Señor Don Gato [according to Aristotle]

“Señor Don Gato” is a children’s song loosely translated from the traditional Spanish song “Estaba el señor Don Gato” [yet with the melody of “Ahora Que Vamos Despacio“].

The song recounts the misadventures of Señor Don Gato, a tom-cat who receives a love letter from ‘a lady cat, who was fluffy, white, and nice and fat‘ and in [mock ?] paroxysms of joy, falls to his untimely death. The English version was published in a Grade 3 music book in 1964.

While simple in form, the song displays many of the hallmarks of classic tragedy and scene creation as outlined by Aristotle in his timeless, Poetics (c. 335 BCE)

Let me explain.

Somewhat profoundly, Aristotle, put forth the idea the play should imitate a single whole action which,

has a beginning and middle and end.

By this blinding insight,  Aristotle means that the events follow each other by probability or necessity, and that the causal chain has a beginning and an end.

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According to Poetics,  the tragedy is devised around a knot, a central problem that the protagonist must face. In our case, the knot arrives in the form of a love letter for Don Gato prompting his heart to react with violent emotion.

Aristotle continues: the tragic play has two parts: complication and unraveling. During complication, the protagonist finds trouble as the knot is revealed or tied and these complications arise from a flaw in the protagonist character ultimately leading to his or her undoing.

In the case of Señor Don Gato, this flaw is arguably either the vulnerability of his heart to love, or the invulnerability of an alley-cat to be tied down to love. Which of these plague our protagonist is up to the audience interpretation.

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Aristotle continues: in the second part, named the unraveling, the knot is resolved. To explain this, two types of scenes are of special interest: the reversal, which throws the action in a new direction, and should happen as a necessary and probable cause of what happened before, and the recognition, meaning the protagonist has an important revelation. .

You need only listen to four more verses to hear how Don Gato’s dilemma is resolved through a rather amusing reversal scene through perhaps a recognition of Don Gato’s true heart orientation. 

Perhaps, the ballad of Señor Don Gato follows the pattern of a comedy, rather than a tragedy, however, we cannot discover that from Aristotle’s Poetics since the second part of his work, the part addressing comedy, was lost.

For now we will have to settle with a tragical reading of Señor Don Gato according to Aristotle

Why I am So Wise – Nietzsche

Why I Am So Wise is one of several chapter essays with ironic titles including ‘Why I am So Clever” and “Why I Write Such Good Books,” in Friedrich Nietzsche’s Ecce Homo: How One Becomes What One Is  [1908]. 

The book is the last original book written by philosopher before his death in 1900 and was published posthumously.

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The phrase ‘ecce homo’ is Latin for ‘behold the man‘ and is the phrase used by Pontius Pilate in John 19:5 [Vulgate] when he presents Christ, bound and crowned with thorns, to a crowd shortly before his Crucifixion.

According to Walter Kaufmann, the text contains parallels to Plato’s Apology which documented the trial of Socrates. Just as Socrates was presented as the wisest of men precisely because he freely admitted to his own ignorance, Nietzsche argues that he himself is a great philosopher because of his withering assessment of the entirety of Philosophy which he considered a cowardly failure to pursue its stated aim to its reasonable end.

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In this regard, the wording of his title was not meant to draw parallels with Jesus, but to suggest a certain kind of contrast.

Nietzsche posits that mythological figure of Jesus actually represents the mistake of failing to see that being a man is enough, that the important task of transcending the all-too-human requires nothing genuinely inhuman or supernatural,  nothing beyond the reach of flesh-and-blood humans.

Nietzsche holds that to believe in the existence of objective values is to believe in an illusion that is devoid of any constructive meaning, and therefore nihilistic;

In religion the constraint is lacking to consider ourselves as value positing.

Nietzsche maintains that when the will of the self is subordinated to the will of God,  the content of experience is negated.

Nietzsche’s scathing critique of religion and morality has exerted a profound influence on Western philosophy and modern thought, particularly on existentialism. However, his critique of the person of Christ, the ‘ecce homo’ of history and art, is in my view, somewhat amiss claiming Christ represented an embodiment of ultimate morality.

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In my view, Christ arrived not to represent a divine morality but to address the failure of human constructed morality, the very self-constructed morality Nietzsche championed.

A contemporary of Nietzsche, the Russian writer Fyodor Dostoevsky, examined this dilemma in his 1880 novel, The Brother’s Karamazov. Nietzsche’s senior by only 23 years, Dostoevsky wrote of man’s attempt to create moral norms without God and concludes that it is not within man’s power to overcome nihilism — without God, man will inevitably destroy himself.

Why so? Dostoevsky’s Ivan asks to what end is mankind served by God’s plan for bringing about a harmony between good and evil in some distant future while meanwhile mankind suffers inexplicably. Ivan’s question is quite compelling because it addresses the problem of evil and suffering in terms of how mankind experiences it.

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Nietzsche’s thought on the reality of suffering fails to account for why anyone or anything suffers at all, or why the problem of evil was ever a valid moral question in the first place, because the exploitation and “overpowering of what is alien and weaker” is a natural consequence of strength passes unquestioned as a self-evident rule.

Dostoevsky’s novel, through the dialogue of the two brothers, examines and critiques the empty vanities of religion and moralism, pointing out many of Nietzsche’s later conclusions, yet ends on a very different note. Rather than championing the creation of new values within the moral vacuum of nihilism, the Jewish and later Christian scriptures address the self-created morals of humanity and their failure.

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It is in the Book of Job, written in the 3rd century BC, in which the protagonist who in the face of pointless suffering has the choice to turning back to moralism or towards nihilism, turns instead angrily and audaciously to address God with an ultimatum.

Answer humanity personally!

This challenge was answered in the person of Christ, not an ‘ubermensch’ or ‘superman’ because he represented God’s moral superior standards, but because he represented the face of God’s suffering with and for humanity. The cost of human freedom and moral agency finds reconciliation, and ultimate meaning in the scars of God himself.

 

 

Thor’s Journey to the Land of the Giants

This delightful TED-Ed video recounts the tale of Thor, Son of Odin’s journey to Jotenheimer, land of the Giants. Thor travels with companions Loki and Ijalfe accompanied by the Giant Skrymir.

In the land of the Giants, the three companions are given three challenges, each of which are impossible to achieve. However, in attempting the challenges, they each change the world.

How much then can our struggles, though seemingly in vain, affect the world?!

You can see the original video here: