Waggish

David Auerbach on literature, tech, film, etc.

Page 13 of 148

Leftism and the Banausic Thinker: From Plato to Verso

This is an essay about defining one’s self as better than the world, as purer than the world. The urge to take your marbles and go home is a very old one, yet its role in art and politics is paradoxical, since taking your marbles and going home would seem to suggest that you will be ineffectual and unremembered. In fact, I think that is what happens most of the time. But the purist’s ability to survive latently in society owes to a peculiar form of elitism. Sometimes the elitism is obvious; other times it hides under a mask of ideology.

Plato and Banausia

In her excellent study Genres in Dialogue: Plato and the Construct of Philosophy (1995), Andrea Wilson Nightingale delves into the various strategies Plato uses to distinguish his fresh new domain, philosophy, from whatever it is that everyone else is doing, which is most certainly not philosophy. Plato is not just talking about poets and sophists here, though they’re definitely on the list of pretenders to the throne, but also others who might claim to be doing philosophy, like Isocrates. Isocrates, either had a very fortunate or unfortunate name, was one of the best-paid philosophers of his time, and the dialogues seem to direct a fair number of barbs his way. Plato makes him the target of a seeming bit of nasty dramatic irony at the end of the Phaedrus, when Socrates predicts great, great things for the young Isocrates.

In particular, Plato uses a particular word when Socrates attacks these non-philosophers. They are banausic.

Plato exploits and redirects the rhetoric of banausia–rhetoric which was traditionally used by aristocrats to express their contempt for manual and/or servile labor. Take, for example, the claim found at Symposium 203a, where Socrates says:

“God does not mix with man, but it is through this [daemon] that all intercourse and conversation takes place between the gods and men, whether they are awake or sleeping. And the person who is wise in this regard is a daemonic man, but the person who is wise in any other regard, whether in the realm of arts and sciences or manual labor, is banausic.

The dichotomy drawn here between the “daemonic man” (who is, of course, the philosopher) and the “banausic” individual recurs at Theaetetus 176b-d, where Socrates says:

“God is in no way unjust, but is as just as it is possible to be, and there is nothing more similar to god than the man who becomes as just as possible. It is concerning this activity that a man is revealed as truly clever or else worthless and cowardly. For the knowledge of this is wisdom and virtue in the true sense, and the ignorance of it is manifest folly and viciousness. All other things that appear to be cleverness and wisdom–whether their sphere is politics or the other arts–are vulgar or banausic.

It’s generally held that Greek culture disparaged merchants and laborers in favor of the aristocratic warrior class (see M. I. Finley’s The World of Odysseus, for example). The humiliation, feebleness, and ugliness of cuckolded craftsgod Hephaestus is another indication, in contrast to Athena, who may patronize the crafts but is just as much the patron of warriors. Nightingale claims Plato to have taken that distinction even further: now even true knowledge is no longer the province of the banausic, but only accessible to a very specific elite.

Nightingale summarizes the history of the usage of the term banausic, finding it to be “highly derogatory” in usage by Plato, Xenophon, and Aristotle. But what exactly is it to be banausic? The most common translation is “mechanical” (Levett’s Theaetetus, Allen’s and Nehamas/Woodruff’s Symposium, McDowell’s Theaeteus), though there is also “materialistic” (Howatson’s Symposium). That captures the English sense of the word “banausic” (it is an English word, meaning mundane, rote, or mechanical), but the usages of it in Greek philosophy are specific enough to mean far more than just that. (And arguably, “mechanical” is anachronistic relative to what it suggests to us.)

The associations suggest a few possibilities, in ascending order of extremity:

  1. Banausic thought has to do with automated, rote “know-how” type thought processes, distinct from the refined thought of a philosopher.
  2. Banausic thought is that which is commodified, exchanged, bought and sold, and no better than any other good for sale.
  3. Banausic thought is any thought directed toward a particular practical outcome, any thought that isn’t wholly disinterested and detached from the mortal world, period.

Nightingale quotes Aristotle to the effect that even the crafts aren’t inherently banausic, only if they are done for the sake of trade, and suggests that Plato agreed. Thus her position is that Plato means something more extreme than (1): somewhere between (2) and (3):

Plato, in sum, suggests that the philosopher occupies a disinterested position, since his wisdom is by definition incommensurable with all other “goods”… The philosopher, as it seems, is a mercenary who is no mercenary: an outsider who serves the city free of charge.

Some (like F.M. Cornford and Gilbert Ryle) imply that Plato’s position is almost completely that of (3): that in the face of practical political failure (first in Athens, then in Syracuse), an embittered Plato concluded that any civic engagement by a philosopher, no matter how disinterested, is partly corrupt and banausic. Plato doesn’t explicitly require the philosopher to be a recluse, but the demand not to engage in commerce certainly seems to extend to not working, laboring, or otherwise participating in an economy:

Plato denies that there is any human virtue in work and that certain aspects of it even appear to him to be the antithesis of what is essential in man.

Jean-Pierre Vernant, Myth and Thought in the Ancient Greeks

Nice work if you can get it, then.

The restriction on the commodification of philosophy would seem to restrict philosophy to those who can do without money, either by being rich aristocrats like Plato and Aristotle, or living in poverty like Diogenes and the Cynics. The ten years of mathematics Plato wants for the rulers of his ideal city are perfect training in this light, since mathematics was of little occupational value in classical Greece, having never been linked to practical applications. For Plato, mathematics has an appealing character, being full of (seemingly) indisputable truths with (apparently) no practical or commercial value, rendering it immune to the charge of being banausic. Presumably, after you’ve spent ten years doing something of no commercial value, you are sufficiently insulated from commerce to enter into the more marketable realm of philosophy.

Yes, philosophy was more profitable than mathematics in ancient Greece. The sophists were charging huge amounts for their services in how to persuade people, and Isocrates made quite a mint as well. But to clear the bar against banausia, wisdom doesn’t just have to be non-commercial, but also incommensurable, incapable of being perverted or corrupted through political or civic ambitions. (Presumably acceptable goals would be deployment of such wisdom to serve the Good and the True, though exactly what would qualify is hard to specify. By the Laws, at least, Plato was willing to get quite mundane in his prescriptions.) According to Nightingale, Plato’s philosopher must embrace an “outsider” position; he must break free of any contingent social fabric, similar to how Nietzsche sees his ideal man emancipating himself from his surrounding stupidity. It’s not that the philosopher rejects creating all practical results, but that most participation of the world is so toxic as to make philosophical thought impossible.

In Plato’s domain, being an outsider was not a position sought by much of anyone. The polis was so tightly-knit and bereft of privacy that most modern people would find it suffocating. But sometime late in the 18th century,  it became quite popular indeed to declare oneself an outsider, and especially in the United States, this became a tradition and a marker of authenticity. So this produced a new problem, which is how to tell the daemonic outsiders from the banausic outsiders.

Daemonic Art

Plato’s classification prefigures that of the Romantic position of the artist in touch with fundamental Ideas of Beauty and Truth. Thus, Plato wants the artists out because they and their “complicated mimesis” are too much in competition for the title of “Non-Banausic Thinkers,” as one common interpretation goes.

What separates the atemporal pleiad of creators of texts from the general run of writers acclaimed by critics and applauded by the public at large, is the fact they perceive what the latter reckon buzzes with life to be either worked out or dead. The innovative author, insensitive to the applause and reproaches of his contemporaries, knows he is surrounded by colleagues who are dead–whatever fuss these people make accumulating honours and prizes and aspiring, in the manner of some second-rate academics, to the glory of immortality…The history of literature, of each literature, is the history of these unmistakable voices which through the centuries speak to each other and captivate us with the magic of their singularity.

Juan Goytisolo, “To Read or to Re-Read”

Well, it’s one thing to think these things about yourself, and quite another to be right about them. And the problem of self-classification has never really gone away. I can tell you who I’d put in that skein of real creators, but there is quite literally no way for me to convince you I’m right (except through rhetorical force and force of personality, but I’m talking about actual proof here). This problem of being unable to establish a final authority for what art is truly daemonic and which is merely banausic, apart from mere estimations based on the durability of various works, is a practical marker for separating art from politics and science. Science and politics depend on at least the possibility of final agreement, the sense that there’s some negotiation that will win at least grudging acceptance from almost everybody.

In other words, science and politics are banausic because they depend on the commensuration of different schemata, and the results revise past, supposed solutions into ones that are generally accepted (often grudgingly) to be a bit better. Such negotiation over aesthetic value opens the trap door that causes art to drop into the realm of the banausic. If I permit your criticism to change my opinion of some novel, I’m doing so on my own terms, not for the sake of some practical nicety or some new superior synthesis. If I hold on to the value of one book which the aesthetic synthesis rejects as worthless, that is an acceptable and sensible position in art, rather than a dead-end or a reactionary position as a similar position would be in politics or science (not that it couldn’t be right, potentially–just that the terms of the debate are different). When the zeitgeist dredges up Stefan Zweig and declares that we should all be reading his books, and Michael Hofmann goes on the attack against him and says no, he’s still worthless, it’s a very firm either/or distinction: either Zweig is daemonic or he is banausic, and there’s nothing in between.

Now, it’s exactly such commensuration that makes relative assessment possible. Plato doesn’t think that argument between philosophers and non-philosophers is of much value. The only people who are fit to argue are those who have already secluded themselves from society. So Plato does seem to be making a generalized ad hominem: unless you have taken yourself out of society, you are a banausic thinker, regardless of what you say.

Banausic Politics, False Consciousness

Plato effectively makes a sweeping accusation of false consciousness across all of society. Far more comprehensive than anything Marx put across, Plato says that merely engaging in craft, trade, rhetoric, or politics is sufficient to cut one off from access to truth and justice. He does not say that he is the only person qualified to make such an accusation, but the standards he sets are quite high: you must have no stake in society, you must not trade in society, you must not negotiate with society’s members.

More recent accusations of false consciousness lower the bar a fair bit, but less than it seems. The bogeyman of anti-liberal leftist thought is that which is defined as “neoliberalism”; the term has been so sweepingly used across different political and economic systems that I think it’s pointless to try to define it. Like “(late) capitalism” itself, “neoliberalism” has become, in Hans Blumenberg’s memorable words, “a causal formula of maximum generality to account for people’s discontent with the state of the world.” As “socialism” has served for the right, “neoliberalism” is now simply the term applied to all that is bad in the world, whether it is laissez-faire libertarianism, corporate welfare, gentrification, or drone warfare. “Neoliberalism” becomes a single, overarching system uniting and enveloping any and all power structures. This goes alongside calls to exempt one’s self from the system altogether, with declarations that democracy offers a false choice, the illusion of freedom, the right to be a slave, and so on and so forth. (Zizek is probably the most famous promulgator of these homilies, but they are quite common.)

With this comes the statement that work in a neoliberal society is demeaning, draining, and corrupting. Indeed it often is, but the Leftist critique is totalizing: the terms of work are such that one cannot escape such degradation even in a relatively comfortable job–that is, unless one ascends to the somewhat amorphous realm of the upper classes, at which point you become a tacit oppressor. Either way, your existence is inauthentic. Neoliberal existence is inauthentic, something from which you must be emancipated. Alternately, if you work a day job and suffer from what used to be called liberal guilt, it is something which mandates self-flagellation.

Those who are making the critique are thus placing themselves in a position similar to Plato’s. Their thought is not up for grabs (except by Verso and Zero, I guess), and they declare themselves immune to charges of collaboration with the ubiquitous neoliberal regime. Ergo, academic positions are very important, for they are some of the very few sanctioned jobs that don’t open one’s self up to charges of banausic thinking, labor organizing being another, more time-consuming one. (Plato would never accept this, of course, as the pursuit of an academic career and salary would already be sufficiently corrupting to make philosophical thought impossible.) The purgative power of “critiques” becomes a self-protecting scheme to ensure that the power of the truth is not diluted. Those who disagree with the critiques are seen to have a vested interest in the system–that is, they are banausic.

Leftism becomes, in this case, one of Mancur Olson’s “latent groups,” which exist only in opposition to a dominant group and do not seek to grow, lest they lose their sense of definition. In How Institutions Think, Mary Douglas elaborated on Olson’s latent groups by functionally describing how such a latent, idealist group survives based on three defining factors, which should all sound very familiar to those who’ve traveled in leftist circles:

  1. Weak leadership, owing to the tendency of members to leave or schism over even a minimal ideological or practical disagreement
  2. A strong boundary between members and non-members, maintained through group policing of purity, commitment, and in-group equality
  3. A tacit, shared belief in an evil conspiracy (e.g., neoliberalism) outside the group

The strong boundary is another way of declaring the incommensurability of the group’s values with the values of those outside the group. The group is pure; everyone else is a willing or unwilling victim of the conspiracy. Such a purist community endures (tenuously) via the persistent, though unconscious, reification of the wider conspiracy:

1. C, the belief in conspiracy, is an effect of weak leadership, and strong boundary.
2. C is beneficial in keeping the community, Z, in being.
3. C is unintended by Z so no insulting charge of duplicity stands against the believers.
4. Because of weak leadership, no consensus can be mustered for formulating or applying laws or for punishing deviants. The threat to secede can be indirectly controlled by the strong boundary, which automatically insures that exit will be costly. So only oblique political action is possible; hence, there is the tendency to check exploitative behavior by accusing incipient faction leaders of principled immorality. The activity of accusing, X, reinforces the belief, C, in outside conspiracy, but C maintains X. These causal links are not perceived.
5. C maintains weak leadership and strong boundary by actually splitting the community or expelling when treachery is suspected, producing a history to make every would-be leader nervous.

Banausia, then, is the conspiracy of society. The more maximally general it is, the better. “Neoliberalism” is one form of such a conspiracy; there is no shortage of others.

But for a self-proclaimed leftist, this latent group attitude is self-defeating: it is the elitism that dare not speak its name. If you are Plato and you are an aristocrat and an elitist, it is at least consistent to reserve the fruits of wisdom for a very select few while secluding yourself from society. If you are Lenin and you are an aristocrat and an elitist, you think you know better than everyone and have no trouble enforcing that belief by violence and dictatorship. If, however, your stated goal is enlightened liberation and growing awareness, the division of thought into one tiny wedge of Truth (accessible to you and your mates) and one gigantic wedge of Banausia (left for everyone else) makes you incapable of interfacing with the world on any terms outside your own narrow, pure argot. And indeed, many Leftist groups are wary of any growth that would threaten their strong boundaries.

The radical activist Saul Alinsky, who certainly got results, was notable for his sheer lack of purity, his indifference to ideological principles beyond some very rough anti-authoritarian and egalitarian ethics. That is politics. If, on the other hand, your believe your thought to be incommensurable, and believe the thought of all others to be banausic, then you will view engagement with the toxic heap of neoliberalism as an unalloyed evil–even as you engage with it–and you will sink into the dustbin of history on a mountain of critiques, tweets, tumblrs, and Verso Books.

When one reads philosophers such as Jean-Paul Sartre, Louis Althusser, and Alain Badiou on their Marxist and/or communist commitments, one sometimes has the impression that questions of capital and class inequality are of only moderate interest to them and serve mainly as a pretext for jousts of a different nature entirely.

Thomas Piketty, Capital in the Twenty-First Century

Kenneth Rexroth on Aristotle’s Poetics

Bashing on Aristotle has become a fond pastime since the Scientific Revolution, but the mere fact that he was wrong about many, many things isn’t enough to explain the repulsion he attracts, nor my own persistent lack of interest in him. Laura Riding, in Lives of Wives, portrayed a fictionalized Aristotle as prodigious and indefatigable, but also smug, opportunistic, and terminally pedestrian. She’s merely quoting Aristotle’s works here when she has him rebut Plato, but does so in a way to highlight some of his most unflattering traits:

‘Is this not to put philosophy in place of the laws,’ asked Aristotle, ‘and make philosophic justice a rival to legal justice? Should we not use philosophy to strengthen the laws rather than to compete with them?’

Laura Riding, Lives of Wives

His Poetics is one of the earliest works of literary criticism that have come down through the ages. It gets Oedipus Rex completely wrong, but nonetheless, Aristotle’s aesthetics held great sway well beyond the point that his physics did. None of that is Aristotle’s fault, but I think it’s a good indicator of how the appearance of systematic, elegant thought can trump the reality of sloppiness and fiat, not only in a work’s own time but for centuries thereafter.

Kenneth Rexroth’s passionate assessment of the Poetics may be roughshod, but it hits on something quite profound about Aristotle’s sensibility and its virtues and defects–that only someone so shallow in sensibility should cast such a wide-ranging net over the founding of logic and various sciences, for a keener mind would have fallen into the many hopeless conundrums that Aristotle rather blithely passed by and considered, if not settled, at least untroubling. It substantially lines up with Laura Riding’s assessment: he organized better than he analyzed.

Around each of the key words of Aristotle’s short definition of tragedy the most violent controversies have raged, and to this day no two translators or commentators agree on the meanings of all of them. If Greek tragedy is the etherialization of myth, Aristotle’s little essay–it is not really booklength–on tragedy is something like myth itself. It has functioned as a myth of criticism, the subject of innumerable etherializations….

There is no evidence in the Poetics that Aristotle possessed any sensitivity to the beauties of poetry as such. Although the Poetics is concerned almost exclusively with tragedy, Aristotle had less of what we call the tragic sense of life than almost any philosopher who ever lived, less even than Leibniz with his “best of all possible worlds.” Aristotle was an optimist. Leibniz’ judgment never entered his mind. The world he studied was simply given. It was not only the best, it was the only one possible. There was nothing in the human situation that could not be corrected by the right application of the right principles of ethics, politics, and economics. Even Plato, who banned the poets from the Republic, and in the Laws permitted only happy, patriotic plays to be performed by slaves, had a greater awareness of the meaning of tragedy–which is precisely why he banned it….

The Poetics is a textbook of the craft of fiction and as such it is far more applicable to the commercial fiction of modern magazines than to Greek tragedies. It has been called a recipe book for detective-story writers. Actually the fictions that come nearest to meeting Aristotle’s specifications are the standard Western stories of the pulp magazines. These are not to be despised. Ernst Haycox and Gordon Young raised the American Western story to a very high level. Year in, year out, Western movies are better than any other class of pictures. The great trouble with Haycox and Young is that they were rigorously Aristotelian and therefore ran down into monotonously repeated formulas. It is hard to think of any other kinds of fiction, either novels or dramas, which do exemplify the Poetics. The neoclassic theater of Corneille and Racine or Ben Jonson is governed by rules which are pseudo-Aristotelianism, the invention of Renaissance critics….

By katharsis Aristotle means the same thing that we mean when we say “cathartic.” His attitude toward the arts was not at all that they were the highest expression of mankind, but that they served as a kind of medicine to keep the ordinary man who lived in the world between the machines of meat– the slaves–and the philosophers who spent their time thinking about first principles; free from emotions, and hence motives, that would disrupt the social order. Like Freud after him, Aristotle’s esthetics are medical. What the Poetics says in the last analysis is, “Timid, sentimental, and emotionally unstable people will feel better, and be better behaved, after a good cry on the stone benches of the theater.” This is an esthetics identical with that of the child psychologists who are hired to apologize for lust and murder on television. There is never a hint in Aristotle that tragedy is true.

The Poetics could have been written substantially unchanged if Aristotle had never seen a Greek tragedy. The imaginary tragedy which could be deduced from the Poetics resembles the commercial fictions of our day for a very simple reason. It is a projection of the ordinary mind, the same then as now. It is the kind of play Aristotle himself would have written if he had possessed, not the genius of Sophocles, but the learned talents of an ordinary craftsman. It is the kind of play that a highly competent academic philosopher, biologist, physicist, or psychologist would write today.

Kenneth Rexroth, More Classics Revisited

Rexroth’s critique here, of the supposedly profound thinker revealed to be conventional and conservative, elevated only by the breadth and depth of his conservatism, is surprisingly representative of a fictional figure who is portrayed in similarly scathing terms: Arnheim in Robert Musil’s The Man Without Qualities.

Myles Burnyeat presents a more substantial variation on this general argument, focusing on Aristotle’s comparative embrace of accepted opinions (endoxa):

Aristotle is unique among ancient philosophers in his respect for people’s opinions: both the opinions of other philosophers and the opinions of the ordinary man. He does not defend a ‘common sense’ philosophy in the manner of G.E. Moore, but if something is believed by absolutely everyone, then, he holds, it must be true. Aristotle also does something that a 20th-century philosopher like Moore could never have dared. He establishes science on the basis of the opinions of ‘the majority’ and of ‘the wise’….

Aristotle’s official methodology implies that if the stock of available endoxa were significantly different, the conclusions of his dialectic would be different too. How then can he claim that his conclusions are true?…

Consider some of the conclusions for which Aristotle argues with the help of some of the opinions which were accepted and esteemed in his day. Slavery is just; the world is eternal and the same things have always existed in it; the atomic theory of matter is defective because it fails to explain the difference between dinner and breakfast. I have of course chosen examples which tell against Ross’s conviction that Aristotle ‘rarely writes what anyone would regard as obviously untrue’. But the point of choosing them is to raise the question whether reputable opinion can fulfil the heuristic and evidential role that Aristotelian philosophy assigns to it….

The fact that a proposition is believed by the majority or by experts is not for Aristotle just a sign that, if we asked them, they could cite evidence for the proposition. Their belief, as he treats it, is already some evidence in favour of what they believe; even if the opinion is not correct, it is likely to contain an element of truth which the dialectic can sift out and formulate clearly….

The appeal to ‘our’ beliefs, ‘our’ intuitions, ‘our’ way of speaking, is as common in philosophy today as it was earlier in the century, and Aristotle’s name is still frequently invoked to show that opinion of one sort or another is a reputable basis for philosophy to start from. The irony is that if Aristotle’s professed methodology was sound, there would be little to add to The Complete Works of Aristotle.

Myles Burnyeat, “Good Repute”

Books of the Year 2013

It was a pretty good year, especially for fiction. I stand no chance of ever catching up on my backlog of books to read, so these are less “Books of the Year” than “Books of My Year,” ones which happened to be published in 2013 (or late 2012). A boom in non-Waggish writing resulted in me not having time to write up some of these books, which I really do regret. I spent a month rereading old Pynchon novels alongside Bleeding Edge, which was blessedly worthwhile, but did not help my productivity. Reading list longa, vita brevis.

The order is fairly random though I have tried to put my favorites toward the top of each section. Krasznahorkai’s Seiobo was probably foreordained to be at the top, while the final appearance of Lem’s Summa Technologiae in English was a major event for me. (See my review here.) As with War and War when I first read it, I don’t have a lot to say about Seiobo right now. Maybe in ten years.

As with last year, I haven’t read the entirety of some of the nonfiction selections: Judith Herrin’s two volumes of essays will take some time, while the Maimonides book had me flagging on several topics that just aren’t my thing.

If anyone’s curious as to why some book or other made the list, feel free to ask in the comments. Thanks again for reading my work here or elsewhere.

(As always, I do not make any money from these links; they’re just the easiest way to get the thumbnails.)

 

Literature

Seiobo There Below (Ndp; 1280)

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Towards the One and Only Metaphor

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Tapestry

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The Black Spider (New York Review Books Classics)

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Anti M

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Phaedra: With New Year's Letter and other long poems

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Blinding

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The Collected Stories of Carol Emshwiller: Vol. 2

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Dossier K: A Memoir

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The Enchanted Wanderer: and Other Stories

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Mo Said She Was Quirky: A Novel

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When the Time Comes

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The Forbidden Kingdom (Pushkin Collection)

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Cannonball

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Bleeding Edge

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Middle C (Vintage International)

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All That Is

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His Wife Leaves Him

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The Childhood of Jesus

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The Sinistra Zone

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The Guy Davenport Reader

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The Adjacent

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The Book of Monelle

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Georges Perec and the Oulipo: Winter Journeys (Atlas Anti-classics)

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A Hero of Our Time (Oxford World's Classics)

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Alexander Vvedensky: An Invitation for Me to Think (NYRB Poets)

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Nonfiction

Summa Technologiae (Volume 40) (Electronic Mediations)

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Being, Humanity, and Understanding

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Savage Energies: Lessons of Myth and Ritual in Ancient Greece

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The Rise of Western Christendom: Triumph and Diversity, A.D. 200-1000

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Properties as Processes

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The Self: Naturalism, Consciousness, and the First-Person Stance

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Oral Tradition and the Internet: Pathways of the Mind

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Foundations of Modern International Thought

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The Circle of Socrates: Readings in the First-Generation Socratics

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Baroque Science

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Language, Truth, and Literature: A Defence of Literary Humanism

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Dirty Wars: The World Is A Battlefield

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The Matter and Form of Maimonides' Guide

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Consciousness and the Social Brain

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The Story of the Human Body: Evolution, Health, and Disease

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Trade and Romance

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Unrivalled Influence: Women and Empire in Byzantium

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Margins and Metropolis: Authority across the Byzantine Empire

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Complexity and the Arrow of Time

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The Engine of Complexity: Evolution as Computation

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How Did Poetry Survive?: The Making of Modern American Verse

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Austerity: The History of a Dangerous Idea

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The Essential Hirschman

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Worldly Philosopher: The Odyssey of Albert O. Hirschman

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Quantum Computing Since Democritus

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Comics

Incidents in the Night: Volume 1

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Black Paths

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Interiorae

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John Marston and Joshua Sylvester: Renaissance Rewriting

John Marston was one of the nastier Renaissance playwrights, and his lack of restraint eventually appears to have gotten him in so much trouble that he had to leave the stage altogether and enter the clergy. His play The Malcontent, which was probably performed in 1603 and then published in 1604, is a severe melodrama of a deposed Duke, Altofronto, grouchily plotting to regain his rulership by pretending to be a truth-telling counselor and misanthrope–named Malevole, just to make that point clear–and bringing out the worst tendencies of those in the court. They don’t need much encouragement, since the court’s “minion” Mendoza, who is sleeping with the current Duke’s wife, has plenty of Machiavellian plans of his own, and Altofronto/Malevole just needs to tap him to push him over the precipice. The expected “happy ending” is more reassuring than that of Measure by Measure, but even less convincing.

But there are two poetic, though somewhat out of place, soliloquys reflecting on the wretchedness of man that caught my attention. They have the typical gnarled flow of Marston’s prose, which seems to be closer to its Roman Silver Age antecedents than anyone else’s (Seneca was a huge influence at the time). And thanks to the notes of G. K. Hunter in my Revels edition, I see that both speeches were adapted from a single source: Joshua Sylvester’s translation of Du Bartas’ epic religious poems. Marston alters them both in style and tone, but he appropriates structure and imagery freely. The first invokes the title of the play and is a looser borrowing:

JOHN MARSTON, THE MALCONTENT III.ii

MALEVOLE
I cannot sleep ; my eyes’ ill-neighbouring lids
Will hold no fellowship. O thou pale sober night,
Thou that in sluggish fumes all sense dost steep ;
Thou that giv’st all the world full leave to play,
Unbend’st the feebled veins of sweaty labour!
The galley-slave, that all the toilsome day
Tugs at his oar against the stubborn wave,
Straining his rugged veins, snores fast ;
The stooping scythe-man, that doth barb the field.
Thou mak’st wink sure : in night all creatures sleep ;
Only the malcontent, that ‘gainst his fate
Repines and quarrels, — alas, he’s goodman tell-clock !
His sallow jaw-bones sink with wasting moan ;
Whilst others’ beds are down, his pillow’s stone.

DU BARTAS, THE FIRST DAY OF THE FIRST WEEK, tr. JOSHUA SYLVESTER

The Night is she, that with her sable wing,
In gloomy Darkness hushing every thing,
Through all the World dumb silence doth distill,
And wearied bones with quiet sleep doth fill.
Sweet Night, without Thee, without Thee, alas,
Our life were loathsome; even a Hell to pass.
……
He that, still stooping, tugs against the tide
His laden barge alongst a River’s side,
And filling shores with shouts, doth melt him quite ;
Upon his pallet resteth yet at Night.
He, that in summer, in extremest heat
Scorched all day in his own scalding sweat,
Shaves with keen Scythe, the glory and delight
Of motley meadows ; resteth yet at night,
……
Only the learned Sisters’ sacred Minions,
While silent Night under her sable pinions
Folds all the world, with painless pain they tread
A sacred path that to the Heavens doth lead.

Where he borrows images, Marston sharpens the prose: “The galley-slave…tugs at his oar against the stubborn wave” in Sylvester becomes “He that, still stooping, tugs against the tide” in Marston. “He that shaves with keen scythe the glory and delight of motley meadows” becomes “The stooping scythe-man that doth barb the field.” The drastic difference is that into Du Bartas’ picture of sleep’s respite from the cruel world, Marston injects the malcontent, “goodman tell-clock,” who can’t sleep. (I admit I don’t know what Sylvester is getting at with “painless pain.”)

The second speech is more unquestionably plagiaristic. It is delivered by Pietro, Malevole’s successor and target. Pietro, here, is describing to his wife Aurelia the terrible hell she’s brought to him by sleeping with Mendoza.

JOHN MARSTON, THE MALCONTENT IV.v

PIETRO
My cell ’tis, lady ; where, instead of masks,
Music, tilts, tourneys, and such courtlike shows,
The hollow murmur of the checkless winds
Shall groan again ; whilst the unquiet sea
Shakes the whole rock with foamy battery.
There usherless the air comes in and out :
The rheumy vault will force your eyes to weep,
Whilst you behold true desolation :
A rocky barrenness shall pierce your eyes.
Where all at once one reaches where he stands,
With brows the roof, both walls with both his hands.

DU BARTAS, THE FIRST DAY OF THE SECOND WEEK, tr. JOSHUA SYLVESTER

Who, Full Of wealth and honour’s blandishment,
Among great Lords his younger years hath spent ;
And quaffing deeply of the Court-delights,
Us’d nought but tilts, tourneys, and masks, & sights –
If in his age his Prince’s angry doom
With deep disgrace drive him to live at home
In homely cottage, where continually
The bitter smoke exhales abundantly
From his before-un-sorrow-drained brain
The brackish vapours of a silver rain :
Where usherless, both day and night, the North,
South, East and West winds enter and go forth,
Where round-about, the low-roofed broken walls
Instead of Arras hang with Spiders’ cauls,
Where all at once he reacheth as he stands.
With brows the roof, both walls with both his hands.

This Sylvester source passage is far harsher than the earlier, with knottier syntax to match. (“His before-un-sorrow-drained-brain” seems worthy of Marston. Or Robert Walser.) The context is a long simile for the expulsion from Eden, comparing it to a Prince who’s been reduced to living in poverty. Again, Marston roughs up Sylvester (Marston gets a “rheumy vault” out of Sylvester’s “homely cottage”), but Sylvester has already done half the work in making his prose so jagged. Marston had far less distance to go in adapting it into his style. The final image, of the inhabitant virtually trapped in a tiny room no taller nor wider than he is, is grim enough that Marston leaves it outright.

In both cases I prefer Marston for the sharper-edged and more visceral prose. Hunter cites an earlier critic from the 1930s using the passages as evidence of Marston’s lack of talent, so maybe we’ve finally caught up with Marston. (I think Eliot was a fan.)

Hunter points out that at least one other writer of the period, Thomas Tomkis, borrowed from the first Du Bartas passage. Hence one of the more common homilies of the Renaissance, lost in our originality-obsessed age: if you see a good image or a memorable theme, no matter how different the context to what you’re writing, don’t hesitate: steal it.

Shakespeare’s Sick, Twisted Troilus and Cressida

From a Maori production of Troilus and Cressida

From a Maori production of Troilus and Cressida

Troilus and Cressida is certainly sick and twisted, but not in the same way that Measure for Measure is. They are nearly perfect complements to each other, as if Shakespeare had set himself twin challenges: for Measure for Measure, to write an unfunny comedy, and for Troilus and Cressida, to write a silly tragedy. People very nearly die in the “comedy” Measure for Measure, while Troilus and Cressida survive their “tragedy,” albeit unhappily. In both cases the cross-genre pollution doesn’t yield a healthy hybrid, but a self-conscious mutant.

But the two don’t mix their enzyme and substrate in the same way.

  1. Measure for Measure sucks the life and humor from its antics while leaving plot and character more or less intact and merely darkening them, while Troilus and Cressida trivializes the Trojan War by lowering the intelligence and dignity of its characters.
  2. Measure for Measure is overseen by a frequently malevolent manipulative demigod, the Duke, while absolutely no one at all seems to have much of a clue in Troilus and Cressida, and everyone is out of their depth.
  3. And while Measure for Measure holds together narratively and tonally, Troilus and Cressida fragments like mad, frequently and jarringly shifting tone, moving into abstract philosophy at times and ending with a ten car pile-up in the last act that ends the play quickly and clumsily.

At some point mid-20th century, people didn’t believe Shakespeare had written the messy, chaotic last act with its dozen short scenes, but that claim seems to have died down.

The fragmentation and general confusion makes Troilus and Cressida less powerful than Measure for Measure, which has a cogent and visceral build-up of increasingly serious horrors. Troilus and Cressida doesn’t even attempt that, since whenever something “serious” occurs, it’s quickly followed by something that makes it much harder to take it seriously. The question then is what to make of it, since the lack of coherence is clearly a deliberate strategy but only seems to be make things more diffuse.

I’ve read a fair number of analyses claiming that it holds together in spite of itself or that the chaos powerfully subverts narrative expectation, but they’ve all been quite unconvincing (though I. A. Richards’ “Troilus and Cressida and Plato” is memorably strange), since we aren’t dealing with King Lear here. Jan Kott’s assessment in Shakespeare Our Contemporary is probably the most powerful–he makes the play sound amazing, more amazing and coherent than it actually is. Rosalie Colie, having made extensive studies on Renaissance paradox, was especially well-suited to analyze the play, and her explanation of how the play undermines the very shared conventions of linguistic use is brilliant:

The lovers demonstrate the reduction of expressive intentional language to social and linguistic counters. As they milk language of meaning, so their names lose private, individual meaning too, to signify impersonal morality-functions.

Rosalie Colie, Shakespeare’s Living Art

The language, which Colie and others treat at great length, is often remarkable at a conceptual level. I won’t dare analyze it here, other than to say that the excesses of the language make the banality of the plot and character that much more evident. Trivialization clearly seems to be the order of the day, but the question of why one would write a play that merely trivializes its subjects remains. Shakespeare shows off his genre-savvy here, but to what end?

My answer is that the play is a reductio ad absurdam, an attempt to mimic the analysis and response of the most jaded and cynical theater-goer, and yet let some modicum of human dignity remain. I think that unlike Measure for Measure, which leaves an uneasy sick feeling, Troilus and Cressida is ultimately affirming of something, though not a lot. By taking a Euripidean plot but writing it in the style of Aristophanes (via Plautus or Terence), he makes it difficult to cling on to anything without suspecting that there’s one more level of irony underneath it. But remember that Aristophanes came out exalting Aeschylus.

Certainly, most of the play undermines any ideals its characters purport. On the Greek side, Ulysses comes off as the classical Burkean/Rumsfeldian conservative, speaking eloquently and with seeming intelligence, but advocating for awfulness. Achilles is a joke. On the Trojan side, romantic lead Troilus lacks any common sense and intelligence. Here is his “argument” for fighting for Helen, which boils down to “Less thinking, more ass-kicking!”

TROILUS You are for dreams and slumbers, brother priest;
You fur your gloves with reason. Here are your reasons:
You know an enemy intends you harm;
You know a sword employ’d is perilous,
And reason flies the object of all harm:
Who marvels then, when Helenus beholds
A Grecian and his sword, if he do set
The very wings of reason to his heels
And fly like chidden Mercury from Jove,
Or like a star disorb’d? Nay, if we talk of reason,
Let’s shut our gates and sleep: manhood and honour
Should have hare-hearts, would they but fat their thoughts
With this cramm’d reason: reason and respect
Make livers pale and lustihood deject.

Helen and Paris are about as worthy of fighting over as ever. Hector does appear to act with dignity, but all that signals is that dignity can’t exist in a vacuum. He is speaking for a virtue that the rest of the characters don’t even understand, and he can’t uphold it in a vacuum, and eventually he doesn’t. So he’s useless too in the face of the “Most putrefied core” of the anonymous Greek he slaughters in 5.8. Hell, the whole play could be said to be concerned with the absurdity of holding up any virtue that isn’t valued by the surrounding community, be it honor or fidelity–or love itself.

What is fascinating is that into this hybrid, Shakespeare stuck one of his most assertive and complex women. The reaction to her over the centuries has been predominantly scathing. Personal preference grants me a strong affection for Cressida. In her first appearance she engages in a long stint of Groucho-Chico/Bob and Ray doubletalk with her sleazy uncle.

CRESSIDA What, is he angry too?

PANDARUS Who, Troilus? Troilus is the better man of the two.

CRESSIDA O Jupiter! there’s no comparison.

PANDARUS What, not between Troilus and Hector? Do you know a man if you see him?

CRESSIDA Ay, if I ever saw him before and knew him.

PANDARUS Well, I say Troilus is Troilus.

CRESSIDA Then you say as I say; for, I am sure, he is not Hector.

PANDARUS No, nor Hector is not Troilus in some degrees.

CRESSIDA ‘Tis just to each of them; he is himself.

PANDARUS Himself! Alas, poor Troilus! I would he were.

CRESSIDA So he is.

And so on and on. She is witty, coy, and apparently savvy. She adapts to her changing circumstances, none of which are under her control, perhaps covering up inexperience with raw smarts.  She resists Troilus at first and then, after she falls for him, seems to think somewhat more of him than he deserves, as her dialogue switches from doubletalk to inflated rhetoric. While he still forces more of a unity than I think can be assigned to her, Jan Kott captures something of what makes her uniquely modern among Shakespearean characters, comparing her to Hamlet:

This girl could have been eight, ten, or twelve years old when the war started. Maybe that is why war seems so normal and ordinary to her that she almost does not notice it and never talks about it. Cressida has not yet been touched, but she knows all about love, and about sleeping with men; or at any rate she thinks she knows. She is inwardly free, conscious and daring. She belongs to the Renaissance, but she is also a Stendhal type akin to Lamiel, and she is a teen-age girl of the mid-twentieth century. She is cynical, or rather would be cynical. She has seen too much. She is bitter and ironic. She is passionate, afraid of her passion and ashamed to admit it. She is even more afraid of feelings. She distrusts herself. She is our contemporary because of this self-distrust, reserve, and a need of self-analysis. She defends herself by irony.

Jan Kott, Shakespeare Our Contemporary

Were she in a less self-reflexive play, she’d easily be one of the best characters in the canon. As it is, she lacks the space to fully become what Kott describes her as being, yet even the partial portrait is sui generis.

Troilus and Cressida in Stephen Wangh's aerial production

Troilus and Cressida in Stephen Wangh’s aerial production

As for the lovers together, their pledges of love to each other are very odd and epistemological:

TROILUS O virtuous fight,
When right with right wars who shall be most right!
True swains in love shall in the world to come
Approve their truths by Troilus: when their rhymes,
Full of protest, of oath and big compare,
Want similes, truth tired with iteration,
As true as steel, as plantage to the moon,
As sun to day, as turtle to her mate,
As iron to adamant, as earth to the centre,
Yet, after all comparisons of truth,
As truth’s authentic author to be cited,
‘As true as Troilus’ shall crown up the verse,
And sanctify the numbers.

CRESSIDA Prophet may you be!
If I be false, or swerve a hair from truth,
When time is old and hath forgot itself,
When waterdrops have worn the stones of Troy,
And blind oblivion swallow’d cities up,
And mighty states characterless are grated
To dusty nothing, yet let memory,
From false to false, among false maids in love,
Upbraid my falsehood! when they’ve said ‘as false
As air, as water, wind, or sandy earth,
As fox to lamb, as wolf to heifer’s calf,
Pard to the hind, or stepdame to her son,’
‘Yea,’ let them say, to stick the heart of falsehood,
‘As false as Cressid.’

Are there any passages in Shakespeare that use the words “true” and “false” as incessantly as these two do, respectively? It’s numbing. And overblown: Cressida herself undermined the distinction in an earlier gabfest with Pandarus when she said “To say the truth, true and not true.” Troilus himself undermined it in the previous scene when he tautologically declared, “I am as true as truth’s simplicity,” spelling out the meaninglessness of the comparison with truth-values.

The speeches do set up Troilus later shrieking “False, false, false!” at Cressida in the last act, which, again, doesn’t quite rise to the level of King Lear here, especially considering that Cressida was just sold into slavery by her own people in exchange for the return of a prisoner. There’s no secret escape plan for Cressida this time, unlike in Chaucer, and her father Calchas, a defector to the Greeks, seems indifferent to her arrival. Her pledge to Diomedes is a bitter tactical move designed to save herself from becoming one of the “sluttish spoils of opportunity,” in the words of that fine fellow Ulysses. In light of the chaotic movement of the play and Troilus’ character, Cressida’s resignation and compromise with circumstance seems far more realistic than Troilus’ cloddish tantrums–although Troilus’ breakdown while Thersites jeers at him does contain genuine pathos. No, Cressida didn’t have to give Diomedes Troilus’ sleeve, but Shakespeare consciously weakened the case against Cressida (also by having her affair with Troilus last for hours rather than months, as in Chaucer).

Troilus and Cressida as American Indians because why not?

Troilus and Cressida as American Indians because why not?

And then there is Thersites on the Greek side. Thersites is pretty insufferable. At first he may seem like the truth-teller of the Iliad, but soon reveals himself to be far less. In the Iliad, he was clearly a threat. Moses Finley observed that Homer wouldn’t have bothered having Thersites speak out and be smacked down if what he said weren’t dangerous to the warrior caste. In Shakespeare, Thersites is ridiculed, beaten on, but generally tolerated, because he is defanged. His words have no bite, no matter how much he tries to give them. The deeper he digs himself into ridicule and cynicism, the more impotent he becomes. Not that he even seems to care about making a difference. Unlike his somewhat more decorous Trojan counterpart, Pandaraus, who turns from bawd to malevolent force over the play, Thersites just rants from the bleachers, amusing himself but no one else.

I think he is meant to be the point of identification for smug audiences who think themselves above it all, who want to laugh at the archaic heroics of Hector as well as the dumb romance of Troilus and Cressida (ably assisted by Shakespeare portraying them rather badly). But Thersites represents a dead end as much as Hector does. Both signify polar positions, dignity and cynicism, in a world that is too chaotic and stupefied to justify either.

So what do I see as the ultimate purpose here? A play that is designed to tempt the viewer with cynicism and then throw it back in its face. Yes, be apathetic and say a pox on all their houses, yes, be like Thersites. And look at who you’ll be: a prude, sex-hating and joyless, unable to affirm anything, ignored by everyone. This is what makes the play so apt today, because while it was just confusing to earlier audiences, recent productions have embraced Thersites’ position to the hilt, not realizing that a certain race-to-the-bottom critical mindset that refuses to endorse any clear values, lest they then be trumped by the next subversion, will produce nothing that any one will ever care about.

Yet when Cressida is led away to become a sex slave for the Greeks, some care has survived, that despite the hardened cynicism of nearly everyone, you would have to be a monster to embrace Thersites’ or Ulysses’ points of view. So maybe that is the challenge Shakespeare set himself: to trivialize things as much as possible and then at the end say, “Look, I still made you care.” It hasn’t always worked, judging by how hard people have come down on Cressida, but it works on me. The fatuous “True Troilus” and “False Cressida” speeches are an analogy for that goal–that even in light of the linguistic nonsense and exaggerated silliness of True and False made by Troilus and Cressida, we still aren’t willing to give up the very robust distinction between truth and falseness, and so even this very cynical and sophistic play has left us still giving them some affirmation.

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