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Richard S. Beam

282 Love and Marriage?

5/29/2024

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Back at the beginning of May, I posted some thoughts about graduation, commencement, or whatever you want to call that ceremony which most people seem to think marks the end of school (if not of learning in any form) and the beginning of “REAL LIFE.”  Traditionally, the next step after “completing” one’s education was supposed to be acquiring a spouse, a process known as MARRIAGE.  That’s not quite as standard a practice today as it once was, but June (which will be with us momentarily) IS still considered to be the appropriate time for one to make the public commitment which our society refers to as “Marriage,” so I figured it might be a good time to share a few thoughts related to that custom.  Of course, the most obvious thing about marriage is that it has a curious connection to both religious practices and to legalistic rights.  It’s nice when these coincide, but one should always remember that they probably aren’t identical.  Our Founding Fathers DID attempt to establish a separation between Church and State, even though it may not be a perfect one. That may not have made things a lot simpler, as it turns out, but I think it should have.

Religiously, as I see it, marriage is usually a ceremony, involving a specific Deity, usually in the presence of a specific religious community, according to that group’s idea of the appropriate behavior to establish a “faith-based bond” between two (or more) people within that, specific religious community.  From a legal point of view, however, that, religious activity is, generally (perhaps always), of little to no importance, unless it is also registered (usually with a “licensing fee” charged) with the State (the government), in order to provide LEGAL recognition of the relationship being established and, hence, an alteration of certain, specific legal rights and privileges afforded to both the individuals involved and to the combined entity (the couple).

Note: I am not a lawyer (although I AM an Minister of the Universal Life Church), but I believe that I am correct in suggesting that your RELIGION (Church) can say that you are married, but it is probably not a good idea to claim “married” status on your Federal or State tax records (for example) if you haven’t got the appropriate, legal forms filled out, the required fees paid, and all paperwork appropriately filed with the correct governmental office(s) BEFORE doing so.  I believe that such a mis-step COULD cause you to be prosecuted, tried, etc.  I don’t think I would suggest that as being desirable.

However, this being the season for marriage, I thought I’d take a look at my files and see what I could come up with relating to marriage, which might be worth thinking about.  Let’s see ….

It’s an obvious truth that marriage is quite strongly bonded to the idea of sex in many societies.  Of course, these societal traditions do vary somewhat widely.  In some, I am told, two people aren’t allowed to marry until they have demonstrated that they can be fertile together, in order to make sure that the marriage will, in fact, increase the population of the larger society.  In some others, marriage provides the “license” for “legitimate” sex, a topic about which both parties are “assumed and expected” to be completely naive regarding prior to religious approval of their relationship.  After marriage, then, they may be obliged (according to some religious beliefs) to “multiply” as frequently as possible for the remainder of their lives, in order to increase membership in the specific religious community.  Note: in such cases, I would suggest that the function of sex is RELIGIOUS in nature and does not appear to be anything other than the fulfilling a religious obligation.

Then, somewhere back in history, someone introduced the idea of “Romance.”  While that term does have multiple, somewhat variant, meanings, many people, I think, tend to associate it primarily with the notion of “… love, especially when sentimental or idealized.”  As I understand it, this idea really came to the forefront of Western thinking in the latter stages of the Medieval period. along with the notion of chivalry.

Now, as I understand it, the term, “chivalry,” refers to “… the qualities expected of an ideal knight, especially courage, honor, courtesy, justice, and a readiness to help the weak;” and to “ … courteous behavior, especially that of a man toward women.”  (Note: there ARE other aspects to this definition, but I believe that these may well represent the most commonly accepted ones.)  Given that the concept is Medieval, the reference to the “qualities expected of an ideal knight” makes a lot of sense, at least to me.

Now, as I learned it, somewhere back in the dim recesses of my lit. class background, during that period, since marriage was (at that time) most commonly arranged for by FATHERS, often for political purposes (uniting with one’s allies, establishing closer “ties” with foreign powers, etc.), what we call “Romantic Love” had nothing much to do with it.  It WAS (or became, at least in theory) permissible (even desirable?) for a knight to feel emotionally tied to a woman, but it was (at least theoretically) essentially required that this emotional tie should involve nothing more than dedicating ones’ heroic deeds to the “beloved,” and/or carrying her “favor” (a scarf, handkerchief, etc.) into battle to indicate one’s dedication to her, etc.  In theory, anything related to actual, physical contact (let alone sexual contact) was strictly forbidden, since knights, typically, were NOT married to their beloved, who WAS (most commonly) married to someone else, often of higher social rank.

Somewhere along the winding path of history, the notion of Romantic love got confused with sexual desire; and, over time, the notion that the proper expression of anything related to a relationship between a man and a woman should be, essentially, required to be based on sexual desire, and (obviously) its primary purpose was to lead to sexual relations.  I would like to suggest that I think this is hogwash.

I will quite happily support the idea that sexual relations CAN be an expression of the relationship which we refer to as “love.”  I would even go so far as to suggest that that SHOULD (certainly ideally) be the case.  However, I would also suggest that love is far more complicated than that, even in common practice and parlance.  As a parent, I believe that I love my children (and their families), but (even though I have daughters, sons-in-law, and grandchildren) I really don’t wish to have sex with them.  As a child, I loved my parents (both of them) but I didn’t (at least consciously) wish to have sex with my mother, nor my father.  I have (had) siblings, whom I thought (think) of as loving, but I’ve not really considered having sex with my sister, nor my now-deceased brother.  And this idea can be extended throughout my family and much of my acquaintanceship.

I have had numerous friends over the years, school friends, work colleagues, students, etc. of both genders with whom I felt a considerable degree of affection (which may, or may not have been reciprocated), but with whom I didn’t have any particular sexual attraction.  THEY WERE (some still are) MY FRIENDS though!  I did (and do) enjoy being with them, talking with them, doing things together, sharing common interests, etc.  But, I had (and have had) no particular interest in having sex with them.

While we are thinking about Love and Marriage, I think it’s important to note that, at least in the times we live in today, it may well be as (or more) important to be a “Friend” to your marriage partner, than to worry about how often you have sex with him/her.  You see, I’ve never been a believer in the notion that sex is (or should be) the most significant aspect of any relationship between people.  That notion simply doesn’t make sense to me.  Since our society insists that sex has no bearing (or, at least, isn’t supposed to, according to some people) on relationships between members of the same family, or even just the same gender.  

If there are non-sexual factors to relationships within families or genders (which ARE considered acceptable, normal, and proper), why shouldn’t the same notions apply ACROSS them?  On the other hand, while not ignoring the attractions of differing sexes, the fact is that being a friend to someone is probably of greater importance as the basis of a lasting relationship, than if one feels a sexual attraction (Lust) to them. 

That doesn’t mean that there can’t be some “mystery” in a relationship, even after a considerable time, as Earl suggests in this Pickles strip.
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Nor that any relationship can’t experience some “difficulties,” or “complications” every so often as Dustin points out here:
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Of course, I should admit that there are times when one has to go just a bit out of the way to remember that one really does love their partner because of an “unfortunate” (translates to downright stupid) choice of words or expression, again citing Earl Pickles.
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Of course, Opal COULD have been just a little less critical of Earl’s choice of attire.  On the other hand, one does have to admire Earl for his quick response.  It’s almost as clever as Dustin’s, in this strip.
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But, perhaps the best advice I can give anyone contemplating marriage, (just in case someone is), comes from a old legend from the Cherokee people which I ran across in some book somewhere a fair number of years ago.  I think it’s worth repeating here.
The Cherokee Legend of the First Strawberry
At the dawn of time, the first man and the first woman set up their home together by the side of a great broad river. They had everything they needed for a blissful life: Fruit, berries, meat and fish, plenty of wood and fresh water and, of course, each other. They lived as happily as any man and woman have ever lived together, until their first quarrel. It started with a small thing. First man said, “Why didn’t you cook this?” and then, first woman said, “Why didn’t you bring in the wood for the fire?” Pretty soon it got worse, with first man saying, “Why didn’t you tidy that?”, and first woman saying, “Why are you so messy?” Pretty soon, both the insults, and a few wooden plates and bowls, began to fly.

    The first woman was so upset that she decided to leave the first man. At the break of day, while he was still asleep, she set off down the valley, heading towards the rising sun. She walked and walked, always looking straight ahead of her, and not once turning back. When the first man woke up and saw that she was gone, he waited for her to come back, but she did not come back. He found her tracks along the valley, but she had a long head start on him, as she did not stop or look around.

     The sun was now high in the great blue sky. It looked down upon the first man, as he followed after the first woman, and it saw that there was sadness on the face of an otherwise pristine and perfect world and all his surroundings. The sun asked the man if he was still angry with his wife. He said that he was not angry with her. The sun asked if he would like to have her back. He said that he would like to have her back. And the sun took pity on the first man and decided to help him. His gentle rays touched the ground along the woman’s path, and a huckleberry bush sprang up. Its fruit was shiny and enticing, but as she passed, her eyes remained fixed on the distance, and she did not see the berries.

     So the sun shone again on the ground up ahead of the woman. He caused a clump of blackberries to grow up beside her path. She refused to even glance at them.

     Then the sun thought that he must create something entirely new; something so vivid, so fragrant, and so delicious, that even the first woman could not fail to take notice of them in her resolute and unhappy mood.

     He blessed the ground again with his rays, and the first patch of strawberries spread over the ground. Their sweet scent filled the woman’s senses, and her mood became lighter. She began to look around her, and she saw the bright red fruit hiding beneath the leaves. It looked so enticing that she picked one and tried it. She tasted the strawberry on her tongue, and she began to remember the happiness she knew when she first set up home with her husband. She looked at the half-eaten strawberry in her hand and saw a bright red heart. She found she no longer felt the pressing desire to leave him. She sat down on the ground and wondered what she must do. By the time she had eaten a few more strawberries, first man had caught up to her and sat down quietly and smiled. She gave him a strawberry to eat.

     They both then realized how much they cared for one another and walked back home together taking a few strawberry plants with them to plant at their home so they would not forget this lesson. Do nothing in haste, consider all things thoroughly and always forgive one another of your faults.

I like that story.  I think that it’s worth remembering it when life seems a bit too much like it’s shown as in this Baby Blues strip from a while ago.
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Oh, well, glamour isn’t everything, I suppose.

​I’ll be back in a couple of week.  In the meantime, remember to --

🖖🏼 LLAP,
​

Dr. B
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281 Funny Stuff with ART!

5/15/2024

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Have you ever noticed how some people apparently just can’t bear to leave a work of art alone; they just HAVE to do something to it in order to be happy?  Now I have to admit that this often annoys me, sometimes quite a lot.  If you don’t care for someone else’s work, be it literary, visual, musical, whatever, that’s okay, it’s even your right.  But, changing it can very quickly get into questionable territory, especially if you don’t have permission to do so.  I find this sort of thing acceptable pretty much only when it’s what I would call a “loving parody,” or, if the changes can be reasonably argued to be an honest attempt to provide some sort of different perspective, or point of view, as in a “cover” of a popular song.  

This sort of thing probably bothers me the most, when it’s done with theatre pieces.  No, I am not such a “purist” as to insist that “cutting” a script is unacceptable, nor is placing a play in an historical period other than the one used by the author, nor using what is referred to as “non-traditional” casting (casting without consideration of skin color, body shape, sex or gender), provided that it doesn’t change the meaning of the play!  I know some will disagree with me, but there are cases where this form of casting seems to me to be a violation the playwright’s ownership of HIS/HER script, even if the play IS out of copyright.  I have heard, for example, that the Samuel Beckett Estate would not give permission for a proposed production of Waiting for Godot starring Ian McKellen and Judy Dench, although they approved of Patrick Stewart teaming with McKellen (I KNOW that, I SAW that production!).  I assume that they didn’t want what Beckett conceived of as a male character to be played by a female.  Personally, having seen an all female amateur production of this play, I think I understand their thinking.  I felt it just didn’t “work” all that well, and suspect that it might well be even less successful with a “mixed sex” cast.  To me at least, the use of such practices simply introduces issues into the production which are unnecessary and unrelated to the author’s intent.

Somehow, I find making Hamlet into a struggle for the leadership of “The Denmark Corporation” (a business) in the present day of much less importance (and interest), than having the same sort of struggle involve the fate of an entire country, even set in the historic past.  Having a mixed colored cast for Othello looses something if Desdemona’s father is Black, she’s Oriental, and Othello is Caucasian.  I always figured that part of the issue of the play was that Othello was of a race different from the rest of the people (or was at least some form of “OTHER”) and the larger group of characters (the Venetians) were having difficulty dealing with a relationship between him and a prominent member of THEIR group (Desdemona).  The same is true of saying you are doing Romeo and Juliet (even calling it “William Shakespeare’s Romeo + Juliet”, which is not the original title, but seems to be just using Shakespeare’s name as advertising), when you have chosen to set it amid the gun-toting, “gangland” struggles in the hip, modern suburb of Verona Beach, with the feuding families being “gangland” business rivals.  I don’t see how that can be seen as true to Shakespeare’s vision, or the tradition of his  time, or his intent.  

On the other hand, I thought that Joss Whedon’s contemporary setting for Much Ado About Nothing probably worked as well as Kenneth Branagh’s, 17-18th (?) Century one.  And, I’ll be frank, I liked them both, a lot!  While one COULD quibble about some of the specifics of their interpretations, I thought both good and valid.

So, I really don’t object to adaptations and I’ve been involved in a good number of them, (including a post-apocalyptic Romeo and Juliet which, I thought, was quite close to what Shakespeare may have had in mind).  I would suggest that, even with the change in historic locale, it seemed to me that the basic vision for the show captured the author’s intent quite well.  I think that “doing” a playwright’s play obligates us to at least try to interpret it in a fashion which is sensitive to the author’s vision, even as we adapt it.  If we want to do OUR OWN play, let’s have the honesty to admit that OURS is “based on” the original author’s work, and not try to pretend that it’s the original.

Music, is much harder for me to address, as I am, really, not all that knowledgeable about it.  I do understand that, sometimes, composers will have fun with someone else’s themes, etc., and I admit to enjoying a CD we have of popular Christmas songs entitled “What If Mozart Wrote ‘I Saw Mommy Kissing Santa Claus’,” on which a string quartet performs some popular Christmas songs in a style reminiscent of Mozart’s.  I also have enjoyed The Swingle Singers versions of more “serious” music using human voices as the sole instrumentation.  They are, obviously, having fun, while, in my opinion, showing respect for the original work.

I confess, however, that, I get a bit upset when people feel they can “rip off” works of visual art, especially for commercial purposes, but I CAN also enjoy a clever adaptation, or parody, when it’s done in good taste and seems to demonstrate respect and admiration for the original.

I saw a piece on PBS a while back about Edward Hopper, which I enjoyed, although I was annoyed, as I frequently am, by “art critics” apparently believing that for one to enjoy a work of art, it needs to be explained by an “expert.”  While admitting that greater knowledge CAN lead to greater appreciation, it’s always bothered me that it doesn’t seem to be enough for one to just like what they like.  For many “critics;” we, “non-educated,” people have to have the work explained to us, so we will understand why OUR simple enjoyment isn’t “right,” or “adequate,” if we don’t like it for the reasons some critic says we should.  I consider that to be a form of  “pseudo-artistic fascism.”  MY taste is MINE, I don’t care what YOU think, especially if we can’t discuss our different likes without you insisting on telling me that I’m “wrong!”

A case in point; I have always been fond of Hopper’s Nighthawks, which is located in The Art Institute of Chicago and I have seen it there a number of times, in addition to frequent reproductions.  You know the painting I mean:

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I admit that I can’t really explain WHY I like it, I just do.  It makes me have an emotional response to the situation, some sense of understanding these people, late at night, in a neighborhood diner, downtown, somewhere.  I’ve been there, I understand.  It resonates with me.

When this piece was being discussed on the PBS show, however, the “critic” went on about it being fascinating because of all the things “wrong” with it, which aroused my interest.  The comment which I remember most clearly as standing out to me was her insistence on asking, “Where’s the door?”, as if its lack was of considerable importance.  I confess that I had never really thought about it, I just assumed that it didn’t show in Hopper’s painting because he chose not to include it, and wondered, what difference did it make anyway?  Its lack certainly never implied to me that the people shown were somehow “trapped” in this situation, as this “critic” suggested.  When I thought about it, I concluded that I had simply assumed that it was probably out of the picture to the right (which seemed like a logical location for a door) and that Hopper didn’t show it because his focus was on the people.  

Apparently someone else thought so too, as they did a “take-off” of the work showing the door and indicating what Hopper might have chosen to include (and might have excluded).  Here it is:
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What Hopper actually painted is indicated by the black outline.  Somehow, I think he was right in not bothering with the rest of the view, if that, actually, was it.  Of course, Hopper said that he “made up” the painting based, loosely, on a diner in Greenwich Village, near where he lived, that he didn’t just “paint what he saw,” he painted what he wanted to paint.  I would suggest that this, revised version of Hopper’s work makes the painting much more about the building, whereas the original is, at least mostly, about the people.  I think the difference is of considerable significance.  I like the original better, no matter what the “critics” might think.

Still, as I have indicated, I’m not totally against adaptation for a useful point.  I ran across THIS version during the recent COVID pandemic, which amused me, while suggesting that  “social distancing” might not be a bad idea under the circumstances.
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It would help if the copy were better, I suppose, but the point does seem appropriate for the times, as does this, second, “pandemic” version, which takes Hopper’s view and extends it into a “possible” future, and a not very pleasant one.
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Speaking of possible future versions, I (it’s amazing what you can find, if you look a bit) found this one somewhere on the internet, which suggests another, much more amusing possibility for Hopper’s scene “A long time ago, in a galaxy far, far away. . . .”
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I also discovered THIS variation, which I thought amusing for Christmastime.
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As a final thought, I confess to finding THIS, contemporary version to have SOME appeal,
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 but I still like the original much better, as this one seems, perhaps, to put more emphasis on a depressing mood.  I think it lacks something of the sense of hope I get from Hopper’s original.  This one, just seems to be a bit bleak, to me.

See, although I confess to not having a lot of sympathy for critics (who often seem to be too “snooty” to suit me), I’m not above having some “fun” with art.  Shakespeare doesn’t HAVE to always be done in Elizabethan, “original” practices (which WOULD be outlawed, at least in some places, today as “drag” shows, after all).  Paintings, all forms of art, I would suggest, CAN be played with (although just sticking funny eyeglasses on portraits and having Mona Lisa smoking a cigarette seems MUCH more like just stupid vandalism, than even, mildly, amusing satire).

I think that ART should be enjoyed for whatever you get from it, not used as a means to try to prove that “I’m BETTER than you are, because I understand the art, while you are just a foolish, insensitive peon!”  I think most good artists really WANT their works to be enjoyed and would be happy to see their work appreciated, even if that appreciation might lead to affectionate copies, adaptations, and variations.

I’ll be back in a couple of weeks.  In the meantime, stop by an art museum, read a book, take in some sort of play, movie, or concert, if you can.  You just might find it enjoyable, amusing and/or inspirational.  I find it’s usually worth the trip!

🖖🏼 LLAP,

Dr. B
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280 Graduation, Again 2024

5/1/2024

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Every year, as May approaches, I am reminded that “Graduation Season” is also approaching; bringing with it many people, spending MANY hours dealing with a variety of ceremonial occasions marking the end of the academic year, and remembering the fact that some of those people will have arrived at one of the various “stopping points” which are considered to mark the termination of some level of educational achievement.  

I am one who has always tended to agree with Professor (and noteworthy author) Isaac Asimov that the notion that “People think of education as something they can finish.” is, for what I would argue are fairly obvious reasons, proof of the complete failure of the entire educational process.  I find the whole idea of believing that one can do anything other than arrive at a completely artificially defined (and highly temporary) “pausing point” in one’s education to be quite ridiculous.  Of course, I also believe that the notion of ceasing to learn is really only possible for the dead, or, perhaps, for those who weren’t really much more than a vegetable (therefore, probably incapable of achieving actual consciousness) to begin with.  Yes, I agree with Descartes that “I think, therefore I am!”

Be that as it may, however, I HAVE been present at a fairly large number of the ceremonies which are used to mark people’s arrival at one of these “stopping” points, both by virtue of having achieved several degrees of “educational attainment” myself, and as a representative of the various Faculties on which I have served on both as a simple member and/or as one of the “leaders” of such a Faculty.  Most of the certificates awarded at such ceremonies (called “diplomas”) do claim that it is these “Faculties” who are, in fact, the agencies which actually establish and recognize these levels of achievement, in spite of the fact that they are, actually, established more by bureaucracies and tradition than by the actual “Faculties.”  

This, of course, means that I have had considerable experience with hearing what are commonly called “Commencement Addresses,” from a wide variety of, usually, recipients of Honorary Degrees (usually “Doctorates”) granted to all sorts of people; famous, wealthy, or, seemingly, just picked out of a hat.  Some of these speeches have been stimulating, or challenging, or humorous, or some combination of those characteristics.  All too often, they haven’t really had ANY of these features to any significant extent.  In any case, the approach of this season suggested to me that I might want to take notice of it by offering some, few, comments on its nature and how I feel about it 10 years after attending the last of such events as the member of a faculty, since I retired just 10 years ago this year.
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One of the “Commencement-related” things which affects both the students AND the members of a “Faculty” is, of course, that, in order to actually “commence,” a student must “satisfy the requirements for the degree,” which requires grades and (obviously) the dreaded “FINAL EXAMS.”  Most faculty members, if they were to be honest, are not huge fans of “giving” and/or GRADING such “exercises,” especially on the, frequently tight, deadlines required by administrators; any more than those “exercises” are, generally, enjoyed all that much by the students who have to “take” them.  Somehow, though, popular culture always seems to think that the student has the more difficult problem.  Hence, we frequently find cartoons like that from Zits below
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I believe that I can speak for all faculty when I note that many of them are affected in much the same fashion. 

Then, having survived Final Week (assuming that they actually have) at least some of those faculty are commonly required to (MUST) attend at least one set of “Graduation Exercises.”  (NOTE: during the four years when I served as the Chair of the Faculty at Western Carolina University I was expected to attend FIVE of these ceremonies EACH YEAR (2 undergraduate and a Graduate school one each Spring; 1 at the end of the summer session; and, 1 at the end of the Fall Semester), making a total of TWENTY of them in just that four year period!  I was, of course, expected to attend at least one of these occasions every year while I was simply a member of the general faculty, which made for 37-38 more.  I was actually (more or less) pleased to be present when some of the students I actually knew from the Theatre program were graduating but, all too often, even these were not really exciting events.  That was, fairly frequently, because, the Commencement Speakers were not really all that inspiring.  

Occasionally, though, I would at least hear of one which was of some interest, at least to me.  So, over the years, I have collected a few examples of such discussions which I wish had been presented at a “Commencement” ceremony I had actually attended.  The following example, while not exactly a “Commencement Address,” may serve as an example of the sort of thing which I MIGHT have enjoyed and thought worthwhile.  It is from the website of my brother-in-law, Dr. David K. Jordan, who served for many years as a member of the faculty of The University of California, San Diego, and held a variety of positions, teaching and administrative, there.  On his website, he has posted the following story, which seems to me to be appropriate material for the sort of occasion one encounters during this season of the year.  He wrote:

When I was a kid we sometimes went to see children’s plays at Chicago’s wonderful Goodman Theatre.  Elegantly emblazoned across the proscenium was the inscription, “You yourself must set flame to the faggots which you have brought.”  (It turns out to be a quotation from Kenneth Sawyer Goodman —1883-1918— in whose memory the theatre was founded after he died in the famous flu epidemic.)

Being little kids, we would ask what faggots were (kindling), and why you were supposed to bring them to a theatre (they were metaphorical, and being little kids we had probably brought loads of them), and whether that wouldn’t be a fire hazard (only for metaphorical fires, which were okay).

My father conceded that for a theatrical company it seemed an odd slogan, as though they lacked the power to inspire us.  But the quotation has remained with me all my life, long after I have forgotten the plays themselves.  There is something profoundly right-headed about it.  It tells me that in a theatre or a university or anywhere else it is my own responsibility to be inspired, interested, instructed.  If I refuse to engage myself, there is little anybody else can do for me; I will be destined to be bored … and boring.

Every June, as I watch graduating seniors leaving the university for different destinies, beyond our ability to provide them any further opportunities, I find myself wondering how many have managed to set fire to the fuel they brought with them.  The old proscenium hangs over the scene in my mind’s eye like a Biblical vision: You yourself must set flame to the faggots which you have brought!

I (RSB is back, now!) find this to be quite directly to the point, particularly in relationship to education.  I believe quite strongly that education IS, in essence, a “good thing,” but it’s only as good as YOU make it.  Or, as the legendary Po (the Kung Fu Panda) was told by his adoptive father, the Noodle Soup Maker, that the “secret ingredient” in his “secret ingredient soup” is that “There is no secret ingredient.”  I would suggest that his point was that, in the long run, it’s up to you!  If you can not, or will not, first, acquire, then actually USE the skills which you were SUPPOSED to have acquired during your “school years:” to think critically; check your facts (AND your SOURCES); and engage with your society in a clear and comprehensible manner; you might just as well be a rather useless bundle of sticks, just waiting to rot away.  (NOTE: the term, “faggot” has been around for quite a long time to refer to a bundle of sticks, often used to start larger fires, for those who want to believe that the term is, in fact, a derogatory term referring to some of the LGBTQ+ crowd.)  You have to set those sticks to flame to “see the light,” otherwise, you’re just going to stumble around in the dark, like actors without a handy “light techie.”
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My point here, and I think, Goodman’s (and Jordan’s), was that one HAS to MAKE ACTUAL USE of their education in order for it to have any real meaning, importance, or value.  As Wiley points out in this below from Non Sequitur, just having a “diploma” doesn’t really signify that you are “educated.” 
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Of course, common sense, and just a tiny bit of contemplation, will suggest that, no matter how hard we try, no matter how much we study, think, and write, we are unlikely to achieve anything resembling COMPLETE knowledge.  That’s what deities are for.  AND, no matter how hard you try, study, pray, or believe, while deities (pick your own from the many available) CAN ASSIST in making up one’s mind and MAY provide important clues towards achieving happiness and fulfillment, YOU have to actually “light the fire” EVERY DAY, EVERY HOUR, EVERY MINUTE, because NO one else CAN do that for you.

As we think about these questions it’s worth noting, as Wiley also suggests below, not even the best of us can possibly know, and/or understand everything, and the sooner we admit to being imperfect humans, who are still acquiring knowledge, the better off we will all be.
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Oh, well, I guess that’s enough of a “Commencement Speech” for this year.  Perhaps it’s worth at least the amount of consideration which most such things deserve.

I will be back in a couple of weeks, with more, different ramblings. 

🖖🏼 LLAP,

Dr. B
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