Saturday, January 4, 2014
Elegy for an Iconoclast: Martin Bernal
I have a fondness for iconoclasts, scholars who come up with an idea out of left field that explains things the standard theory about their field don't cover. They ask the right questions, though they may not come up with the right answers (the late great Thor Heyerdahl being a prime example). It's also a good way to keep up to date, especially given that sometimes things we were taught were true back in school (e.g., that dinosaurs are extinct) aren't true anymore.**
In Bernal's case, he started with a very simple thesis that seems self-evident: that classical Greek civilization did not create itself out of nothing but was heavily influenced by the two great civilizations and cultures that dominated that part of the world (the eastern Mediterranean) before the rise of Greece: first Egypt (particularly in the time of the Middle and New Kingdoms) and then later Phoenicia (from whom they derived the alphabet). He suggested this influence took many forms -- most interestingly, drawing parallels between Egyptian gods and what became the Greek pantheon. Most controversially, he pointed out that although Greek is an IndoEuropean language, only some 40% of Greek words can be traced back to an IndoEuropean root.*** The traditional solution to this problem was to postulate that the remaining 60% derived from an unknown people ("the Pelasgians") who'd lived in the Aegean before the Greeks, whom they conquered and whose language heavily influenced their own. Bernal suggests instead that a large proportion of the non-IndoEuropean words derive from Egyptian and Phoenician, borrowed along with the trade goods and concepts that accompanied them.
This proposal led to a firestorm of controversy, which settled into a predictable pattern: Bernal would publish a volume making a number of claims,**** the book would be denounced in whole and in specifics, and Bernal would respond in detail to the attacks. Mary Lefkowitz and Guy MacLean Rogers even put together a five-hundred-page collection devoted entirely to essays attacking Bernal's ideas (BLACK ATHENA REVISITED), to which Bernal responded with an equally lengthy point-by-point rejoinder (BLACK ATHENA WRITES BACK).
The fascinating thing about all this was not just that Bernal threw off some really interesting ideas (e.g., that the 'Philistines' were Mycenean Greeks) but that he changed his opponents more than they changed him. Over and over, if you follow through the debate, Bernal will challenge the conventional wisdom, to which The Powers That Be (e.g., Establishment figures like Lefkowitz) would react by (a) denying that his charge was true and (b) shifting their own position towards his, but stopping well short of his mark. I think Bernal himself was something of a gadfly who knew exactly what he was doing and deliberately cast his ideas into provocative form to elicit just this response.
The best example I can think of for this comes not in BLACK ATHENA itself but a side project, the book CADMEAN LETTERS, which investigates the origins of the Greek alphabet (and writing systems in the Mediterranean in general). Conventional wisdom held that the Greek alphabet dates from the 8th century BC (a century or more after Homer's time) or perhaps even later, and that other writing systems found in the western Mediterranean (e.g. Italy, Iberia) were later still. Bernal suggests that the date was sometime in the 14th or more probably 16th century BC and that the Iberian and Italian scripts derive not from Greek but from this early form of Phoenician. His argument bogs down in excruciating detail and sometimes impenetrable jargon ("there is no difficulty in a voiceless velar affricate-lateral simply delateralizing"), but his critics' response is telling: they indignantly denounce his 16th century BC date and adopt an 11th century BC date instead.
In the end, I'm sorry that Bernal got sidetracked in the linguistics (the least interesting part of his argument) and never wrote out in full his ideas about ways he thought Egyptian gods and mystery cults influenced Greek beliefs and practices: he discusses this briefly in the Introduction to his first volume but got diverted and never returned to fulfill his promise to devote a whole volume to it (which wd have been called THE MYSTERY OF THE SPHINX). Alas.
So, 'rest in peace' seems a little inappropriate to this prickly scholar, but I hope he got a certain satisfaction, in the end, from having weathered the storm. I suspect half his ideas will be taught as conventional wisdom in twenty years' time (probably without any reference to him), which I suspect wd have amused him no end. For my own part, I learned a lot reading him ( e.g., that Hebrew is a Canaanite language, and belongs to the same family tree as Egyptian and Ethiopian, or that Hebrew and Phoenician were mutually intelligible dialects of the same language) and I'm glad I discovered his books (through my friend Taum, who bought the first one and whose copy I inherited). But I'm still sorry we won't ever have that book about Egyptian myth and its dissemination.
--John R.
just finished: CADMEAN LETTERS (second reading)
audiobook: MOCKINGJAY (second time through)
*thanks Charles!
**it's now generally accepted that birds are not just direct descendents of dinosaurs but actual living dinosaurs themselves.
***similarly, English is a Germanic language but has borrowed so heavily from Latin and especially French that Germanic words actually make up less than half of our vocabulary.
****BLACK ATHENA eventually ran to three volumes, some two thousand pages in all, but Bernal's entire argument can be found just by reading the seventy page Introduction to the first volume, which summarizes the whole.
Saturday, September 24, 2011
Taum Santoski XIX
19. Within the form of mythological epic stand some pivotal works, two based upon the form established by Tolkien. The Earthsea Trilogy and the Chronicles of Thomas Covenant are derivative of Tolkien. Earthsea presents a mythology set in a world unconnected in any way with our own; Covenant is a traveler from our world into another world, Land.
Monday, September 12, 2011
Taum Santoski XVIII
18. The schema of fantasy and mythological epic is not only a matter of gods, demi-gods and supernatural happenstances. Gods alone do not a myth make, and rhymes do not make a poet. What is at stake when a author chooses fantasy or mythological epic over some other form such as novel or poetry?
Friday, September 9, 2011
Taum Santoski XVII
17. When CJRT exhausts his father's writing Middle-earth may become mothballed, standing like the empty hulk of a ship in dock filled with inert gap for preservation There are no real inscriptions, sarcophagi, coins, gems, or other remains at hand to give more information save what Tolkien has written and reported.
Wednesday, September 7, 2011
Taum Santoski XVI
16. Some might feel the study of myth, and especially the myth of Tolkien, is a path to the power and moral force of our ancestors who drew their life from belief and not knowledge. Although myth is one of the highest forms of abstract and imaginative thought, mathematics is higher, but it lacks the emotions.
Tuesday, September 6, 2011
Taum Santoski XV
15. The Peoples of Arda are the Ainur, the Valar, the Eldar and the Atani (of who all the Free Peoples are concerned).
Monday, September 5, 2011
Taum Santoski XIV
14. The Music of the Ainur is Myth; Fate is mythologized history; Vision is the historicized myth; Free Will is history.
Sunday, September 4, 2011
Taum Santoski XIII
[page 3]
13. Poetry and Song are an echo of the Great Music; Fate is a theme of Eru woven into all beings; Vision is the gift of dreams and prophecy; Free Will is a theme of Eru.
--Taum Santoski, circa 1984
Friday, September 2, 2011
Taum's Aphorisms, parts VII to XII
Wednesday, August 31, 2011
Taum Santoski XII
Tuesday, August 30, 2011
Taum Santoski XI
11. The Logos is the Exlamation and the Myth. In the act of creation the Logos is the sole source and by the Logos word and mind fuse only to split into degenerative and profane things.
Monday, August 29, 2011
Taum Santoski X
10. The Protologos is myth in its birth. And the revelation of Eru reveals the myth of Arda until the time of myth has passed and moved into history of which they have no part but to wait until the cycle brings mythology once more into Arda. This pulsing of myth to history to myth is equivalted to the generational action of philosophy and political structures.
--Taum Santoski, circa 1984
Sunday, August 28, 2011
Taum Santoski IX
9. In the mythos the Act is expressed by three forms related to language, the Logos. All activity before the pronounced Logos is contained within the Conception, the three themes of Iluvatar propounded to the Ainur, and their Music is the Initialization. This is the Protologos. By revelation Eru shows the Ainur the birth and growth of the Logos.
Saturday, August 27, 2011
Taum Santoski VIII
8. The subcreation of Middle-earth is done upon a course of realization, by artifact, word, and story. These are reducable into four types: the Completed Act, the Potential Act, the Initialized Act and the Concetual Act, each identified by a particular.
Friday, August 26, 2011
Taum Santoski VII
[page 2]
7. Tolkien's mythology is the result of four processes, each having a dependency upon the other, the multiplicity in a unity. The Ainulindale is the mythological process; The bulk of The Silmarillion is the mythologizing of history; The Lord of the Rings is the historicized myth and Unfinished Tales is the scholastic/academic media.
Taum's Aphorisms, parts I to VI
Thursday, August 18, 2011
Taum Santoski VI
6. If myth and history can be broken down into two categories, then their definitions must be different processes. Myth is the perception of events, the feeling of the observer imposed upon the event so far that any "impartiality" is removed. History is then the observation of events, the removal of response to an event so that any opinion of the event cannot be derived.
Tuesday, August 16, 2011
Taum Santoski V
5. Some of Tolkien's myths are derived from those of ancient Europe and the Near East but, being grafted onto a new stock, grow and fructify, becoming a new thing, nor merely a hybridized retelling.
--Taum Santoski, circa 1984
Saturday, August 13, 2011
Taum Santoski IV
4. Middle-earth is a world in miniature, set up in one man's best form of expression, language and myth; to participate in its mythical powers, through these mediations of words, is to re-establish a harmony with the present world.
—Taum Santoski, circa 1984
Friday, August 12, 2011
Taum Santoski III
3. This world of myth, when measured against our world, is in another order of time -- what Frankfort calls "absolute time" -- the mythical past never recedes any further into the distance, as indeed it percolates through "history" from time to time, and time never brings the Golden Age any closer and all the other "Golden Ages" eventually tarnish.
--Taum Santoski, circa 1984