Showing posts with label Apollo. Show all posts
Showing posts with label Apollo. Show all posts

Monday, 28 December 2020

The White Goddess, and Apollo's Golden Mean

 


Date: Sun, 25 Apr 1999 13:47:10 -0400 (EDT)
From: ......@westerncanon.com
Subject: Lecture Hall Message 18

Dated : April 25, 1999 at 13:47:09
Subject: Re: The White Goddess

>I am a junior at Malone College in Canton, OH and I am taking
>Modern British Writers. For our final project, the professor has
>asked us to analyze a poet and his works. My friend and I are going
>to do a type of interview situation, where he is Graves and I am
>the interviewer. We want to focus specifically on "The White Goddess"
>and "Succubus." If anybody has any information or comments on either
>of these poems, please share them with me. Also, share what types of
>questions you might ask Graves about these particular poems.

Nicole,

You have given yourselves a very tall order by focussing on two important poems by Graves, the first of which is of central importance to the second part of his life. I can however give you a number of pointers about "The White Goddess" which might help you to narrow down your target.

Another of Graves important poems, "To Juan at the Winter Solstice", begins with the lines:

There is one story and one story only/That will prove worth your telling

From the mid-forties onwards, much of Graves' prose and poetry was shaped by this belief. Interestingly there is a passage in "The Shout", a short story written in 1924, which prefigures this approach:

"My story is true", he said, "every word of it. Or, when I say that my story is 'true'", I mean at least that I am telling it in a new way. It is always the same story, but I sometimes vary the climax and even recast the characters. Variation keeps it fresh and therefore true".

Graves' stated opinions about the White Goddess, which resulted in the poem and the book of the same name, should be looked at the same way. Both Graves' prose and poetry attempt to retell his understanding of a truth by recasting detail and character. The specific reference is (according to Graves) always the same, but the incidentals change and the details blur and intertwine. The poem "The Clipped Stater" for example, can be read in terms of its references to Alexander, which are explicit, or to the phenomenon of the Incarnation of Christ, or even to the transformation of T. E. Lawrence into "Aircraftsman Shaw". In fact it should be read in terms of (at least) all three: if there is "one story and one story only", the real focus of Graves' interest is beyond the incidental details of the poem, and the blurring and braiding of detail allows us to look at the real subject, as it were, slantwise.

The first two lines of "The White Goddess" [the version in "Selected Poems", ed. Paul O'Prey, 1986] express Graves' view that his subject is one uncomfortable to the reasoning mind: and thus a subject which the dominant forces in European civilization over at least the past two and a half thousand years have tried to reject ("All Saints revile her"). Very quickly however (line 3) the poem is about a voyage in search of the Goddess: this is particularly interesting as Graves' views on ancient matriarchy surfaced first in "The Golden Fleece" [pub 1944] (US: "Hercules, My Shipmate" [pub 1945]), and Graves' was working on his translation of the story of the voyage of the Argo immediately before writing his monumental study: "The White Goddess" (to which a version of the poem is prefaced "in dedication"). The sailors sail to find her "in scorn" of those "ruled by the God Apollo's golden mean". This might be read as a re-interpretation of the real mission of the Argo, or a metaphor of Graves' own studies, or more broadly as a characterization of any attempt to escape from (as Graves believed) the rigid, plodding patterns of Cartesian thought sanctioned as "valid" by our civilization (the version prefaced to "The White Goddess" speaks in the first person).

The second stanza continues the speaker's identification with the crew of the ship:

It was a virtue not to stay/To go our headstrong and heroic way

The following three lines describe the extremes to which they are prepared to go to find the elusive Goddess. Paradoxically she is then given a precise physical description, clear enough to pick her out of a crowd. That it might not be wholly healthy to actually encounter her is suggested by the striking description of her brow as: "white as any leper's".

In the third stanza it is clear that there have been (and will be) good times for the Goddess, when all recognise her and the universality of her significance:

The green sap of spring in the young wood astir/Will celebrate the Mountain Mother

However the crew of the ship are gifted to recognise, "even in November", her "nakedly worn magnificence". Thus the ability to discern the Goddess in her elusiveness is given more importance by Graves than her mere celebration. Here Graves alludes to the different qualities required of devotees of the Goddess in secular (i.e., modern) times, to those qualities required in times when her reality is taken for granted.

The penultimate line reveals that the sailors have undertaken the voyage, not in ignorance, but in full knowledge of the dangers: since they have experienced "cruelty and past betrayal". They have met her before, in one form or another. They are also, like those in love:

Heedless of where the next bright bolt may fall.

"Bolts" are of course more commonly associated in Greek Mythology with Zeus, king of the gods. But Graves regarded Zeus as a usurper, and believed that real power belonged to the Goddess (See for example "The Greek Myths" 9.7: Zeus and Metis, where Graves quotes Jane Harrison who described the story of Athene's birth from Zeus's head as 'a desperate theological expedient to rid her of her matriarchal conditions').

Graves more and more came to regard the White Goddess as the real source of inspiration for poets, so that he began to view poetry written for any other reason as fakery. In his study "The White Goddess" he describes her in similar terms to those used in the poem:

...a lovely, slender woman with a hooked nose, deathly pale face, lips red as rowan-berries, startlingly blue eyes and long fair hair; she will suddenly transform herself into sow, mare, bitch, vixen, she-ass, weasel, serpent, owl, she-wolf, tigress, mermaid or loathsome hag. Her names and titles are innumerable. ... I cannot think of any true poet from Homer onwards who has not independently recorded his experience of her. The test of a poet's vision, one might say, is the accuracy of his portrayal of the White Goddess... The reason why the hairs stand on end, the eyes water, the throat is constricted, the skin crawls and a shiver runs down the spine when one writes or reads a true poem is that a true poem is necessarily an invocation of the White Goddess, or Muse, the Mother of All Living... [TWG: Ch. One, "Poets and Gleemen"]

Hence it is that Graves' concept of the White Goddess is entwined with the craft of poetry: poetry is an invocation of the Goddess, and to write "true poetry" the poet has to love someone in whom the Goddess temporarily manifests. Graves' book on the White Goddess has to be read therefore as a braid, made up of a historical reconstruction of poetic grammar, as well as his personal experience of the Goddess in his association with Laura Riding, and possibly also his mother, Amalie von Ranke Graves.

The Graves Interview:

You are going to have to do a lot of research to do this properly! You can find most of what you need in three books: Robert Graves "The White Goddess" for Graves own account of his ideas; Richard Perceval Graves: "Robert Graves and the White Goddess 1940-1985" [pub 1995]; and "Robert Graves: The Years with Laura Riding 1926-1940" [pub 1990]: these last two volumes give the relevant details about Graves' collaboration with Laura Riding, and his later muse poetry. Other information about Graves' picture of ancient matriarchy can be found in his novel "King Jesus" [pub 1946] and "Seven Days in New Crete" [pub 1949] (US "Watch the North Wind Rise"). Some useful critical remarks about the thesis of "The White Goddess" can be found in Martin Seymour-Smith's "Robert Graves: His Life and Work" [1982; expanded edition pub 1995]

It might be worth asking "Graves" to expand on the method of thinking he associates with the Goddess, which he opposes to "the God Apollo's golden mean": Graves says quite a bit about this (that poetic thought is not really viable in a scientific and rational civilization) in various parts of "The White Goddess". He also wrote an interesting preface in 1976 to John Biram's book "Teknosis", in which he seriously criticises modern industrial civilization (may be hard to find this book). And/or you might ask "Graves" to describe the background to the writing of the poem "The White Goddess", showing the different elements in both his writing and his personal life which he weaves together to make a successful artistic whole. You might also ask "Graves" to compare and contrast some related poetry (such as"Juan at the Winter Solstice"; "The White Goddess" and "The Succubus").

 

Monday, 23 November 2020

'The Shout' and Other Stories

 


>Date: Sun, 20 Jun 1999 17:21:14 -0400 (EDT)
>From: mobydick@westerncanon.com
>Subject: Lecture Hall Message 22

>From: marie …….:

>Dated : June 20, 1999 at 17:21:12
>Subject: the Shout and Other Stories

>I am in fourth year at university in France and I am preparing
>a study on Robert Graves and the importance of fantasy,
>unreality in reality, and the flavour of 'supernatural' in his
>English short stories. It would be great to have some comments
>about that and about any link it could have with his poetry.

This is a particulary interesting question. Graves' short stories are quite different from most of his novels, in that the stories reflect aspects of his personal experience in a significantly modified form. The novels by contrast are reworkings of existing narratives, usually with some interpretative spin (Graves spoke of I, Claudius as an interpretative biography). His most famous short story is 'The Shout', written not sooner than his period of professorship in Egypt (and not, as stated by Graves himself in his 1965 preface to the Collected Short Stories, dating from 1924). Exactly why Graves wrote 'The Shout' is unclear: the couple in the story is loosely based on himself and his wife Nancy, but no known incident in his life up until its writing seems to fit. There is a later incident however, which does seem to reflect aspects of the story: the breaking up of Schuyler Jackson's marriage by Laura Riding.

In the Introduction to the Collected Short Stories Graves acknowledges that: "Pure fiction is beyond my imaginative range: I fetched back the main elements of The Shout from a cricket-match at Littlemore Asylum, Oxford." However elsewhere he says that the idea of the story occurred to him "one day while I was walking in the desert near Heliopolis in Egypt and came upon a stony stretch where I stopped to pick up a few mis-shapen pebbles; what virtue was in them I do not know, but I somehow had the story from them." [see Richard Perceval Graves, The Years with Laura Riding 1926-1940, Ch. 7: 'Seeing Ghosts'; and note 73 to the Chap.]. Given the way Graves worked his material, both accounts are likely to be correct, and 'The Shout' is a composite of these elements forged together in part by his unconscious (during the twenties Graves was heavily influenced by Freudian ideas, and wrote a book on the meaning of dreams). The story also reflects an interest in whether or not the soul is bound to the body during every moment of life - perhaps prompted by a wish to explain the phenomena of the shared dream, premonitions, and also ghosts.

My own guess is that the man with the 'terror shout', Charles, actually represents Laura Riding, who was in Egypt with Robert and Nancy. The story would therefore reflect the destructive impact of Riding on the relationship between Robert and Nancy. Except that, in the story, 'Charles' is exorcised by the breaking of the stone which holds his soul. In real life the outcome was quite different.

The same technique (incubation of an idea in the unconscious) seems to underlie much of Graves poetry. 'The Clipped Stater,' which is notionally about Alexander the Great, utilises elements from a number of sources, including events in the life of T.E. Lawrence. This braiding together of ideas could of course, in theory, be done consciously, but Graves felt that poets who wrote in this way, under the tutelage of the god Apollo, were frauds.

In Fairies and Fusiliers (1917), Graves included a poem (available on the web) which is an example of the fantastic intruding into reality: 'Corporal Stare'. It appears to recount an incident which happened during his time in the trenches: a man who had been killed appeared to Graves and his companions while they were having a meal:

Then through the window suddenly,
Badge, stripes and medals all complete,
We saw him swagger up the street,
Just like a live man - Corporal Stare!
Stare! Killed last May at Festubert.
Caught on patrol near the Boche wire,
Torn horribly by machine-gun fire!
He paused, saluted smartly, grinned,
Then passed away like a puff of wind

In the later Goodbye to All That Graves recounts an incident which seems to be the basis of the poem:

At Béthune, I saw the ghost of a man named Private Challoner... When he went out [to France] with a draft to join the First Battalion, he shook my hand and said "I'll meet you again in France, sir". In June he passed by our 'C' Company billet, where we were just having a special dinner to celebrate our safe return from Cuinchy... Private Challoner looked in at the window, saluted, and passed on. I could not mistake him, or the cap-badge he wore; yet no Royal Welch battalion was billeted within miles of Béthune at the time. I jumped up, looked out of the window, and saw nothing except a fag-end smoking on the pavement. Challoner had been killed at Festubert in May.
[Chapter 14 of the 1957 edition]

In the same passage Graves gives details of the civilised menu of the dinner: in the circumstances, an equally fantastic intrusion into the unreal reality of the war in France.

Not much has been changed here - perhaps because the incident has power and meaning in itself, in its strangeness, without the necessity of a literary metamorphosis to make the hair on the back of the neck stand. Graves has however altered the rank and name of the soldier, collapsing together the ghost and his reaction to the apparition.

Graves is unusual as a poet in supplying a good deal of useful detail about his working methods: to some extent his writings on poetry illuminate aspects of his prose technique also. I would recommend that you consult: the Collected Writings on Poetry, edited by Paul O'Prey, 1995; The White Goddess, (1961 edition); The Meaning of Dreams, 1924; and also Poetic Unreason and other Studies, 1925. Richard Percival Graves three volume biography is probably the best available for the study you propose, followed by Martin Seymour-Smith's Robert Graves: His Life and Work, 1982; expanded edition, 1995].

Sunday, 18 February 2018

How the Sacred and Profane Worlds were Joined



This is an abridged and retitled version of a chapter in The Sacred History of Being, which explores  interconnections between earthly and Divine realities in antiquity. A key thing to observe is that the idea of such interconnections is established on logical grounds. The reality of the Divine world is inferred, on the basis of the visible imperfections of profane reality, but the two worlds must be connected in some way if reality itself is not to be necessarily irrational in nature (this also was argued on logical grounds). Establishing the connection between the worlds was a major preoccupation in antiquity: things should ‘meet and agree’. 

The original chapter contained footnotes, which I have removed for ease of reading. I’ve reduced the number of modes of connection which are discussed also. The essential argument of the chapter however remains the same.

TY February 18, 2018.

***
Since the world of the divine is a transcendent reality, the nature of that reality is not going to conform to our secular understanding of the existent world. This is an important point, which would have been considered in antiquity. Thus, there is no reason to presume that extension is represented or has reality in the same way in which extension exists in normal space. There is also no reason to presume that time is represented or has reality in the same way in which time exists in the secular world (the secular world being, by definition, the world of time, or the world existing in time). 

Almost every aspect of the world of existence will have a different nature in the divine world, to the point where we would find it difficult or impossible to establish the connection between one and the other. We are not accustomed to imagining that the ancients thought in such terms, except perhaps within the Academy, or within Parmenides circle.

There are many conceptions which are associated with the divine reality. This may seem a strange way to understand the world of the divine. But it is no more a species of imprecision to do this than it is to create a pantheon of gods, all of which have something of the divine about them. The problem with the divine is that it is forever beyond our capacity to fully understand, by definition. Therefore we can only say things about it from a particular point of view, at a particular time, and under certain circumstances. All within the limitations of the human understanding. Beyond that our interpretation is more or less imperfect. This means that our understanding of the divine is forever contingent – in essence a species of conjecture rather than full understanding.

This is a difficult idea to communicate, given the last two thousand years of theological speculation, and religious struggle in the world. It may seem an unimaginable idea – that the theological ideas of the ancient world were understood to be conjectural, and ultimately contingent on the limitations of the human understanding.

For us, even before the advent of the empirical approach to knowledge during the European enlightenment, we attempted to construct our notions of the world and what is real on what could be established as far as possible, whether what was established was on the basis of logical inference or deduction, on the basis of experience, or was revealed to us by the divine. Conjecture might have been tolerable (or even encouraged to an extent) within the church school and the seminary, but only in so far as it was desirable that scholars produced by religious institutions should be able to use their critical faculties to the best of their ability, in the service of Church and state. But in the end, conjecture is not something we generally wish to face as an important component of our picture of the world.

In constructing ideas of the gods, and creating images of them, the ancients were engaging in the enterprise of framing their understanding of the divine world. They did this on the basis of the idea that the realm of reality (which we have spoken of as Being earlier in this essay), being unchanging in its nature, must still stand behind the world of appearance and existence. This latter world is an image of it, but is not a perfect representation of it. The realm of reality embraces it, but the world of appearance and existence is necessarily a lesser world. However, because it is a good semblance of it, there must be the possibility of aspects of the realm of the reality being manifest in the world. On the basis of their ideas about the nature of the divine, of the supremely perfect Being, we might ask what they would look for in the world which would represent the presence of the supreme Being, woven all through the world, as the soul is woven all through the world in Plato’s model. They would ask: where is it? What shape does it have? How big is it? What properties does it have? And so on.

This is an incomplete list of items which were identified in antiquity as representing what we might term ‘bleedthrough’ from the divine reality. These were things which were regarded as of great importance – in a sense, of more importance than the gods themselves, in that they were aspects of the divine which had reality in our world, and did not depend to the same extent on human conjecture. They are therefore more profoundly real than the gods.

1. Limit: Before the idea of Being, there is no reason to have a sophisticated attitude to limit. One can have the idea that things are separate from other things, or must be separate from other things, and that there is a point of demarcation which marks off where one thing ends and another begins. It is also possible to have the conception that it might be desirable or even necessary to move from one side of the limit to the other. It is also possible to imagine the divine as having existence on the other side of a limit, without there being anything very sophisticated in the conception. A sophisticated conception of a modus operandi of contact with the divine however will not emerge from this, until an intellectual basis for there being a reason why things should be connected is understood. Before Being, one side of the limit or border is the concern. However, once the idea of Being is in play, then the limit itself becomes the focus of interest. The existence of a sophisticated idea of Being means that what exists is understood to be less real than reality itself (the idea of Being from St Anselm onwards was not very sophisticated).

2. Perfection: Before the idea of Being, talking of perfection is focused on the subjective notion of perfection, and the term is used either rhetorically, or refers simply to quality of workmanship or quality of action. It has no bearing on ideas relating to the divine, or to reality. The idea may however be extended to application to the divine and to the gods. By analogy, something which has great perfection will come to be understood to transcend other objects or works of a similar kind, and this transcendence will come to be applied to the divine. It is however a long step to realizing that a proposed perfection means that the divine is actually unintelligible to us, and that the divine is Being itself, beyond any fixed or rigid attributes. Perfection as a quality which may actually connect with the divine, rather than merely showing transcendence of other lesser perfections, is an idea which is dependent on the concept of the divine as Being.

3. Completion: The idea of completion is related to the idea of perfection, particularly in connection with the nature of the divine. However completion as a concept relates more closely to the idea of limit, in that it is a property of the concept of Okeanos in Greece, and the all-enveloping Apsu in Mesopotamia. It is an interesting concept in connection with the idea of a circle, since it is impossible to determine the beginning or end of a circle, at least when it is unbroken. The concept may be used in a great many ways, from indicated the completion of a form, nature, or the performance of ritual and liturgy, and so on. It might also be used to indicate the end of a life, or a process. What is completed has some property in connection with the divine, some participation with it, in that the realm of the divine must be complete as opposed to the world of existence, which is incomplete in its general nature. I suspect that the idea of completion was one of the first mundane properties in the world to be identified as a potential access point to the divine world.

4. Excellence: Excellence is a concept which the Greeks had a particular interest in, but it is an idea which, like the ideas of completion and perfection, is referred to throughout the ancient world. To excel is to exceed something. So something which possesses excellence transcends the excellence of some other thing. This is its comparative use, but it is also used intransitively, so that something can be said to have a special excellence of its own, irrespective of the qualities of other things. Hence its use by Aristotle in his moral and ethical treatises. Ultimately it is about transcendence, whether of oneself or of other things. The world of the divine is both more excellent than the secular world, but it also possesses a special excellence of its own. Excellence is something which exists in the world of existence which has a connection with the reality which stands behind it.

5. Greatness: the idea of greatness as we have seen an idea which was pressed into service in the Middle Ages to try to prove the existence of the supreme Being. Greatness is naturally something which the human understanding would wish to associate with the supreme Being. It has been in the past associated with the gods – Herodotus refers to the rituals associated with the cult of the great gods on Samos, without going into any detail, which is frustrating. The great gods were known as the ‘Kaberioi,’ which indicates a near eastern origin for this cult, since kbr is the semitic root for ‘great’. Great however is an imprecise term, merely indicating that these gods transcend other gods, or that that their special excellence is their greatness. It is however an appropriate term to describe men who might be classed in this way, who, through the quality of their greatness, on the field of battle, in their wisdom, and a thousand other attributes, might be understood to have some empathy with the gods.

6. Justice: the focus on justice in the ancient world in general, and not simply among the Greeks, might indicate to the cynical modern sensibility only that justice was in short supply. It might indeed be the case that it was much referenced precisely because there was little access to it. However the discussion of the subject in Plato makes it clear that it is an idea which has its place in this exploration of the earthly corollaries of aspects of the divine nature which have some form of existence here on earth. Justice was presumed to be something which was perfected in the divine world, but justice in the secular world is a different matter. The very nature of the world of existence means that justice – true justice is unobtainable. What we can access is a poor copy of something which can only exist elsewhere. It is interesting that both in Mesopotamia and in Greece it was the Sun god (Shamash and Apollo respectively) which were responsible for the dispensation of justice on earth.

The gods might know what is just, but our capacity to discern it is limited, and the dispensation of justice by the gods is sometimes hard for man to understand and accept. One of the images of the dispensation of justice, is of the participation in battle of the sun god. Assyrian reliefs show Shamash hovering above opposing forces in the winged circle. The meaning of this is at least two-fold: the god is involved in the outcome of the battle, which represents a way of dispensing just decision; and the to-ing and fro-ing of battle represents the difficulty of apportioning justice in the world of existence. It also means that the engagement in battle was understood by kings, priests and generals as a legitimate way of establishing right. In Homer, there is a famous passage where opposing forces are described as being bounded by ropes, which are pulled this way and that in the course of the battle.  These ropes are also found in the iconography of Shamash.  The underlying idea is the same.

7. Proportion: aspects of the divine reality can exist in the secular world expressed in terms of proportion. Thus, in a figure, a side which bears a proportionate relationship to another side, can be regarded as an image or representation of it, in a way similar to the understanding that the image of a god bears a relation to the god itself. Proportionate relationships in a structure, object or image could therefore be used as a way of enhancing the meaning of images and representations which bore a relationship with the divine reality. This is an enormous subject, worth a monograph on its own.

8. Purity: Purity is an attribute which might be associated with the idea of perfection, and often was. But purity can be attributed to things in a different way – not everything which is pure is to be regarded as a perfection. Something which is perfect is just that. Purity on the other hand, is an attribute which can be put on and put off in a way which perfection cannot.  This distinction is of great importance in the Assyrian and Babylonian contexts, since in order to create divine statues, the craftsmen required to be given a temporary divinity. Thus the purity, a temporary perfection, can be put on for the purpose of the work. This was achieved through the perfection of the appropriate ritual. Afterwards it was removed by the performance of another ritual.

9. Wholes and Totalities. Things which are whole are regarded as participating with one another, in that they share the property of wholeness, or totality. This idea is a strong pointer to the essentially subjective nature of the model of the world in which these things are important, since the wholeness of something is sometimes attributed, rather than being a property of an entity. There is a doctrine associated with wholes and totalities, which is attributed to Pythagoras. It is also referenced by Plato. The doctrine however is much older than the middle of the first millennium B.C.E.

Those are nine phenomena which can appear in the world of existence, which were understood to allow and enhance connection with the divine reality which stands eternally behind the physical world. This is an edited list, but it is sufficient to illustrate what was in the mind of man attempting contact with the divine.

Other things which we might consider, which were of great importance in the ancient world, include the idea of reduplication, principally of concepts, attributes and properties. The point of reduplication is emphasis. Two collocated symbols, meaning the same, could be understood to double the power of the image and the connection.

Another related idea is ‘collection’, sometimes expressed in ancient texts as ‘heaping up’. This refers to the bringing together, usually of good things (but not always), sometimes in the context of an altar and a priest. There may be several reasons for creating such a collocation, depending on the objects involved, but ‘heaping up’ is a good thing in itself, if the intention of the supplicant is to multiply and reduplicate the offering. It is obvious from the study of ancient iconography that many images are reduplicated directly, in a way which does not amount to a purely aesthetic distribution of images, and in addition, the meaning of symbols and tableau are reduplicated using different images. The effect is of reduplication, and to make such assemblages identifies to the informed viewer, what is the same among what is apparently different. These assemblages are of course addressed to the gods, and the divine.

Another action which was understood to convey an aspect of the divine world in the physical world is ‘division’. This concept is very closely associated with the ideas of justice and of decision, but it is possible for division to be separated from these ideas, in that division can take place without the wish or need for justice, or of decision. At least in terms of our modern understanding of what justice is. Ultimately the connection between the ideas is about ‘good order’, and ‘meeting and agreeing’.

The association of justice and the power of division with kingship is very strong in the ancient near east – the sun god Shamash is often represented as holding a saw, and the Egyptian kings were also represented with the symbol of the Neteru (axes). In both cases, the instrument for deciding the fate of anything is clearly not a weapon but a tool (though weapons of war also were understood as legitimate tools of the gods). If it is possible to understand the creation and generation of the world as a decision of the gods, then the nature of reality has been divided, at least insofar as there is now a world of existence which has descended into secular time, and which is cut down from Being itself. The power of kings to deal justice comes from their participation in the nature of the divine Being, though they live and function in the world of existence.

Division is also important in gaining an apprehension of what is real and what is not, and in understanding how one thing is different from another. Ultimately it is the basis of logic and classification which we find in developed form among the Greeks in the middle of the first millennium B.C.E. Sumerologists were puzzled to find tablets listing things together which to us had no meaningful connection, such as a large list of objects which have the property of ‘being white’. To the Sumerian scribe who assembled this list, the characteristics of whiteness would have determined the worth of the list. The items were separated out from a (hypothetical) list of all known items, and collected together as a classification of items of the same property. These properties are in a sense subjective, but only because we do not know the function of white objects in the Sumerian model of the world.

Another notion of great importance in antiquity is the idea of ‘drawing near’ to a god. This might be represented by proximity to an altar or symbol of the god, or by the device of showing the supplicant being introduced to the god by a third party, whether another god or by a priest of the divine cult. There is however a technical idea behind this concept. The idea is that by being near, you already participate in the nature of the god, to a limited extent. The connection is open, even if transaction with the divine is not in operation. Drawing near can be achieved through a collocation of offerings, through benefactions to the priesthood and the temple, through other good works, the virtue of the individual, and so on.