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Tim O’Brien’s Collectivist Psyche as His Arch-Nemesis in “The Things They Carried” (2004) – Essay by G. Stolyarov II

Tim O’Brien’s Collectivist Psyche as His Arch-Nemesis in “The Things They Carried” (2004) – Essay by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
July 29, 2014
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Note from the Author: This essay was originally written in 2004 and published on Associated Content (subsequently, Yahoo! Voices) in 2007.  The essay earned over 1,400 page views on Associated Content/Yahoo! Voices, and I seek to preserve it as a valuable resource for readers, subsequent to the imminent closure of Yahoo! Voices. Therefore, this essay is being published directly on The Rational Argumentator for the first time.  
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~ G. Stolyarov II, July 29, 2014

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Why does an avid opponent of the Vietnam War, with the opportunity to flee from fighting it, voluntarily succumb to the draft? Why, being so close to the Canadian border, does he lack the courage to jump into the water and swim across? Tim O’Brien’s moral opposition to the Vietnam War is clouded by his desire to be accepted by others in his community, and this demon of adherence to the collective will is his prime antagonist in The Things They Carried, and the source of all his further woes and crises.

Had O’ Brien dodged the draft, this would have been a sign of moral fortitude, rather than the weakness it is commonly portrayed to be. O’Brien clearly recognizes this at the time of his attempt to flee to Canada. He knows that the motives behind the war are questionable, and states his belief that “when a nation goes to war, it must have reasonable confidence in the justice and imperative of its cause” (41).

Moreover, O’Brien recognizes himself to be physically and psychologically unfit for war, referring to himself as one whom “the sight of blood made… queasy, and [who] couldn’t tolerate authority” (41). Enlisting in the U.S. Army is a betrayal of O’Brien’s objective self-interest and his own recognition of the nature of his individual character. Consenting to the draft is O’Brien’s tacit allowance of a great moral evil perpetrated by the United States government, a government that would claim the right to employ him as cannon fodder and subject him to all of his subsequent shocking experiences during the Vietnam War. Thus, such a decision is at the root of all of his further struggles.

O’Brien recognizes that his decision to obey his draft notice is a moral travesty on all counts, and, even twenty years later, describes it as a shameful act, which had tarnished his very belief in man’s capacity for heroic, principled action. Rather than adhere to his own understanding of morality, O’Brien gives in to the prevailing perception in his community of draft dodging as cowardly, unpatriotic, and scandalous. When imagining the entirety of his community staring at him as he tries to swim for Canada, O’Brien’s psyche magnifies the impact of this collective superstition far beyond the ability of the people espousing it. O’Brien is physically distant from the ignoramuses who would wantonly sacrifice his life, and they cannot affect his decisions, if he does not let them. O’Brien, however, is so maniacally afflicted with the desire for acceptance at any cost that his very physiology revolts against him. He recalls, “I did try. It just wasn’t possible” (59).

Despite O’Brien’s professed disgust with the simplistic platitudes of the collective with which he lives, his collectivist psychological malady is pervasive enough to place these platitudes in full control of even this, the most critical decision he would ever face. O’Brien’s desire for acceptance is irrational, suicidal, and perverse. His safety, his intellect, his understanding, and his future all stand in opposition to his society, yet, he selects his society over them. There is neither excuse nor justification for this act of moral weakness. O’Brien’s community, the draft board, the Viet Minh, and the routine physical hardships of war, would never have harmed him at all, if only he had the internal consistency to follow the course dictated by considerations of reason and justice.

Because O’Brien’s perceived exaggeration of the importance of the opinions of others in his community motivates his decision to heed his draft notice, O’Brien’s greatest foe is that part of him which impels him to act against himself.

The Emersonian Qualities of Lucas Jackson in the Film “Cool Hand Luke” (2003) – Essay by G. Stolyarov II

The Emersonian Qualities of Lucas Jackson in the Film “Cool Hand Luke” (2003) – Essay by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
July 28, 2014
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Note from the Author: This essay was originally written in 2003 and published on Associated Content (subsequently, Yahoo! Voices) in 2007.  The essay earned over 1,000 page views on Associated Content/Yahoo! Voices, and I seek to preserve it as a valuable resource for readers, subsequent to the imminent closure of Yahoo! Voices. Therefore, this essay is being published directly on The Rational Argumentator for the first time.  
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~ G. Stolyarov II, July 28, 2014

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Lucas Jackson, the protagonist of the 1967 film Cool Hand Luke, displays the kind of conviction in his own worth that Ralph Waldo Emerson recommends in Self-Reliance. From cutting off the heads of parking meters to encouraging his friends in prison to tar a road at an impressive rate, Luke rebels and rises above the oppression imposed on him.

Within the opening scene of Cool Hand Luke, the parking meters are symbolic of societal restraint on individual freedom and choice. By arbitrary fiat of local government, the meters place a limit on the duration of time for which an individual can place his car at a particular location, thus limiting the amount of time an individual can spend going about his own business outside the car in the vicinity and diverting an individual’s funds into the stagnant coffers of bureaucracy.

Luke’s destruction of the parking meters is symbolic of the individualist’s attempt to defy societal restrictions. Though he is drunk and semi-conscious, he nevertheless directs his actions not toward some wanton spree of murder or theft but toward the elimination of a nuisance to individual liberty. In return, to paraphrase Ralph Waldo Emerson’s Self-Reliance, society “whips him with its displeasure,” as he is apprehended, arrested, and locked in a facility where his own liberty becomes virtually nil.

Self-Reliance has further relevance to Luke’s demeanor in prison. Emerson writes, “I cannot consent to pay for a privilege where I have intrinsic right. Few and mean as my gifts may be, I actually am, and do not need for my own assurance or the assurance of my fellows any secondary testimony.”

Luke epitomizes this philosophy when he neglects to degrade himself to the level of the standard “new meat” prison novice. He proudly asserts his name as “Lucas Jackson” during Carl’s declaration of the rules and refuses to submit his dignity to Dragline’s decision to recognize him as a significant member of the prison community. He realizes that he does not need the recognition of others in order to exhibit his self-worth or actualize his potential, but rather that those characteristics flow from within himself.

Later, when the prisoners are forced to tar an extensive stretch of road in oppressive heat, Luke encourages his comrades to labor to their fullest capacity and finish the tarring job at a far swifter pace than had been expected of them. He realizes that an intelligent approach that facilitates coordinated activity among the members of the group would both accomplish the task and frame it as a challenge to be aspired toward in the minds of the prisoners.

Luke transcends what has been assigned to him and transforms the dull routine into a search for his own objective, leisure time that is immensely difficult to acquire in a road prison. Once he establishes the tempo of work, all the other members of his gang gravitate toward his approach and undertake a lively, motivated effort. This is reminiscent of Emerson’s proposition that men will come to admire and uphold the man of intrinsic determination and self-reliance. Ultimately, not only is the ardor of the assignment alleviated by the workers’ internal drive, but they receive additional leisure afterward to use as they please.

Courageous Individualism in Ralph Waldo Emerson’s “Self-Reliance” and the Film “Cool Hand Luke” (2003) – Essay by G. Stolyarov II

Courageous Individualism in Ralph Waldo Emerson’s “Self-Reliance” and the Film “Cool Hand Luke” (2003) – Essay by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
July 28, 2014
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Note from the Author: This essay was originally written in 2003 and published on Associated Content (subsequently, Yahoo! Voices) in 2007.  The essay earned over 6,300 page views on Associated Content/Yahoo! Voices, and I seek to preserve it as a valuable resource for readers, subsequent to the imminent closure of Yahoo! Voices. Therefore, this essay is being published directly on The Rational Argumentator for the first time.  
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~ G. Stolyarov II, July 28, 2014

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“For nonconformity the world whips you with its displeasure,” writes Ralph Waldo Emerson in his renowned treatise, Self-Reliance. For nonconformity, the world also forces you to pave roads in the scorching heat, dig ditches only to fill them again later, and, of course, spend nights in the box. Both Emerson and the 1967 film Cool Hand Luke emphasize the repression and intimidation that a man of greatness encounters in a regimented, entrenched society. Yet both Emerson’s vision of the self-reliant man and the integrity of Lucas Jackson persevere through any and all barriers imposed upon them by the dictates of others. The lessons of individual dignity and the autonomy of one’s mind can be applied to the creator man who seeks to triumph amid the atmosphere of today’s world as well.

Through cultural norms and stigmatization, as well as outright coercive actions, certain societies seek to shackle the men of creativity and initiative. Lucas Jackson is imprisoned in a “corrective road prison” for the grievous crime of cutting off the heads of several public parking meters. The parking meters themselves are symbolic of societal restraint on individual freedom and choice. By arbitrary fiat of local government, the meters place a cap on the duration of time for which an individual can place his car at a particular location, thus limiting the amount of time an individual can spend going about his own business in the vicinity and diverting an individual’s funds into the stagnant coffers of bureaucracy. Luke’s destruction of the parking meters reflects the individualist’s attempt to defy societal restrictions. Though he is drunk and semi-conscious, he nevertheless directs his actions not toward some wanton spree of murder or theft but toward the elimination of a nuisance to individual liberty. In return, society lashes at him with the fullest extent of its brute force, as he is apprehended, arrested, and locked in a facility where his own liberty becomes virtually nil. Even had he murdered, Luke’s ultimate punishment would likely not have been as severe, for the totalitarian environment of the prison will eventually kill him for his adamant individualism.

Luke’s genuine trials begin when he no longer faces the law as applied to free citizens, but the petty whims of his prison bosses. Emerson’s work analyzes the consequences of such a transformation of environment. “It is easy enough for a firm man who knows the world to brook the rage of the cultivated classes. But… when the unintelligent brute force that lies at the bottom of society is made to growl and mow, it needs the habit of magnanimity… to treat it godlike as a trifle of no concernment.” Emerson’s statement was meant as a general social commentary. The dominant-paradigm-entrenched academic or big government advocate may treat the freethinker with aversion, stigma, and heated criticism, which amount to mere grumbling at the sidelines of the individualist’s path. But when the men who wallow and revel in ignorance, sloth, and brutality are invested with the capacity to direct a better man’s fate, the man of reason and initiative will encounter the most infernal conditions possible.

The prison bosses are the most uncultured and sadistic of men outside the Gestapo. Boss Godfrey’s hobby is, put plainly, to shoot things. After Luke’s first escape, Godfrey, with a grim equanimity, blows the head off a rattlesnake in the grass. In the final showdown of the bosses with Luke near the church, Godfrey will with a similarly unperturbed conscience launch a bullet through Luke’s chest. Boss Paul is a man who loves to bring about and witness the writhing and suffering of the prisoners; after Luke’s second escape, Paul orders him to dig a ditch only to conspire with another boss for the latter to periodically come by and inform Luke that forming the ditch is against prison rules. These frequent recurrences of contradictory instructions are accompanied by beatings intended to force Luke down on his knees in utter submission, pleading for mercy. They are ultimately aimed not at his body, but at his spirit, thrusting a rational, aspiring man into a realm of the chaotic, incompatible, unknowable, and savage. This is the lowest of the unintelligent brute force that Emerson addresses, worse than even the hollers and threats of the rabble that occasionally befall a free man.

The unlivable realm of the prison is rendered even more so by the Captain’s mocking friendliness, a façade, with the essence of despotism lying hidden not too deeply underneath. The Captain regularly speaks with a deliberately soothing voice, informing the prisoners that “We are trying to help you here. We are doing this for your own good.” Emerson, viewing the matter from the perspective of the individualist, realizes the gross fallacy of such a claim. He writes, “What I must do is all that concerns me, not what the people think. This rule, equally arduous in actual and in intellectual life, may serve for the whole distinction between greatness and meanness. It is the harder, because you will always find those who think they know what is your duty better than you know it.” The Captain is such a man, who holds that the ultimate good is the blind obedience of a regimented automaton to his social engineers. But the Captain’s philosophy on its own is a wobbly construct that would crumble upon meeting the first wind of greatness, were it not reinforced by the fist, the rifle, and the sweat and blood of its prey. When Luke objects to the Captain’s mentality, stating, “You shouldn’t be so kind to me, Captain,” thereby rejecting the Captain’s idea of “help,” he is struck violently to the ground. Then the Captain resumes his tone of mocking kindness, pronouncing, “What we’ve had here is a failure to communicate.” According to the Captain, the man of independence must either renounce it willingly or renounce it through the imposition of societally legitimized brute force. In any case, renounce it he must, and if pseudo-polite paternalistic exhortations fail, the growl and lunge of the worst elements possible in man will bring about the social engineers’ aim.

Few men less deserving than Luke had ever been thrust into such hostile surroundings, from which physical escape will be met with pursuit and mental dissent with the box or the fist. Yet even there, Luke, and Emerson’s vision of the independent spirit, are able to persevere. From the beginning, when Carl lists all the innumerable infractions for which one can be put in the box, Luke is not intimidated. He responds with a relaxed shrug and presents his characteristic Luke smile, then anticipates that Carl’s next sentence will end with “a night in the box.” Carl notices that Luke is not the typical “new meat” prisoner and asks with an authoritative voice, “Well, what have we got here?” Unflinchingly, Luke responds, “We got a Lucas Jackson.” Luke possesses a firm pride in his identity and inherent human dignity, qualities that he will not permit a regimented environment to shatter. Emerson writes: “I cannot consent to pay for a privilege where I have intrinsic right. Few and mean as my gifts may be, I actually am, and do not need for my own assurance or the assurance of my fellows any secondary testimony.” Luke epitomizes this philosophy when he neglects to degrade himself to the level of the standard “new meat” prison novice. He refuses to subordinate the fact of his existence to Dragline’s decision to recognize him as a significant member of the prison community. He realizes that he needs not the recognition of others in order to exhibit his self-worth or actualize his potential, but rather that those characteristics flow from within himself.

Initially, Luke’s open defiance of a long-standing prison tradition is met with great indignation and outright aggression on the part of his peers and Dragline. Luke adheres to the expression of the truth as observed by his mind, no matter how controversial, displeasing, or unconventional such honesty may be. Emerson writes, “I ought to go upright and vital, and speak the rude truth in all ways,” and Luke agrees. When Luke does not hesitate to assert his reason in regard to Dragline’s needless lust-filled commentary concerning a woman he had spotted during a round of work, he encounters the climax of Dragline’s rage. Luke is challenged to a fight, and repeatedly pummeled to the ground. Yet he remains adamant and continues to stand every time, not intending to devastate Dragline so much as to assert that such tactics of brute aggression will not conquer him. Luke recovers from every failure, ever-ready to recover and fight another round. Like the Emersonian man of all professions and opportunities, Luke “always like a cat falls on his feet. He has not once chance, but a hundred chances.” And, using one of those chances, Luke wins the fight in a far more meaningful way than would have been if Dragline were physically subdued. He is able to earn Dragline’s deepest respect through his resiliency, as Dragline realizes that this man of persistence, conviction, and integrity is not a cynical upstart, but rather a valuable potential friend.

Through the firm exercise of his creativity and autonomy, Luke is able to beautify the social conditions of his circle of fellow inmates and earn a general, profound, lasting respect. In order to do this, Luke implicitly recognizes another Emersonian insight: “Do that which is assigned you, and you cannot hope too much or dare too much.” If Luke had merely fallen in line with “the way things had always been done” in the prison, he would have encountered the same arduous, scorching, monotonous routine, a condition deliberately intended to stunt his ambitions and aspirations. When the prison bosses “reward” Luke’s gang for exemplary work by delegating to it a colossal road tarring job, Luke encourages his comrades to labor to their fullest capacity and finish the endeavor at a far swifter pace than had been expected of them. He realizes that an intelligent approach that facilitates coordinated activity among the members of the group would both accomplish the task and frame it as a challenge to be aspired toward in the minds of the prisoners. Luke transcends what has been assigned to him and transforms the dull routine into a search for his own objective, leisure time that is immensely difficult to acquire in a road prison. One he establishes the tempo of work, all the other members of his gang gravitate toward his approach and undertake a lively, motivated effort. This is reminiscent of Emerson’s proposition that men will come to admire and uphold the man of intrinsic determination and self-reliance, that, in the grand scheme of events, every institution is but “the lengthened shadow of one man,” the man who dared to introduce a radical change in the way a given matter was approached. Ultimately, not only is the ardor of the assignment alleviated by the workers’ internal drive, but they receive additional leisure afterward to use as they please.

Even as prison conditions become intolerable, Luke does not surrender his will to freedom up to the inevitable climax of the life-or-death struggle between him and his totalitarian overlords. Upon the death of Luke’s mother, the bosses seek to amplify his misery by sentencing him to three nights in the box, intended to decisively strike at his mind while it was still recovering from a blow. Luke realizes that no amount of ingenious coping, no invention of lively leisure activities of poker games, road tarring races, and egg-eating events will conceal the grim realities of the inhuman, whimsical, arbitrary condition imposed upon him. He must, and he will, liberate his body and his mind. After a failed escape attempt, he does not hesitate to stage another, despite the increased vigilance of the bosses. Man of reason that he is, he is able to spot the deficiencies of every one of his plans. The first escape, he is apprehended by a policeman due to the suspicious appearance of his prison clothes. During the second escape, he largely evades “civilized” roadways until he is able to remove his chains and mislead the prison dogs. Nevertheless, he is unable to fully disable his abusers’ means of pursuit. His third escape, co-orchestrated with Dragline, is a brilliantly executed theft of all the prison vehicles’ keys and use of one of the trucks to drive considerably far away from the prison prior to continuing the journey on foot. Every time, Luke is able to, through his autonomous thought, revise his errors and fall on his feet once more. Had he grasped but one more key Emersonian insight, he might have survived in body. “It is only as a man puts off all foreign support, and stands alone, that I see him to be strong and to prevail. He is weaker by every recruit to his banner.” Luke’s escape jointly with Dragline is his crucial mistake, for Dragline remains unable to fend for himself when necessity compels the two of them to split up. He lacks Luke’s tactical ingenuity and quickly falls into the hands of the search parties from the prison, leading them to Luke, misled into believing that Luke’s voluntary surrender, and the sparing of his life, could be achieved. Dragline, however well-intentioned, remains a follower, subject to the mercy of higher forces, be it the positive influence of Luke, or the soothing promises of the Captain. Dragline is not of the “class of great men,” in that his longings and hopes had all been derived from his admiration of Luke, not the products of his own mind.

Dragline does not expect his compliance to bring about Luke’s demise, but Luke, true to his nature, cannot bear to accept confinement once more. Instead of blindly subverting himself to the bosses, he proudly steps to the window of the church and announces, echoing the Captain’s one-time words, that “what we’ve had here is a failure to communicate.” Mr. Jackson recognizes that he is not to blame for not falling in line with prison impositions, but rather that the bosses had grossly misjudged his nature by seeking to stifle it “for his own good.” Yet the bosses come not in pursuit of communication, but of blood. Realizing that the individualist always shall overcome every form of degradation and every barrier, the bosses, with Godfrey as their agent, seek to render it impossible for Luke to ever rise again.

Thus ends the life of Lucas Jackson, but not the integrity that characterized it. Dragline realizes that no negotiation, no compromise, between freedom and submission are possible, and lunges at Godfrey, leading to the destruction of the boss’s grim and concealing sunglasses. Before he is imprisoned once more, Dragline at last rises to the level of grasping that, which is beyond persecution. “What the man acquires is living property, which does not wait the beck of rulers, or mobs, or revolutions, or fire, or storm, or bankruptcies, but perpetually renews itself wherever the man breathes.” The dauntless innovation and longing for liberty in the autonomous man cannot be dethroned by any physical means; it can only be diminished by a voluntary subordination of the individual’s mind to tyranny, which Luke had refused to accommodate. The legacy of Luke thus lingers on, as he remains, in Dragline’s words, “a natural born world shaker,” whose radiant smile and confident posture remain vivid in the prisoner’s minds. In its own characteristic way, Luke’s greatness has been released from the box and into eternity, as “the triumph of his principles” has at last granted him peace. What remains for the living prisoners is to discover on their own what Luke had known, and rely on his example as a steppingstone, but not a definitive standard, for their autonomous development.

The relevance of Luke’s example and Emerson’s message to the political situation today is of greater magnitude than it has ever been. Today, if parking meters were the only restriction placed on our autonomy, or if a mere widespread facetiousness in human interactions, of the manner that Emerson denounced, had afflicted our society, we would have been living in a comparatively promising and free world. Alas, the scope of our current confinement by far exceeds this.

The government of this country has usurped almost every sphere of human activity, shackling the creative entrepreneurial innovators through “antitrust” laws, restricting the amount of market share a business may through its owners’ skill and the quality of its product acquire. It has erected barriers to the advancement of thoughtful freethinkers by the imposition of affirmative action initiatives that prevent their attainment of education for faults not their own. It has presumed to dictate to businessmen and settlers what forms of land usage are permissible by standard of societal sanction, through laws of eminent domain and environmental preserves that force men to “absolve themselves in the reflex way” not only to their neighbors and the community, but the bureaucrats, the lobbyists, the endangered spotted slugs and numb lifeless rocks. It has imposed a quasi-prison environment on the young people of this country through the encouragement of forced volunteerism, in menial tasks similar to road tarring, within the schools, and the impending fear of the military draft that will make Godfreys of our officers and “new meat” of our boys, which the politicians implicitly advocate by maintaining draft registration. And all disagreement is reduced to virtually naught, since the freethinkers (often prosperous, industrious men) are extorted for gargantuan sums of their income to fund this socialist behemoth. Some of this income is expended in false philanthropy, becoming the “wicked dollar” that Emerson did not wish to give, that is used to uphold in a state of prison-like dependency hordes of welfare recipients who can be counted on to vote in their overlord incumbents and by the sheer volume of their holler overrule all dissent in the passage of the next statist subversion of liberty. And if any of these intelligent voices dissents by refusing to sacrifice his money for causes that will do him harm, the full weight of government retaliation is borne upon him. What can a man of independent convictions and self-reliant disposition do in such a setting, that grows more restrictive by the day?

Henry David Thoreau, Emerson’s friend and fellow thinker, tried the tactic of civil disobedience in defiance of a tax that was used to fund what was in his opinion an unjustified Mexican War. Thoreau was thrown in prison and, though he demonstrated considerable fortitude of conviction, he did not defeat the tax. Emerson’s fellow abolitionist and friend John Brown attempted to, through an armed raid on Harper’s Ferry, unseat an institution of slavery, which was backed by the coercive hand of big government, with only a handful of arms and supporters. He was executed for the attempt, and, though he became a martyr for the abolitionist cause, he did not defeat slavery. Lucas Jackson confronted the nuisance of parking meters with the saw and the cruelties of the prison with escapes. He, too, received a bullet in the chest in the end and failed to eradicate the root of his sufferings. Though all three of those men preserved their dignity intact through their punishments, they did not accomplish their aims, for they overlooked the fact that the complete triumph of individualism requires another approach.

Of the individualist, Emerson writes that “the moment he acts from himself, tossing the laws, the books, idolatries, and customs out of the window, we pity him no more, but thank and revere him, — and that teacher shall restore the life of man to splendor, and make his name dear to all history. It is easy to see that a greater self-reliance must work a revolution in all the offices and relations of men; in their religion; in their education; in their pursuits; their modes of living; their association; in their property; in their speculative views.” Emerson advocates not an armed revolution, nor even overt disobedience of the law, but rather a mode of living that exemplifies a man who loves, and takes advantage of, the freedom to use his mind. Emerson did not go to prison for tax evasion; nor did he start a slave revolt; nor would he have decapitated parking meters today. Nevertheless, his ideas and influence have spread to the present day in precisely the manner that he intended. He did not wish to be worshipped as an idol or regarded as an unquestionable sage, but rather to give men a stimulus to more closely examine their habits and the capacities that only they can unleash from within. Rather, he is a thinker who should be analyzed with a critical intelligence, and whose views should serve as useful tools and steppingstones, but not finished products or ends-in-themselves.

Emerson’s key proposition in regard to self-reliance as a vehicle for reform is that voluntary persuasion and personal example can eliminate a societal peril. In a man’s every implicit gesture, he reveals a certain mode of function that is inextricably tied to his nature. “Your genuine action will explain itself and will explain your other genuine actions. Your conformity explains nothing.”

A man who opposes the usurpations of government, or the spread of cultural decadence, or the increasing “faraway escapes” that many modern men seek from their lives, must speak firmly and act firmly for the establishment of a freer world where individual creativity is left unbridled. He should not cower for fear that the public will reject his claims simply because he does not hold two and half Ph. Ds in the subject that he addresses. The Ph. Ds themselves are too often handed out by the zealous guardians of the current political and cultural paradigm, the entrenched academic elites who endlessly cite Marx, Roosevelt, and Keynes, and preach “of my obligation to put all poor men in good situations.” If deference to authority and the miserable record of the ages in the political sphere is abandoned, and the clarity and logic of the advocates of freedom is exposed, then, as the fellow inmates reached toward Luke, the public will gravitate toward the new, original, promising thinkers who uphold as their highest value the individual’s intrinsic right to exist and to be let alone. The politicians will abandon their pragmatic give-and-take approach to matters where liberty is at stake, and will realize that only the triumph of solid, uncompromising principles within them will maintain them the support of a reformed constituency.

The Brotherhood’s Anti-Individualistic View of History in Ralph Ellison’s “Invisible Man” (2005) – Essay by G. Stolyarov II

The Brotherhood’s Anti-Individualistic View of History in Ralph Ellison’s “Invisible Man” (2005) – Essay by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
July 28, 2014
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Note from the Author: This essay was originally written in 2005 and published on Associated Content (subsequently, Yahoo! Voices) in 2007.  The essay earned over 11,500 page views on Associated Content/Yahoo! Voices, and I seek to preserve it as a valuable resource for readers, subsequent to the imminent closure of Yahoo! Voices. Therefore, this essay is being published directly on The Rational Argumentator for the first time.  
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~ G. Stolyarov II, July 28, 2014

**

In Ralph Ellison’s Invisible Man, the Brotherhood subscribes to a view of history that inherently and deliberately disregards the individual personalities and interests of the Narrator and the people of Harlem whom the narrator seeks to inspire to action.

The Brotherhood’s theory of history is that of an impersonal force, in which individuals are mere actors fulfilling purposes far larger than themselves. Upon introducing the Narrator to the Brotherhood, Brother Jack explains this theory to him: “So it isn’t a matter of whether you wish to be the new Booker T. Washington, my friend. Booker Washington was resurrected today… He came out from the anonymity of the crowd and spoke to the people” (307).

According to Jack, the Narrator was speaking not for himself, but as a mouthpiece for Washington’s historical legacy, which “the people” continue to require under the present circumstances. The speech, suggests Jack, was made not with the narrator’s private interests in mind but as a response to “the people’s appeal” (307). Thus, the Brotherhood theory states that history is shaped by an enormous collective agent, “the people.” Somebody has to provide a “scientific” understanding of this determining force, however, and such a role is conveniently fulfilled by the Brotherhood itself.

Jack reveals the true implication of this role when he states of the Brotherhood committee’s purpose, “We do not shape our policies to the mistaken and infantile notions of the man in the street. Our job is not to ask them what they think but to tell them” (473). The Brotherhood defines history as a force shaped by the people’s will, while the Brotherhood defines “the people’s will” and thereby shapes history. Due to the strict hierarchical organization of the Brotherhood, its central committee, by this theory, is the principal definer and mover of history. Thus, the Brotherhood’s theory of history is doubly layered. On face, it seems to reflect the people’s desires, but, in its underlying essence, it is but a means of asserting the committee’s power over the people.

If history is whatever the committee chooses it to be, all others, be they working for the brotherhood or outside it, are mere instruments to this end. Once the Narrator dares challenge this view by taking initiative to organize Clifton’s funeral, Brother Jack unapologetically reveals the idea’s core: “For all of us, the committee does the thinking. For all of us. And you were hired to talk” (470). Jack and the committee do not permit their subordinates even a marginal degree of autonomy in actually determining the goals and purposes which the people, and thus history, will be animated by. The Narrator is only allowed to shape means, not ends, and only to a highly limited extent.

By inculcating the creed of sacrifice and denouncing “opportunists” and “petty individualists” (400-1), the committee hopes that its subordinates will voluntarily and systematically forego their personal ambitions and ideas, no matter how justified, in favor of the committee’s wishes, simply because the committee wished them. Since others are not allowed to shape history, the committee is thus able to hold firmly onto its reins and convince its Brotherhood minions that the only way to be “within history” is to follow the Brotherhood. The Narrator falls fully into this trap when questioning the motives for Clifton’s departure from the Brotherhood, asking, “Why should a man deliberately plunge outside of history and peddle an obscenity… Why should he choose to disarm himself, give up his voice and leave the only organization offering him a chance to ‘define’ himself?” (438).

The very notion that the only manner in which an individual can define his identity and act efficaciously within the context of history is to serve the Brotherhood can only follow from the Brotherhood’s own idea of history as defined by the Brotherhood. The irony that befalls the Narrator and other loyal Brotherhood subjects is that, in thinking that serving the Brotherhood’s idea is the sole way to preserve their historical agency, they in fact renounce the only true historical agency anyone can have, the agency of autonomous, self-directing individuals.

Lessons in Friendship from Shakespeare’s “Hamlet” (2005) – Article by G. Stolyarov II

Lessons in Friendship from Shakespeare’s “Hamlet” (2005) – Article by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
July 28, 2014
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Note from the Author: This essay was originally written in 2005 and published on Associated Content (subsequently, Yahoo! Voices) in 2007.  The essay earned over 12,000 page views on Associated Content/Yahoo! Voices, and I seek to preserve it as a valuable resource for readers, subsequent to the imminent closure of Yahoo! Voices. Therefore, this essay is being published directly on The Rational Argumentator for the first time.  
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~ G. Stolyarov II, July 28, 2014

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Hamlet, the protagonist of William Shakespeare’s play of the same name, faces a colossal burden with respect to both the physical reality of his father’s assassination by his uncle and the mental conflicts entailed in deliberating over an adequate response to this situation. Immersed in such a doubly tumultuous struggle, Hamlet searches for guidance and companionship in another individual. The foremost qualities that Hamlet seeks and finds in the person of Horatio are his clear and independent judgment, his loyalty to the interests and well-being of Hamlet, and, as Hamlet’s death draws near, his role as the reliable transmitter of Hamlet’s story and legacy. Hamlet’s recognition of these attributes of Horatio enables him to maintain a sincere, profound friendship that becomes fortified with the passage of time.

Unlike virtually everyone surrounding Hamlet in the royal court of Denmark, including Rosencrantz and Guildenstern, complete lackeys to the king, Polonius, who flatters Hamlet even for the latter’s deliberately mad utterances, and Ophelia, who is easily swayed by her father and Claudius to serve in their ploy to spy on Hamlet, Horatio maintains a persistent autonomy of judgment, expressing his thoughts even when they conflict with Hamlet’s, but always constructively. Horatio’s willingness to question those of Hamlet’s decisions that he considers rash is demonstrated when, upon the arrival of the ghost of Hamlet’s father, he seeks to dissuade Hamlet from following it, stating, “What if it tempt you toward the flood, my lord?/ Or to the dreadful summit of the cliff/…/And there assume some horrible form/ Which might deprive your sovereignty of reason…” (1.4.77-78,80-81).

Horatio’s friendship with Hamlet extends sufficiently far that, in his genuine concern for Hamlet’s safety, Horatio is willing to rebuke and point out the possible consequences of what he regards as Hamlet’s rasher actions. Hamlet indeed recognizes the value, objectivity, and validity of Horatio’s judgment when he calls him “as just a man/ As e’er my conversation coped withal” (3.2.56-57). Shortly after these words of praise, Hamlet selects none other than Horatio to observe Claudius’s reactions to the performance before them and act as an independent party verifying the king’s guilt in his predecessor’s murder on the basis of his response. Indeed, Horatio’s confirmation of Hamlet’s suspicion is integral for Shakespeare to even convey the certainty of Claudius’s guilt to the reader, who might have up to that point questioned the reliability of Hamlet’s perceptions and personal conjectures on this subject. Even more importantly, Hamlet himself had beforehand doubted Claudius’s culpability, stating, “The spirit I have seen/ May be a devil…” (2.2.627-8) and thereby questioning the validity of the accusation leveled against Claudius by the ghost of Hamlet’s father.

However, once Horatio conducts his independent observations, which Hamlet knows to have been formed without an inclination to automatically favor the prince’s interpretation, there is no longer any ambiguity in Hamlet’s mind on this matter. As the play progresses, Horatio’s judgments begin to assume even greater significance. Horatio attempts to dissuade Hamlet from accepting the king’s offer for him to duel with Laertes, and perceptively informs the prince, “You will lose, my lord” (5.2.223). Horatio senses that Claudius has laid a trap for Hamlet and urges that the prince’s mind overcome the rashness of his passions and rethink his rush into death, stating, “If your mind dislike anything, obey it” (5.2.231). Though Hamlet disobeys Horatio’s advice, Shakespeare uses the very presence of these warnings to suggest that Horatio’s voice of reason is an element immensely important and friendly to Hamlet’s interests. Indeed, had Hamlet heeded Horatio’s words of caution, he might have lived.

The purpose toward which Horatio uses his judgment, his staunch personal loyalty to Hamlet’s well-being, is an equally crucial component of the relationship between the two. So great is this devotion that Horatio becomes Hamlet’s confidant with regard to Hamlet’s suspicions of Claudius’s guilt. Before any member of the court has any evidence of the king’s murderous nature, Horatio is nevertheless willing to grant Hamlet’s plan a fair trial, and Hamlet trusts Horatio not to reveal his immensely dangerous secret to anyone else.

This trust is warranted, as Horatio is willing to go as far as to assert personal responsibility for the outcome of Hamlet’s plan, stating of the king, “If he steal aught the whilst this play is playing/ And ‘scape detecting, I will pay the theft” (3.2.94-5). From that moment on, Horatio plays a prominent role in Hamlet’s designs against Claudius. Upon Hamlet’s escape from the vessel destined to bring him to England and to his death, he sends a lengthy private letter to Horatio, explaining the events causing his return to Denmark and signed, “He that thou knowest thine” (4.6.30), indicating Hamlet’s reciprocation of Horatio’s loyalty. The letter contains details and clandestine designs that would be unsuited for the eyes of Claudius, who, in contrast to Horatio, receives an extremely brief letter merely indicating Hamlet’s forthcoming return. Once again, Hamlet can rely on Horatio not only to keep his secret, but to arrive promptly at Hamlet’s side as well.

Shakespeare uses the events of the play to confirm Hamlet’s evaluation of Horatio’s character, as, indeed, the reader finds the two of them in each other’s company at the opening of the fifth act. Horatio’s steadfast adherence to Hamlet’s interests is a stark contrast to the attitudes Hamlet observes in others of the Danish court. Polonius may flatter Hamlet for the latter’s every whimsical expression, yet does so not genuinely, undertaking such conduct merely because praising a prince to his face is expected from a servant of royalty. Rosencrantz and Guildenstern are willing to betray a childhood friendship with Hamlet in order to heed Claudius’s request to spy on him.

Even Hamlet’s beloved, Ophelia, does not display toward him the genuine loyalty he desires, willing to repel Hamlet’s letters and deny him the ability to visit her due to a mere command from her father. Only Horatio disallows such motives as expediency, favor-seeking, the desire to flatter, and obedience to the dictates of others from interfering with his genuine and principled adherence to the welfare of his friend. Hamlet, skilled in the contemplation of abstract principles, recognizes one such principle, loyalty, as consistently applied by Horatio, and thus gravitates toward a friendship with him. So immense is Horatio’s devotion to Hamlet at the end of the play that he contemplates drinking from a poisoned cup, calling himself “more an antique Roman than a Dane” (5.2.374), thereby indicating that his life’s meaning has been antiquated since he would no longer be able to exercise his primary moral purpose of loyalty to Hamlet due to the latter’s imminent death.

Yet Hamlet has other designs for Horatio’s life, and urges his friend to live on and perpetuate his devotion to the prince by serving as a reliable transmitter of Hamlet’s story and legacy. Hamlet appeals to the motive of loyalty when he instructs Horatio, “If thou didst ever hold me in thy heart,/ Absent thee from felicity awhile/ And in this harsh world draw thy breath in pain/ To tell my story” (5.2.381-4). Though the possibility of Horatio’s death is immensely undesirable to Hamlet, as it would leave behind the prince’s tarnished name and unexplained deeds, Hamlet does expect Horatio to forgo worldly pleasures and bear the burden of accounting for the prince’s motives and mistakes. This is a task Hamlet admits to be uncomfortable, but a necessary extrapolation upon the bond of friendship established between Hamlet and Horatio during the prince’s life.

Hamlet’s selection of Horatio for this undertaking also reinforces his confidence in Horatio’s objectivity and clarity in relating events as they happened, and Shakespeare himself uses these events to sway readers toward a concordant judgment. After all, Horatio is the sole man remaining to convey an accurate account of the happenings constituting the play. Since, through the play, readers indeed receive such an account, they are left to conclude that Horatio performed his job in accordance with Hamlet’s expectations. Moreover, Horatio acts not only to reveal and perpetuate the memory of Hamlet’s past, but also to implement Hamlet’s wishes to affect the future. Horatio agrees to fulfill Hamlet’s request to sponsor Fortinbras for the Danish succession and predicts the effect of such advocacy when he states that Hamlet’s “voice will draw on/ more” (5.2.435-436), inspiring the living to support Fortinbras as well. Even in death, Hamlet’s plans, values, and ideas continue to exert a real political influence due to the efforts of his steadfast friend in promoting them.

Shakespeare’s Hamlet suggests that, when there are no more favors to seek and no more momentary advantages to elicit, remaining by a person’s side is the true test of friendship, a test that Horatio passes with flying colors, as one cannot gain favors and advantages from a dead man. Hamlet rightfully recognizes the virtues of Horatio’s independent judgment and loyalty, and, paradoxically, maintains a bond with him in death even stronger than the one they had in life. While living, Hamlet twice disobeys Horatio’s advice as he follows the ghost and, later, commits the fatal error of accepting the proposal to duel with Laertes. However, during his last minutes, Hamlet demonstrates his complete trust of Horatio by investing him with the responsibility of transmitting his story through the ages, without any further oversight or objection from the prince. What stronger confidence in a friend can ever be manifested than this?

 

How Dictators Use Religion as a Means of Oppression in Julia Alvarez’s “In the Time of the Butterflies” (2002) – Article by G. Stolyarov II

How Dictators Use Religion as a Means of Oppression in Julia Alvarez’s “In the Time of the Butterflies” (2002) – Article by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
July 26, 2014
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Note from the Author: This essay was originally written in 2002 and published  on Associated Content (subsequently, Yahoo! Voices) in 2007, where it earned over 2,300 page views.  I seek to preserve it as a valuable resource for readers, subsequent to the imminent closure of Yahoo! Voices. Therefore, this essay is being published directly on The Rational Argumentator for the first time.  
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~ G. Stolyarov II, July 26, 2014

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In Julia Alvarez’s In the Time of the Butterflies, the sisters Minerva and Patria observe two portraits of Jesus and the Dominican dictator Trujillo, side by side, and compare them (53). Patria knows of the various atrocities committed by Trujillo against her friends, acquaintances, and countrymen, and she is aware of the constant terror and destruction that the government wreaks upon her people, but refuses to apply this knowledge to her own existence.

Psychologically, Patria is erecting a mental barrier against the suffering through a credulous faith in the “virtues” of a passive God and a devastating dictator. She refuses to acknowledge the evil around her as real and thereby feigns an illusion of security for herself. These, after all, were the icons she had been groomed since childhood to submit to and not question.

Minerva flies in the face of the dominant and repressive paradigm, which urges one to sacrifice one’s self-interest to Trujillo and then some to God. The culture in the Dominican Republic is replete with institutional mental barriers, even as superficial as the artistic enhancements of Trujillo’s portrait, which serve to reinforce Patria’s mindset of willful separation from the truth.

Deliberations concerning the nature of a deity lead one to the insight that almost all of today’s major religions had been invented during antiquity, when (with few exceptions) the world was governed by fragmented tribal monarchies, and a God was fashioned in the image of the only ruler a people possessed as a model, a dictator.

The resemblances between dictatorship and non-modernized versions of the major religions are astounding in this novel and in real life, as one learns of the repressive theocracies in the Middle East. Both teach, overtly in many cases, the cult of submission, of subordination to the rule of a capricious autocrat; be he located in a palace or in heaven. The source of the dictates is considered more significant than their actual validity and benefit, and thus Patria, despite learning of the horrors of Trujillo and becoming disillusioned with Jesus and the Catholic faith is unable to fully relinquish both as she had fallen prey to the subservient paradigm in a manner that Minerva had not.

The author, however, conveys a certain philosophical recognition that Patria obtained despite her block, which is illustrated by the last sentence, “And the two faces had merged!”, which implies the congruence of all forms of submission and self-abnegation, no matter how divergent or incompatible they may seem on the surface.

 

The Superiority of Jane Austen’s “Pride and Prejudice” Over Kate Chopin’s “The Awakening” in Its Discussion of Marriage (2005) – Article by G. Stolyarov II

The Superiority of Jane Austen’s “Pride and Prejudice” Over Kate Chopin’s “The Awakening” in Its Discussion of Marriage (2005) – Article by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
July 26, 2014
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Note from the Author: This essay was originally written in 2005 and published  on Associated Content (subsequently, Yahoo! Voices) in 2007.  The essay earned over 3,700 page views on Associated Content/Yahoo! Voices, and I seek to preserve it as a valuable resource for readers, subsequent to the imminent closure of Yahoo! Voices. Therefore, this essay is being published directly on The Rational Argumentator for the first time.  
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~ G. Stolyarov II, July 26, 2014

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Jane Austen’s Pride and Prejudice discusses the issue of marriage with a far greater depth and diversity of viewpoints than does Kate Chopin’s The Awakening.

In The Awakening, Kate Chopin primarily focuses on Edna Pontellier’s wholesale rejection of the paradigm of marriage and her stepwise abandonment of her husband, children, social contacts, and household obligations. This transformation on Edna’s part ultimately brings about her death by drowning, after she has “liberated” herself from all the forces that had hitherto “restrained” her from swimming out too far. Thus, Chopin, though focusing on and sympathizing with a complete abandonment of marriage, also shows it to result in a highly undesirable end, leaving the reader with no compelling reasons to embrace this, the dominant view of women’s issues in the book.

Jane Austen, on the other hand, offers a far more instructive and relevant text in terms of shaping readers’ views of marriage, as she presents a multiplicity of alternative paradigms on the subject, as well as a compelling case for why one of these, exemplified by the eventual union of Elizabeth and Darcy, is a superior choice to the others. Austen portrays the marriage primarily oriented around domestic security and social reputation in the form of the union of Mr. Collins and Charlotte Lucas, who are both entirely unconcerned about romance and rather focused on presenting a respectable image, especially to social “superiors” like Lady Catherine de Bourgh.

An even more materialistic view of marriage is presented in the form of Lady Catherine’s intentions to have Darcy marry her daughter, for the purpose of unifying their two prosperous estates. Elizabeth, however, upon encountering this view, rejects it as too devoid of considerations of individual happiness.

Austen portrays a dramatically different attitude in the marriage of Lydia and Wickham, who elope out of sheer passion, with Wickham deep in debt and not even contemplating any attempts to improve his material lot in the future. The couple might not even have made provisions for a formal union absent the intervention of Darcy and the Bennet family. Elizabeth finds this paradigm to be humiliating and irresponsible, and thus rejects a purely emotional approach to marriage as well.

In the end, Elizabeth finds a synthesis of material and personal interests in her growing attachment to Mr. Darcy, who is able to offer her his virtues of refinement, benevolence, and intelligence, along with an immensely prosperous estate and high social rank. In contrast to Chopin’s simplistic and ultimately futile altogether rejection of marriage, Austen offers a compelling analysis of all the variations of this institution, and advocates her own view on it as capable of being successful and personally fulfilling by means of the happy ending of the novel. Thus, Pride and Prejudice offers constructive guidance to readers on which approaches to marriage work and which do not, rather than being merely a text that criticizes the institution without offering a positive alternative.

An Analysis of Ethical Issues in the Film “The Rain Man” (2004) – Article by G. Stolyarov II

An Analysis of Ethical Issues in the Film “The Rain Man” (2004) – Article by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
July 26, 2014
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Note from the Author: This essay was originally written in 2004 and published on Associated Content (subsequently, Yahoo! Voices) in 2007.  The essay earned over 17,200 page views on Associated Content/Yahoo! Voices, and I seek to preserve it as a valuable resource for readers, subsequent to the imminent closure of Yahoo! Voices. Therefore, this essay is being published directly on The Rational Argumentator for the first time.  
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~ G. Stolyarov II, July 26, 2014

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The central ethical dilemma of the 1988 film The Rain Man concerns the proper treatment to be afforded to Raymond, an autistic man who is capable of performing immense feats of mathematical calculation but is psychologically attached to predetermined habits and routines, thus being unable to adapt to changing situations around him. Should Raymond be given a chance to live in an open setting, where he can freely interact with the world around him, or should he be confined to an institution?

Raymond’s brother, Charlie, discovers Raymond’s existence only after the death of their father, who had willed the vast majority of his inheritance to Raymond. Charlie is at first immensely spiteful at his father’s decision and removes Raymond from the mental institution, attempting to blackmail the doctor in charge to transfer $1.5 million to Charlie. Charlie is easily frustrated by Raymond’s habits and oddities, as well as his need to always receive precisely the treatment to which he had become accustomed.

However, Charlie later discovers Raymond’s intelligent side during a trip to Las Vegas, where Raymond employs his astoundingly swift processing skills to win $86,000 while gambling. The two brothers subsequently forge an emotional bond, and Charlie is reluctant to return Raymond to the institution. He demonstrates the wish to take care of his brother and points out that Raymond has learned numerous new skills and information during the trip. However, the doctors in charge of Raymond show Charlie that Raymond’s autonomy is greatly impaired; they ask Raymond a series of mutually exclusive questions, to which Raymond merely answers, “Yes.”

Suzanne, Charlie’s girlfriend, thinks that Charlie’s initial treatment of Raymond is too harsh and intolerant. She would like to see Raymond afforded a more flexible and less dominating treatment by Charlie, and is upset that Charlie is using Raymond in order to blackmail the doctor into giving Charlie money. Eventually, however, she becomes pleased by Charlie’s increasing proximity to and genuine care for his brother.

Charlie’s initial “kidnapping” of Raymond was based on Charlie’s perception that Raymond was an easily manipulated disabled person who would comply with Charlie’s scheme to extort money from the doctor. Nevertheless, Raymond proves to have a personality of his own, which at first greatly irritates Charlie, but which Charlie eventually comes to love and refuses to relinquish. The doctor remains firm in his stance not to give the money of Charlie’s father in exchange for Raymond, and Charlie rejects a $250,000 offer in exchange for which he was to have severed all involvement with Raymond. After the doctors demonstrate Raymond’s incapacity to make significant decisions, Charlie reluctantly agrees to allow him to return to the mental institution.

Despite the fact that Charlie and Raymond must separate at the end, Charlie promises to visit frequently, and his influence on Raymond has not been in vain. Raymond and Charlie now share jokes, and Raymond’s range of comfort with respect to the products, services, and activities of daily life has been greatly amplified. Raymond, moreover, had assisted in rendering Charlie’s financial state more secure than it had been in the beginning of the film by winning $86,000 in Las Vegas. Charlie also learns to be more patient and tolerant in his relations with other human beings. He learns to discover the merits and values offered by others rather than merely lashing out at them in frustration.

The decision to return Raymond to the mental institution demonstrated first and foremost the principle of nonmaleficence. The doctors wished to ascertain that Raymond would not pose a danger to his own life by certain irrational and perhaps involuntary reactions, such as banging his head against a window as a result of hearing a smoke alarm. However, this action denied some of Charlie’s attempts at beneficence toward Raymond, as Charlie attempted to provide Raymond shelter, entertainment, and opportunity beyond what Raymond was used to or what was offered at the hospital. Though some of Charlie’s influence remained with Raymond, the doctors’ decision prevented additional improvements to Raymond’s state due to the concern that attempts at these would undermine Raymond’s already delicate condition. The principle of autonomy was also denied, as Raymond was deemed incapable of making his own choices; the doctors demonstrated that he would give contradictory answers to the questions asked of him, and thus argued that their paternalistic supervision over his decision-making would benefit him most.

An alternative decision with respect to Raymond’s fate would have been to allow Raymond to remain with Charlie, but under the supervision of various doctors and psychological counselors. In this way, the doctors could have continued to exercise precautionary measures against Raymond’s self-destructive activities, while Charlie could have continued to broaden Raymond’s comfort zone and eventually render him fit for rudimentary social interaction. This would both benefit Raymond and protect him from harm, fulfilling the principles of beneficence and nonmaleficence.

Moreover, Raymond would, with an expanded worldview, gain greater autonomy in making his own decisions. A freer environment (where constraints are flexible rather than rigid) would enable Raymond to have the greatest possible degree of personal autonomy that he is capable of carrying out. Moreover, the principle of justice requires that Raymond be given the same right to the pursuit of happiness as is afforded to non-autistic persons. This means that absolute paternalism over Raymond should be off-limits to his guardians, who need not regulate every detail of Raymond’s life in order to ensure his security. This decision would be more consistent with the ethics of principlism than the one actually carried out in the film.

An Analysis of Ethical Issues in the Film “Jurassic Park” (2004) – Article by G. Stolyarov II

An Analysis of Ethical Issues in the Film “Jurassic Park” (2004) – Article by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
July 26, 2014
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Note from the Author: This essay was originally written in 2004 and published on Associated Content (subsequently, Yahoo! Voices) in 2007.  The essay earned over 18,000 page views on Associated Content/Yahoo! Voices, and I seek to preserve it as a valuable resource for readers, subsequent to the imminent closure of Yahoo! Voices. Therefore, this essay is being published directly on The Rational Argumentator for the first time.  ***
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~ G. Stolyarov II, July 26, 2014
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The central ethical dilemma of the 1993 Steven Spielberg film, Jurassic Park, hinges on the question of whether man should employ his knowledge of genetics to revive a species that had become extinct as a result of natural processes. The scenario presented by the film is one of utter pandemonium and devastation after carnivorous dinosaurs, such as velociraptors and Tyrannosaurus rex defy security measures and trample on the human-built infrastructure of Jurassic Park. From this arises a more complex series of questions: to what extent should man manipulate genetic information? Which species can he legitimately revive, and which must he refrain from reanimating? At which point is it proper to state that one has taken sufficient precautions against potential threats and proceed with a given project?
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John Hammond is the founder of Jurassic Park, an entrepreneur who wants to give his visitors an absolutely genuine experience in observing revived dinosaurs and omit no element of the Mesozoic era, even the carnivorous dinosaurs that view humans as prey. Hammond introduces a group of scientists to Jurassic Park and seeks to convince them to give their professional endorsement to the endeavor as a means of mollifying his investors. He repeatedly ignores warnings from Dr. Malcolm and others that the situation is likely to go awry and arranges the tour to take place when there is a high likelihood of a storm occurring. In the meantime, Dennis Nedry, who programs the security systems in Jurassic Park, seeks to steal valuable dinosaur embryos and sell them on the black market. In order to escape and cause havoc in Jurassic Park, he disables the security systems and lets the dinosaurs loose during the storm. By the time the security systems are reestablished, the dinosaurs have already penetrated the main compound.

Dr. Ian Malcolm is a chaos theorist who constantly warns that Hammond’s seeming control over the course Jurassic Park will follow is a mere illusion, that there are numerous factors that cannot be foreseen when two species separated by 65 million years of evolutionary history collide. His prediction is realized, as the all-female contingent of dinosaurs finds a way to reproduce by spontaneously changing sex, as their frog DNA permits. Drs. Grant and Sappler, specialists in the fauna and flora of the Mesozoic, display concern about Hammond’s introduction of certain species into the park which would not be able to adapt to an age in which they do not belong and behave as if they were still in the Mesozoic.

In order to protect visitors from the dinosaurs, Jurassic Park possesses a system of security fences and remote feeding, which allows goats and other medium-sized mammals to be airlifted into the dinosaur cages while keeping humans out of harm’s way. Unfortunately, this does not take into account the fact that carnivorous dinosaurs are instructed by their instincts to hunt their prey, not ingest passive critters that are delivered to them. When Nedry disables the security systems, the dinosaurs have their chance to lunge at the tour vans in search of more active, human prey. They have also begun to feed on one another, the velociraptors consuming small dinosaurs and being in turn hunted by T. rex. The velociraptors are the most agile, coordinated, and intelligent of the dinosaurs, and have even learned to open door handles, surprising even the initial skeptics of the Jurassic Park endeavor. During the course of the dinosaurs’ siege of the Jurassic Park compound, Hammond’s hopes to revive Jurassic Park with enhanced security measures are shattered, and the objective of the humans becomes, as Dr. Sappler suggested, to save the lives of those endangered by the catastrophe. Hammond is not thrilled with the destruction of his most ambitious dream, and regretfully eyes the fossilized mosquito at the tip of his cane, but he must eventually come to terms with the reality of his experiment’s failure.

Jurassic Park’s failure results in numerous fatalities, including that of the visiting lawyer, the chief programmer, and the man in charge of feeding and containing the dinosaurs. Other lives are placed on the line, including those of Dr. Grant, Dr. Malcolm, and Hammond’s own grandchildren. Even after security is established, no place on the island is safe, as the velociraptors penetrate into the main compound and a helicopter is summoned to evacuate the survivors. Aside from the human toll, the consequences of leaving an unmonitored dinosaur ecosystem in place are problematic, to say the least. The dinosaurs are able to breed and entrench themselves on the island. The films which follow Jurassic Park explore the situation on the island after humans return to it to face a far stronger and more aggressive dinosaur population. Moreover, The Lost World depicts a threat to the mainland human population as a T. rex is illegally imported into the United States. These problems were, obviously, not foreseen by Hammond and other creators of Jurassic Park.

The creation of Jurassic Park was an attempt at beneficence, intended to grant visitors of all economic standings an experience hitherto closed to them, a glimpse at an era 65 million years in the past. Moreover, Hammond sought to exercise his autonomy in employing scientific knowledge of genetics to engineer new species in order to earn profit and personal satisfaction. However, the principle of nonmaleficence was neglected in this process, since, though Hammond did take security precautions intended to avoid harm to visitors, he did not fully consider other potential threats and carried the project forward without analyzing possible implications of blending dinosaur DNA with that of frogs or subjecting the park’s security to the control of the unstable and unreliable Dennis Nedry.

An alternate course of action to the swift establishment of Jurassic Park would have been to proceed at a more cautious pace and be more discriminatory as to the features included in the park. Herbivorous dinosaurs alone would not have posed a dramatic threat to human lives, and would likely have been docile enough to be contained by the security measures that the park possessed. This is supported by the fact that Dr. Grant and Hammond’s grandchildren were able to pet a gigantic herbivore and only received a burst of mucus in the face.

Moreover, a more selective process for employment at Jurassic Park might have been able to weed out individuals like Nedry, who was principally responsible for security failures. Every field of human existence has its blackguards and deceivers. This does not justify curtailing endeavors in those fields, but it does warrant a more stringent approach toward keeping those individuals out of positions of power.

As for employing the DNA of frogs, it might have been possible to locate a species that does not spontaneously change sex and use its genes to fill the “gaps” in dinosaur DNA. Dr. Malcolm’s ideas of a complex interplay of factors determining the outcome of a given event should not deter individuals from undertaking endeavors as novel and ambitious as Jurassic Park, but the complexity, which I think is perfectly within the grasp of human cognition, does need to be taken into account. This would fit the ethics of principlism, as Jurassic Park already fulfills the standards of beneficence and autonomy, and nonmaleficence can be achieved by taking stricter precautions to control the dinosaurs and the security measures of the park. The principle of justice would necessitate that individuals like Hammond have the right, like all others living in a free country, to use their property and create a profit-making venture (this can be termed comparative justice in a paradigm where the right to free enterprise exists in a majority of cases).

Celebrations of the Creator-Individual in Ayn Rand’s “The Fountainhead” and Ludwig van Beethoven’s Ninth Symphony (2007) – Article by G. Stolyarov II

Celebrations of the Creator-Individual in Ayn Rand’s “The Fountainhead” and Ludwig van Beethoven’s Ninth Symphony (2007) – Article by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
July 19, 2014

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Note from the Author: This essay was originally published on Associated Content (subsequently, Yahoo! Voices) in 2007.  I seek to preserve it as a valuable resource for readers, subsequent to the imminent closure of Yahoo! Voices. Therefore, this essay is being published directly on The Rational Argumentator for the first time.  
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~ G. Stolyarov II, July 19, 2014
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Few books offer as resounding a manifesto of the individual’s value and potential as The Fountainhead by Ayn Rand. The image of Howard Roark, the serene architect who refuses to build anything that does not meet his criteria of esthetic excellence, who takes on the culturally prevailing attitudes of collectivism, compromise, and mediocrity, and wins, is a tribute to one man’s determination in resisting the gargantuan pressures exerted by his society to render him just like everyone else.

The Fountainhead presents a masterful philosophical exposition of the mind of the creator-individual as the root of all human accomplishments, and as a treasure that one must not allow to become tarnished by the impulse to conform. It additionally provides a model for how rational men can interact with one another, as value-traders who seek from each other, rather than blandness and conventionality, the profoundest and most impeccable work their minds can produce.

The Fountainhead teaches that the source of man’s productivity lies within himself, and Roark’s struggles have demonstrated that adhering with integrity to the desire to be productive and independent often involves overcoming great obstacles. Nevertheless, with the proper fortitude, consistency, and resolve, the creator-individual will have his way.

The journey of the creator-individual from struggle to ecstatic accomplishment is, too, reflected in Ludwig van Beethoven’s Ninth Symphony. Beethoven’s monumental, dynamic, and logically intricate passages are capable of conveying both struggle and tension in the first three movements and an outpouring of joy, benevolence, and triumph in the fourth.

The symphony is a tribute both to Beethoven in particular, as he had written this ultimate of compositions a time when he was wrestling against crippling cases of deafness and disease, and to Man in general, for man’s proper occupation, in his life and in his work, is to struggle and to prevail. The vigor of man’s resistance against gloom, chaos, and decay will bring about a directly proportional result of glory, happiness, and accomplishment.

The works of Ayn Rand and Ludwig van Beethoven celebrate those creators and creations which affirm the highest possibilities open to man, and provide the intellectual fuel for audiences to pursue them. What Roark built with steel and concrete, what Ayn Rand captured in words, is also what Beethoven expressed through music. Using his or her medium of choice, the creator-individual strives to transform the world in an ennobling, enlightening, life-affirming manner – inspiring other creators to further heights of accomplishment.