted by a Moor.

Oh yes, I agree with the assessment you shared with Dave. I think the “game” can be extremely intoxicating to a sociopath. I think the text harmonizes with that assessment. But I'm not sure he was giving “reasons” to justify himself. He has no need for anyone's approval or acceptance. We can also remember that this is a dramatic figure created by Shakespeare to arouse intense tragic emotions in his audience, which he succeeds at doing to great effect. So many of Iago's asides to the audience were to propel the drama. In any case, this is Shakespeare's brilliance. He puts his finger on the pulse of human nature, turns up the fire, and unleashes us upon ourselves.

Abbe Michele Hoggan

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February 17 at 8:56 AM

Travis,

Kenzi, I'd make two points about Iago. First, I think there's a difference between identifying someone else's emotions and identifying with those emotions. Iago (and other psychopaths) could easily identify what other people were feeling. That's how he could twist and manipulate them. But to identify with other people means to put oneself in someone else's place and feel their emotions like one's own. That's what he didn't do. His feelings, even the tiny insult of his suspicions about Othello and his wife, meant everything. Other people's feelings were only important as weapons.

Second, about Iago justifying himself and giving reasons for his behavior. Yes, he knows that he's doing things other people would disapprove of and that are against the rules of his society, but that's not the same as believing what he does is objectively wrong. Bad guys always have justification for their actions, and that's part of what makes them scary. You can't reason with Iago or convince him he's doing something wrong because in his mind, he's justified. He knows he's breaking the rules, he just doesn't think those do or should apply to him. 

Kenzi Mortensen

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February 16 at 9:55 AM

Travis,

There are two areas in the DSM classification that I disagree Iago was. First, poor behavior control. He was very logical and even talked about using reason and seemed to for the most part have great control of what he was doing. That goes to the impulsive as well. He didn't seem impulsive, but rather very calculated. (Great example is Desdemona's handkerchief.) Second, he was willing to recognize and identify with the feelings and needs of others. If he didn't how could he manipulate so well? A person is manipulated when the person manipulating knows what they expects to hear and is able to say that at the most opportune time. Manipulation requires understanding emotion and people. Plus, the fact that he felt the need to justify, felt the need to give "reasons" to "play the game," give "reasons" for his actions, tells me that he does in fact know he is doing wrong. See my response to David. Do you agree with this assessment, or was he simply using those excuses/reasons to make the others still see him as a "honest." Was using the excuses for the benefit of others so they wouldn't see him in a bad light? 

Iago: Amoral Sociopath

Travis Hiland

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February 15 at 10:59 PM

Iago as amoral through objectification of others

You bet Iago is amoral. From a clinical perspective, he is a textbook narcissistic psychopath. The Psychopathy Checklist (PCL, more specific than DSM) uses the following traits to determine where someone lies on the psychopathy spectrum:

• glib and superficial charm
• grandiose estimation of self
• need for stimulation
• pathological lying
• cunning and manipulativeness
• lack of remorse or guilt
• shallow affect (superficial emotional responses)
• callousness and lack of empathy
• parasitic lifestyle
• poor behavioral controls
• impulsivity
• irresponsibility
• failure to accept responsibility for own actions
• violent, criminal versatility

The DSM classifies the Antisocial Personality Disorder of Narcissism with this criteria:

• a grandiose sense of self-importance
• is preoccupied with fantasies of unlimited success, power, brilliance, beauty, or ideal love
• requires excessive admiration
• has a sense of entitlement, unreasonable expectations of especially favorable treatment or automatic compliance with his expectations
• is interpersonally exploitive, takes advantage of others to achieve his own ends
• lacks empathy, is unwilling to recognize or identify with the feelings and needs of others
• is often envious of others or believes that others are envious of him
• shows arrogant, haughty behaviors or attitudes

So, here's an interesting twist, then. If Iago was a classic psychopath, and amoral, then he doesn't know any better. Should we pity him?

Christina Phetvixay

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February 15 at 10:14 PM

Iago as amoral through objectification of others

Travis, your psychoanalysis of Iago is a great argument.

Something I observed in relation to his insanity is his 'amoral' behavior. In the study guide on Othello we were challenged to judge Iago's character as immoral or amoral. Iago's amoral behavior is manifested in his incessant objectification of others around him.

Not only does Iago objectify Othello by making racist claims and failing to call him by his name or title, but he also objectifies him with metaphorical references to animals. Iago labels Othello as a "black ram" (I.i.88) and Desdemona as a "white ewe" (I.i.89). He claims that Brabantio would be related to Moorish horses in lines 110-111 and labels Othello a "beast" in line 117.

Later when Roderigo claims that he wants to drown himself, Iago advises him to "drown cats and blind puppies" (I.iii.400) instead of himself. Notice that Iago makes boundless comparisons to others as if they were all animals and in his advice he tells him to kill other animals rather than himself. I think that "blind puppies" could represent over-trusting men such as Othello while "cats" could reference the supposedly wild and unfaithful women like Emilia and Desdemona. Iago objectified Emilia through synecdoches that reduce her to body parts: "lips...tongue...heart" (II.i.101-102,107). Similarly, Iago objectifies Desdemona by using her as a means to an end in his plans to rise in power/rank. 

Iago seems to place himself above the moral laws of society in order to seek the power, rank, and status that he desires above all. His constant referencing of others as animals imply that he feels that his life and his plot to attain power are more important than anything or anyone else. Iago's motives reveal that power, money, and status quo were extremely influential factors in the sixteenth and seventeenth centuries.

Motivation for Iago in "Othello"

Travis Hiland

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February 15 at 12:05 AM

No doubt fame and fortune are motivators for Iago, but do you feel his mania? There is a volcanic fire undergirding his deceit that wells up from a much deeper place than desires for position and power alone. This is personal.

He is filled with a toxic disgust of Othello and is consumed by the same black poison he uses to destroy him. Iago is bent on destroying Othello's world, and that destruction seems to be his primary object.

There is evidence that Iago's hatred for Othello began long before he was passed over for promotion. Iago reveals, at the end of Act 1, Scene 3, what may be the real reason for wanting to destroy Othello:

I hate the Moor;
And it is thought abroad that 'twixt my sheets
He has done my office: I know not if't be true;
But I, for mere suspicion in that kind,
Will do as if for surety.

In other words, “everyone” knows that Othello was having an affair (“has done my office” “'twixt my sheets”) with Iago's wife, Emilia. But it doesn't matter to Iago if this gossip is untrue, he's going to destroy Othello as if it was true.

And again, at the end of Act II, Scene 1, Iago let's us into his head and reveals his dark heart:

I do suspect the lusty Moor
Hath leap'd into my seat: the thought whereof
Doth, like a poisonous mineral, gnaw my inwards;
And nothing can or shall content my soul
Till I am even'd with him, wife for wife.

(This is the same mental torture with which Iago is about to poison Othello).

Ok, so Iago's own raving jealousy may be a truer motivation for his evil, but I can't help but think there is an even deeper-rooted source to his hatred. It seems apparent that Iago is an inflamed racist. In public, Iago refers to Othello by his race (“the Moor”), rather than his titles of respect, “Lord”, “General,” and so forth. But when he isn't around, Iago calls Othello an “old black ram,” an “erring barbarian,” Barbary horse,” a black “devil.” He says that Desdemona is “unnatural” and “rank” (a festering rot) for being with a Moor.

But Iago's vow to end Desdemona (“Till I am even'd with him, wife for wife “) as revenge for being made a cuckold brings us back around to the old “green-eyed monster” as a motivator.

Abbe Michele Hoggan

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February 14 at 8:29 PM

The world Iago and Othello live in is highly stratified. The difference between the ranks of lieutenant and ancient is life or death to Iago. It seems Iago has been spending money in anticipation of his promotion. In Act 1, scene i, Roderigo says Iago “hast had [Roderigo’s] purse/As if the strings were” Iago’s own. And he’s been scheming and pulling in favors to get the job. He describes the “three great ones of the city” who spoke on his behalf. When Othello ignores them and promotes Cassio instead, Iago finds himself “belee’d and calmed/By debitor and creditor.” So a desire for money and status and the power that goes with them drives Iago’s actions.

On Power of Desdemona in "Othello"

Travis Hiland

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February 14 at 11:24 AM

Yes, yes, and more. There is more complexity in this play than an investigation of fault will satisfy. People are entangled emotional creatures, without sure foundations, and so easily toppled by all kinds of insecurities and jealousies. 

Political, social, and economic status have always been tempting measurements of personal worth and meaning---sources of strength and security. But, these false foundations will ultimately fail and everyone caught in the wake suffers.

I would agree that Iago had a powerful influence, as the story is really framed and driven by his frenzied mind. But I found a much greater power demonstrated by Desdemona and Emilia. Although Emilia is a little bawdy and Desdemona a little naive, when the moment of crisis presents, they show loyalty, integrity, love, and self-sacrifice, and somehow that lingers in my mind long after the tale of Iago's deceit and Othello's fits of jealousy.

Melissa Masciantoni

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February 14 at 8:41 AM

I agree that because of his success people see him as a trustworthy person. He is able to betray them in such great ease because it is assumed that a man of his status is not one to tell lies. I found it interesting how in Act three Othello begs Iago to tell him what he is thinking. Othello sees Iago to be a great man and relies on his knowledge of the situation rather than trying to find the facts for himself.

Since Iago seems to have the power influence in this story, it causes me to wonder who really is at fault.

Is it Iago for telling lies or would it be Othello for foolishly falling for them?

Iago is of a higher status so does that make what he did alright just because he was of higher class?

Does Othello’s class signify the fact that he became so blind?

What do you think?

On Punctuation in "To Autumn"

Travis Hiland

The comma / m-dash construction in Keats' "To Autumn" (below) is both forward leaning and rearward reflecting. The comma binds the first phrase with the two following phrases propelling them forward, aggregating the images into a vivid complete thought. Here are the phrases without the m-dash:

Think not of them, thou hast thy music too, while barred clouds bloom the soft-dying day, and touch the stubble plains with rosy hue;

The m-dash honors, with solemn respect, the question about the songs of Spring that came just before. It creates a moment of silence to absorb in reverence the venerable beauty of Autumn, a season that stands at least equal to the excitement and joyful music of Spring, and is worthy of praise in its own right.

The songs of Spring, those happy anthems that celebrate life renewed, are nowhere to be found, and yet, here is beauty, here in Autumn is celebration of life, here and now is music enough to inspire and delight without waiting for Spring.

Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,—

While barred clouds bloom the soft-dying day,

And touch the stubble plains with rosy hue;  

Keats then follows with a sensuous catalog of musical imagery proofs. Such is the power of a small punctuation mark.

Kenzi Mortensen

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February 8 at 10:15 PM

Help Correctly Reading Punctuation

I agree with the professor in the clip that punctuation, and following the punctuation when read aloud, is crucial. Not doing so can change the meaning entirely. It reminded me of several simple signs my high school English teacher had hanging in her classroom. One read, “Let’s eat Grandpa. Let’s eat, Grandpa.” And below in smaller words it read, “Correct punctuation can save a person’s life.” Another read, “We are going to learn to cut and paste kids!” After which, it said, “Commas matter.” Although these are simplistic ideas, these ideas are expounded on in poetry. Learning to read hard and soft pauses, depending on the type of punctuation provided, can just as easily change the meaning as forgetting to write a comma into a sentence.

I know we were supposed to come up with our own argument as to why the punctuation, or reading of the punctuation changes the meaning, but I chose to use “To Autumn,” by John Keats, and with this poem I really wasn’t sure. I thought would throw this question out to the class.

How does a person differentiate hard, harder, soft, softer, etc.? A period is a hard pause. A comma is a much softer pause.  What about when punctuation is intermingled? How does a person decide how much or little emphasis to put on the pause? A great example of this is:

Think not of them, thou hast thy music too,—

While barred clouds bloom the soft-dying day,

And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mourn  

 Should the comma hyphen be given as much emphasis as the semi colon? If so, why not put a semicolon there? How do you differentiate pauses when there are so many different punctuation all within the same poem?