Attributed Verbatim Quotes

Artistic license, also known poetic license, narrative license, and licentiate poetical, is a colloquial term (employed occasionally as a euphemism), which denotes a license to distort the facts, alter the conventions of grammar or language, or reword pre-existing text by an artist in the name of art. Liberal usage of an artistic license to restructure basic facts can result because of conscious or unconscious acts. Artistic embellishment or misrepresentation of the facts and distortion or alteration of the compositional text frequently is the by-product of both intentional and unintentional additions and omissions. An artistic license, employed at an artist’s discretion to fill in details or gloss over factual and historical gaps, raises some ethical issues. Many stories retold verbatim would bore an audience or require inordinate time and resources to reenact, describe, and view. A dramatic license eliminates mundane details and tedious facts, spruces up the picturesque background, and glamorizes the characters’ temperament and action scenes. Is it wrong to be inventive with the facts? What degree of embroidery of a series of events and the characters’ mannerisms and attributes is acceptable? How can anyone paste together a set of facts into an interesting or compelling narrative that has literary value without engaging in some creative organization to enhance the theatrical retelling and to create juxtaposition of ideas and values?

Nevertheless, the issue of Catholic marriage deserves some additional theoretical and historical consideration to prevent ambiguity. Naturally in our case it is not the arguments of “free thinkers” that turn us against this kind of marriage. Earlier I mentioned the contamination between the sacred and the profane. It is worth recalling that marriage as a rite and sacrament involving indissolubility took shape late in the history of the Church, and not before the twelfth century. The obligatory nature of the religious rite for every union that wished to be considered more than mere concubinage was later still, declared at the Council of Trent (1563). For our purposes, this does not affect the concept of indissoluble marriage in itself, but its place, significance, and conditions have to be clarified. The consequence here, as in other cases regarding the sacraments, is that the Catholic Church finds itself facing a singular paradox: proposals intending to make the profane sacred have practically ended up making the sacred profane. The true, traditional significance of the marriage rite is outlined by Saint Paul, when he uses not the term “sacrament” but rather “mystery” to indicate it (“it is a great mystery,” taken verbatim—Ephesians 5:31-32). One can indeed allow a higher idea of marriage as a sacred and indissoluble union not in words, but in fact. A union of this type, however, is conceivable only in exceptional cases in which that absolute, almost heroic dedication of two people in life and beyond life is present in principle. This was known in more than one traditional civilization, with examples of wives who even found it natural not to outlive the death of their husbands. In speaking of making the sacred profane, I alluded to the fact that the concept of an indissoluble sacramental union, “written in the heavens” (as opposed to one on the naturalistic plane that is generically sentimental, and even at base merely social), has been applied to, or rather imposed on, every couple who must join themselves in church rather than in civil marriage, only to conform to their social environment. It is pretended that on this exterior and prosaic plane, on this plane of the Nietzschean “human, all too human,” the attributes of truly sacred marriage, of marriage as a “mystery,” can and must be valid. When divorce is not permitted in a society like the present, one can expect this hypocritical regime and the rise of grave personal and social problems. On the other hand, it should be noted that in Catholicism itself the theoretical absoluteness of the marriage rite bears a significant limitation. It is enough to remember that if the Church insists on the indissolubility of the marriage bond in space, denying divorce, it has ceased to observe it in time. The Church that does not allow one to divorce and remarry does permit widows and widowers to remarry, which amounts to a breach of faithfulness, and is at best conceivable within an openly materialistic premise; in other words, only if it is thought that when one who was indissolubly united by the supernatural power of the rite has died, he or she has ceased to exist. This inconsistency shows that Catholic religious law, far from truly having transcendent spiritual values in view, has made the sacrament into a simple, social convenience, an ingredient of the profane life, reducing it to a mere formality, or rather degrading it.

Another classic case in point is the reconstructive origins of the canonical Platform Sutra of the Sixth Patriarch, which is attributed to the seventh-century Chinese Zen master Huineng but in fact seems to have first appeared around 780 ce, "over a century after the events it describes were supposed to have taken place." The earliest versions of the autobiography and teachings of Huineng included in this text were in fact composed by Shenhui and other purported successors in the Southern School in order to differentiate their teachings from, and elevate them over, those of Shenxiu and other teachers of the rival Northern School. While the teachings presented in the Platform Sutra— the only Zen text to be audaciously designated a "sutra"—are indeed a "brilliant consummation" and "wonderful mélange of early Chan [i.e., Chinese Zen] teachings," they can hardly be attributed verbatim to the historical person Huineng. However spiritually inspiring and philosophically rich such classical texts of the Zen tradition may be, we cannot read them as unbiased and unembellished historical records or as innocent of sectarian politics and other mundane motives.