CaNANDian
Published 25 Sep 2012Christopher Hitchens talked with EconTalk host Russ Roberts about George Orwell. Drawing on his book Why Orwell Matters, Hitchens talked about Orwell’s opposition to imperialism, fascism, and Stalinism, his moral courage, and his devotion to language. Along the way, Hitchens made the case for why Orwell matters.
Download audio: http://www.econtalk.org/archives/2009…
At Samizdata, Niall Kilmartin wondered why the BBC hadn’t gotten around to showing a 1970s historical series through the year-and-more of the pandemic lockdowns. He doesn’t mention the name of the series, and an unusually unhelpful BBC site search didn’t turn up a name but IMDB suggests it was 1975 and the series was called The Fight Against Slavery:
Fifty years ago, the BBC screened a dramatised documentary series about the fight to abolish the slave trade. Even a year of the virus limiting new series, at a time of great BBC eagerness to talk about racism, has not made them screen it again.
– I see one reason why they have not: the series displayed sleazy white slave traders and abusive white slave owners prominently, but it also showed white people eager to end the slave trade and (much worse) black people eager to continue it. It included the king of Dahomey’s threat: “if you do not allow me to sell you my slaves, their fate will be a great deal worse” (a very brief scene of the Dahomey murder spectacle lent meaning to his remark). After abolition was voted, it showed a white slave trader assuring the Dahomans, as a drug dealer might his suppliers, “It is one thing for parliament to pass a law …”, hinting at the Royal Navy’s long and hard campaign to enforce it.
– Only recently did I spot another reason why they would not want to show it again – the scene in which a corrupt old white slave trader warns his young colleague that “it’s more than your life’s worth” to doubt the ability of their slave-selling hosts to count very accurately the quantity of trade goods being handed over in exchange, and to assess their quality knowledgeably. The traders well knew that Africans counted two plus two as four, just as they did. Any trader who imagined that black ability to add diverged enough from white to enable an attempt to short-change them had learned otherwise long before the 1780s.
– The southern Confederacy thought the same. Until its death throes, it forbade enlisting a southern black as a Confederate soldier because, as one Confederate senator put it, “If blacks can make good soldiers then our whole theory of slavery is wrong.” (Perhaps also because even southern white Democrats realised that southern black desire to fight against blacks being freed was likely to be a very minority taste.) But there was one exception. Every regiment had its regimental band, which played to set the pace at the start and end of marches, used trumpets to signal commands in battle – and fought when other duties did not supervene. From its start to its end, Confederate law said any black could enlist as bandsman, with the same pay and perquisites as a white – a very rare example of formal legal equality. (Playing music requires the ability to count time. For the woke, “dismantling the legacy of the Confederacy” apparently includes dismantling its realisation – shared by the Victorian composer Dvorak – that blacks often excelled in music so much as to overcome prejudice against black ability. Today, it’s “racist” to value instrumental skill.)
“Politically correct” has meant “actually wrong” ever since the first commissar explained to the first party comrade that it was neither socialist nor prudent to notice a factual error in the party line. “Structurally racist” is PC’s modern companion. No longer are the woke content merely to imply (“mathematics is racist”, “punctuality is racist”, “politeness is racist”) that blacks can’t count, can’t tell the time and can only behave crudely. They’re starting to say it in words of fewer syllables.
If I’d scrolled down to the comments, I’d have discovered that Natalie Solent had also dug up the name of the series:
Natalie Solent (Essex)
May 10, 2021 at 4:30 pm
Outstanding post, Niall. Was the BBC series you mentioned “The Fight Against Slavery“, written and narrated by Evan Jones? I have not seen it – given that I was ten or eleven in 1975 my parents probably thought I was too young too see it.However someone called “InternetPilgrim” has put up three videos of the series on YouTube. There is a link to Part I here, Part II here and Part III here, so I will try to remedy that lack soon.
Overly Sarcastic Productions
Published 7 Jul 2017THE DANGER OF A SINGLE STORY: https://youtu.be/D9Ihs241zeg
It’s been brought to my attention that I made two mistakes: 1) Yes, I disappear at 18:26. Not sure how that happened. 2) At 12:25 I use a map of Africa that with some weird borders. That’s my bad. But if you look at a legit map of Africa, you’ll see the same straight lines in the places that I marked them.
(Remember: making mistakes is ok, so long as we learn from them)The Epic of Mwindo sure was cool, huh? This video is here to show you all about the lovely continent that it came from: Africa! And BOY are there a lot of misconceptions about it.
This video was produced with assistance from the Boston University Undergraduate Research Opportunities Program.
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The Greek myths […] could not tell us of the conquest of Death by Love, because they could not know it yet; but they did know what it was not. They — the Greeks with their legends — were not just pessimistic. They were heroic pessimists.
Orpheus descends into Hades to retrieve his bride, Eurydice. In the account we read in Virgil’s Georgics, the point of the tale is already slightly smoothed, blunted. Orpheus has made the mistake of looking back on her countenance, when he is almost home. He has emerged in the sun, but she is still in the shadows. As he looks back, she recedes, disappears; she is now lost forever. In modern “education” we used to weep for the tragedy. He almost succeeded. It is a tragedy, strictly in the Roman pagan sense.
But it was a tragedy in the Greek sense, first. If we go instead to Plato, and listen to the aristocratic Phaedrus in the Symposium, we learn that Orpheus was thoroughly in the wrong, in his attempt to retrieve Eurydice. He was bound to be punished. His mistake was not a technicality. His living descent into Hades was a challenge not only to the gods, but to nature, and to the truth of things. His love for Eurydice, so affecting in his mournful dirges — moving everyone to tears — was not true love. A coward, he would not die for it.
Hades has presented him with a wraith, in Eurydice’s outward form. Inevitably, this illusion would dissolve in the sunlight. And the fate of Orpheus was now set — the fate of an eloquent softie, who loves an imaginary woman — a woman he had created from the start. He will die at the hands of the real ones he rejected. He will be torn apart by the Maenads, as by wild beasts. His lyre will be destroyed. This is the fate of our shallow romantic star; the pretty boy whose lyre and whose voice had once been an enchantment.
Boethius deals with that backward gaze, in the Consolations of Philosophy. We who seek to lead into the light of the upper day — we triumphalist philosophers — are bound to look back into the Tartarean cave. And when we do, the clarity of our “vision” will be obscured; then ruined, totally. To guide we must be guided; or all will be lost.
David Warren, “A backward glance”, Essays in Idleness, 2021-02-09.
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