by Jonathan D. Price
Plato’s thoughts on love in the Symposium are shared over wine; Jesus offers eternal life together with the Source of All in the drink. In this new column, Executive Editor Jonathan D. Price will review wines for the prospective drinker: What should I pay? How long should I wait? Is there any accounting for taste? As he does so, he will also encourage the reader to develop a phronema for the proper enjoyment of wine: not as a mere sensory thrill, but as a gateway to contemplation of the sublime.
The first wine to be subjected to the exacting palate of Executive Editor J.D. Price is a 2010 Château Talbot. Here you'll find insights (and in-scents) into the character of this admirable Bordeaux, which emerged for a 35-hour tryst in a chilly autumn in Warsaw after four years of patient anticipation, as well as tips on when best to enjoy.
In More Tramps Abroad, Mark Twain wrote, “Every man is a moon, and has a dark side which he never shows to anybody.” For some, when an average weekend’s relative liberties do not suffice, Halloween is the perfect time to let the mask fall precisely by donning one. But in this poem All Hallows’ Eve is the occasion for a rather different kind of transfiguration.
Too often, childhood hopes give way to adult complacency; but, just as often, "men and women are haunted by such nagging questions as 'What is this all about?' or 'Is life worth living?'" In this Epilogue to his remarkable third-person autobiography, Russell Kirk looks back on a long life of literary conflict and reflects on just what it might all be about.
In the first three parts of this series, Rev. Bombaro discussed the theocentric metaphysics, the aesthetics, and the Scholastic philosophical heritage of Jonathan Edwards, colonial intellectual and revivalist preacher. Here, in the final installment, Bombaro shows how Edwards's notions of 'excellency', idealism, and law-like relational dispositions work together to make manifest the glory of God.
Dante's imagery in the Inferno is haunting. But, for all the care he took in crafting his canti, recent scholarship has revealed errors of scale and proportion in his descriptions of the infernal environs. Was he just a lousy arithmetician? Was he deliberately undermining his narrative with a bit of ironic miscalculation? Or are Dante's apparent mistakes in fact occasions for him to explore a fundamental question about man's redemption?