Thursday, June 12, 2014

THE HARROWING CHRONICLE OF IRISH CATHOLICISM

Jerry Harkins

It is an unspeakable irony of history that Ireland would have been better off—culturally, economically and morally—had it never embraced Roman Catholicism or, failing that, had it joined the Protestant Reformation in the sixteenth century.   By adhering to Rome, it subjected itself to sixteen hundred years of treachery, deceit and debauchery. 


I
n the year 449 AD, disaster befell England.  The last Celtic High King, Vortigern (Wyrtgeorn), invited several hundred Saxons to come to his kingdom from Germany as mercenaries.  God knows he needed a constabulary.  The country, grown used to a certain domesticity after nearly 500 years as the westernmost outpost of the Roman Empire, had become ungovernable after the legions withdrew in 416.  There was little memory of the ancient Brehon law and, thus, without the Roman praetors or magistrates, the many clans that constituted the Britons had no legal infrastructure and no way to arbitrate disputes save mayhem.  But the dour Saxons were a poor choice as peacekeepers.  They did have a semblance of law based on the iron rule of petty chieftains but they much preferred lex talionis with its extravagant opportunities for bloodshed.  For one thing, only warriors killed in action could enter Valhalla after death.  The idea of sitting down and reasoning together was thought to be effeminate and irreligious.  Why Vortigern failed to anticipate trouble is incomprehensible.  Saxons had been raiding the English coast for at least two hundred years, making no secret of their bellicose nature.  Invited in, they overran the country in short order and pushed their hosts south and west until, finally, the survivors made their last stand at Camelot.  After about 500, Germanic tribes held sway everywhere south of the River Tweed.  Unlike the mostly Christian Britons, the conquering Saxons remained in pagan darkness until 597 when the Pope, Gregory the Great, sent his Roman colleague Augustine to convert them and establish what would become the Primacy of Canterbury.  Augustine’s missionaries quickly worked their way north until they encountered the Irish monks of Iona who were working their way south for the same purpose of soul saving among the Saxons living north of the Humber River and south of the Tweed in what is today Northumbria.   Actually, these were Angles, a fact known to Bede but ignored by everyone else in the certainty that all Germans look alike.

The Celtic Britons, as subjects of the Emperor in Rome, had already been Christianized shortly after the Edict of Milan in 313.   They were, therefore, children of the Council of Nicea and of the dour religion of Augustine of Hippo and Jerome.   The Irish, on the other hand, were converted later and knew little of Rome or Constantinople or Nicea.   Their best known missionary was Saint Patrick, a Briton whose father was a deacon and whose grandfather had been a priest.   Patrick did his best to convert the pagan Irish kings in the Roman observances but recognized the wisdom of incorporating the beliefs and practices of the Druids wherever possible.   Thus, the Christian camel got his nose inside the Celtic tent.

The Celtic version of Christianity remained different from the theology then coalescing in Rome and its satellite, Canterbury.  Some of these differences were significant, including the Roman insistence that the Celtic monk Pelagius had been a heretic for refusing to believe in predestination.  But most of the spats were trivial and it was over these that the battle was first formally joined.   The Northumbrian King Oswy was married to Rieinmellt, a Scotch-Irish descendant of Old King Cole and a born Christian.   When she was celebrating Easter as calculated by the Romans, the king might still be keeping the Lenten fast.  This conundrum defeated the Saxon imagination so Oswy convened a great council to debate whether they should follow the Celtic or the Roman practice and liturgy.  This convocation, attended by princes and prelates from near and far, came to be known as the Synod of Whitby.   It met at the great abbey of Streoneshalh in 664, an event that can now be seen as the opening battle of a 500-year war between Celtic Christianity and the more rigorous version being preached by Rome in the aftermath of the irrational anti-Pelagian pronouncements of Saints Augustine and Jerome.

Oswy decided the contest for Rome and the Roman party completed its takeover 508 years later when King Henry II forced the Irish church to submit to Canterbury at the second Council of Cashel.   Henry didn’t much care about theology, but he was trying to placate Pope Alexander III who was still in a snit over the assassination of the Archbishop of Canterbury, Thomas à Becket.   Alexander’s predecessor, Adrian IV, had “given” Ireland to Henry in 1155 and now, seventeen years later, Henry thought to ingratiate himself with Rome by stamping out various Irish heresies.   These were many and grave.

Following the Synod of Whitby, the Irish persisted in their errors and continued to preach them as their monks re-converted much of Europe from the paganism that had returned after the fall of Rome.   They continued to date Easter in relation to Passover.   They continued to follow Pelagius in rejecting the doctrines of predestination and original sin.   Their priests and bishops continued to marry.   Most importantly, the Irish church was dominated by the abbots of great monasteries, not by the bishops.   This resulted in a horizontal power structure which was a reflection of the tribalized society in which petty kings and chieftains could appoint close relatives to abbacies thereby consolidating their own power.   But it was also a challenge to the hierarchical system being promoted by the papacy which envisioned the pope as the absolute ruler in both sacred and secular realms.

For nearly a century after Whitby, Rome was in no position to capitalize on its victory because both church and state were in disarray.   The government had long since decamped to Constantinople and the Pope was generally a Greek appointed by the Byzantine Emperor.   The language of “Rome” was Greek and, often as not, the Bishop of Rome was located not in Rome but in the Exarchate of Ravenna 222 miles to the north on the Adriatic.   Thus, it was not until 745 that the church could strike again against its Irish flock.   In a series of letters to a series of Popes, Saint Boniface denounced an Irish bishop named Clemens for all the usual reasons.   He used a heretical system for dating Easter and, of course, he followed the teachings of Pelagius.   Boniface maintained that Clemens and the Irish generally were the spawn of the devil even though it was the Irish who had only recently rescued the Germans from their restored worship of the pagan gods.

It was around this time that the church developed an antipathy toward the ancient Irish legal system known as Brehon Law.   Irish justice laid the emphasis on restitution.   It lacked prisons and the death penalty and it embraced women’s rights to a degree remarkable for the time.   It provided for several kinds of marriage including a form of bigamy, several grounds for divorce and even a kind of no fault divorce.   Its version of criminal law was especially offensive to church and state which were in the process of developing gruesome punishments for hundreds of civil and ecclesiastical offenses.   The Roman authorities regularly denounced the Irish system as primitive, barbaric and heretical but it was several hundred years before it was able to enlist the help of an English monarch in stamping it out.   That monarch was Henry II. 

Ironically, Henry himself was known as a liberal reformer of English law having introduced the grand and the petit jury to replace trial by ordeal.   But he also wanted to appoint all English bishops and he wanted clerical criminals to be subject to civil justice.   As Lord of a kingdom that stretched from the Scottish border to the Pyrenees, he found it expedient to ignore principle and compromise with the church.   Thus, he sought to eradicate Brehon Law for purely pragmatic reasons.   With the help of the self-proclaimed High King Murchetach O’Brien, Henry achieved limited success in this, mostly in the eastern counties of Dublin, Wexford, Waterford, Cork and Limerick.   In these places, European style dioceses were established and the bishops were able to exercise power over the traditional monasteries and, to some extent, over the local chieftains and clan leaders.   Elsewhere, the Irish remained stubbornly committed to their ancient and successful legal system.

The Archbishop of Dublin, Laurence O’Toole, tried to mediate between Henry and the Irish kings.   Laurence was a member of the royal O’Donnell family of Leinster.   His distant relative Dermot MacMurrough had been deposed as King of Leinster and had asked for Henry’s help in regaining his office.  This gave Henry a convenient reason for invading Ireland and a way of involving Laurence in his schemes involving the Pope.   In essence, Laurence became a puppet of both of them.  Among other things, he engineered the transfer of the Irish primacy from Armagh to Canterbury and acquiesced to the elevation of Henry’s son John who was named Lord of Ireland in 1177.  The Pope sent John a gold crown with peacock feathers to mark the occasion.   But John was a disaster.   A later Pope, Innocent III, came to his rescue after he was forced to sign the Magna Carta.   His Holiness declared the charter heretical and excommunicated the 25 barons who had been appointed to enforce it.   Laurence died in1180 and was canonized only 45 years later by a grateful Vatican.

From 1172 forward, Anglo-Roman politics came to be the driving force in the collusion of both parties against the Irish.  As the English proceeded from one barbarous suppression to another, the Popes, one after another, supported them, sometimes openly and sometimes surreptitiously.  Even after Henry VIII turned England into a Protestant kingdom, the Vatican remained solicitous of England’s interests in Ireland.  It might occasionally appear otherwise.  In 1580, Pope Gregory XIII sent 50 soldiers to Ireland in a convoluted plot to overthrow Elizabeth I and replace her with Mary Queen of Scots.  The Irish welcomed them in the belief that Mary, a Catholic, would be an improvement.  The invaders, of course, were slaughtered and the only thing they accomplished was to remind Elizabeth of the danger the Irish posed.

The Irish responded to increasing English repression by trying to become more Roman than the Romans.  They became compliant, genuflecting deeper, praying more often, confessing in greater detail, and contributing more generously than any other nation.  This might easily be mistaken for obsequiousness were it not for the well established courage of the Irish.  They never faltered in their hopeless struggle against their British overlords.  They feared nothing, not even hell.  They embraced Rome on the simplistic theory that the enemy of their enemy was their friend.  But the Popes, who were first and foremost the rulers of a mighty temporal realm, feared political rebellion even more than Protestantism.  They regarded the kings of Europe as vassals and supported them against revolutionaries even when they were despotic, deranged or heretical.  The papacy fought—literally—against any threat to the divine rights of established kings and these battles invariably took precedence over any legal or doctrinal problems the popes might be having with their vassals.

For the next 300 years, the English were preoccupied by continental wars and internecine feuds.   Henry VIII really did think Brehon Law was a heinous crime against the divine right of kings and the Vatican agreed with him.   He tried to stamp it out by conquest but he gave the task to a pair of incompetents one of whom was an Irish traitor who sold out for a meaningless English earldom.  Henry himself had too much on his mind to worry greatly about his Irish neighbors:  six wives, two of whom he had beheaded on trumped up charges, ten legitimate children and at least twenty bastards and, of course, the break with Rome and dissolution of the monasteries.   In this, he was aided enthusiastically by the majority of the bishops.  The church meanwhile took the Irish for granted, as unlettered peasants, as pawns to be manipulated and, if necessary, sacrificed in the interest of the Vatican’s geopolitical plots and plans.  Using forged documents, Pope Adrian IV had “donated” Ireland to Henry II in 1156.  With few exceptions, it appointed as Archbishops of Armagh and Primates of Ireland men it could count on to suppress, oppress and repress any hint of dissatisfaction with English colonialism.  The Irish barely noticed such outrageous ripples in the sea of outrage that was their patrimony.  That the church was the dominant institution in the country seemed natural and, in any event, it was safer to take one’s marching orders from the representatives of God than those of the King of England.

Henry’s reign was followed those of his children Edward, Mary and Elizabeth who waged bloody wars of religion ending with the beheading of King Charles I on suspicion of being a closet Catholic.   Enter Oliver Cromwell.   Cromwell was a Puritan whose hatred of the Vatican and all things Catholic knew no limits.  To this day, the English regard him as a hero in spite of the fact that he virtually invented genocide as an instrument of God’s will and state policy.   When Irish Prime Minister Bernie Ahern visited Tony Blair in London in 1997, he walked out of the conference room vowing not to return until the Brits removed the portrait of “that murdering bastard.”  It is amusing to follow the intellectual gymnastics of modern revisionist historians who somehow try to intellectualize their way around slaughter, rapine and terrorism.

Cromwell waged war with a viciousness rarely seen even in the bloody theater that is British history.   In Ireland, he perfected the strategy of terror not only by massacring men, women and children, but also through a policy of “transplantation” or what would be called today ethnic cleansing.  The property of Irish owners was seized and turned over to English Protestant settlers.  Those who could prove they had not engaged in rebellion were sent “beyond the Shannon” to Mayo and Donegal.   All others were “turned out” to become wanderers or emigrants.  The population of Ireland was thereby reduced by about two-thirds.   While this was happening, the popes, Innocent X and Alexander VII, took no notice.   They were busy quarreling with Ireland’s ally, Catholic France, and had no interest in offending England which was France’s historical enemy.   After Cromwell, of course, there was no institutional Catholic presence in Ireland so the Vatican’s benign neglect was a blessing.  It, the neglect, did not last long.

In 1688, James II, King of England, Scotland and Ireland, under suspicion of pro-Catholic sentiments, was deposed and exiled to France.  He raised an army in an effort to regain the crown and began the good fight by trying to incite rebellion in Ireland.  He had no love lost for the Irish but hoped they would support his cause against the English Protestants.  In this he was quite right.  Parliament appealed to the Dutch Prince William of Orange and his wife Mary who happened to be James’ daughter.  They defeated James in 1690 at the Battle of the Boyne and he beat a hasty retreat back to France.  It was not the great victory the Protestants have celebrated ever since but it was important because it was the first victory achieved by the League of Augsburg which had been formed to resist French aggression in Europe.  The League was the first (but not the last) formal alliance between the Protestant nations and the Vatican.  Once again, the Pope, Alexander VIIII, deserted the Catholic side—the French, the Irish and his former ally James.  The politics shifted and, when James died in 1701, the church instituted a cause for canonization under the aegis of the Archbishop of Paris.  But then the politics shifted again rendering the canonization process a cause without an effect.

Throughout the seventeenth century, there was no shortage of anti-Catholic laws passed by Parliament.  The Treaty of Limerick which ended what the English call the Glorious Revolution resulted in the exile of up to twenty thousand Irish soldiers (the Flight of the Wild Geese) but it also guaranteed the civil rights of the remaining Irish population, especially the landowners.  Before the ink was dry, however, the English revoked the treaty and in its place enacted a set of formal Penal Laws.  Among other things, Catholics could not vote, study or practice law, possess arms, rent land worth more than 30 shillings or own a horse worth more than five pounds.  They were barred from elementary schools and from the universities.  They were required to attend Church of England services every Sunday.  They had to tithe to the local Protestant parish.  Being a priest was a capital offense.  These liabilities and those imposed by the amendments of 1699 were actually a liberal compromise.  The conservative elements of Parliament wanted to exterminate all Catholics whom they regarded a irredeemable heretics.  The Irish appealed to the Pope, Clement XI, but their petition never gained a spot on his agenda.  Instead, he renewed the church’s recognition of the hapless and by now demented James II which the English took as more evidence that the Irish Papists were a fifth column which required further brutal suppression.

In 1703, a law was passed authorizing “transportation,” a form of exile, for petty crimes that would otherwise have merited the death penalty.  These included the stealing of fewer than two cows or ten sheep or goods worth less than one pound.  Initially, convicts were sent to the American colonies and later to the Caribbean plantations.  Beginning in 1787, the vast majority were sent to Australia by secret English tribunals which therefore came to be called “kangaroo courts.”  Secrecy was an integral part of the terror.  People simply disappeared from communities.  It is not known how many Irish men and women were transported.  English estimates are lower than Irish ones which tend to cluster just over 150,000.  Of these, about 10,000 were young women who would deliberately steal something small in the hope of being shipped off to Australia where they might eventually find their husbands who had been previously transported.  When they arrived, they were often rented out as slaves and, when their terms had been completed, they would be lined up after Sunday church services for the inspection of marriage-minded male settlers.  The churches actively supported this “reform” effort.  Both Catholic and Protestant clergy were paid for their support by landlords who wanted to clear their lands of peasants and slave ship masters who wanted passengers.

Transportation had been invented by Cromwell and was so successful it was used in several places.  After the English defeated Bonnie Prince Charlie Stuart at the Battle of Culloden in 1746, there were 5,000 Scottish survivors.  About 1,000 wounded were slaughtered on the battlefield and another thousand hunted down and executed in the following weeks.  The remaining soldiers were transported to Nova Scotia where the British made room for them by transporting the resident French Canadians to New Orleans and the American colonies.  This became the context for Longfellow's epic poem Evangeline.  Once more, the landlords and bishops were in league as supporters.

The Irish rebelled against British tyranny, mounting campaigns throughout the eighteenth century.  These were, for the most part, easily and brutally suppressed but, toward the end of the century, Prime Minister William Pitt (the Younger) realized that his English problem was becoming intractable.  Against all logic, he decided the best solution was to unite England and Ireland politically under a single sovereign, Crazy George III.  Thus, the Acts of Union were passed in the summer of 1800 and came into effect on January 1, 1801.  They replaced the “personal union” that had set Ireland under the English monarchy since the time of Henry VIII which, in turn, had replaced the overlordship of Ireland as a papal possession English monarchs had enjoyed since the reign of Henry II.  The “United Kingdom of Great Britain and Ireland” now had one Parliament.

Simultaneously, the Penal Laws were strengthened.  Catholics still could not vote and now it became a capital crime to wear green clothes.  To counter such absurdities, Daniel O’Connell founded the Catholic Association in 1824, financing it with the so-called Catholic Rent, a membership fee of one penny a month.  He was elected to Parliament in 1828 but, as a Catholic, was ineligible to take his seat.  The bishops denounced his Association as a secret society and ordered the priests to preach against it although some continued to support it.  Membership grew and there was serious agitation at the grass roots which led to O’Connell’s admission the following year.  In 1838, he achieved repeal of the tithing system but in the early 1840’s he was imprisoned by the British for sedition.  Released after a few months, he tried to re-establish his campaign against the Act of Union.  Soon, however, everything changed as the potato famine took hold in 1845.  It was an unprecedented human disaster costing the lives of 1,500,000 Irish men, women and children.  Another million or two were forced to emigrate mostly to the United States and Canada.  Even the Pope took notice.  Pius IX issued an encyclical, Praedecessores Nostros, which recommended three days of public prayers for Ireland.

The famine reduced the population of Ireland by about 25%.  With fewer mouths to feed, the economy improved in the 1850’s and the church prospered.  The Primate of Ireland at the time was Archbishop Paul Cullen who had previously enjoyed the patronage of Pius IX as a member of the Roman Curia.  Cullen was a strong supporter of papal supremacy and set out to reform the Irish church by casting it more than ever in the Roman mold.  One of his first acts was to convene the Synod of Thurles, a meeting of some 30 Irish bishops.  It was convened on August 22, 1850 and met for three and a half weeks of intense debate and elaborate ceremonies.  Although all attendees were theological conservatives, they were pretty evenly divided between the Roman party and a group of between 10 and 15 nationalists led by Archbishop McHale of Tuam.  Both sides agreed for different reasons that no Catholic could have anything to do with the new public universities being established and no child could attend any school not run by priests.  On other issues, the voting was close but what emerged was a puritanical, authoritarian, pietistic and subservient church that, for the next 130 years dominated Irish education, morality, social life and politics.  Cullen became the first Irish Cardinal.

Still the Vatican opposed every effort the Irish mounted in the nineteenth century to overturn the infamous Act of Union which bound them in poverty to England.  Irish resistance was expressed in a series of land reform agitations organized by county associations, national political parties and international movements.  The Vatican viewed all these organizations as secret societies and pronounced its anathema on each in turn over a period of 75 years, culminating in a papal encyclical issued by Pope Leo XIII on June 24, 1888.  The weakening of land reform gave rise to a more militant but still non-violent brand of politics.  Under the leadership of the Protestant nationalist Charles Steward Parnell, the Land League became the National League which the church also opposed.  When Home Rule seemed certain to pass in 1890, Captain William O’Shea was persuaded to sue his wife Katherine (Kitty) for divorce naming Parnell as co-respondent.  O’Shea had known about their affair for years (Kitty had, after all, borne three of Parnell’s children) and had done nothing about it.  The marriage had been in trouble long before she met Parnell but now someone bought him off.  Willie, as he was known, was a wastrel, always in debt frequently to lenders of dubious character.  But to the opponents of home rule, he was a hero.  Most but not all bishops, Catholic and Protestant, English and Irish, had a field day with their scandal mongering and both the bill and the government went crashing down to defeat.

In August of 1913, 20,000 impoverished Dublin workers threatened to go out on strike and were met with a corresponding lockout.  The church, as usual, was on the side of management and, as the months went by, conditions in the Dublin slums deteriorated to the point of starvation.  Sympathetic families in England and Scotland offered to take in the children of the workers until things returned to normal.  However, Archbishop William J. Walsh of Dublin would have none of it.  “I can,” he said, “only put it to them that they can no longer be worthy of the name of Catholic mothers if they so far forget [their] duty as to send away their little children to be cared for in a strange land, without security of any kind that those to whom the children are to be handed over are Catholics, or indeed are persons of any faith at all.” The upshot was that mobs led by priests physically stopped the children from going.  One of the few to denounce the Church's stance was W. B  Yeats who declared at a public meeting, “Some day we will have to reckon with those who have fomented fanaticism in Dublin to break up the organisation of the workers." But not in his lifetime which ended in 1929. 

Independence came about in stages between 1921 and 1949.  But it did not bring prosperity.  In 1947, the government noticed that Ireland had the highest rate of infant mortality in Europe, three times that of England.  Prime Minister John Aloysius Costello endorsed a program advanced by His Health Minister, Noel Browne, that would provide comprehensive health care for pregnant women and their children.  Archbishop John McQuaid of Dublin was enraged.  He sent a note to Rome saying, “The attack is directed from Communist elements in Europe and in the Irish Workers League ...  When I broadcast on the issue I took occasion to give the warning that the attack on the church in Ireland would come under the guise of social reform.”  He then set up an inquisitional court, composed of himself and the bishops of Ferns and Galway.  They summoned the Health Minister before the tribunal and later issued their predictable finding:  “…the powers taken by the State in the proposed Mother and Child Health Service are in direct opposition to the rights of the family and of the individual and are liable to very great abuse...  If adopted in law they would constitute a ready made instrument for future totalitarian aggression.  Gynaecological care may be, and in some countries is, interpreted to include provision for birth limitation and abortion.  We have no guarantee that State officials will respect Catholic principles in regard to these matters.  Doctors trained in institutions in which we have no confidence may be appointed as medical officers under the proposed services, and may give gynaecological care not in accordance with Catholic principles...”

There you have it.  Communism, birth control and abortion are the certain results of providing health care to women and children.  Saving lives is not worth the risk.  What’s more, this satanic view prevailed! As Costello said, "As a Catholic, I obey my Church authorities, and will continue to do so.  There is going to be no flouting of the Bishops on Catholic morals and social teaching."  I wish I could think of some excuse for this craven submission to the murderers of women and children but it has been beyond my imaginative powers.  Costello no doubt felt that disobedience would result in his eternal damnation but that the psychopathic God of the prelates would forgive the slaughter of the innocents.

Before leaving this sad chapter, note should be taken of His Excellency, Dr.  John Charles McQuaid who served as Archbishop of Dublin from 1940 until his death in 1972.  It turns out he was one of the multitude of Irish clerical pedophiles who was finally exposed in the aftermath of the Murphy Report of 2009.  The report itself was highly critical of the Archbishop but did not mention him by name in connection with two incidents of abuse of pre-pubescent boys.  However, on December 8, 2011, Patsy McGarry wrote in the Irish Times that the unidentified cleric was McQuaid himself.  This was confirmed by a spokesperson for the Murphy Commission.

Only over the past 30 years has some change come about.  The first tremor was the introduction of television in the early 1960’s much against the wishes of the hierarchy and its lackeys in the government.  Broadcasting began on New Year’s Eve 1961 with sermons by Prime Minister Eamon de Valera and the Primate John Francis Cardinal d’Alton, both warning against the sinfulness of the new medium.  As predicted, TV promoted the forces of modernism and secularism, slowly but irresistibly.  The main battlefield was, of course, sex.  In 1962, a guest on the Late Late Show admitted that she had not worn anything to bed on her wedding night.  Michael Browne, the horrified Bishop of Galway, raised a holy ruckus and the issue became a political hot potato for months.  The wanton had sinned by appearing naked in the presence of her husband and, by inference, by enjoying the sex act.  This may well have been the first time since the days of the High Kings that sex had become a subject for public discussion.  It was an absurd dialogue of course but it did let a little fresh air into Irish minds and Irish bedrooms.

In 1972, the Catholic church was finally disestablished and, in 1974, the Supreme Court in the case of McGee versus Attorney General declared that Irish citizens were entitled by right to “marital privacy.” It was not clear exactly what this meant because the ruling said that marital privacy did not include the right to abortion but nonetheless McGee terrified the clergy and led to a massive effort to ban all abortions by constitutional amendment.  The church’s position included the fanciful notion that contraception which had been legalized in 1979 is a form of abortion.  The amendment without the ban on contraception passed with 70% of the vote in 1983.  Nine years later in what has come to be known as the X Case, the Supreme Court held that, the infamous amendment notwithstanding, Irish women have a right to information about abortion and that the state could not prevent them from going to England to procure one.  Thus, it allowed X, a 13-year old rape victim, to end her pregnancy in an English clinic.  Once again, the hierarchs were beside themselves, convinced that Ireland was turning into a perpetual bacchanalia.  X is pretty much where the law stands today.  Ireland has made modest progress but still has the most restrictive abortion laws in Europe.

A similar trajectory was played out when the church turned its attention to that other great scourge of modern times, divorce.  It campaigned for a referendum that would ban it entirely in Ireland, and it won in 1986 with 63% of the vote.  When the referendum was repeated ten years later, however, the church, for the first time, went down to defeat even if by only a small margin.  Something was afoot.  That something could be measured in church attendance which had plummeted 14% in five years.  Of course two-thirds of all Irish citizens still attend services compared to an average of 25% for all EU countries.  But the decline in Europe has been going on for more than 200 years while, in Ireland, it started in 1994.

Part of the reason, of course, is the combination of education and prosperity which are the traditional enemies of superstition and subservience.  And, as the hierarchy had feared, it was made possible by the devil’s medium of television.  Without warning, a vast scandal erupted and was broadcast into every living room in the country.  The church was exposed as the perpetrator of horrific crimes on such an immense scale and over such a long period that they could not be attributed to the sins of individual clerics.  Sexual perversion, child abuse, and forced labor—slavery—were nothing less than an integral part of a corporate profit making strategy.  They even sold babies, children and pregnant women to pharmaceutical companies for use as guinea pigs in the testing of vaccines and delivery methods.  The thousands of victims were almost universally poor women and their offspring.  The hypocrisy was sensational.  Here you had a gang of Roman collar criminals preaching medieval sexual morality while living lives of the most extreme debauchery.  It was too much even for the Irish.  This was, after all, the same church that had long taught that the oppression of the poor is one of the sins that cry to heaven for vengeance. 

There is no pleasure in re-hashing here the gross, degrading evils of the Industrial Schools and the Magdalene Laundries.  But it must be remembered that virtually all the victims were innocents.  Their “crimes” were mainly being orphans or being born out of wedlock or, in the cases of some of their mothers (called “Maggies”), of being “fallen women” or “prostitutes” by which the law often meant they were homeless.  Some little girls were impressed for the crime of being too pretty—they were likely to become an occasion of sin for others.  Which is exactly what happened.  The “others” were priests, brothers and nuns.  The state paid the church to sweep problem children under the rug and it paid on a per capita basis.  The church, in turn, hired bounty hunters to round up an ever increasing supply of wards.  These parasites were called “the cruelty men” in the countryside.  Their job was to ferret out illegitimate children and orphans being hidden by relatives.  The business was profitable for the church and the victims could serve also as objects to gratify the perverse sexual fantasies of the clergy.  The victims could easily be beaten into silence.  When they died, their bodies could be tossed without ceremony and without notifying anyone into unmarked mass graves one of which was located in the heart of Dublin.  In Tuam, a County Galway town of some 8,300 souls, there was a laundry for fallen women and their children run by the Bon Secours sisters.  It had one of the highest infant death rates in Europe between 1925 and 1960, many from malnutrition and general neglect.  In that period, the sisters appear to have buried 796 children in an unmarked septic tank.  Archbishop Michael Neary said he was horrified but that the Diocese of Tuam had nothing to do with the laundry and had no records regarding it.  Apparently it offered no pastoral care to the women and children in its midst.

The Industrial Schools and the Magdalene Laundries persisted in Irish culture for 150 years until the mid-1990’s.  In all that time, there were no innocent churchmen, no innocent nuns, no innocent politicians.  There were a few citizens who did whatever they could to alleviate the suffering, one child at a time.  There were some families who successfully hid their own orphans and bastards, often placing them with an aunt and uncle who gave them a new name.  And, of course, ordinary Irish men and women simply could not imagine the massive sexual abuse, the iniquity of the clergy or the wickedness of the government procurers.  But make no mistake about it: what occurred was a national abdication of moral responsibility.

Was the evil really so pervasive? Did not a majority of the clergy continue to serve admirably? No.  If only half the Irish Christian Brothers and half the Sisters of Mercy were depraved sadists, the other halves certainly knew about it and did nothing.  If the bishops were truly unaware of what was going on, they were failing in their most sacred obligation.  Of course they knew.  But those who were not themselves slaves to perversion were addicted to the profits of slavery.  The laundries were a major source of income for the entire church.  Celibate bishops were, in effect, pimps.

The criminal debauchery practiced in the penal institutions was mirrored in the schools which, in Ireland, are still operated by the Church under contract to the government.  Once the floodgates of revelation had spewed forth the story of the Magdalene Laundries, people began to look under the rocks covering the schools.  One diocese after another was forced to admit widespread sexual abuse of every kind.  In the Diocese of Ferns, for example, between 1962 and 2002, there were more than a hundred allegations made against 21 priests.  Ferns is a tiny diocese of some 100,000 souls in County Wexford and if the true incidence is several times the number of reported cases it seems that its patron is not Saint Aiden but Satan himself.

If we are ever to establish minimum standards of human behavior, it is imperative that we try to understand how Ireland sank so low.  Ireland was and is the land of saints and scholars, of music and dance and poetry.  Why, in the name of God then, did they allow their priests to destroy so many of their most defenseless children?

One part of the answer lies in a thousand years of harsh colonial repression that coarsened the people’s awareness of tragedy and their capacity for sympathy.  It was analogous in some ways to the so-called Stockholm Syndrome in which hostages begin to buy into the logic and morality of terrorists.  It is the same reason that 250,000 Irishmen volunteered for the British army in World War I, most doing so after the 1916 uprising.  Fifty thousand gave their lives.  The Irish were bound to their other oppressors, the clergy, for similar reasons.

Another part of the answer can be ascribed to pusillanimous politicians who probably thought the hierarchy was divinely inspired.  Many of them had a Utopian vision of Ireland as a land of contented and compliant peasants under the beneficent sway of  the church and an ancient mythos.  Among these was Éamon de Valera, the dominant political player for most of the twentieth century.  The Long Fella served three terms totaling sixteen years as Prime Minister or Taoiseach and fourteen more as President.  He was without doubt a patriot but he was also an austere, morally rigid and politically devious autocrat whose fantasies stood squarely between Ireland and the modern world.  He was also frightened by the power—spiritual as well as temporal—of the hierarchy and the clergy and was rarely able to resist either their threats or their blandishments.

Some of the clergy were kindly, no doubt, but the Irish hierarchy was a hotbed of careerism and treason, committed only to the interests of distant Rome.  They will point to their holy martyrs whose blood was shed for the faith by the English.  But even these were used as pawns by the Vatican.  Archbishop Oliver Plunkett was probably the most important of them.  He was executed by the English in 1681 and proposed for canonization the following year.  The Vatican refused to consider him because his cause, like that of Joan of Arc for an even longer time, was thought to be politically inopportune.  The problem was the conflict Pope Innocent XI was having with the French King Louis XIV in which Innocent hoped to have the support of France’s traditional enemy, England.  Needing English help, the Vatican simply put Irish interests on the back burner for 300 years.  With one distraction or another, they finally got around to Ollie in 1975.  So much for martyrdom.

To the Vatican, the Irish have always been a congregation of convenience, a race of dull louts to be manipulated in whichever way suited their power-driven strategy of the moment.  Religion was merely the instrument of that manipulation.  God was merely the alleged source of that power.  Similar villainy pervaded Vatican policy throughout Europe with the difference that at many points other nations had the wherewithal to push back.  Thus, for long periods of time, the Vatican was engaged in warfare against the Holy Roman Emperors, the Kings of France and England and the various states that now comprise Italy.  Papal armies fought as savagely as any across the length and breadth of Europe, slaughtering women and children, raping and looting in God’s name.  In the early 1980’s, as the popularity of Umberto Eco’s novel The Name of the Rose spread, even scholars were surprised to learn that the Inquisition was rooted as much in politics as in religious doctrine.  The church brutally persecuted one group after another—the Arnoldists, Beghards, Cathars, Joachimites, Umiliati, Waldensians and others—as heretical.  There were always political as well as religious motives for the autos da fe.  Some of the new ideas were indeed heretical in terms of orthodox doctrine.  But the one thing all these groups shared was their threat to the secular power of the Pope.  The same persecution, lacking only the burnings, was enforced against every single Irish organization that dared agitate even peacefully for land reform.  In 1832, for example, Pope Gregory XVI in his encyclical Mirari Vos anathematized all organizations opposed to complete submission to princes, suggesting that such opposition was treason to God.

Beginning at the Synod of Whitby in 664, the Roman Catholic church made every effort to stamp out both Irish culture and the Irish version of Christianity.  The Norman invasion in 1171 marked a change in strategy in favor of military force and terrorism.  To a large degree, it worked but there always remained a remnant of Pelagian enlightenment or, in the Vatican’s view, heresy.  The Synod of Thurles in 1850 was meant to complete the process of Romanization and, in the aftermath of the Great Hunger, it very nearly succeeded.  The Irish church became more puritanical, more militant, more pious, more rigorous and more demanding than it had ever been elsewhere.  It campaigned vigorously against women’s suffrage.  It opposed allowing women to serve on juries and, with traditional exceptions, to work outside the home.  It successfully urged the government to outlaw “revealing” fashions, to prevent the mingling of the sexes on beaches, to close the dance halls and to enforce strict censorship of books and movies.  Only in the 1990’s,  after the revelations of the horrendous sexual abuses of the clergy did it begin to lose its grip on Irish life.

Would history have been different if the Irish had embraced the Protestant Reformation? As an exercise in alternative history, perhaps.  At a minimum, a Protestant Ireland would have been free of at least one source of its subjugation.  Its Christianity might have been grounded in the theology of Pelagius.  Its politics, at least in theory, would have been less adversarial vis a vis England.  To those raised on the idea of Protestantism as the enemy, as the perpetrator of injustice in the North, it is well to remember that many of Ireland’s most effective advocates of freedom were Protestants.  Among them were Parnell, Wolfe Tone, Robert Emmett and Roger Casement (Sir Roger converted to Catholicism just before his execution).  Others who “kicked with their left feet” include Dean Swift, Oscar Wilde, William B.  Yeats, George Bernard Shaw, the first Duke of Wellington, Bernard Law Montgomery and even that quintessential Irishman Benjamin Guinness.  Certainly, a Protestant Ireland could not have written as tragic a history as that which actually unfolded.

Afterword

 My maternal grandmother would have hated this essay.  She grew up in County Mayo and loved the Sisters of Charity who rescued the local economy by creating the Foxford Woolen Mills in 1892, the year she left for America.  If I could, I’d tell her that I hate it too.  Like her, I have known remarkable nuns and priests whose skill, patience and, yes, love shaped me and my environment.  Certainly there were none who ever harmed me or anyone I knew.  Even as children, we knew some were gay before we were sure what that meant.  Some were harsh, some gentle.  Several were brilliant, others not terribly bright.  Of course, they preached nonsense poorly and, even as a 10-year old choir boy, I knew it.  But they were decent people doing their best

 In 2019, Bishop Nicholas DiMarzio of Brooklyn  released a list of 108 priests who had been credibly accused of sexual abuse of children.  It contained only one name I recognized.  Shortly thereafter, Bishop DiMarzio was himself accused although the accusation does not seem very convincing.

Finally, in 2018, Ireland passed laws repealing the anti-abortion laws and allowing abortions during the first twelve weeks of pregnancy.  The new provisions took effect on January 1,2019.

Andrew Greeley, surely one of the great contemporary priests, often said that if Jesus had expected the church to be perfect, he should have entrusted it to the Seraphs.   It is true that every human institution falls far short of its goals.   But that is not the issue.   The church says (and probably thinks) it is perfect in all important respects and if you don’t accept what it is pleased to call its “magisterium,” it will separate you from God’s love and condemn you to an eternity in hell.  Such ignorance and arrogance cannot be sustained in the modern world.




Tuesday, June 03, 2014




ART AND THE AMERICAN CENTURY

Jerry Harkins



On December 5, 1985, the New York Philharmonic led by its Laureate Conductor, Leonard Bernstein of Lawrence, Massachusetts, presented an extraordinary program consisting of three symphonies: the Third of Roy Harris of Chandler, Oklahoma, the Third of William Schuman of Manhattan and the Third of Aaron Copland of Brooklyn.  This was distinctly American music of a high order—three serious, engaging works by contemporary American composers conducted by the first American-born Music Director of a major American orchestra.  All three works had been premiered by Serge Koussevitzky and the Boston Symphony Orchestra in 1939, 1941, and 1946 respectively.

Everything about that concert—the program, the conductor and the fact that it was happening in New York said that America had come of age musically.  One hundred forty-eight years after Ralph Waldo Emerson claimed that, “…our long apprenticeship to the learning of other lands draws to a close” his assertion seemed at last to be credible. [1]  It will be noted that all four principals were protégés of Koussevitzky who was a Russian immigrant.  Both Copland and Harris had been students of the French composer Nadia Boulanger.  All of them, teachers and students, had deliberately set out to develop and nurture a classical musical idiom that was specifically and recognizably American.  It was their success Bernstein was celebrating that night.

National styles in the arts are not, of course, unusual and were, in fact, flourishing in several countries during the same period, notably in England, France, Hungry, Finland and the Soviet Union.  Throughout the Western world, classical composers were mining their own national folk traditions.  European painters, sculptors and writers were also taking inspiration from aboriginal material that was seen as emblematic of the subconscious archetypes being described by psychologists and anthropologists.  But everywhere else, such national or ethnic sourcing was peripheral.  In America, it was the mainstream.

It was also pervasive.  Eugene O’Neill’s plays and Martha Graham’s dances pioneered the exploration of psychological and anthropological themes.  Gertrude Stein, Vachel Lindsay, Wallace Stevens, E. E. Cummings, Langston Hughes and Robert Frost gave poetry its modernist form and function.  In architecture, Frank Lloyd Wright was already building a second wave of masterpieces in the late 30’s while the best Europeans were unable to get their designs executed.  Eliel Saarinen and his son Eero left Finland for America in 1923 and were followed by Walter Gropius and Mies van der Rohe in 1937.  Europeans learned film making from D. W. Griffith, Mack Sennett and Charlie Chaplin.  In spite of the Bauhaus, European design had become remote, academic and soulless in the aftermath of Edwardian excess.  Thus, the brilliant post-war European designers had to learn the modern craft from Americans like Walter Teague, Norman Bel Geddes, Henry Dreyfus, Raymond Loewy and Brooks Stevens.

Thus it is fair to see the Bernstein concert as both a celebration and an assertion of American ascendancy.  New York was suddenly the center of the art world.  New York:  big, boisterous, smart, anxiety-ridden, electric, busy as hell.  Some European countries suddenly felt the need to enact laws against American “cultural imperialism” while their intellectuals heaped scorn on American philistinism and gaucherie. By the 1950’s, they were talking about American “culture” as though it meant only movies and television, theme parks and rock and roll.  Some added morals and values to the pot.  Interestingly they rarely spoke the same way about the visual or performing arts possibly because they considered these beneath their notice.  In spite of everything, the world became increasingly Americanized especially in the arts and sciences, in economics, language and cuisine.

“Specifically and recognizably American” is a phrase sure to get a writer in trouble.  It is debatable on many levels but, for the moment, it is sufficient to point out that a distinct American idiom was precisely what the artists of the era thought they were pursuing.  Copland, for example, returned from his three years with Boulanger in 1924 and immediately wrote his first symphony with its blues-infused scherzo.  Of it, he said his intention had been, “…to write a work that would be immediately recognized as American in character.” [2] He later experimented with serialism and with the neo-classicism of Stravinsky but the body of his work is unabashedly American.  Pieces like “Appalachian Spring,” “Rodeo,” and “A Lincoln Portrait” could not and would not have been written anywhere else.  Even the Europeans who made use of European folk themes—composers like Bartok and Vaughan Williams—could never be confused with the Americanist style.

It is admittedly difficult to define the elements of “Americanism” in music but it certainly begins with the use of jazz harmonies and rhythms.  Copland’s appreciation of jazz may have been ambiguous but, even in his more formal works like “Quiet City,” there is a blues sensibility that imparts an introspective feeling like that of a painting of Edward Hopper or Andrew Wyeth.  More obvious examples could be multiplied in the works of George Gershwin, Leonard Bernstein, Virgil Thompson and Gunther Schuller.  Thompson was a dedicated modernist but even his experimental operas Four Saints in Three Acts and The Mother of Us All draw from American folk themes and employ jazz riffs.

Jazz had its roots in the music of the African slaves in the American South.  They brought with them the blue notes, improvisation and complex rhythmic patterns of African music and applied them to their call and response work songs and to the hymns and popular songs of their new environment.  After emancipation, jazz practice coalesced in New Orleans before spreading north and diversifying into multiple styles.  Within thirty years, it had become the defining characteristic of the American songbook and of much classical music.  But there is more to American music than jazz.  There is a narrative hallmark that that derives from three peculiarities of the American experience:  ethnic diversity, the frontier, and the commitment of the immigrants to the future.  The Europeans who settled the land, even those who arrived with little but the clothes they wore, were never Emma Lazarus’ “huddled masses” or “wretched refuse.”  Many, of course, were destitute but all were proud, strong, defiant people with the courage to test themselves against the unknown in search of a better life.  Until the nineteenth century, the lives of ordinary people did not change much from century to century and people generally did not expect or value change.  But the frontier seduced the immigrants.  Long after it ceased to exist physically, there remained the idea of a better future and a social contract that valued change and experimentation.  They had the sense of being part of the Novus ordo seclorum, a new order or new beginning of the ages.  They were and are a religious people but, from the earliest days, they were divided between hellfire and brimstone fundamentalists and less dogmatic modernists.  Their politics were often raucous and just as often corrupt but they valued democracy and made it work for them.  They insulated themselves against the worst of their frustrations through a healthy sense of humor.  Americans invented  the joke, the one-liner, the tall tale, slapstick and the situation comedy.  They developed a culture that was individualistic, innovative, bold or brash, pragmatic and not classless but mobile as to class.

There had never been anything like it.  When they came to translate these values into cultural pursuits, they became the first to embrace the idea that the only purpose of art is art.  American art was almost never esoteric or rarefied even if it occasionally ventured into obscurity.  It can be amusing to read commentaries of critics who think art should flow from academic ideologies.  The works of painters like Grant Wood, Edward Hopper and Norman Rockwell are nowhere near as complex as they can be made to seem.  The self-identity of critics is typically rooted in their investment in esoteric theory which may explain why they so often denigrate American artists and audiences.

If all this sounds like the Magic Kingdom, so what?  You don’t have to love it or even approve of it.  As Simone de Beauvoir wrote, “America is a pivotal point in the world where the future of man is at stake.  To like or not like her—these words have no sense.  Here is a battlefield, and one can only follow with excitement the struggles she carries on within herself, the stakes of which are beyond measure.” [3] The struggles were and are mighty.  The immigrants encountered the vicissitudes of the business cycle with its periodic panics and depressions.  They discovered that America was as much about the Dust Bowl as amber waves of grain.  It was about slavery and Jim Crow as much as the pursuit of happiness.  It displayed strong streaks of Puritanism and elitism and its intellectuals were always happy to denounce as shallow what they saw as the most overt symbols of its culture—Madison Avenue, strip malls and the Golden Arches. [4] Still, after all the disappointments, failures and outrages have been catalogued and castigated, there remains a sense that anything is possible and everything should be given a hearing.

And so it happened that during the first half of the twentieth century America emerged from nowhere to become a dominant force in virtually all the arts.  In each case, there had been a deliberate attempt to create something new that would be marked by a distinctly American character.  It happened suddenly.  America and, especially New York, became the world’s cultural center more rapidly and more completely than even Athens in the Golden Age or London in the Elizabethan Era.  Pretty much the same revolutionary process unfolded in music, painting, drama, literature, dance, design, architecture, photography, fashion and film.  And it tended to happen the same way:  a talented cadre of young native born Americans and older, already prominent immigrants came together in New York with the deliberate goal of breaking with the past and creating radically new art.  The art they sought would derive from, depict and explain the inexplicable character of America.  For painters, the cubism and surrealism of Europe were interesting but irrelevant.  For musicians, atonality was too intellectualized to comport with the directness, the high contrast of the frontier experience.  Europe was too refined, too precious.  America was, in Walt Whitman’s words, “blithe and strong.”  Its people were “…singing with open mouths their strong melodious songs…robust, friendly, clean-blooded, singing with melodious voices, melodious thoughts.”

Whitman reminds us that the American upsurge did not occur ex nihilo.  It was thoroughly if not exclusively grounded in Western, which is to say European esthetics.  Aristotle and perhaps even Plato would have been comfortable debating with the abstract expressionists of the Cedar Tavern.  In addition, the Americans were standing on the shoulders of giants.  Beginning in the middle of the nineteenth century, European writers, composers and painters had begun the modernist break-away from traditional forms. This happened at the same time and, to some degree, because the church and state were becoming less relevant as patrons of the arts and artists were free to court their own muses.  Their status and that of art itself grew and the artists gradually became cultural leaders. 

Just as American art was flourishing, Europe descended into moral and esthetic desolation.  World War I had been an abattoir, a danse macabre that left society and culture as well as millions of people on the slaughterhouse floor.  The effects were traumatic.  Between the wars, European intellectuals inside and outside the academy were derailed by the efforts of the existentialists to rationalize the barbarity and by the decadence that infected much of popular culture.  For all its youthful rebellion and sexual latitude, the Jazz Age in America was far less dissolute, less introspective.  Angst was replaced by exuberance fueled in part by the near universal defiance of prohibition.  The war had been shorter for Americans and had been fought far from home.  The economy survived and prospered and, even after the Great Depression arrived, Americans were able to mount a response that did not destroy hope.  The WPA’s Federal Art Project alone employed thousands of painters and sculptors and tens of thousands of writers, architects and musicians.  Today, the iconic images of the Depression are the bread lines, the Dust Bowl and the photography of Dorothea Lange, Walker Evans and Berenice Abbott.  The Yip Harburg lyrics for “Brother, Can You Spare a Dime?” might be remembered as the anthem of privation, but from Jimmy McHugh and Dorothy Fields’ “On the Sunny Side of the Street” (1930) to Harburg’s “Over the Rainbow” (1939), almost all the popular music remained upbeat and forward-looking.  The immortal Woody Guthrie’s 1940 song “This Land Is Your Land” was written because Woody thought Irving Berlin’s “God Bless America” was too soupy.  But “This Land” is at least as optimistic if somewhat edgier. [5]

Americans entered the years between the wars as the heirs, not only of late nineteenth century Europe but also of a long list of both immigrant and home grown artists of startling originality.  Among the latter are Emily Dickinson, Walt Whitman, and Mark Twain.  In classical music, Charles Ives was arguably as much the father of modernism as Wagner, Schoenberg or Stravinsky. [6] If there was a single trait that linked American innovators, a case could be made that it was eccentricity.  Indeed, eccentricity and innovation are closely related and both are on intimate terms with the risk and the reality of failure.  The twentieth century in America witnessed an explosion of truly radical genres in all the arts.  In music, these included a variety of methods of “composing” by means of random or other “aleatoric” processes for placing notes on paper with or without staves.  In some cases, the “composer” would have the players determine the notes using the readings of the I Ching.  John Cage did exactly that in his “Imaginary Landscape No. IV” of which he wrote, “It is thus possible to make a musical composition the continuity of which is free of individual taste and memory (psychology) and also of the literature and ‘traditions’ of the art.”  The ultimate expression of his philosophy is 4’ 33” which consists of four minutes and thirty-three seconds of silence in three movements.  These experiments had their parallels in the work of avant-garde choreographers.  Isadora Duncan broke from the conventions of classical ballet and sought to deemphasize the role of the feet in dance.  Merce Cunningham made dances, many in collaboration with John Cage, on the basis of random decisions made by his dancers.  In the late 1980’s, the Guggenheim Museum in New York mounted an exhibition of ultimate minimalist paintings many of which were blank canvases.  Andy Warhol, one of the original pop artists, re-invented himself as a mass production artist and sold works he had never set hand to and maybe had never seen.  Many of these movements now seem excessively contrived and some were vehemently rejected by critics, audiences or, occasionally, both.  But art, like science, advances as much by failure as by success.

Ars gratia artis.  The American avant-garde may have taken its enthusiasms to an extreme but they became the driving force of twentieth century culture.  When Wagner started to compose The Ring of the Nibelung, he said his aim was to create “the artwork of the future.”  George Bernard Shaw admired it in spite of or perhaps because of its “gloomy, ugly music, [without] a glimpse of a handsome young man or pretty woman.”  He said it stood as a turning point in the history of opera and, indeed, of all music.  If so, it was a very tentative beginning.  Stravinsky and the members of the Second Viennese School extended Wagner’s atonality but it never did take hold in opera which reverted to the more traditional harmonies of Verdi and Puccini.  It was left to the Americans, immigrants and aliens among them, to bring to fruition the next stage in the evolution of musical drama and it did not occur in traditional opera houses.

In 1927 Jerome Kern and Oscar Hammerstein II created Show Boat based on Edna Ferber’s novel of the same name. Although it is often said to be the first modern Broadway musical, it is not.  It is a fully realized opera except that the story is not the least bit frivolous, the music is accessible and every song fits perfectly in advancing the narrative.  The show was produced by Florenz Ziegfeld and he cast it with several of his Follies stars including Helen Morgan. [7] The casts of its many revivals, however, have regularly included opera singers including Frederica Von Stade, Bruce Hubbard and Teresa Stratas in 1988 and Audra McDonald in 2012.  In 1935, George and Ira Gershwin and DuBose Heyward introduced what is still the quintessential American opera—they called it a “folk opera”—Porgy and Bess.  Ten years later, Richard Rogers and Oscar Hammerstein II premiered their second major collaboration, Carousel.  In general it was well received although several critics thought it was excessively sentimental when compared to the1903 novel Liliom by Ferenc Molnár on which it is based.  But as Stephen Sondheim has observed, “Oklahoma! is about a picnic, Carousel is about life and death.”  In 1949, Lost in the Stars based on Alan Paton’s novel Cry, the Beloved Country, opened to a lukewarm reception in New York with music by Kurt Weill and lyrics by Maxwell Anderson.  Weill thought of it as a “choral play.”  His German collaborator Bertolt Brecht denounced it as the work of a sellout hack.  Brecht was wrong.  The libretto may be a throwback to nineteenth century melodrama but the music and lyrics are both masterful and modern.  This kind of serious musical drama—works such as Sunday in the Park with George (1984), The Lion King (1997) and Wicked (2003)—have by now become standard fare on Broadway and have laid legitimate claim to being the true heirs of classical opera. [8]

The era of American hegemony in the arts, as in other spheres, is now fading under the pressure of globalization.  Culture, like business, economics and governance, is becoming more homogenized than ever, a trend that seems to run counter to the political fragmentation that is on the rise everywhere. [9] One of these forces may ultimately yield to the pressure of the other.   But the driving force—the great enabler—of both homogenization and fragmentation is the Information Revolution and it is just beginning.  It took more than a century to ameliorate the dislocations brought about by the Industrial Revolution.  It would be foolhardy to try to imagine how the current upheaval will work out or how long it will take.  But it does seem safe to predict that the next century will be at least as unsettling as the last one. 

Notes

1.  The quotation is from “The American Scholar,” an address delivered to the Phi Beta Kappa Society of Cambridge, Massachusetts on August 31, 1837.

2.  “Composer from Brooklyn: An Autobiographical Sketch,”  Magazine of Art,  32, 1939, p. 549. 

3.  America Day by Day, translated by Patrick Dudley, London, 1952, p. 296.

4.  American critics and intellectuals, like their European cousins, are and always have been notoriously elitist.  One of my favorite examples is the reception that greeted Winslow Homer’s paintings of children.  Henry James wrote they were “barbarously simple” and “horribly ugly” which they were not.  Other critics denounced them as done to appeal to the simple tastes of American collectors.  George Gershwin fared even less well at the hands of the critics.  Lawrence Gilman of the Tribune reviewed the “Rhapsody in Blue” (February 13, 1924) with this broadside: “How trite, feeble and conventional the tunes are; how sentimental and vapid the harmonic treatment, under its disguise of fussy and futile counterpoint! ... Weep over the lifelessness of the melody and harmony, so derivative, so stale, so inexpressive!  To this day, The New York Times rarely likes any expression of what this essay regards as American art.  On September 9, 1971, its senior critic Harold Schonberg called Leonard Bernstein’s Mass pretentious and thin, cheap and vulgar. The following Sunday, he added superficial and said it was, “…the greatest mélange of styles since the ladies’ magazine recipe for steak fried in peanut butter and marshmallow sauce.”  Schonberg never liked anything Bernstein did.  But ten years later, the paper’s dismay was still unrelieved.  On September 14, 1981, Donal Henahan wrote that the piece, “…finds no time to say anything worth hearing.”  Moreover, “…much of the evening would sound as it were being improvised by the cast of ‘Saturday Night Live’ except that the humor is vapid and superficial.”  Nicolas Slonimsky filled a 325 page book with the stupidities of critics (Lexicon of Musical Invective, Coleman-Ross, 1953).

5.  Berlin’s original 1918 song was considerably less sugary than the 1938 version he wrote for Kate Smith which is the one sung today.  Right wingers sometimes say “This Land” is a Marxist anthem which is nonsense.  The song celebrates endless skyways, golden valleys, sparkling sands, diamond deserts and freedom highways.  It may also approve of trespassing and lament hunger but such attitudes do not require a close reading of Das Kapital.  Like many prominent Americans, Woody was a self-proclaimed socialist in the 1930’s and may have joined the Communist Party for a time.  He was listed as a subversive by the House Committee on Un-American Activities but was never officially blacklisted.

6.  It will be noted that both Schoenberg and Stravinsky emigrated to the United States and became American citizens in 1941 and 1945 respectively.  Neither participated in the events discussed in this paper although Schoenberg seems to have been influenced by the music of his good friend and tennis partner, George Gershwin.

7.  Those of us who never had the opportunity to hear Helen Morgan live can be forgiven for agreeing with the critic who called her voice "high, thin and somewhat wobbly."  In recordings from the 30's, she seems an unlikely torch singer who might have made a credible bel canto soprano.  Her voice was not terribly sexy as was Julie London’s but she knew how to put a song across with the best of them.  She was wildly popular and, like her peer Billie Holiday, her candle truly did burn at both ends.

8.  One of the first composers to follow and expand the new kind of musical drama was the classically trained British composer Andrew Lloyd Webber whose spectacularly successful works include Evita (1978), Cats (1981) and Phantom of the Opera (1986).

9.  The idea of the Global Village was propounded by Marshall McLuhan in his 1962 book, The Gutenberg Galaxy:  The Making of Typographic Man.  He foresaw that technology, especially television and “automation” (by which he meant computers) would result in people all over the world coming to share cultural assumptions and expectations.  He did not think this would produce unity or tranquility but, on the contrary, expected it would lead to increased dissension and political fragmentation as, indeed, it has.  Buckminister Fuller had a similar vision and developed his World Game in 1961 to counter what he called “desovereignization.”