Abraham and the Triune God

(I wrote this little piece for a parish newsletter. It's a slight piece, but I hope it contributes to a better understanding and appreciation of the wonderful biblical exegesis of the Fathers.) 

The Old Testament reading (Gen. 18: 1-3) that I took as my material for today's little meditation offers me an opportunity to sketch out a Christ-ological (a fancy theological word; it just means 'things having to do with Christ') reading of the Old Testament. Theology exists, or ought to exist, solely for the purpose of worship. If theological reflection does not lead us to prayer, it has failed in its purpose and should be cast aside as useless, and perhaps even dangerous. But now to the text itself!

“And the LORD appeared unto Abraham in the plains of Mamre, as he sat in the tent door in the heat of the day; And he lifted up his eyes and looked, and, behold, three men stood by him. And when he saw them, he ran to meet them from the tent door, and bowed himself toward the ground. And Abraham said, My LORD, if now I have found favor in your sight, pass not away, I pray you, from your servant.”

I suspect that this little drama has largely been passed over in many an individual's reading of Genesis; it's not nearly as well known as the events that follow. But this episode in the life of Abraham is what ancient Christian writers called a 'type.' A 'type' is an event in the Old Testament that foreshadows Christian doctrine. St. Paul uses this kind of interpretation in his letters. For instance, in his Epistle to the Galatians (4:21-31) he adopts Hagar and Sarah as 'types' or symbols of the synagogue and church; early Christians, following the Apostle's lead, enthusiastically adopted his method. Two brief examples: Cyprian, a 3rd century bishop, interpreted Noah's Ark to be a 'type' of the Church (St. Peter in his First Epistle [3:20-21] adopts the Ark as a 'type' of baptism), and Ambrose of Milan, a 4th century bishop and theologian, interpreted the marriage of Rebecca and Isaac as a 'type' of Christ's mystical union with His spouse, the Church. If it helps, you might think of this kind of interpretation as an ancient counterpart to C.S. Lewis' allegorical re-telling of the Christian story in the Chronicles of Narnia. In those wonderful stories, Lewis re-imagines events in the life of Christ and dresses them up in new clothes: he allegor-izes the Christian story, using Aslan and his sacrificial death on the Stone Table to represent the death and resurrection of Christ. For his storytelling, Lewis is beloved of modern Christians. For ancient Christians, the Old Testament was similarly beloved and beloved for similar reasons. There, Christ was always peering out in veiled disguise, preparing the world for his Incarnation.

At Mamre, Abraham, as the Scriptures say, met the Lord. This passage must indeed be puzzling to Jews, but for Christians, it allows but for one interpretation. The Lord, appearing in the guise of three angels, is a 'type' of the Christian doctrine of the Trinity. To Abraham, God was One (as He is to millions of Jews and Muslims), but for Christians, that's only true insofar as we believe that God is One in Three Persons, Father, Son, and Holy Spirit. When God revealed Himself to Abraham, He revealed Himself as the Creator and Sustainer of the Universe. But revelation doesn't stop there. It continues with Moses who officiates at God's covenant with Israel, and with her judges, prophets, and priests. But like lightning from a clear sky, the New Testament, the record of Christ's incarnation, earthly ministry, death, and resurrection, reveals that God is not simply and only One; He is a mystery, a communion of three persons, and wonder of wonders, one of those divine persons, the Word, has taken flesh. Furthermore, his Crucifixion and Resurrection have reconciled us to the Father; and His gift of the Holy Spirit ensures the perpetuation of His grace and love in our midst until the end of the world.

Gregory of Nazianzen, a theologian of the 4th century, writes of God's revelation: “It was necessary to proceed by successive perfectings, by 'degrees'; it was necessary to advance from radiance to radiance, through ever more luminous movements of advance, in order that the light of the Trinity might finally be seen to shine forth.” And a modern theologian, Jean Danielou, writes, “The whole history of salvation may be considered as a gradual unveiling of the Trinity.”

When the Lord appeared to Abraham at Mamre, under the guise of three angels, He foreshadows his own revelation of Himself as Three-in-One. But preeminently, we ought to reflect, in this little episode, on Abraham's response: he runs to the Lord, bows down, and does worship. And he asks the Lord to stop with him and feast with him. Not even to Abraham did God confide his entire plan for the salvation of humanity, or the mystery of His own Triune nature, but it is our incomparable gift that we, so much the lesser than Abraham, should worship in spirit and truth the Lord Jesus Christ, the God-Man and the Revealer of God's mysteries. But this knowledge of the Triune God is a gift; we only possess it by virtue of God's own magnanimity, and we only possess it perfectly insofar as we make a gift of it ourselves. Let us too run forth to meet the Lord and bow down.

Around the Web

For the week of Saturday, July 3 through Friday, July 9 2010.

1) From the WSJ, The Film Society of Lincoln Center is celebrating Clint Eastwood's 80th birthday with a two-week retrospective of the icon's 31 directorial efforts.

2) Conductor Michael Tilson Thomas on Gustav Mahler.

3) For the WSJ, Judith H. Dobrzynski talks to  Peter Meineck, who with an $800,000 grant from the NEH is taking staged dramatic readings of works by Athenian playwrights to 100 public libraries and art centers in 20 states.

4) In the WSJ, Will Friedwald with Svend Asmussen, 94, probably the oldest active major jazz musician in the world and the only one who's played with Fats Waller, Django Reinhardt, Stéphane Grappelli and Duke Ellington.

5) James Bowman on John Huston's 1948 classic, Treasure of the Sierra Madre.

6) At Mises Daily, John S. Chamberlain with Ten Economic Blunders From History.

7) At The New Atlantis, Jeremy Axelrod on the bewilderments of quantum theory and "Quantum Leaps" by physicist and science writer Jeremy Bernstein.

8) Via Life in Italy, the Colosseum is to be restored, protected and lit up permanently in a project starting later this year.

9) At The Volokh Conspiracy, Keynes vs. Hayek– 1932 Redux.

10-12) Three new articles on digital vs. printed books. [1] [2] [3]

In Praise of Legos

Yes, I hear they are officially called "Lego Bricks" but they are and will always be Legos to me and I suspect many others. They were my go-to toy and construction material of choice for many years. Their rivals could not really compete, although I had nothing against K-Nex, which remain quite appropriate for the mechanically-inclined. Yet Legos were smaller, more voluminous, varied, and versatile than than anything else, including their larger cousins, Mega Bloks.  Likewise Lincoln Logs were only suitable for building forts. Besides, one never had enough Lincoln Logs to build more than one house, fort, et cetera. A bucket of Legos was far more useful. Now if you had both, well then you had whole world of potential, i.e. an epic battle between the Lego vehicles and the Lincoln Log fort. Exhibits A and B:

The work of your humble blogger, dates unknown. 

The vehicle opened up in the back and front, has a crane on top with a crane-operator's 

area, two arms in front, and. . .

As you might infer from the photos, the joy of building with Legos was of course the limitless possibilities. Before the days of themed sets you quite simply had a bucket of pieces and from that would spring cars, boats, houses, and structures of endless variety. Eventually I grew to appreciate the themed sets, which gave you all of the fancy pieces, the translucent windows, the hinges, wheels, et cetera with which you could create increasingly elaborate structures. Such sets were always badly designed, though, always structurally weak and usually lacking suitable egress and defensive capabilities.

By nature Legos forced the user to adapt to the limitations of the pieces you have at hand. They also gave one the opportunity for experimenting with different designs. Some were too fragile, some wasted pieces, others were aesthetically displeasing. Unfortunately one could seldom achieve a perfect aesthetic since you rarely had each piece in precisely the needed color. Yet one continued to revise. Exhibit C.

Version 2 of "Bridge" with improved pylons and matching ramps.

(Version 1 met with a terrible accident.)

Sure, not everything worked and looked great, but Legos asked me to bring something to the experience of using them. They were not a self-contained experience I simply consumed, but rather were, to use the cliché of today's dutiful parents, "open-ended." They could be anything and what they became would reflect the person building. Rather than pacify they force one to be thinking, creative, and engaged.

Gladly I can say Legos and the Lego community are thriving today. The "Mindstorms" series incorporates programmable electronics creating the potential for rather remarkable machines. Lego competitions are common. Simply searching "lego" on YouTube will surprise you with a variety of uses for the simple plastic bricks, from firearms to stop-motion short films. Legos are not simply objects for amusement, but vehicles for exploration. They're also a lot of fun.

How to Avoid the Apocalypse

or, On False Curmudgeonry

My habit of reading online articles is this. I sit at my desk, often with a cup of Earl Grey tea or cranberry juice, and I have some music playing, usually Mozart or Haydn string quartets or serenades. I open up my web browser and bam! Which politician is destroying the country, which corporation is destroying the environment, which country is destroying the world, group A needs money from group B, things ought to be this way, things ought not to be that way and so on and so forth ad nauseam. Sometimes I just say "Ah foohey!" and stick with Mozart. Such claims of catastrophe are surprisingly predictable and highly formulaic. The continuing existence of newspapers is testament to, among other things, the weakness of man's memory. There is of course a class of people, the curmudgeons, who find ill and ailing everywhere. Yet the art of curmudgeonry is hard to perfect. Fall short of the curmudgeon's charm and wit and you become a gross bore to read. The craft of the curmudgeon lies in fact not in elegizing or deconstructing or proving, but in shedding a revealing light on life's incongruities and then, in the guise of complaining, relishing the contradictions. One comes away from the curmudgeon thinking, "Hah, we people are funny creatures, no? Hah!" and then goes about his business.

Such is the best and my favorite species of critic. There are many: the polemicist, the firebrand, the whistle-blower, the belly-acher, the censurer, the grump, the nostalgiacist, the dissenter, the peevish, and the nag are the most common. They all have their time-honored styles. Sometimes, though, they come in garb of the curmudgeon.

Over the last few years there has been a constant drizzle of articles about how we use technology and how it (allegedly) negatively affects us. Such is the province of the grump-nostalgicist but these articles have come in the guise of the curmudgeon. The more notable essays are Christine Rosen's "People of the Screen" (The New Atlantis, 2008)[1], Nicholas Carr's "Is Google Making Us Stupid" (The Atlantic, July/August 2008)[2], and more recently Nicholas Carr's (again?) "Does the Internet Make You Dumber?" (WSJ, June 2010)[3], and most recently "In Defense of the Memory Theater" by Nathan Schneider.[4]

It would be dishonest not to reveal my first reaction to these essays, which is this: "Stop it!"[5] If something you are doing is bad for you then stop it! But we don't stop do we? Circling around that very human paradox should be the focus of these essays. It isn't. We said if one fails to be a curmudgeon you're a bore. One also comes off as a whiner.

These essays have much in common. Consider the histrionics: "the literary apocalypse," a "dark prophecy," "deeply troubling," and "All in the name of progress." Oh no! And to think I was sitting here sipping my tea whilst people were reading on their Kindles. The horror! Alas, alack!

They're also not seriously fact-oriented, though they pretend to be. Carr does quote someone though, writing, "The pioneering neuroscientist Michael Merzenich believes. . ." He does? OK, good. Can we go over that part then? We ought to ask, "Is this assertion a fact? Is this fact relevant? Does this relevant fact function the way the author says it does in his argument? Is the argument, then, sound? Lastly, is it persuasive?" Consider Carr's examples: does the fact that a chimpanzee brain quickly rewires (how quickly is "quickly" by the way?) when you rewire the nerves in a it's hand, mean visual stimuli would have the same effect? Consider also the statistic, "56 Seconds [is the] average time an American spends looking at a Web page. [Source: Nielsen]"  Well, what is the average time it ought to take? How was the study conducted? (So we know they factored out mistaken clicks and other variables.) They also ignore the obvious. Carr writes, "Whereas the Internet scatters our attention, the book focuses it. Unlike the screen, the page promotes contemplativeness." Well, if that's so, such suggests an obvious solution toward fixing the "screen experience" then doesn't it? Curious that Carr and Rosen never offer the obvious solutions their criticisms generate.

Rosen too quotes a poll but actually chides someone who questioned a point she agrees on, calling the questioner a "techno-utopian" and his question "obtuse and misguided." The essence of this attitude is, "I'm saying this elegantly and it's plausible so believe me. I'll quote something for appearances if it'll get you off my back." The essence of this is a little pact between the author and reader, "We already agree don't we? Great. No tough questions then? Deal." Are books being replaced? Is there any actual data on that? Of behavior they quote studies but not conclusions. The curmudgeon's topic (human nature) and charm give him a pass here, everyone else has to argue and prove a point.

I'm not even saying Carr or any of these authors are wrong. (I may even agree.) Their articles are simply unpersuasive, patronizing, overwrought, and generally annoying. I'm offended by their writing and I admittedly share their bias in favor of focus, cogitation, and long-form literature and art. I'm certainly not inclined to pick up any of their books. If they wanted to prove something they should have done rigorous research, testing, and thinking. People trust and like scientists. If they wanted to talk of the curiosities of human nature they should leave that to the curmudgeons. Everyone loves and trusts curmudgeons too. But the vast realm of quasi-scientific, reasonable-sounding kvetching is an unsatisfying and inane land.

Schneider's essay is clearly the best and most enjoyable, but it is quite mixed up. First, he obviously uses and enjoys technology but has a lifelong sentimental attachment with books. The former isn't replacing the latter, but it's getting better and it might. The essay comes off like this: "I've been with my books so long, but look at these digital databases, they're searchable and indexed! But they're young and fickle. . . and might leave." It sounds like he's confessing to an affair. Since he is so conflicted we won't pick on him any more.[6]

This personal touch is quite pleasant, really. And significant too. Far more than the "I can't read long books because I stopped reading long books" arguments of the other essays. Fortunately the answers are simple all around. Mr. Schneider should have it both ways and the others, well. . . they should stop it!

–

[1] http://www.thenewatlantis.com/publications/people-of-the-screen
[2] http://www.theatlantic.com/magazine/archive/2008/07/is-google-making-us-stupid/6868/
[3] http://online.wsj.com/article/SB10001424052748704025304575284981644790098.html
[4] http://www.openlettersmonthly.com/in-defense-of-the-memory-theater/
[5] http://www.youtube.com/watch?v=T1g3ENYxg9k
[6] Except for the fact that he ties the bookshelf's virtues to acquiring and possessing, which really does not damage the argument for the electronic reader, or at least an idealized/improved one. He admits this. So where was this essay going again? Again, all of these essays are rather flawed attempts at mixed writing styles and genres.  The bookcase would have been a fine subject for a little essay of praise, just as a few favorite long poems, books, or songs would have much more persuasively sold Carr's case. Likewise a curmudgeon's take, or a take à la Jacques Tati, on the e-reader would have been fun and revealing. Alas, alack! we are deprived.

Freedom and Natural Law

A few weeks ago in an interview with Reason TV, libertarian Judge Andrew Napolitano made the following statements about the Constitution of the United States in the context of natural law:

The constitution protects persons, it's not limited to Americans. And persons is not even limited to good persons. It protects Americans, it protects aliens, it protects those legally here, it protects those illegally here, it protects those who wish us well and those who have caused us harm. It makes no distinction whatsoever. This is absolutely consistent, the constitutional protection of persons, with the Lockean, and Jeffersonian, and Augustinian, view, and Thomistic view, that our rights come from God and are gifts into our humanity, and are as much a part of us as the fingers on the ends of our hand.

That would apply to me, to you, to George W. Bush, to Barack Obama, to Khalid Sheik Mohammad, to Richard Speck, to Al Capone, to anybody that the government wants to restrain for any reason.

The boldness and openness, even brashness, of these statements undoubtedly take even proponents of natural rights off guard. Yet somehow the tone is familiar. Quite a long time ago someone else boldly made the case for natural law:

True law is in keeping with the dictates of both reason and of nature. It applies universally to everyone. It is unchanging and eternal. Its commands are summons to duty, and its prohibitions declare that nothing wrongful must be done. As far as good men are concerned, both its commands and its prohibitions are effective; though neither have any effect on men who are bad. To attempt to invalidate this law is sinful. Nor is it possible to repeal any part of it, much less to abolish it altogether. From its obligations neither Senate nor people can release us. And to explain or interpret it we need no one outside our own selves.

There will not be one law at Rome, and another at Athens. There will not be different laws now and in the future. Instead there will be one, single, everlasting, immutable law, which applies to all nations and all times. The maker, and umpire, and proposer of this law will be God, the single master and ruler of us all. If a man fails to obey God, then he will be in flight from his own self, repudiating his own human nature. As a consequence, even if he escapes the normal punishment for wrongdoing, he will suffer the penalties of the gravest possible sort. [Translation by Michael Grant.]

This is the famous passage on natural rights from Book III of Cicero's "On the State" and it seems safe to say Cicero exceeds Judge Napolitano in eloquence. Even with Cicero, though, there is something daring about discussing the natural law, something audacious about declaring one rule for all everywhere. It's exhilarating too.

HBO's miniseries John Adams properly suggests the initial impact of such a statement. Adams, upon reviewing Jefferson's draft of the Declaration:

Well this is something altogether unexpected. . . not only a declaration of our independence but of the rights of all men.

Indeed, and the draft bears even more striking resemblance to Cicero than the final version, speaking of how the king "waged cruel war against human nature itself." [1] Nonetheless the final draft rings clear also:

. . . to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them. . .

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator  with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed. . .

Individual rights are an individual's by nature. Period. The statement is boldly laid down as an axiom, not open to negotiation. This is not a dissertation on independence, but a declaration of it. These rights do not come down from kings or oligarchs or up from the majority, but reside in each individual.

Indeed, and Napolitano also makes a key point: that the American Constitution only mentions individuals, not groups. It does not create distinctions and does not have different sets of rules for dealing with different "types" or "groups" of people. It can only deal with people in one way, as individuals.

What a risk, not just to personal life, but of failure in establishing law and government of such a nature. For a mob to behead its tormentors is one thing and it is similar for a small oligarchy to change its puppet. History has many such examples and historians and philosophers have noted the tendency of governments to rotate amongst democracy, oligarchy, aristocracy, and monarchy. The forming of a constitutional democratic-republic formed by delegates elected from the people in order to replace a tyranny is not quite as common.

Many factors, some of chance and some created, must come to be for success in such an undertaking. Aristotle noted one, "In the generations of men as in the fruits of the earth, there is a varying yield; now and then, where the stock is good, exceptional men are produced for a while, and then decadence sets in." (Rhetoric II, xv.) Notions of "stock" aside, the Founding Fathers were a remarkable generation. (Using "generation" loosely as their ages were actually rather varied.) It is common to praise, even glorify, these men, but panegyric unfortunate and unnecessary. While it would be foolish and inappropriate to praise as a group their individual virtues, a broad reading of their lives reveals at least one virtue: the intellectual. Aside from the difficulties of the philosophical and liberal arts works that constituted the core of their education, the study of the law was particularly difficult. This owed to a lack of what we know as "text books," difficulties in obtaining texts, and the "dreary ramble" (in Adams' words) of studying the law with the standard text of the time, the "bewildering mass" of the work of Sir Edward Coke. [2]

While we of course benefit from their great sacrifices and challenges, we too continue to gain from what were at the time minute things: staying home to study and wading through Aristotle, Thucydides, and Edward Coke.

In what is actually a paraphrase and amalgamation of correspondence between John and Abigail Adams, HBO's miniseries about America's 2nd president ended with this statement:

No, posterity, you will never know how much it cost us to preserve your freedom. I hope that you will make a good use of it. If you do not, I shall repent in heaven that I ever took half the pains to preserve it.

–

 At the site where John Adams as buried, United First Parish Church, Quincy, MA.

(click to enlarge)

Pilgrim,
From Lives thus spent thy earthly Duties learn;
Form Fancy's Dreams to active Virtue turn:
Let Freedom, Friendship, Faith, thy Soul engage,
And serve like them, they Country and thy Age.

–

[1] http://www.ushistory.org/declaration/document/rough.htm
[2] Malone, Dumas. Jefferson the Virginian. Little, Brown and Company. Boston. 1948.

Around the Web

For Saturday, June 27 through Friday, July 2, 2010.

1) At Philosophy Now, Grant Bartley reviews a biography of Bertrand Russell,"Logicomix: An Epic Search For Truth" by Apostolis Doxiadis et al.

2) Making dictionaries matter: Michael Adams on Samuel Johnson at Humanities.

3) Michael Dirda reviews a collection of the letters of Pliny the Younger for Barnes and Noble Review.

4) Michael J. Totten interviews Victor Davis Hanson to discuss "War: Ancient and Modern."

5) Jonathan Spence and NEH Chairman Jim Leach discuss key moments in four hundred years of Chinese history.

6) In The American, Lee Harris on "The Spirit of Independence and the Social Psychology of Freedom."

Emanuel Ax Beethoven Masterclass

A segment from pianist Emanuel Ax's masterclass on Beethoven's sonatas and variations.

On Piano Sonata, Op.28, No. 15 in D major, 'Pastoral' - Andante

Mini-Review: In Search of Beethoven

Directed by Philip Grabsky. 2009.

Ludwig van Beethoven is almost certainly the most intimidating of composers. The scale, complexity, and sheer force of his music overwhelm the listener. The image of the Olympian Beethoven triumphing over deafness, isolation, and the long shadows of his predecessors overwhelms the historian. Yet we ought not to feel distant from the composer who left so much of himself in his music, music which shows us not the caricature of the irascible genius but a whole man: witty, rambunctious, despondent, elated, introspective.Yet Beethoven is still difficult to bring to the screen either in drama or a documentary. In the latter case, then, play too much music and the dialogue feels burdensome. Play too little and you create a lecture. How many experts do you call in? How many pans over the dozen still portraits can you make? Which letters do you quote? Overall, how do you bring Ludwig van Beethoven into focus?

Philip Grabsky's "In Search of Beethoven" attempts this challenge, exploring Beethoven's life and music chronologically over nearly two and a half hours with the help of many musicologists, historians, and performers. The script competently traces Beethoven's life from his birth in Bonn in 1770 through his career in Vienna. We see Beethoven as a son struggling to support his fracturing family, an eager student of Haydn's, a dashing virtuoso, and a composer determined to make his mark. 

While this biographical outline is adequate it serves mostly to stitch together the interviews with performers and scholars. These little interviews I enjoyed quite a bit. They focus on specific sections or aspects of particular pieces and are rather little introductions to the many Beethoven pieces performed. We hear from scholars like Cliff Eisen, conductors like Riccardo Chailly, Roger Norrington, and Gianandrea Noseda, and performers from Emanuel Ax to Janine Jansen. The performers and conductors each discuss the challenges of performing Beethoven as well as bring their own metaphors to explain these pieces. Emmanuel Ax was easily the most enjoyable to watch, discussing the curious fingering of the second piano sonata. He is so affable and insightful in his segment one wishes he was more prominently featured. Likewise Kristian Bezuidenhout beautifully explains the genius of the opening to the Fourth Piano Concerto.

While the film does focus on the significance of Beethoven as a composer and cultural figure I found the length of the film and it's segmented structure do not create a monumental image of Beethoven. Rather said length and structure and the variety of pieces and performers contribute to a sort of multi-faceted  "search for Beethoven," coming at this complicated man and his art from many angles. Because of this appropriateness of structure to the task at hand I think the film overcomes the challenges we mentioned above and does bring us closer to the composer. "In Search of Beethoven" does not give us a "complete Beethoven" to meet, but it suggests that he and his music are worth spending a lifetime getting to know.

Of Sagas and Not-Sagas

saga. sa·ga – /ˈsɑgə/ [sah-guh]

noun. a medieval Icelandic or Norse prose narrative of achievements and events in the history of a personage, family, et cetera.

e.g. Saga:

A man named Thorarin lived in Langadal. He held a godord, but was a man of no influence. His son Audgisl was a man quick to act. Thorgils Holluson had dispossessed them of their godord and they considered this a grievous insult. Audgisl approached Snorri, told him of the ill-treatment which they had suffered and asked for his support. From: The Saga of the People of Laxardal

e.g. Not-Saga:

Edward helped me into his car, being very careful of the wisps of silk and chiffon, the flowers he'd just pinned into my elaborately styled curls, and my bulky walking cast. He ignored the angry set of my mouth.

When he had me settled, he got in the driver's seat and headed back out the long, narrow drive. From Twilight "The Twilight Saga" by Stephenie Meyer

Also not a saga:

Monty Python - Njorl's Saga

On Television

In a recent episode of the web program "Poliwood" screenwriters and Hollywood veterans Roger L. Simon and Lionel Chetwynd both concluded television programming is of a high quality today. Broadly speaking, anyway. I really could not fairly comment on such a statement because I watch practically no television shows. Yet I do not quite share their enthusiasm and this is mostly because I find television as a medium is really not well understood. There seems to be very little understanding of what the television medium is good for and what material is appropriate to it. Let us take a systematic look at television programming, aka TV.

First, what is the distinguishing characteristic of TV? Foremost is that TV is episodic in nature, consisting of many short episodes either 25 or 45 minutes in length. Second is that these shows are broken then into smaller bits of 7-11 minutes. This is the basic unit of TV and while some might criticize it simply for being, I will not. All art forms have their conventions, scenes, lines, stanzas, meters, et cetera. This is television's. Yet it does bear two faults. First is the persistence of the commercial interruptions and whirligigs on the lower third of the screen are so distracting and deleterious to enjoying the show it is surprising to me they are tolerated. Such tolerance, I believe, we owe mostly to habituation. Would anyone tolerate commercials in the middle of a movie, or between movements of a symphony? Since people time-shift their programming and skip commercials we will not belabor this point as we want to consider what TV might be at its best. Second is that this highly predictable unit creates highly predictable patterns of climax within the drama. This is both highly limiting for the writer and dull for the audience.

Let us return back to the length of the whole show, though, i.e. TV's episodic nature. Episodic content has been derided since Aristotle, who called episodic plots "the worst" for their lack of probability and necessity in the sequence of the episodes and their tendency stretch out a plot beyond its capabilities. (see Poetics, ix.) "Types of plots" and their hierarchy is the subject of its own and substantial essay. We may consider it at a later date. Let us instead focus on Aristotle's point that a given story, speaking generally, will have an ideal form. For as the musician has at first a highly abstract musical idea and then chooses the best structure and instrumentation to express it, so the author must choose the best form for his story. On the other hand we may observe that every given work of art has an essence and this essence may be expressed in different mediums, with the effect of generating variations on the main theme. This perspective is summed up by the [perhaps apocryphal] quote from director Stanley Kubrick, that "If it can be written, or thought, it can be filmed."

Adopting this perspective we may then ask "Is there an idea, or at least an unacceptable form or artistic expression for a given work?"  This is impossible to assess without creating a taxonomy of plot types, though we may make a few general remarks: that abstract "stories" are suitable toward musical expression, less abstract but still general and concise concepts and personal statements for poetry,
plots that take place over the course of one day suitable for the stage, spectacle for film. . . and what for television?

Let us consider some existing, common TV genres. Two common TV species are the "Wagon Train" (i.e. a journey through a strange place) and "the [wacky] adventures of. . ." These genres have had countless TV incarnations and are perhaps the most appropriate for episodic expression as the drama of the episode is self-contained. As such they are a good form for morality plays and fables. The only commonalities from show-to-show are the characters, who never undergo any changes in this genre. This genre is commonly called the sitcom. The same is true for the similar genres of the police procedural or courtroom drama. The main problem with this particular style is that it is essentially the same plot over and over again. This fact coupled with the fact that the characters to not undergo any change makes the show dull and repetitive after a point.

Yet there are many TV shows and many in which the characters do change. These shows have several factors to balance: 1) crafting a sensible plot for a single episode (i.e. creating a self-contained drama), 2) crafting a dramatic arc over several episodes (i.e. creating one large drama, since as Aristotle says a proper drama consists not simply of a variety of things one person did, but a variety of significant actions and events, i.e. significant to the theme/moral/point of the story), and 3) working within the time limitations of a) the 7-11 minute blocks of individual episodes, and b) how many episodes they can/must make. As you might imagine successfully balancing these variables is quite a feat. The fact that episodes are written one at a time, often if not usually without a plan for larger story arcs bodes ill for achieving goal No. 2. The fact that the length of the season is not determined by the writer, with the show either being canceled too soon or extended beyond the limits of the material bodes ill for achieving goal No. 3. That TV shows are often canceled early in their run is no surprise, but also unfortunate is when popular shows often continue beyond what they ought to.

The last great challenge of episodic content was voiced by Edgar Allen Poe, who stated episodic content inherently produces no sense of unity for the sum of the episodes. Since they are spread out they cannot achieve the impact that a single event, like a short story or poem, can. Poe also says that certain classes of prose require no unity and uses Robinson Crusoe as an example. The parallel between Crusoe and episodic TV content is fortunate. Such is true and brings us to what I believe is the heart of television's appeal: the passage of time. Poe did not think any benefit could counterbalance the loss of unity attendant spreading out a story into multiple sittings.

Yet the ability of television to reach the viewer weekly, potentially for years on end, is exceptional. Because of this, people, consciously or not, essentially perceive TV as real at some level. Listen to people talk about television characters and how frequently they bring their favorite characters up. This is possible first because of the temporal aspect of TV we already mentioned and second because of the commonplace element of TV. No matter how much one is attached to certain historical or traditional dramatic figures, their remoteness limits how often we relate to them. What TV inherently loses in unity its structure then it inherently provides in apparent veracity. The obvious but extreme case of "soap operas" is the clearest example of this phenomenon. These lives go on and on, paralleling ours for years. (Such shows also have the most banal plots and the plots are stretched out immeasurably beyond their proper duration.)

TV being a young medium we essentially have no barrier in relating to it: it exists in our world. We are not distanced by differences of dress, language, or culture. It progresses with us in our lives unlike a single, self-contained event like a Greek drama. Aside from fantasy and science fiction shows, TV programs are also usually plausible, or more specifically they depict events and places more or less common to us. People know what court rooms, hospitals, and sitcom locales look like and we relate to the quotidian situations most readily. In contrast even "plausible" dramas in the forms of plays and films usually depict scenes and situations we have not been in.

As an aside, one might make a similar point about video games. While being able to make certain moral choices in a game increases identification with the character and situations, having to solve puzzles and perform mundane tasks like walking around diminishes the overall impact of the story.

Above we observed: "a series of events that befall one person do not necessarily make a dramatic plot." TV writers observe this insofar as some of the episodes are self-contained and others have permanent effects on the character and plots which will be developed over time. This blending can be dramatically effective but it also adds to the element of veracity we perceive because in our own lives some days are normal and others (and other events) more broadly significant. Is this mixed style to be praised? Let us perform a little test. Consider your favorite story, a movie or novel or anything. Now consider the main character. Would that movie or novel be enhanced by adding dozens of incidents that do not, or barely, affect the plot? Sure you might feel like you know the character better because you remember when he argued with his wife, was in a car accident, and so on? Of course not. On the other had a series of relevant episodes depicting character-forming struggles might. Veracity then is by itself not a virtue, but an element of TV, potentially useful to great effect. Thus what the plot loses in unity by expansion it does not automatically gain in significance by its veracity. Rather it must use its episodes toward a larger dramatic plot, otherwise it is no better than the "adventures of. . ." species of television.

As we have said some plots then may support interspersed episodes while others may not, likewise a short-form treatment and a long-form treatment have different effects. Yet what stories require dozens and dozens of hours to be told? Miniseries and even films have achieved tremendous breadth of time with the durations of 2-12 hours. Films like Wild Strawberries, 2001: A Space Odyssey and TV miniseries like The Six Wives of Henry VIII, I, Claudius, and John Adams all have tremendous scopes of time. A film need only suggest the passage of time for the viewer to feel it. A filmed version of events that take many years need not in fact take many years. No plot needs so many hours as TV can provide, but rather may optionally be expanded and potentially with good effect.

Briefly we may discuss "reality TV" which may appear ideal insofar as it is indeed "real" and proceeds at a "real" pace. In fact it is the worst of both worlds, providing neither the accurate depictions of particulars (the function of history/documentary) nor the philosophic axioms of art.

TV then is not a poor or inferior medium but it simply tends toward vulgarity, banality, and repetition, yet probably not at a greater rate than any other form. Perhaps the quotidian element of TV is prone toward such things. TV is unique also regarding our expectations of it: we expect a great deal of constant programming content. This puts unnecessary pressure on writers. Good TV, and by that I mean a good TV show from the first episode to the last, is exceedingly difficult to do, consider again the challenges outlined in paragraphs four and five above, without such added limitations. Even if they are met, other than the purpose of achieving a quasi-reality the common "TV Show" structure has no purpose as no plot could require it. That which is not required, is extraneous, and that which is extraneous detracts. Dramatic long-form programming would  better served by the form of the miniseries, which balances concise drama with some and relevant episodic content.

While the miniseries seems to be less popular today, TV programming, especially on cable TV, seems to follow the same pattern, with short 10-12episode seasons. This is not a guarantee for success but it may help remove some of the bloat.