The Myth of Thamus and Theuth

In the writings of Phaedrus, Socrates tells his disciples this story.

Among the ancient Egyptian gods, there was one called Theuth who discovered “number and calculation, geometry and astronomy, as well as the games of draughts and dice, and above all else, writing” (Phaedrus, 274d). One day, Theuth visited Thamus, King of Egypt, urging him to disseminate the arts around Egypt. For each art that Theuth presented, Thamus offered his praise and criticism. When it came to writing, Theuth said:

O King, here is something that, once learned, will make the Egyptians wiser and will improve their memory; I have discovered a potion for memory and for wisdom. (Phaedrus, 274e)

But Thamus replied that, as the “father of writing,” Theuth’s affection for writing had kept him from acknowledging the truth about writing. In fact, Thamus asserted, writing increases forgetfulness rather than memory. Instead of internalizing and understanding things, students will rely on writing as a potion for reminding. Moreover, students will be exposed to many ideas without properly thinking about them. Thus, they will have an “appearance of wisdom” while “for the most part they will know nothing” (Phaedrus, 275a-b).

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Socrates used the illustration to point out that writing alone has no understanding of itself and “continues to signify just the same thing forever” (Phaedrus, 275d-e). Nor does it discern its audience nor offer self explanation. Socrates instead favoured conversation, “the living, breathing discourse of a man who knows, of which the written one can be fairly called an image” (Phaedrus, 276a). Socrates praised dialectic:

The dialectician chooses a proper soul and plants and sows within it discourse accompanied by knowledge—discourse capable of helping itself as well as the man who planted it, which is not barren but produces a seed from which more discourse grows . . . Such discourse makes the seed forever immortal and renders the man who has it as happy as any human being can be. (277a)

As a lover of good writing and an advocate of literacy as key to community development and human emancipation, I find this conversation  interesting for a few reassons.

  1. First, it comes to us via text. We enjoy it and think about it purely because it is recorded in writing.
  2. Second, Socrates highlights that “meaning” is the soul of communication, and the rendering of the human heart and mind, its greatest good. The absence of human interaction, leaves a vacuum, giving space for the empty pursuit of knowledge, disconnection of thought from feeling, and the subjectification of meaning altogether.

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Much like contemporary complaints of electronic forms of communication “killing conversation”, we can view first hand an ancient discussion of the same problem. The key it seems, is that humans must talk “to” each other and not “about” each other.  Reading “about love” is not the same as “behaving lovingly”.

Nevertheless, the power of this analogy even today, shows that writing has its place. Phaedrus accused Socrates of inventing the myth to support his point and Socrates did not disagree.  Word pictures, poems and stories particularly have an ability to capture timeless truths, and carry meaning throughout the ages.

A good poem helps to change the shape and significance of the universe,
helps to extend everyone’s knowledge of himself and the world around him
—Dylan Thomas

When all is said and done, nothing beats human relationships, dialogue, discourse, dialectic and discussion. Turn off our e-devices, close the books and have a chat.

Into the Woods

The latest Disney holiday release, “Into the Woods” is interestingly, not a children’s film at all but rather an exploration of contemporary philosophical themes.

Written by Stephen Sondheim,  “Into the Woods”  initially debuted on stage in San Francisco in 1986 and since has won several Tony Awards, and toured globally. Despite its mature themes, in 2014, Disney pictures released a star studded version directed by a Rob Marshall to great critical and commercial success.

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The point of the musical seems less to entertain and beguile children, but rather to make a forary into post-modern thought. Admittedly, it does so lightheartedly and with flair.

Step one, de-sanitise the tale, return it to its gruesome original state and juxtapose it with other tales.

 

The musical tells the interweaving tales of Cinderella, Rapunzel, Red Riding Hood and Jack and the Bean Stalk and the characters sing and dance their way through the narrative with charming ease. Retainin the gruesome elements of the original Grimm’s tales means the ugly sisters chop of toes to fit shoes, Red Riding Hood is eaten by the wolf [and promptly revived by the gallant baker and his knife], and Rapunzel is banished to a swamp by the witch who has blinded her lover.

Step two, explore what happens after the characters attain their wishes, the post- “happily ever after”.

 

Once each character receives their wishes, and “happily ever after,” the narrative explores their subsequent unravelling. Cinderella’s Prince is adulterous, Jack’s giant ramgaes through the country in search of her lost harp and hen, key characters die off. Each of the characters begins to blame the other for the chaos.  The story moves from fairy tale into solemn reality……. things don’t always work out the way we think they will. The witch cautions them all to question their wishes, that each of them contributed to the demise by what they desired.

Careful the wish you make
Wishes are children
Careful the path they take
Wishes come true, not free
Careful the spell you cast
Not just on children
Sometimes a spell may last
Past what you can see
And turn against you

Perhaps the most profound lines come in the closing song:

Careful the tale you tell
That is the spell
Children will listen

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Step three: Redefine the very notion of knowing and meaning.

 

The characters chant to each other:

Wrong things, right things…

Who can say what’s true?…

Witches can be right, Giants can be good.

You decide what’s right you decide what’s good

The story closes with half the fairy story characters dead or disappeared, and the remaining few, huddled together in the woods, to hear the story from the beginning. They are adrift in a world without certain meaning and outcomes and must define meaning for themselves together. The find comfort in each other and not in the narratives they have imagined.

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So what?

 

Doctor of Philosophy and Catholic commentator, Taylor Marshall in his blog review,  labels the story “pernicious” and outlines the philosophic nominalism evident in the narrative. For him, the moralism evident in which the characters are cautioned to make their own reality, is deceptive. Instead, he cautions that in fact “rationalism” and discovery of “what is” is in fact the fittest form of human endeavour. As sojourners here, our job is to discover the world, it’s rules and paradigms, the order that God has placed and to abide by this order. http://taylormarshall.com/2014/12/into-the-woods-movie-a-dads-critical-review.html

I find his reasoning misses the mark.

Fairy stories have always been ground for phillsophical and theological debate – rich with imagery they naturally speak to the dream and the psyche. They play an important role in our subconscious development. It’s important to know that you can overcome the giant. It’s important to know that while there is wickedness in the world, that goodness still prevails. It’s important to know that love saves and that goodness is redemptive.

However, fairy stories, for their simplicity, can be oppressive too.  Is wickedness so black and white? is the witch always wrong  or is she a person too with a story to understand? Should girls be waiting for a prince or there is there another narrative girls can listen to? Does a requited love story always bestow the end of all unhappiness upon a girl or boy? Can our wishes for wealth, greener pastures, beauty and so on – lead us into more trouble than we know?

“Story is a spell and we should be careful what we tell,  because children listen” !!

Definitely !!

“Be careful what you wish, wishes are children, they come true”.

Absolutely !!

There is ground to question the narratives we absorb year after year. However, what “Into the Woods” shows us is that by dissolving meaning, we dissolve the grounds for narrative itself. The characters cannot ascertain whether the giant is “good” or “bad” and so slay her out of their immediate need. The cling to each other in the woods, a community adrift finding solace, and meaning  in each other.

The true end point of post-modern thought is absurdism. There is no more story to tell because there is no meaning to speak of. We’re just “Waiting for Godot.”

Instead of deciding this,  I would urge the characters of these fairy stories, to not define their own meaning but instead to break out of the story they are trapped within to find a GREATER story and a GREATER meaning. If we as readers find tales we read too limiting in moralism, in their two dimensional villains and stereotypical endings, we need to read MORE narrative, and absorb MORE and broader definitions of meaning, not less.

Narrative by nature, says something, and asserts meaning. Meaning is required for crisis and catharsis. Without these we have no stories to tell, no songs to sing.

Stories are wishes, wishes are children, we should be careful what story we wish, what spell we tell, because children believe them, because they come true. The stories we listen to define us and our perspective on the world. What we believe, we become.

I know a story where the wishes of the two protagonists, unravel the whole of human history requiring a promised hero to save them, a king, a prince to arrive and deliver them. This story covers thousands of years and weaves its way through civilsations and empires and finds itself in a regional outpost, a backwater, where a young man from a country village gives his life up for his nation. And saves the world.

That is a GREAT story.