Waggish

David Auerbach on literature, tech, film, etc.

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Portrait of Denis Diderot

I have a great affection for Diderot and see him embodying most of the Enlightenment’s virtues (tolerance, curiosity, skepticism, logical thought, creative intuition) and few of its vices (overreaching, overgeneralization, arrogance, optimism, cynicism). This little portrait of him by the French Radical-Socialist Prime Minister Edouard Herriot (a flawed but still sympathetic figure in his own right), written in 1953, captures a great deal of his charm, though I think it’s on display in nearly everything he wrote.

I remember how in 1913 the French Senate wished to celebrate the second centenary of Diderot’s birth. I was then a member, the youngest, of that assembly. I said a few words which met with very little response. The Chamber did not support the suggestion that his remains should be moved to the Panthéon, and Maurice Barrès expressed his satisfaction at this in a careful essay which appeared in his book Les Maîtres. He did not consider Diderot to be a national figure; he saw him merely as a remarkable revolutionary genius, able as no one else to place charges of dynamite under all the principles and pillars on which society rests; a professor, as it were, of anarchy and an enemy of tradition.

Diderot considered a humanist education to be essential. ‘For several years running,’ he writes in his Project for a University, ‘I would read a passage of Homer every night before going to bed as regularly as a good priest says his office. I began early to suck the milk of Homer, Virgil, Horace, Terence, Anacreon, Plato, and Euripides, mixed with that of Moses and the Prophets.’

As a matter of fact he wanted to study everything and to know everything. As soon as he left college his true nature became apparent. Unable to settle down in an attorney’s office, refusing to choose a definite profession, flitting from literature to science and from Italian to English, mixing with company of every description both good and bad, but more often the latter, composing sermons, if necessary, for a Portuguese missionary, tutoring the children of Randon d’Haunecourt, the financier, but throwing up his job in order to be free again, sometimes reduced even to hunger, he managed to gain through his very independence a wide experience and culture which made him a singularly intelligent and well-informed Bohemian. At one moment we see him dressed in a grey plush coat taking a summer stroll along the Allée des Soupirs in the Luxembourg Gardens, and, at the next, wandering through the streets of Paris with torn cuffs and black woollen stockings sewn together at the back with white thread.

His originality lies primarily in his vast culture and in his scientific knowledge, so far in advance of that of his contemporaries. He had already reached an idea of transformism, the doctrine of evolution. A materialist, in favour of morality for sentimental and practical reasons, not from philosophic conviction, laudably hard-working, curious about everything, often confused, even incoherent but generous, cordial, with a shade of coarseness, becoming intoxicated with ideas, as others do with wine, vulgar at times and disordered as he was said to be, outstanding quality was life.

The Stasis of Spaces in Kafka’s Trial

[Introductory note: this is a very old paper. It strikes me now as immensely callow in voice and construction, yet I don’t find it too embarrassing. I think this is because Kafka is very receptive to the sort of motivic analysis that I perform here, so I had a wide margin for error. So even if the conclusion and narrative are reductive, the links are still meaningful. My mistake was in trying to draw too definite a theme from them. It could just as easily have been called “The Fluidity of Spaces,” but “The Stasis of Spaces” just sounds so much better and reminded me of Georges Perec’s Species of Spaces (that would be Espèces d’espaces in the original French). I’ve resisted the temptation to make stylistic edits, so please enjoy some juvenilia. I remember, more than anything, really enjoying writing it, and maybe that redeems its faults for me now.]

The Door that Always Stands Open

In Franz Kafka’s The Trial, K. makes his way through a labyrinthine and chaotic city in dealing with his case. He is continually entering and exiting doors, going through passageways, and passing through antechambers. The ubiquitous presence of doorways is immediate and constant. Yet the doors in The Trial do not function as normal doorways; the spaces that they separate are not entirely separate. In the course of the novel, Kafka dissolves the clear delineation between the two sides of the door, and creates instead a space within the door, which is central to the entire narrative of The Trial, both in relation to the spaces of the city, and in relation to time.

In a nearly physical example of this dissolution, a door virtually disintegrates as young girls mount an attack on it, in the “Painter” section. Titorelli remarks that the girls have “had a key made for my door, and they lend it round” (144), already hurting the door’s function to keep people on one side of it. The row of girls becomes a constant force against the door. They “see into the room through the cracks in the door” (148) as they crowd around the keyhole, and they then breach the door with their words. They breach the door physically, by thrusting “a blade of straw through a crack between the planks and . . . moving it slowly up and down” (150). The painter even remarks that “the air comes in everywhere through the chinks [in the door]” (155). When the girls are once more “crowding to peer through the cracks and view the spectacle” (156), the door seems hardly there, not functioning as a physical boundary. Yet K. cannot cross it himself, as he futilely tugs at the handle of the door, “which the girls, as he could tell from the resistance, were hanging on to from outside” (162). Instead, he must take the exit to the Law Court offices. What is hardly a boundary for the girls is all too solid for him.

In the above passage, the door becomes a very tangible boundary for K., even though the girls seem to be able to penetrate it with ease. K.’s case will be examined in more depth, but even in this situation, the role of the door is difficult to completely understand. In The Trial, K. finds himself in situations where the distinction between one side of the door and the other becomes very hazy. Without this distinction, K. can neither enter nor exit. The door will cease to function as a gateway and instead will trap K, as the painter’s door does. Unable to exit, he instead takes the route through the Law Offices, ending up nonetheless back where he began. Through doors, K. embarks on a forward progression to nowhere, where both sides of the door may indeed be the same.

The opening scene presents K. with seemingly total freedom. After the warder Willem tells K. to stay put in his room, he considers that “If he were to open the door of the next room or even the door leading to the hall, perhaps the two of them would not dare to hinder him” (7). He soon finds out from the inspector that he is free to go about his business and can still lead his regular life. His freedom to exit his room is useless, however, because he will remain in the same “space” as he is in from the beginning of the novel, and he will not escape it, except possibly through death. Leaving through the doorway of his room will make no difference. His situation, however, will become more clear, as Kafka develops it throughout the novel.

[Very clear, or so I thought at the time. Look at all the stuff I’m about to quote below.]

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Wilson Knight’s Chart of Shakespeare’s Dramatic Universe

Shakespeare's Dramatic Universe!

 

G. Wilson Knight was a mid-century critic probably most known for an infamous little essay on Hamlet he wrote in 1930 called “The Embassy of Death” (collected in The Wheel of Fire). The essay is sort of a troll. He argues that but for Hamlet himself, Denmark is a happy, lively place under the wise, gentle rule of Claudius. But for Hamlet’s mad injection of himself into the proceedings, which destroys most of the characters and the state itself, things would have been fine. Hamlet is the sick, deranged soul who drags down a healthy world.

Now, Wilson Knight has some very keen points to make that go against the standard interpretation, but the essay is written in a gallivanting style that makes it clear that Wilson Knight knows he is being provocative. And so he is going over the top to make Hamlet as bad as possible and make every excuse for Claudius (who did murder the old King, but come on, let’s not dwell on it). You can imagine Wilson Knight barely able to keep a straight face as he goes into hyperbolic rhapsodies over Claudius’s pax Denmark and Hamlet’s malevolent presence:

Claudius, as he appears in the play, is not a criminal.  He  is—strange  as  it  may  seem—a  good  and  gentle  king, enmeshed by the chain of causality linking him with his crime. And this chain he might, perhaps, have broken except for Hamlet, and all would have been well. Now, granted the presence of Hamlet—which Claudius  at  first  genuinely  desired,  persuading  him  not  to  return to Wittenberg as he wished—and granted the fact of his original crime which cannot now be altered, Claudius can hardly be blamed for his later actions. They are forced on him. As King, he could scarcely beexpected to do otherwise. Hamlet is a danger to the state, even apart from  his  knowledge  of  Claudius’  guilt.  He  is  an  inhuman—orsuperhuman—presence, whose consciousness—somewhat like Dostoievsky’s Stavrogin—is centred on death. Like Stavrogin, he is feared by those around him. They are always trying in vain to  find out what iswrong with him. They cannot understand him. He is a creature of another world. As King of Denmark he would have been a thousand times more dangerous than Claudius.

I have concentrated on Claudius’ virtues. They are manifest. So are his faults—his original crime, his skill in the less admirable kind of policy, treachery, and intrigue. But I would point clearly that, in the movement  of  the  play,  his  faults  are  forced  on  him,  and  he  is  distinguished  by  creative  and  wise  action,  a  sense  of  purpose,  benevolence, a faith in himself and those around him, by love of his Queen…In short he is very human. Now these are the very qualities Hamlet lacks.  Hamlet  is  inhuman.  He  has  seen  through  humanity….

He has seen the truth, not alone of Denmark, but of humanity, of the universe: and the truth is evil. Thus Hamlet is an element of evil in the state of Denmark. The poison of his mental existence spreads outwards among things of  flesh and blood, like acid eating into metal.They are helpless before his very inactivity and fall one after the other, like victims of an infectious disease. They are strong with the strengthof health—but the demon of Hamlet’s mind is a stronger thing than they. Futilely they try to get him out of their country; anything to get rid of him, he is not safe. But he goes with a cynical smile, and is no sooner gone than he is back again in their midst, meditating in grave-yards, at home with death. Not till it has slain all, is the demon that grips Hamlet satisfied. And last it slays Hamlet himself.

“The Embassy of Death” (1930)

I really like the essay as a performance, since it does (if you’re not completely alienated by it) make you realize how equally unlikely the contrary and common interpretation is, with Hamlet the good guy and Claudius the fount of evil. But Wilson Knight evidently saw that if he was going to make a critical impact, there was no point in being restrained. He might as well push his own account to the limit, even if it completely broke with plausibility. Outrage trumps reasonableness and moderation.

Yet it wasn’t especially a cynical gesture, seemingly more a temperamental one. Years later he published his chart of Shakespeare’s Dramatic Universe. Here it is again:

Shakespeare's Dramatic Universe!

And the first thing I think on seeing this is, “You would have to be insane to come up with something like this.” Maybe not to come up with it, but to publish it, along with a long explanation of which this quote is representative:

On the right we have personal qualities; on the left, social and political. In the centre is a creative ‘conflict’ (not exactly ‘disorder’) related to the clash of individual and society. This conflict is nevertheless mainly inward and spiritual, and most fully experienced within the protagonist. It next tends, like a cyclone or hurricane, to move down the chart, developing into ‘armed opposition’, with the area columns showing a strong divergence of personal and communal symbolism as the rift widens; and so on to a tragic resolution.

The Shakespearean Tempest

It reminds me a bit of the schemas that Joyce made for Ulysses, except that those were (a) explicitly partial and ex post facto, and (b) by the author for a single work. To come up with something like this for the entirety of Shakespeare’s works is a whole different level, and my next impulse is to start tweaking it and adding to it, shortly before I realize that it would be silly, because this chart is an attempt to turn Shakespeare into his near-antithesis, Dante. And clearly another bizarrely perverse impulse of Wilson Knight’s, as he pretty much says:

But our chart should at least serve to indicate the danger of saddling Shakespeare’s world with any static scheme whatsoever. Only when these various powers are recognized shall we understand the true process of harmonization at work.

And then I think that James Joyce really did achieve as close of a merging of the two as was possible, by taking a million schemas and attempting to superimpose them over one another simultaneously in his last two novels. And Wilson Knight’s choice of anchoring motifs–music and tempests–are pretty good ones.

The Deflation of Romanticism in Alexander Kuprin’s The Duel

Kuprin wrote this novel based on his own experiences in the army in the 1890s, about a sensitive man not cut out for the mechanistic and emotionally brutal army life. It is not a masterpiece and Kuprin himself said he wasn’t happy with the ending, but it has some wonderful moments. The main character, Romashov, is a captain granted command by dint of his higher upbringing, but he is a complete misfit. He is given to very Walter Mitty-ish fantasies about love, glory, and even death, and he alternates between seeing himself as the sole benevolent force in the other soldiers’ lives and looking down on them as robots who can’t feel anywhere nearly as deeply as he does.

So while Romashov is likable at points and recognizably more human than most of the characters, Kuprin insistently deflates him. His fantasies are unrealistic failures, and they remove him from being able to do actual good for himself or for others. Kuprin is harder on him than Thurber was on Walter Mitty. And Romashov is not an especially good man: he already has had one mistress, the wife of another officer. She now disgusts him, and she threatens him in order to keep him coming round. Meanwhile, he is infatuated with another officer’s wife, Alexandra, who of course proves herself to be even more craven than his old mistress. Romashov is oblivious to this, of course. (The women are not portrayed with any great insight or sympathy, but for the circumstances of the story, they suffice as dei ex machina.)

The novel alternates Romashov’s endless mental circles with extremely dreary portraits of army life, which render the book a bit more plainspoken than the incisive social satire of Kuprin’s more talented contemporary Sologub. But Kuprin writes with great charm, and Romashov is painfully believable. Kuprin’s most brilliant move is to hold off on mentioning any duel whatsoever for most of the novel, knowing that the situation he paints leaves no grounds for any possible duel to be reasonable, noble, or satisfying. Having only the title as a foreshadowing gives a creaky, wincing suspense that makes passages like this even more nerve-wracking:

He was struck by the blindingly clear realization of his individuality.

“I–it’s here inside,” he thought. “All the rest is a mere construction, it’s not I. This room, the street, the trees, the colonel, Lieutenant Andrusevich, the army, the flag, the soldiers–all that is not I.” Romashov looked down at his hands with surprise, raising them close to his eyes as though he were seeing them for the first time. “Is this I? And is the one who is thinking I? And the one who wants to go out? And now I am walking up and down, and now I have stopped. … Strange, does everybody have this kind of I? Maybe not. If I stand in front of one hundred soldiers and shout ‘Eyes right!’, none undred men, all of whom have their own I and who see in me something outside of it, will all, nevertheless, turn their heads to the right at the same time. But I, I cannot tell them apart….

Yes, but if I die there’ll be no more country, invaders, honor. They only live as long as I do. But think of it the other way around–if country, discipline, the honor of the uniform disappear my I could still remain. Therefore I is more important than all these notions about duty, honor, love? And so, if my I, no, not only my I, but the millions of I’s which make up the army, the whole population of the world, suddenly decided ‘no more,’ wars would become unthinkable.

Kuprin maintains a deadpan stance chronicling Romashov’s excursions into this sort of thought, whether he’s abstractly philosophizing like this or imagining a hero’s funeral for himself after he commits suicide and everyone blames themselves for not treating him better. Romashov embraces lesser and greater forms of romanticism as the novel goes on, turning to Love, God, Brotherhood, and other ideals in quick succession, in search of any meaning for himself. It is very convincing. I imagine Kuprin himself had many of these thoughts in his youth, perhaps to a lesser extent, but at the time of writing, he had the right distance from them to portray them artistically, honestly, and ironically. It’s touching, but it’s also pathetic.

Romashov is a young man; it’s hard to hate him, hard even to pity him. But his delusions, in tandem with the awful realities of army life, prove to be utterly toxic.

James Joyce: The Difference Between Portrait and Ulysses and Finnegans Wake

Well, one difference, as explained by A. Walton Litz in the pretty good book The Art of James Joyce:
A process of selectivity harmonizes with his early notion of the ‘epiphany’, which assumes that it is possible to reveal a whole area of experience through a single gesture or phrase. In shaping the Portrait Joyce sought continually to create ‘epiphanies’, and to define Stephen’s attitudes by a stringent process of exclusion; later in his career he attempted to define by a process of inclusion. The earlier method implies that there is a significance, a ‘quidditas’, residing in each thing, and that the task of the artist is to discover this significance by a process of distillation. In the later method it is the artist who creates the significance through language. Thus in the Portrait a single gesture may reveal a character’s essential nature; but in Finnegans Wake Humphrey Chimpden Earwicker’s nature is established by multiple relationships with all the fallen heroes of history and legend.

Litz doesn’t force this dichotomy too much, which is good, but there is something to it. The single-moment emphasis in the early work gets contextualized and put into perspective in Ulysses before evaporating completely in Finnegans Wake, so that every moment becomes co-extant with every other moment. (And this very process, this consubstantiality, is a major theme in Ulysses.)

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