Sunday, January 19, 2020

Archimedes


Archimedes

(b. c. 290–280 BCE, Syracuse, Sicily [now in Italy]—d. 212/211 BCE,
Syracuse)

The most famous mathematician of ancient Greece,
Archimedes is especially important for his discovery of the relation between the surface and volume of a sphere and its circumscribing cylinder and for his formulation of a hydrostatic principle (known as Archimedes’ principle). As an inventor he is known for various ingenious (and perhaps mythical) optical and mechanical devices, including a device for raising water, still used in developing countries, known as the Archimedes screw.
Archimedes probably spent some time in Egypt early in his career, but he resided for most of his life in Syracuse, the principal Greek city-state in Sicily, where he was on intimate terms with its king, Hieron II. Archimedes published his works in the form of correspondence with the principal mathematicians of his time, including the Alexandrian scholars Conon of Samos and Eratosthenes of Cyrene. He played an important role in the defense of Syracuse against the siege laid by the Romans in 213 BCE by constructing war machines so effective that they long delayed the capture of the city. When Syracuse eventually fell to the Roman general Marcus Claudius Marcellus in the autumn of 212 or spring of 211 BCE, Archimedes was killed in the sack of the city.
Far more details survive about the life of Archimedes than about any other ancient scientist, but they are largely anecdotal, reflecting the impression that his mechanical genius made on the popular imagination. Thus, he is credited with inventing the Archimedes screw, and he is supposed to have made two “spheres” that Marcellus took back to Rome—one a star globe and the other a device (the details of which are uncertain) for mechanically representing the motions of the Sun, the Moon, and the planets. The story that he determined the proportion of gold and silver in a wreath made for Hieron by weighing it in water is probably true, but the version that has him leaping from the bath in which he supposedly got the idea and running naked through the streets shouting “Heurēka!” (“I have found it!”) is popular embellishment. Equally apocryphal are the stories that he used a huge array of mirrors to burn the Roman ships besieging Syracuse; that he said, “Give me a place to stand and I will move the Earth”; and that a Roman soldier killed him because he refused to leave his mathematical diagrams—although all are popular reflections of his real interest in catoptrics (the branch of optics dealing with the reflection of light from mirrors, plane or curved), mechanics, and pure mathematics.
According to Plutarch (c. 46–119 CE), Archimedes had so low an opinion of the kind of practical invention at which he excelled and to which he owed his contemporary fame that he left no written work on such subjects. While it is true that—apart from a dubious reference to a treatise, “On Sphere-Making”—all of his known works were of a theoretical character, his interest in mechanics nevertheless deeply influenced his mathematical thinking. Not only did he write works on theoretical mechanics and hydrostatics, but his treatise Method Concerning Mechanical Theorems shows that he used mechanical reasoning as a heuristic device for the discovery of new mathematical theorems.

Imhotep


Imhotep


(b. 27th century BCE, Memphis, Egypt)
Imhotep (Greek: Imouthes) was a vizier, sage, architect, astrologer, and chief minister to Djoser (reigned 2630– 2611 BCE), the second king of Egypt’s third dynasty, who was later worshipped as the god of medicine in Egypt and in Greece, where he was identified with the Greek god of medicine, Asclepius. He is considered to have been the architect of the step pyramid built at the necropolis of Saqq˙ ārah in the city of Memphis. The oldest extant monument of hewn stone known to the world, the pyramid consists of six steps and attains a height of 200 feet (61
metres).
Although no contemporary account has been found that refers to Imhotep as a practicing physician, ancient documents illustrating Egyptian society and medicine during the Old Kingdom (c. 2575– c. 2130 BCE) show that the chief magician of the pharaoh’s court also frequently served as the nation’s chief physician. Imhotep’s reputation as the reigning genius of the time, his position in the court, his training as a scribe, and his becoming known as a medical demigod only 100 years after his death are strong indications that he must have been a physician of considerable skill.
Not until the Persian conquest of Egypt in 525 BCE was Imhotep elevated to the position of a full deity, replacing Nefertem in the great triad of Memphis, shared with his mythological parents Ptah, the creator of the universe, and Sekhmet, the goddess of war and pestilence. Imhotep’s cult reached its zenith during Greco-Roman times, when his temples in Memphis and on the island of Philae (Arabic: Jazīrat Fīlah) in the Nile River were often crowded with sufferers who prayed and slept there with the conviction that the god would reveal remedies to them in their dreams. The only Egyptian mortal besides the 18th- dynasty sage and minister Amenhotep to attain the honour of total deification, Imhotep is still held in esteem by physicians who, like the eminent 19th-century British practitioner Sir William Osler, consider him “the first figure of a physician to stand out clearly from the mists of antiquity.”

Cro-Magnon


Cro-Magnon

Cro-Magnon was a population of early Homo sapiens dating from the Upper Paleolithic Period (c. 40,000 to c. 10,000 years ago) in Europe. In their ancient cave habitations they left behind traces of ingenious stone tools, carved statuettes and figurines, and painted scenes of striking beauty that are considered to be among the greatest treasures of human creativity.
In 1868, in a shallow cave at Cro-Magnon near the town of Les Eyzies-de-Tayac in the Dordogne region of southwestern France, a number of obviously ancient human skeletons were found. The cave was investigated by the French geologist Édouard Lartet, who uncovered five archaeological layers. The human bones found in the topmost layer proved to be between 10,000 and 35,000 years old. The prehistoric humans revealed by this find were called Cro-Magnon and have since been considered, along with Neanderthals (H. neanderthalensis), to be representative of prehistoric humans.

Cro-Magnons were robustly built and powerful and are presumed to have been about 5 feet 5 inches to 5 feet 7 inches (about 166 to 171 cm) tall. The body was generally heavy and solid, apparently with strong musculature. The forehead was straight, with slight browridges, and the face short and wide. Cro-Magnons were the first humans (genus Homo) to have a prominent chin. The brain capacity was about 100 cubic inches (1,600 cc), somewhat larger than the average for modern humans. It is thought that Cro-Magnons were probably fairly tall compared with other early human species.
It is still hard to say precisely where Cro-Magnons belong in recent human evolution, but they had a culture that produced a variety of sophisticated tools such as retouched blades, end scrapers, “nosed” scrapers, the chisel-like tool known as a burin, and fi ne bone tools. They also seem to have made tools for smoothing and scraping leather. Some Cro-Magnons have been associated with the  Gravettian industry , or Upper Perigordian industry, which is characterized by an abrupt retouching technique that produces tools with fl at backs. Cro-Magnon dwellings are most often found in deep caves and in shallow caves formed by rock overhangs, although primitive huts, either lean-tos against rock walls or those built completely from stones, have been found. The rock shelters were used year-round; the Cro-Magnons seem to have been a settled people, moving only when necessary to fi nd new hunting or because of environmental changes.

Like the Neanderthals, the Cro-Magnon people buried their dead. The first examples of art by prehistoric peoples are Cro-Magnon. The Cro-Magnons carved and sculpted small engravings, reliefs, and statuettes not only of humans but also of animals. Their human figures generally depict large-breasted, wide-hipped, and often obviously pregnant women, from which it is assumed that these figures had significance in fertility rites. Numerous depictions of animals are found in Cro-Magnon cave paintings throughout France and Spain at sites such as Lascaux, Les Eyzies-deTayac, and Altamira, and some of them are surpassingly beautiful. It is thought that these paintings had some magic or ritual importance to the people. From the high quality of their art, it is clear that Cro-Magnons were not primitive amateurs but had previously experimented with artistic mediums and forms. Decorated tools and weapons show that they appreciated art for aesthetic purposes as well as for religious reasons.
It is difficult to determine how long the Cro-Magnons lasted and what happened to them. Presumably they were gradually absorbed into the European populations that came later. Individuals with some Cro-Magnon characteristics, commonly called Cro-Magnoids, have been found in the Mesolithic Period (8000 to 5000 BCE) and the Neolithic Period (5000 to 2000 BCE).

Antonio Lucio Vivaldi


Antonio ViVAldi

(b. March 4, 1678, Venice, Republic of Venice [Italy]—d. July 28, 1741,
Vienna, Austria)
Antonio Lucio Vivaldi was an Italian composer and violinist who left a decisive mark on the form of
the concerto and on the style of late Baroque instrumental music.

Life

Vivaldi’s main teacher was probably his father, Giovanni Battista, who in 1685 was admitted as a violinist to the orchestra of the San Marco Basilica in Venice. Antonio, the eldest child, trained for the priesthood and was ordained in 1703. He made his first known public appearance playing violin alongside his father in the basilica in 1696. He became an excellent violinist, and in 1703 he was appointed violin master at the Ospedale della Pietà, a home for abandoned or orphaned children. The Pietà specialized in the musical training of its female wards, and those with musical aptitude were assigned to its excellent choir and orchestra.
Vivaldi had dealings with the Pietà for most of his career: as violin master (1703–09; 1711–15), director of instrumental music (1716–17; 1735–38), and paid external supplier of compositions (1723–29; 1739–40).
Vivaldi’s earliest musical compositions date from his first years at the Pietà. Printed collections of his trio sonatas and violin sonatas respectively appeared in 1705 and 1709, and in 1711 his first and most influential set of concerti for violin and string orchestra (Opus 3, L’estro armonico) was published by the Amsterdam music-publishing firm of Estienne Roger. In the years up to 1719, Roger published three more collections of his concerti (opuses 4, 6, and 7) and one collection of sonatas (Opus 5).
Vivaldi made his debut as a composer of sacred vocal music in 1713, when the Pietà’s choirmaster left his post and the institution had to turn to Vivaldi and other composers for new compositions. He achieved great success with his sacred vocal music, for which he later received commissions from other institutions. Another new field of endeavour for him opened in 1713 when his first opera, Ottone in villa, was produced in Vicenza. Returning to Venice, Vivaldi immediately plunged into operatic activity in the twin roles of composer and impresario. From 1718 to 1720 he worked in Mantua as director of secular music for that city’s governor, Prince Philip of Hesse-Darmstadt. This was the only full-time post Vivaldi ever held; he seems to have preferred life as a freelance composer for the flexibility and entrepreneurial opportunities it offered. Vivaldi’s major compositions in Mantua were operas, though he also composed cantatas and instrumental works.
The 1720s were the zenith of Vivaldi’s career. Based once more in Venice, but frequently traveling elsewhere, he supplied instrumental music to patrons and customers throughout Europe. Between 1725 and 1729 he published five new collections of concerti (opuses 8–12). After 1729 Vivaldi stopped publishing his works, finding it more profitable to sell them in manuscript to individual purchasers.
In the 1730s Vivaldi’s career gradually declined. The French traveler Charles de Brosses reported in 1739 with regret that his music was no longer fashionable. Vivaldi’s impresarial forays became increasingly marked by failure. In 1740 he traveled to Vienna, but he fell ill and did not live to attend the production there of his opera L’oracolo in Messenia in 1742. The simplicity of his funeral on July 28, 1741, suggests that he died in considerable poverty.

Instrumental Music

Almost 500 concerti by Vivaldi survive. More than 300 are concerti for a solo instrument with string orchestra and continuo. Of these, approximately 230 are written for solo violin, 40 for bassoon, 25 for cello, 15 for oboe, and 10 for flute. There are also concerti for viola d’amore, recorder, mandolin, and other instruments. Vivaldi’s remaining concerti are either double concerti (including about 25 written for two violins), concerti grossi using three or more soloists, concerti ripieni (string concerti without a soloist), or chamber concerti for a group of instruments without orchestra.
Vivaldi perfected the form of what would become the Classical three-movement concerto. Indeed, he helped establish the fast-slow-fast plan of the concerto’s three movements. Perhaps more importantly, Vivaldi was the first to employ regularly in his concerti the ritornello form, in which recurrent restatements of a refrain alternate with more episodic passages featuring a solo instrument. Vivaldi’s bold juxtapositions of the refrains (ritornelli) and the solo passages opened new possibilities for virtuosic display by solo instrumentalists. The fast movements in his concerti are notable for their rhythmic drive and the boldness of their themes, while the slow movements often present the character of arias written for the solo instrument.
Several of Vivaldi’s concerti have picturesque or allusive titles. Four of them, the cycle of violin concerti entitled The Four Seasons (Opus 8, no. 1–4), are programmatic in a thoroughgoing fashion, with each concerto depicting a different season of the year, starting with spring. Vivaldi’s effective representation of the sounds of nature inaugurated a tradition to which works such as Ludwig van Beethoven’s Pastoral Symphony belong. Vivaldi also left more than 90 sonatas, mainly for stringed instruments.

Vocal Music

More than 50 authentic sacred vocal compositions by Vivaldi are extant. They range from short hymns for solo voices to oratorios and elaborate psalm settings in several movements for double choir and orchestra. He composed some 50 operas (16 of which survived in their entirety) as well as nearly 40 cantatas. Many of Vivaldi’s vocal works exhibit a spiritual depth and a command of counterpoint equal to the best of their time. Moreover, the mutual independence of voices and instruments often anticipates the later symphonic masses of Joseph Haydn and Wolfgang Amadeus Mozart.

Josquin des Prez


Josquin des Prez

(b. c. 1450, Condé-sur-l’Escaut?, Burgundian Hainaut [France]—d.
Aug. 27, 1521, Condé-sur-l’Escaut)
  • Josquin des Prez was one of the greatest composers of Renaissance Europe.

Josquin’s early life has been the subject of much scholarly debate, and the first solid evidence of his work comes from a roll of musicians associated with the cathedral in Cambrai in the early 1470s. During the late 1470s and early ’80s, he sang for the courts of René I of Anjou and Duke Galeazzo Maria Sforza of Milan, and from 1486 to about 1494 he performed for the papal chapel. Sometime between then and 1499, when he became choirmaster to Duke Ercole I of Ferrara, he apparently had connections with the Chapel Royal of Louis XII of France and with the Cathedral of Cambrai. In Ferrara he wrote, in honour of his employer, the mass Hercules Dux Ferrariae, and his motet Miserere was composed at the duke’s request. He seems to have left Ferrara on the death of the duke in 1505 and later became provost of the collegiate church of Notre Dame in Condé.
Josquin’s compositions fall into the three principal categories of motets, masses, and chansons. Of the 20 masses that survive complete, 17 were printed in his lifetime in three sets (1502, 1505, 1514) by Ottaviano dei Petrucci. His motets and chansons were included in other Petrucci publications, from the Odhecaton (an anthology of popular chansons) of 1501 onward, and in collections of other printers. Martin Luther expressed great admiration for Josquin’s music, calling him “master of the notes, which must do as he wishes; other composers must do as the notes wish.” In his musical techniques he stands at the summit of the Renaissance, blending traditional forms with innovations that later became standard practices. The expressiveness of his music marks a break with the medieval tradition of more abstract music.
Especially in his motets, Josquin gave free reign to his talent, expressing sorrow in poignant harmonies, employing suspension for emphasis, and taking the voices gradually into their lowest registers when the text speaks of death. Josquin used the old cantus firmus style, but he also developed the motet style that characterized the 16th century after him. His motets, as well as his masses, show an approach to the modern sense of tonality. In his later works Josquin gradually abandoned cantus firmus technique for parody and paraphrase. He also frequently used the techniques of canon and of melodic imitation.
In his chansons Josquin was the principal exponent of a style new in the mid-15th century, in which the learned techniques of canon and counterpoint were applied to secular song. He abandoned the fixed forms of the rondeau and the ballade, employing freer forms of his own device. Though a few chansons are set homophonically—in chords—rather than polyphonically, a number of others are examples of counterpoint in five or six voices, maintaining sharp rhythm and clarity of texture.

Guido d’Arezzo


Guido d’Arezzo

 (b.  c. 990, Arezzo? [Italy]—d. 1050, Avellana?)
Guido d’Arezzo was a medieval music theorist whose principles served as a foundation for modern Western
musical notation.
 Educated at the Benedictine abbey at Pomposa, Guido evidently made use of the music treatise of Odo of SaintMaur-des-Fossés and apparently developed his principles of  staff notation there. He left Pomposa in about 1025 because his fellow monks resisted his musical innovations, and he was appointed by Theobald, bishop of Arezzo, as a teacher in the cathedral school and commissioned to write the  Micrologus de disciplina artis musicae . The bishop also arranged for Guido to give ( c. 1028) to Pope John XIX an antiphonary he had begun in Pomposa.
 Guido seems to have gone to the Camaldolese monastery at Avellana in 1029, and his fame developed from there. Many of the 11th-century manuscripts notated in the new manner came from Camaldolese houses.

 The fundamentals of the new method consisted in the construction by thirds of a system of four lines, or staff, and the use of letters as clefs. The red F-line and the yellow C-line were already in use, but Guido added a black line between the F and the C and another black line above the C. The neumes could now be placed on the lines and spaces between and a defi nite pitch relationship established. No longer was it necessary to learn melodies by rote, and Guido declared that his system reduced the 10 years normally required to become an ecclesiastical singer to a year.
 Guido was also developing his technique of solmization, described in his  Epistola de ignoto cantu . There is no evidence that the  Guidonian hand , a mnemonic device associated with his name and widely used in the Middle Ages, had any connection with Guido d’Arezzo.
Guido is also credited with the composition of a hymn to St. John the Baptist, Ut queant laxis, in which the first syllable of each line falls on a different tone of the hexachord (the first six tones of the major scale); these syllables, ut, re, mi, fa, sol, and la, are used in Latin countries as the names of the notes from c to a (ut was eventually replaced by do). His device was of immense practical value in teaching sight-reading of music and in learning melodies. Singers associated the syllables with certain intervals; mi to fa, in particular, always represented a half step.
Before Guido an alphabetical notation using the letters from a to p was used in France as early as 996. Guido’s system used a series of capital letters, small letters, and double small letters from a to g. Guido’s system also came to be associated with the teaching of the gamut—the whole hexachord range (the range of notes available to the singer).
In addition to his innovations Guido also described a variety of organum (adding to a plainchant melody a second voice singing different pitches) that moved largely, but not completely, in parallel fourths. Guido’s work is known through his treatise the Micrologus.

Saturday, January 18, 2020

HERACLEITUS


HERACLEITUS


(b. c. 540, Ephesus, Anatolia [now Selƈuk, Turk.]—d. 480 BCE)

Heracleitus was a Greek philosopher known for his cosmology, in which fire forms the basic material principle of an orderly universe. Little is known about his life, and the one book he apparently wrote is lost. His views survive in the short fragments quoted and attributed to him by later authors.


Though primarily concerned with explanations of the world around him, Heracleitus also stressed the need for people to live together in social harmony. He complained that most people failed to comprehend the Logos (Greek: “reason”), the universal principle through which all things are interrelated and all natural events occur, and thus lived like dreamers with a false view of the world. A significant manifestation of the logos, Heracleitus claimed, is the underlying connection between opposites. For example, health and disease define each other. Good and evil, hot and cold, and other opposites are similarly related. In addition, he noted that a single substance may be perceived in varied ways—seawater is both harmful (for human beings) and beneficial (for fishes). His understanding of the relation of opposites to each other enabled him to overcome the chaotic and divergent nature of the world, and he asserted that the world exists as a coherent system in which a change in one direction is ultimately balanced by a corresponding change in another. Between all things there is a hidden connection, so that those that are apparently “tending apart” are actually “being brought together.”
Viewing fire as the essential material uniting all things, Heracleitus wrote that the world order is an “everliving fire kindling in measures and being extinguished in measures.” He extended the manifestations of fire to include not only fuel, flame, and smoke but also the ether in the upper atmosphere. Part of this air, or pure fire, “turns to” ocean, presumably as rain, and part of the ocean turns to earth. Simultaneously, equal masses of earth and sea everywhere are returning to the respective aspects of sea and fire. The resulting dynamic equilibrium maintains an orderly balance in the world. This persistence of unity despite change is illustrated by Heracleitus’ famous analogy of life to a river: “Upon those who step into the same rivers different and ever different waters flow down.” Plato later took this doctrine to mean that all things are in constant flux, regardless of how they appear to the senses.
Heracleitus was unpopular in his time and was frequently scorned by later biographers. His primary contribution lies in his apprehension of the formal unity of the world of experience.

CONFUCIUS

CONFUCIUS

(b. 551, Qufu, state of Lu [now in Shandong province, China]—d.
479 BCE, Lu)
Cconfucius was China’s most famous teacher, philosopher, and political theorist. His ideas have exerted an enormous influence on China and other civilizations of East Asia.
Confucius’s life, in contrast to his tremendous importance, seems starkly undramatic—or, as a Chinese expression has it, “plain and real.”
Although the facts about Confucius’s life are scanty, they do establish a precise time frame and historical context. Confucius was born in the 22nd year of the reign of Duke Xiang of Lu (551 BCE). The traditional claim that he was born on the 27th day of the eighth lunar month has been questioned by historians, but September 28 is still widely observed in East Asia as Confucius’s birthday. It is an official holiday, “Teachers’ Day,” in Taiwan.

Confucius’s family name was Kong and his personal name Qiu, but he is referred to as either Kongzi or Kongfuzi (Master Kong) throughout Chinese history. The adjectival “Confucian,” derived from the Latinized Confucius, is not a meaningful term in Chinese, nor is the term Confucianism, which was coined in Europe as recently as the 18th century.
Confucius’s ancestors were probably members of the aristocracy who had become virtual poverty-stricken commoners by the time of his birth. His father died when Confucius was only three years old. Instructed first by his mother, Confucius then distinguished himself as an indefatigable learner in his teens.
Confucius had served in minor government posts managing stables and keeping books for granaries before he married a woman of similar background when he was
19. It is not known who Confucius’s teachers were, but he made a conscientious effort to fi nd the right masters to teach him, among other things, ritual and music. His mastery of the six arts—ritual, music, archery, charioteering, calligraphy, and arithmetic—and his familiarity with the classical traditions, notably poetry and history, enabled him to start a brilliant  teaching career in his 30s.
 In his late 40s and early 50s Confucius served fi rst as a magistrate, then as an assistant minister of public works, and eventually as minister of justice in the state of  Lu . It is likely that he accompanied King Lu as his chief minister on one of the diplomatic missions. Confucius’s political career was, however, short-lived. At 56, when he realized that his superiors were uninterested in his policies, Confucius left the country in an attempt to fi nd another feudal state to which he could render his service. Despite his political frustration he was accompanied by an expanding circle of students during this self-imposed exile of almost 12 years. His reputation as a man of vision and mission spread. Indeed, Confucius was perceived as the heroic conscience who knew realistically that he might not succeed but, fired by a righteous passion, continuously did the best he could. At the age of 67 he returned home to teach and to preserve his
cherished classical traditions by writing and editing. He died in 479 BCE, at the age of 73. According to the Records of the Historian, 72 of his students mastered the “six arts,” and those who claimed to be his followers numbered 3,000.
Painting of Chinese philosopher Confucius. Hulton Archive/ Getty Images
The Analects
The story of Confucianism does not begin with Confucius. Nor was Confucius the founder of Confucianism in the sense that Buddha was the founder of Buddhism and Christ the founder of Christianity. Rather Confucius considered himself a transmitter who consciously tried to reanimate the old in order to attain the new. He proposed revitalizing the meaning of the past by advocating a ritualized life. Confucius’ love of antiquity was motivated by his strong desire to understand why certain life forms and institutions, such as reverence for ancestors, human-centred religious practices, and mourning ceremonies, had survived for centuries. His journey into the past was a search for roots, which he perceived as grounded in humanity’s deepest needs for belonging and communicating. He had faith in the cumulative power of culture. The fact that traditional ways had lost vitality did not, for him, diminish their potential for regeneration in the future. In fact, Confucius’ sense of history was so strong that he saw himself as a conservationist responsible for the continuity of the cultural values and the social norms that had worked so well for the idealized civilization of the Western Zhou dynasty.
The Lunyu (Analects), the most revered sacred scripture in the Confucian tradition, was probably compiled by the succeeding generations of Confucius’ disciples. Based primarily on the Master’s sayings, preserved in both oral and written transmissions, it captures the Confucian spirit in form and content in the same way that the Platonic dialogues embody the pedagogy of Socrates.
The purpose of compiling these distilled statements centring on Confucius seems not to have been to present an argument or to record an event but to offer an invitation to readers to take part in an ongoing conversation with
the Master.
Confucius’ life as a student and teacher exemplified his idea that education was a ceaseless process of selfrealization. When one of his students reportedly had difficulty describing him, Confucius came to his aid:
“Why did you not simply say something to this effect: he is the sort of man who forgets to eat when he engages himself in vigorous pursuit of learning, who is so full of joy that he forgets his worries, and who does not notice that old age is coming on?”
Confucius was deeply concerned that the culture (wen) he cherished was not being transmitted and that the learning (xue) he propounded was not being taught. His strong sense of mission, however, never interfered with his ability to remember what had been imparted to him, to learn without flagging, and to teach without growing weary.
The community that Confucius created was a scholarly fellowship of like-minded men of different ages and different backgrounds from different states. They were attracted to Confucius because they shared his vision and to varying degrees took part in his mission to bring moral order to an increasingly fragmented world. This mission was difficult and even dangerous. Confucius himself suffered from joblessness, homelessness, starvation, and occasionally life-threatening violence. Yet his faith in the survivability of the culture that he cherished and the workability of the approach to teaching that he propounded was so steadfast that he convinced his followers as well as himself that heaven was on their side.
As a teacher of humanity Confucius stated his ambition in terms of concern for human beings: “To bring comfort to the old, to have trust in friends, and to cherish the young”. Confucius’ vision of the way to develop a moral community began with a holistic reflection on the human condition. Instead of dwelling on abstract speculations such as man’s condition in the state of nature, Confucius sought to understand the actual situation of a given time and to use that as his point of departure. His aim was to restore trust in government and to transform society into a flourishing moral community by cultivating a sense of humanity in politics and society. To achieve that aim, the creation of a scholarly community, the fellowship of junzi (exemplary people), was essential.
The fellowship of junzi as moral vanguards of society, however, did not seek to establish a radically different order. Its mission was to redefine and revitalize those institutions that for centuries were believed to have maintained social solidarity and enabled people to live in harmony and prosperity. An obvious example of such an institution was the family.
It is related in the Analects that Confucius, when asked why he did not take part in government, responded by citing a passage from the ancient Shujing (“Classic of History”), “Simply by being a good son and friendly to his brothers a man can exert an influence upon government!” to show that what a person does in the confines of his home is politically significant. This maxim is based on the Confucian conviction that cultivation of the self is the root of social order and that social order is the basis for political stability and enduring peace.
The assertion that family ethics is politically efficacious must be seen in the context of the Confucian conception of politics as “rectification” (zheng). Rulers should begin by rectifying their own conduct; that is, they are to be examples who govern by moral leadership and exemplary teaching rather than by force. Government’s responsibility is not only to provide food and security but also to educate the people. Law and punishment are the minimum requirements for order; the higher goal of social harmony, however, can only be attained by virtue expressed through ritual performance. To perform rituals, then, is to take part in a communal act to promote mutual understanding.
One of the fundamental Confucian values that ensures the integrity of ritual performance is xiao (filial piety). Indeed, Confucius saw filial piety as the first step toward moral excellence, which he believed lay in the attainment of the cardinal virtue, ren (humanity). To learn to embody the family in the mind and heart is to become able to move beyond self-centredness or, to borrow from modern psychology, to transform the enclosed private ego into an open self. Filial piety, however, does not demand unconditional submissiveness to parental authority but recognition of and reverence for the source of life. The purpose of filial piety, as the ancient Greeks expressed it, is to enable both parent and child to flourish. Confucians see it as an essential way of learning to be human.
Confucius defined the process of becoming human as being able to “discipline yourself and return to ritual.” The dual focus on the transformation of the self (Confucius is said to have freed himself from four things: “opinionatedness, dogmatism, obstinacy, and egoism”) and on social participation enabled Confucius to be loyal (zhong) to himself and considerate (shu) of others. It is easy to understand why the Confucian “golden rule” is “Do not do unto others what you would not want others to do unto you!” Confucius’ legacy, laden with profound ethical implications, is captured by his “plain and real” appreciation that learning to be human is a communal enterprise.