In the present section of the great 1966 lecture we are serializing — Animate and Inanimate Are in Music and Conscience — Mr. Siegel is speaking about pleasure and pain, good and evil, in music. And this Aesthetic Realism principle is true of those enormous, bewildering opposites, as well as all the others: "All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves." In contemporary music, Mr. Siegel says, there is a desire to go at the opposites of good and evil, dig at them, more deeply. 

     I believe that in America now, and in the world as such, there is also a desire, more than at any other time in history, to be deeper about good and evil. Of course, it is not the only desire. People would like to be comfortably shallow and not have to think so much. There is a desire, as intense as it ever was, to decide "what agrees with me is good and what disagrees with me is evil and that's that." 

     There is an intense desire to get rid of one's ethical confusions and the need to think. That is one of the reasons capital punishment is so popular: to kill a wrong-doer gives you the feeling you have dealt with the matter of right and wrong decisively and don't have to ponder further. The electric chair has been a means, not only of wiping out a person, but of seeming to wipe out the fact that there is so much about ethics one doesn't understand. It is a way of annulling the fact that there are so many questions about good and evil (including in oneself) one needs to think about honestly. 

     The ferocity against abortion can also be a way to avoid asking, "How fair am I, really, to human beings? What does it mean for a living person to get justice?" A person can take a stand supposedly for "life" as a means to evade looking at where he is against the lives of people. He wants to use such a stand to see himself as caring for people even though he is cold to the fact that millions of children in America are poor and hungry. He can use an intense feeling for the unborn to justify the fact that he is for an economic system which stifles millions of people's lives through poverty so that a few individuals can make big profits. 

     Conscience (a subject of the lecture we are serializing) is a big, unquenchable matter. And if we are too cowardly to try to look good to ourselves through being honest critics of our fairness or unfairness to reality, we will go after looking good and justifying ourselves through some evasive means. 

     People feel more clearly than once that the press is trying to manage them by evoking what Aesthetic Realism sees as so important and hurtful: their contempt. The public may be taken, for instance, by accounts about the sex life of celebrities, but they also feel somewhere they're being made weaker through these stories, and they resent it very much. So they're saying to the press, "You are trying to titillate us with stories about Clinton and women. Well, we'll read your 'reports,' because having contempt is unfortunately attractive to us. But we'll tell you you haven't succeeded in managing us — we'll even act like we're more for someone than we are, just to show our opinion doesn't depend on the junk you dish out! " 

     The not fully articulated, but deep questioning of and fury at profit economics, has made people want to be deeper about good and evil as such. And that is true even though the same people may fall for something politicians and press are putting forth as I write this. That is, many Americans may want to get to a quick, horrible "sureness " by bombing Iraq. (You don't have to question; you put "evil" in its place in a grand, explosive manner — while you make unreal the over 200,000 men, women, and children killed by our 1991 bombings.) 

There is only one thing that is immoral in the world: liking oneself too much and the outside world too little.... Once you feel what is owing to yourself is more and what is owing to other people is less, you can rob people's purses, tell lies, keep back things that would do good to people, start wars.

     Then, as to sex: Aesthetic Realism explains — so kindly — that the one thing which has ever made sex immoral is the using of it to have contempt for the world. Being close, through body, to another person should stand for one's desire to be honoringly close to the meaning of that person and, as Mr. Siegel writes, "closely one with things as a whole." But presidents and others have used sex to feel, "In getting this person to do what I want, to make much of me in this utter, unmistakable way, I am having a victory over all reality: it's at my feet; I'm running it; no questions asked. I've got the world at my fleshly command, adoring me, while I don't have to be fair to anything and can despise everything." 

     The other great obscenity in Washington is the willingness to murder people elsewhere in the world. Lascivious behavior, real or imagined, is an awfully minor thing compared to bombing to death human beings in Iraq. (And the reasons for that desire to bomb are rather less noble than the ones officials have put forth.) Also, purported trysts become insignificant compared with US-consented-to death squads and torture in Central America. (US administrations have liked these death squads and torture, all in all, because through them, "friendly" governments combat opposition to the profit system.) 

     The American people, then, are in the midst of ethics. And the American people, like any people, would like not to have to think too much about ethics; would like some fast answers easy on the ego. Meanwhile, there is also that simultaneous desire in the people of this nation to be deeper than they ever were, and wider — to ask that question which Mr. Siegel articulated and showed to be the most important one we have: "What does a person deserve by being a person?" This desire in an American people angry about economics is also a desire to find out what America truly is: because something fakely put forth as "American" — the profit system — feels increasingly un-American to them, increasingly unkind and wrong. For all its uncertainty and impediments, this going now toward truer thought about ethics is beautiful, is patriotic, is with the Emancipation Proclamation and the meaning of the Mayflower. 

     As I said, there is a feeling in Americans that the press does not want them to see ethics truly. They are right. The press they are suspicious of is the same press which for decades has kept Aesthetic Realism from them, has wanted to annihilate it. Press persons have felt, with fury, that the complete honesty and vast knowledge of Eli Siegel interfered with their ability to feel superior and to have power. 

     The poems by Mr. Siegel that we publish here, have, for all their brevity, something of what Aesthetic Realism is, and what people long for. They have Mr. Siegel's conviction that beauty is a real power in this world, stronger than ugliness. And they have the authentic lightheartedness arising from that all-important and strictly scientific fact! 

    — Ellen Reiss, Class Chairman of Aesthetic Realism

Note. The text Mr. Siegel is using is An Anthology of Musical Criticism, ed. Norman Demuth (1947).

The person in this book who is most surprising in terms of conscience is Arnold Bax. I'm quite sure that no one here is enthusiastic about any work of Bax; but what is said about him shows what can happen to a person. The thing said about Bax is like a famous passage about music in Boswell's Johnson. It's one of the funniest things too: Boswell says that music affects him, sometimes in a very short while, by putting him into dejection and then arousing him. It seems that the deepest effect of music is the opposites. There's a certain relation of sadness and exuberance which is hard for people to realize. 

     This is Boswell talking to Johnson about music: 

I told him that it affected me to such a degree, as often to agitate my nerves painfully, producing in my mind alternate sensations of pathetic dejection, so that I was ready to shed tears; and of daring resolutions, so that I was inclined to rush into the thickest part of the battle. "Sir" (said he) "I should never hear it, if it made me such a fool."

[The motet] moves on a broad and even road of no arresting quality. Suddenly ... we are aware that something new has entered .... It becomes of increasing significance; it dominates. An elemental weight of evil ... issues from the music and beats almost unbearably upon our hearts .... Slowly the tide recedes .... The spirit that sometimes possesses Bax... has just carried us, too, beyond our little, predetermined limitations.