Value for Friday of Week 04 in the season of Dormancy

Ego – Selfishness

Justice at its most basic level involves caring about more than the self. Ego is the core and root of injustice.

  • . . . evil is always the assertion of some self-interest without regard to the whole . . . [Reinhold Niebuhr.]
  • I fed my ego, but not my soul. [attributed to Yakov Smirnoff]
  • The foundation for the Buddha’s teachings lies in compassion, and the reason to practice the teachings is to wipe out the persistence of ego, the number-one enemy of compassion. [attributed to Tenzin Gyatso, the 14th Dalai Lama.]

Evil is present when we fail to account for the whole. Happiness should not come at someone else’s expense. This is another way of looking at the Golden Rule and worth-based justice.

One view of evil “has grouped together three antisocial personalities known as the ‘Dark Triad’: Machiavellianism, Narcissism, and Psychopathy.” Each of these has unchecked ego at its core. Machiavellianism “is a personality trait which is defined as using manipulation against other people’s interests to achieve one’s own personal goals”. Narcissism “is a relatively stable individual difference consisting of grandiosity, self-love and inflated self-views”. Psychopathy  “is a neuropsychiatric disorder marked by deficient emotional responses, lack of empathy, and poor behavioral controls, commonly resulting in persistent antisocial deviance and criminal behavior”. Other concepts of the core of evil include greed (“. . . excessive, wasteful, resulting in accumulation beyond what is needed, and often harmful to other people . . .”); and fear, which shuts out compassion and other forms of concern for others.

Real

True Narratives

Arbitrary power is to the mind what alcohol is to the body; it intoxicates. Man loves power. It is perhaps the strongest human passion; and the more absolute the power, the stronger the desire for it; and the more it is desired, the more its exercise is enjoyed: this enjoyment is to human nature a fearful temptation,--generally an overmatch for it. Hence it is true, with hardly an exception, that arbitrary power is abused in proportion as it is desired. The fact that a person intensely desires power over others, without restraint, shows the absolute necessity of restraint. What woman would marry a man who made it a condition that he should have the power to divorce her whenever he pleased? Oh! he might never wish to exercise it, but the power he would have! No woman, not stark mad, would trust her happiness in such hands. [Theodore D. Weld, American Slavery As It Is (1839).] 

I do not agree with the view that to be moral, the motive of one’s actions has to be benefiting others. Morality does not have to be defined in relation to others . . . People like me want to satisfy our hearts to the full, and in doing so we automatically have the most valuable moral codes. Of course, there are people and objects in the world but they are all there only for me. [Mao Tse-tung (Mao Zedong), quoted in Jung Chang, Mao: The Unknown Story (Alfred A. Knopf, 2005), chapter 2.]

Various books about the ego:

History is littered with the evil of conquest.

The Vietnam war happened because no one in power, in the United States, would admit that the war was a mistake.

Remarkably egocentric people:

Technical and Analytical Readings

Photographs

Documentary and Educational Films

Imaginary

Fictional Narratives

If one places one's self at the culminating point of view of the question, Waterloo is intentionally a counter-revolutionary victory. It is Europe against France; it is Petersburg, Berlin, and Vienna against Paris; it is the _statu quo_ against the initiative; it is the 14th of July, 1789, attacked through the 20th of March, 1815; it is the monarchies clearing the decks in opposition to the indomitable French rioting. The final extinction of that vast people which had been in eruption for twenty-six years--such was the dream. [Victor Hugo, Les Misérables (1862), Volume II – Cosette; Book First – Waterloo, Chapter XVII,Is Waterloo To Be Considered Good?”]

In Tom’s hurried exchange, he had not forgotten to transfer his cherished Bible to his pocket. It was well he did so; for Mr. Legree, having refitted Tom’s handcuffs, proceeded deliberately to investigate the contents of his pockets. He drew out a silk handkerchief, and put it into his own pocket. Several little trifles, which Tom had treasured, chiefly because they had amused Eva, he looked upon with a contemptuous grunt, and tossed them over his shoulder into the river.  Tom’s Methodist hymn-book, which, in his hurry, he had forgotten, he now held up and turned over. “Humph! pious, to be sure. So, what’s yer name,—you belong to the church, eh?”  “Yes, Mas’r,” said Tom, firmly. “Well, I’ll soon have that out of you. I have none o’ yer bawling, praying, singing niggers on my place; so remember. Now, mind yourself,” he said, with a stamp and a fierce glance of his gray eye, directed at Tom, “I’m your church now! You understand,—you’ve got to be as I say.” Something within the silent black man answered No! and, as if repeated by an invisible voice, came the words of an old prophetic scroll, as Eva had often read them to him,—“Fear not! for I have redeemed thee. I have called thee by name. Thou art MINE!” But Simon Legree heard no voice. That voice is one he never shall hear. He only glared for a moment on the downcast face of Tom, and walked off. He took Tom’s trunk, which contained a very neat and abundant wardrobe, to the forecastle, where it was soon surrounded by various hands of the boat. With much laughing, at the expense of niggers who tried to be gentlemen, the articles very readily were sold to one and another, and the empty trunk finally put up at auction. It was a good joke, they all thought, especially to see how Tom looked after his things, as they were going this way and that; and then the auction of the trunk, that was funnier than all, and occasioned abundant witticisms. This little affair being over, Simon sauntered up again to his property. [Harriett Beecher Stowe, Uncle Tom’s Cabin or Life Among the Lowly (1852), Volume II, Chapter 31, “The Middle Passage”.]

Once upon a time there was a wicked sprite, indeed he was the most mischievous of all sprites. One day he was in a very good humor, for he had made a mirror with the power of causing all that was good and beautiful when it was reflected therein, to look poor and mean; but that which was good-for-nothing and looked ugly was shown magnified and increased in ugliness. In this mirror the most beautiful landscapes looked like boiled spinach, and the best persons were turned into frights, or appeared to stand on their heads; their faces were so distorted that they were not to be recognised; and if anyone had a mole, you might be sure that it would be magnified and spread over both nose and mouth.  “That's glorious fun!” said the sprite. If a good thought passed through a man's mind, then a grin was seen in the mirror, and the sprite laughed heartily at his clever discovery. [Hans Christian Andersen, “The Snow Queen” (1844).]

Novels, light takes:

Poetry

Music: Composers, artists, and major works

Why is it human nature to want what we can’t have? In 1827, the 23-year-old Hector Berlioz attended a performance of Shakespeare’s Hamlet at the Odéon Theatre in Paris; Harriet Smithson, a charismatic Irish actress, was playing Ophelia. Berlioz was smitten and wrote her an impassioned letter – Smithson did not reply. Undeterred, he continued to bombard her with messages but she left Paris without making contact. Hector Berlioz, Symphonie Fantastique, Episode in the Life of an Artist, Op. 14, H. 48 (1830) (approx. 49-58’) (recordings), “tells the story of an artist's self-destructive passion for a beautiful woman. The symphony describes his obsession and dreams, tantrums and moments of tenderness, and visions of suicide and murder, ecstasy and despair. Top performances are conducted by Monteux in 1930, Ormandy in 1952, Ormandy in 1960, Norrington in 1997, Gardiner in 1993, Boulez in 1997, Colin Davis in 2001, Nézet-Séguin in 2010, van Immerseel in 2010, and Roth in 2019.

Giuseppe Verdi, Macbeth (1847) (approx. 140-160’) (libretto) (recordings), is an operatic version of Shakespeare’s tragedy about unbridled ambition and unchecked ego. Verdi “creates an atmosphere of palpable evil from the start.  The prelude, with its sinister figures on strings, harsh brass, and winds shrieking like the owl, describes the loneliness of damnation, lost in night and cut off from hope and every decent human feeling . . .” Its lessons are about greed, power and leadership. “What is singular about Macbeth, compared to the other three great Shakespearean tragedies, is its villain-hero. If Hamlet mainly executes rather than murders,  if  Othello  is  ‘more  sinned  against  than  sinning,’  and  if  Lear  is  ‘a  very foolish fond old man’ buffeted by surrounding evil, Macbeth knowingly chooses  evil  and  becomes  the  bloodiest  and  most  dehumanized  of  Shakespeare’s tragic protagonists.” An excellent filmed recording is by Hampson, Marrocou & Zürich Opera, Welser-Möst conducting, in 2001. Top audio-recorded performances are by Taddei & Gencer (Gui) in 1960; Guelfi & Gencer (Gavezzini) in 1968; Milnes & Ludwig (Böhm) in 1970; Verrett & Cappuccili (Abbado) in 1976 ***; Milnes & Cossotto (Muti) in 1976 **; Zampieri & Bruson (Sinopoli) in 1983; and Keenlyside & Moore (Gardner) in 2013.

Béla Bartók, Duke Bluebeard’s Castle (A Kékszakállú herceg Vára), Op. 11, Sz. 48 (1911, rev. 1918) (approx. 56-105’) (recordings): the duke’s new wife learns that he has many other interests, including three other wives, who are being confined in the castle. Bartok was in personal crisis when he composed this. He had married a teenager, and the marriage was troubled. “I am a lonely man!…I may have friends in Budapest…yet there are times when I suddenly become aware of the fact that I am absolutely alone! And I prophesy, I have a foreknowledge, that this spiritual loneliness is to be my destiny.” “Who was then Bartók? For some people, he was cold, lacking emotional intelligence, remote, detached, mathematical, unfriendly, pedantic, caustic and humourless; for some others, he was warm, passionate, friendly, caring, engaged, good humoured.” “Bartók’s personal philosophy was stoic and pessimistic. He held himself apart from others, independent of the ambitious struggle after ‘trifles.’ As a consequence he felt lonely. In his first mature work, the opera Bluebeard’s Castle, Bartók translated his own sense of profound spiritual isolation into music.” Here are links to performances conducted by Kubelik, Dohnányi, and Elder. Best recorded performances are by Székely & Palánkay (Ferencsik) in 1956, Hines & Elias (Ormandy) in 1960, Berry & Ludwig (Kertész) in 1965 ***, Ramey & Marton (Adám Fischer) in 1987 ***, Lloyd & Lawrence (Adám Fischer) in 1988 (video), Howell & Burgess (Elder) in 1992, Polgar & Norman (Boulez) in 1993, Kares & Vörös (Mälkki) in 2021, and Shaham & Bretz (Cannelakis) in 2025.

Kurt Weill, The Threepenny Opera (1928) (approx. 68-110’) (recordings) portrays a society made decadent by rampant egoism (including capitalism, in Weill's view) and social apathy. “Set in a society obsessed with money, filled with corruption, where evil runs rampant, and all seem immune to the sufferings of the poor, (it is) a satire of both traditional opera and the capitalistic Weimar Republic . . .”Despite its relevance to Berlin of the 1920s, the Threepenny Opera had its origins in London two full centuries earlier. John Gay's 1727 Beggar's Opera had created a sensation by skewering the conventions (and pretensions) of trendy Italianate opera and its florid arias, noble characters and rigid morality. Here are links to performances conducted by Bernstein in 1952, Matlowsky in 1954, Brückner-Rüggeberg in 1955; and Silverman in 1976.

Other works:

Music: songs and other short pieces

Visual Arts

Film and Stage

This Is Our Story

A religion of values and Ethics, driven by love and compassion, informed by science and reason.

PART ONE: OUR STORY

First ingredient: Distinctions. What is the core and essence of being human? What is contentment, or kindliness, or Love? What is gentleness, or service, or enthusiasm, or courage? If you follow the links, you see at a glance what these concepts mean.

PART TWO: ANALYSIS

This site would be incomplete without an analytical framework. After you have digested a few of the examples, feel free to explore the ideas behind the model. I would be remiss if I did not give credit to my inspiration for this work: the Human Faith Project of Calvin Chatlos, M.D. His demonstration of a model for Human Faith began my exploration of this subject matter.

A RELIGION OF VALUES

A baby first begins to learn about the world by experiencing it. A room may be warm or cool. The baby learns that distinction. As a toddler, the child may strike her head with a rag doll, and see that it is soft; then strike her head with a wooden block, and see that it is hard. Love is a distinction: she loves me, or she doesn’t love me. This is true of every human value:

justice, humility, wisdom, courage . . . every single one of them.

This site is dedicated to exploring those distinctions. It is based on a model of values that you can read about on the “About” page. However, the best way to learn about what is in here is the same as the baby’s way of learning about the world: open the pages, and see what happens.

ants organic action machines

Octavio Ocampo, Forever Always

Jacek Yerka, House over the Waterfall

Norman Rockwell, Carefree Days Ahead

WHAT YOU WILL SEE HERE

When you open tiostest.wpengine.com, you will see a human value identified at the top of the page. The value changes daily. These values are designed to follow the seasons of the year.

You will also see an overview of the value, or subject for the day, and then two columns of materials.

The left-side column presents true narratives, which include biographies, memoirs, histories, documentary films and the like; and also technical and analytical writings.

The right-side columns presents the work of the human imagination: fictional novels and stories, music, visual art, poetry and fictional film.

Each entry is presented to help identify the value. Open some of the links and experience our human story, again. It belongs to us all, and each of us is a part of it.

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The Work on the Meditations