Showing posts with label death. Show all posts
Showing posts with label death. Show all posts

Friday, January 8, 2016

15 Things about Vietnam #12 - Ancestor Worship

On a certain day of the year, the day her mother died 35 years ago, Mrs Như places a tray of flowers and a cup of plain water on the ancestral altar in the family home in central Hanoi, then lays out a modest meal on a collapsible table below. With her hands clasped to her chest, she bows three times to the image of her mother that sits atop the altar, separated from the equal and opposite image of her father by a bowl of fruit and an incense holder. 

On the day his villa in the suburbs of Ho Chi Minh City is finished, Mr Dũng does something similar: on the family altar in the expansive new guestroom, he sets a representative sample of the meal his wife has just cooked. There's enough food to serve an army, a lavish selection of fruit, red and white wine as well as two neat pyramids of Heineken and Coke. Mr Dũng bows to the images of his father and grandparents, then he waits for his 50 guests to arrive.

Nobody knows exactly when or where ancestor worship started in these parts of South East Asia, but one thing's for sure: it started way back in the deep, dark past, and it continues right up to today.

Historians argue whether the Vietnamese worshiped their ancestors before the Chinese invaded North Vietnam in 179BC and imposed their own forms of the practice - themselves fixed by Confucius many centuries earlier.

Whether or not there were once distinctively Vietnamese ways of paying one's respects to forefathers and foremothers, the ways the Vietnamese ended up with were essentially Chinese. Ancestor worship is probably the most definitive mark of Chinese cultural influence on Vietnam and it's interesting to note that neighbouring peoples like the Thais and Cambodians don't go in for it.

The long-term irony being that, at least as far as ancestor worship goes, the Vietnamese have turned out to be more Chinese than the Chinese. Over the past 50 years, the cult of ancestors has fallen into disuse in most of China, while in Vietnam it remains the most popular religious observance of them all. Since the 1990's it's actually seen a major revival.

As the activities of Mr Ngọc and Mr Dũng attest, the cult is and always has been celebrated in the home. There's no better indication of its homeliness than the Vietnamese name for it; while "ancestor worship" sounds like a slightly chilly business, the Vietnamese name suggests otherwise: "đạo ông bà" means literally "the belief in grandpa and grandma".

So central is the belief in grandpa and grandma to the Vietnamese view of life that all the main Vietnamese religions have had to adapt to it in one way or another.

The belief in grandpa and grandma has been comfortably integrated into Vietnamese Buddhism, along with all sorts of other fairly wild Vietnamese cults. Although the main hall of a typical Vietnamese pagoda is devoted to the worship of a shiny white Buddha the size of a small truck, out the back of the pagoda you'll find the "reverse hall", housing shrines to the pagoda's spiritual forebears (monks and nuns who found Enlightenment, or enlightened others, in the pagoda's general vicinity). Further out the back or in a separate out-house, you'll find boards or miniature shrines covered in photos of earnest Vietnamese faces, normally shot against a monochrome blue background; pious Vietnamese Buddhists worship their ancestors as close as they can to the chubby stone Buddha figure in the main hall.


In recent decades, Vietnamese Catholics have also started to practice a little low-level ancestor worship too. These days, altars in Christian homes are allowed to house photos of grandpa and grandma, as long as Jesus, Mary and Joseph occupy the prime positions on the wall up above. In fact it was attachment to ancestor worship that limited the spread of Christianity in Vietnam in the first place. Since the Sixteenth Century, when it was brought to South East Asia by European missionaries, Catholicism tried to oppose ancestor worship, which went against the Christian demand to worship God rather than ordinary people. Potential converts were forced to choose between grandpa and grandma and the God who died on the Cross. So ingrained were the habits of ancestor worship that only a small minority took up the Cross and followed the French Jesuits into the cultural wilderness.


And then there's the Communist connection.

Once you get here, it will become obvious pretty quickly that Vietnamese Communism doesn't follow the strict Marxist line about religion being the opium of the people. As an organization which rules in the name of the people, the local Communist Party is happy to go along with the nation's most popular religion, especially given its homely, apolitical nature.

In fact, you could say that belief in grandpa and grandma has found its way into Vietnamese communism. Having a credibly progressive history whose moving spirits people can get in touch with is something that the Party has successfully cultivated for many generations. The Party's founding father, Hồ Chí Minh, is worshiped to this day as a kind of super-ancestor of the entire nation; ordinary Vietnamese place his photo next to the photos of their literal progenitors on the family altar, or just above them on an "upper altar" of its own:


Belief in grandpa and grandma is a light, warm-hearted affair. So while the cult of Hồ Chí Minh might at first glance have some similarities to the cults of personality instituted by demonic nasties like Mao and Stalin, it passes over into an attitude of general fondness. Uncle Hồ died in 1969, six years before North Vietnam won The War. Patriotic Vietnamese still want to keep Uncle Hồ aware that they finished the job, while others invoke his blessing for more recent plans and schemes, in the same way they do in a family context in the guest room of the family home.


*

Birthdays are relatively new to Vietnam - a commercial Western import dating back to the early 90's. The really important days are death days (Vietnamese "đám giỗ), which memorialize the occasion on which one of the family's main ancestors turned up his or her toes.

The idea may seem slightly morbid, but the way it is put into practice isn't. A đám giỗ is a pretty relaxed affair. Before the event gets into full swing, a real, fully cooked meal is offered to the relevant ancestral spirit. A few stories about grandpa/grandma are told, then everyone hops into the meal that was originally placed on the ancestral altar. Mrs Như and Mr Dũng in the two scenes at the top of this essay were preparing for their respective đám giỗ.

Đám giỗ make for great get-togethers. Friends and friends of friends are welcome to tag along; the Vietnamese truly understand that the best type of party is a well-organized, regularly repeating event with a solemn core that takes up about 10% of party-time.

Now if the two most basic questions relevant to the cult of ancestors are "who are your ancestors?" and "when are their đám giỗ?", then the next basic question is "Where did your ancestors come from?"

Here we come to the all-important Vietnamese notion of "quê" or "quê hương" (homeland). For Vietnamese, your homeland, you see, is where your ancestors' graves lie:

 
No matter how far the graves of their ancestors are from their current place of residence, many Vietnamese make a yearly pilgrimage to the spot – to pay their respects, to tidy headstones and to . . . burn assorted paperwork. The simple belief, of vast antiquity, is that ancestral spirits have need of worldly possessions in the afterlife. Nowadays such things are conveyed to them by incinerating paper images. (The preferred currency in the Vietnamese nether regions is the American dollar not the Vietnamese dong, so don't be fooled if you see greenbacks drifting down the street after a đám giỗ.) 

When Vietnamese visit the graves of departed ancestors in their ancestral homelands, the first thing they do is light incense. This creates initial lines of communication between this world and the next. Then up go the paper clothes and play-money. As in the case of đám giỗ, once everyone’s said what needs to be said, the festivities begin: the men go on a spree, the women go on a spending frenzy at the local market.

Pious Vietnamese invoke their ancestors on all of life's important occasions, and on plenty of minor ones as well. They get married in sight of the relevant ancestral images. They also pay their respects before the family altar when babies are born or journeys undertaken - even when kids get decent grades in exams. The good, the bad and the indifferent are to be communicated to grandpa and grandma, because grandpa and grandma don't just share in the family's ongoing successes, they also bring luck and support - some vague degree of aerie benevolence - when times are tough. At the most basic level, grandpa and grandma apparently just want to keep up with family news.

Unburied ancestors are a problem for real followers of the cult of grandpa and grandma because their spirits are thought to wander the earth in a distressed state that is also liable to cause distress in living, breathing human beings. Hence the efforts many older folk have been making in recent years to track down the war dead and return them to their rightful places - in the rice-fields on the margins of their home villages.

When military records fail to show up useful information about the location of war dead, there are always the services of the specialists: traditional Vietnamese fortune tellers (thầy bói) have been doing a roaring trade since the problem of remembering The War started to be framed in traditional terms. Though they are treated as figures of fun by more educated folk, ordinary Vietnamese treat thầy bói as guides to a wide range of irregular spiritual beliefs. Their gifts don't just include communicating with the spirits of lost relatives, but assessing the likely success of human relationships and investment portfolios, as well as the feng shui (Vietnamese "phong thuỷ") of new homes.


Whether Mr Dũng consulted a thầy bói before he laid the foundations of his bright new palazzo is something I'll have to ask him. Blocks in new Vietnamese suburbs are usually subdivided in rigorous rectilinear patterns, leaving little scope for individuals to accommodate the underlying spiritual lay of the land.

*

It would be wrong to think of ancestor worship as a set of beliefs that mainly shapes Vietnamese attitudes to the past. Future generations are just as vital a concern - and it shows in the approach that Vietnamese take to having children. Vietnamese 20-somethings who are in any way wary about getting married are intensively worried over by their families. Newlyweds who choose to pause for a year or two before popping out heirs to the ancestral line can expect to get a lot of unsolicited advice from concerned mothers.  

The issue of heirs is the gut reason why older generations of Vietnamese have conservative views about homosexuality and career women: in short because not having children is considered poor form vis-à-vis one's ancestors. Ancestors, as we've seen, require the ongoing deference and care of the living if they're to lead half-way contented lives in the afterworld. So if your kids don't have kids, then you might be condemned to wander after death like a famished ghost for many eternities. (No suckling pig for you at Tết.) As we've also seen, ancestors bring luck and give a certain metaphysical backing to the lives of the living. If you don't produce heirs, then to a certain sort of Vietnamese mind you are depriving yourself of one of the most substantial bases of support that life in this difficult world affords.

Young Vietnamese women face up to these issues in their most brutal form. If they're approaching the end of their third decade in this difficult world and not in a position to pop out heirs (within the socially acceptable confines of marriage, of course), then they tend to get into a serious tailspin. For Vietnamese women especially, not having a family is actually one of the greatest sins in this life. Unlike in the West, it is not something a woman can treat as a normal event (or a hidden blessing): the straightforward result of being born bug-eyed or having one great love that didn't work out. In Vietnam, not having kids is an existential condition, not a social condition, and definitely not one valid life-choice among many.

Strong-minded Vietnamese views about ancestors and heirs combine with narrow-minded Vietnamese views about female beauty to make many girls feel very uneasy in their own skin. Vietnamese family convention says a good woman ought to have popped out two heirs by 30. Vietnamese aesthetic convention says that a woman's beauty goes into steep and irrevocable decline from about the age of 27. Result? In the vital years between 25 and 30 many Vietnamese women lose the plot a bit. To Westerners the whole thing seems cruel and unnecessary, especially given how radiantly beautiful Vietnamese women remain well into later life.

Young Vietnamese men have it a little easier. The cult of grandpa and grandma leads some Vietnamese mothers to worry obsessively that their sons might be gay, and to give them the wind-up if they show signs of drawing out their bachelor days.

However a solid majority of Vietnamese men still believe, just as fully as their sisters, in doing the right thing by grandpa and grandma. One thing which makes them vastly different from Western men in their 20's and 30's is this: a certain percentage of Vietnamese men start getting just as clucky as their female contemporaries. In some cases, even cluckier.


Over the past decade, Vietnamese men have been experimenting, within the expanded limits of an increasingly affluent society, with various new social roles and sexual identities. The Vietnamese idea of masculinity has been influenced by all those grass-eating Japanese girly men who drift through their 20's working part-time jobs, living at home, spending their disposal income on clothes and hairspray and ignoring any signals they're getting from straight girls trying desperately to do what their parents and grandparents want them to do.

But for the solid majority who don't go herbivorous, producing heirs to the ancestral line is still pretty important.

*

By Western standards, the cult of ancestors has something childish and superstitious about it, as do the not unrelated beliefs the Vietnamese still hold about ghosts and devils and omens. However there is far from being a single Vietnamese view about how to celebrate the cult and what its deeper meaning is.

Educated Vietnamese who lived through The War and have digested its meaning in secular terms, tend to be agnostic about the world of ancestral spirits. This doesn't make them any less attached to old memories or to family histories though. The meaning of ancestor worship for them comes to lie in its evocation of its own past meaningfulness - a shift in perspective which I guess goes to show that   attachment to the the very idea of religion can be just as powerful as conventional belief. Less educated older folk, on the other hand, take the cult of ancestors with full literalness; you might almost say it is out of deference to them that the cult continues in its full-blown form, even though Vietnam has become a radically modern, secular society over the past 100 years. Ancestor worship is the older generation's way of answering the claims of the past on the present - immense and painful as they are for many who lived through the period 1945 - 1975.


Younger generations have shifted sideways in a different direction. They are much less likely than their parents to care for the specific rituals of ancestor worship; most of them probably regard the way their elders duck and bob before the family altar as a quaint habit. Yet something of the habit still finds its way into their bones. That's because it's caught up with the Vietnamese belief in giving parents and grandparents their due. Even among the generations who have no direct experience of the War, you can still feel the main force of Vietnamese family ethics. At its heart is a sense of gratitude to parents and grandparents for their efforts in raising you - an obligation that extends beyond the grave.

Younger generations of Vietnamese don't take traditional beliefs about ancestral spirits wholly literally. But then they don't take them wholly metaphorically either. They believe in these things in the same way they believe in the miraculous history of Vietnamese communism: in the mode of unbelief. For many Vietnamese, both young and old, what ancestor worship boils down to is an order-giving ritual, an orientation-giving practice - something that is caught up in an unspecifiable way in Vietnamese beliefs about the importance and goodness of the family: a specific set of rituals that catches up the old-style believer, a general thought-pattern that hooks in the new-style agnostic and in both cases let's questions about its actual basis in fact take care of themselves.   

As one Vietnamese writer has pointed out, the persistence of ancestor worship in an increasingly disenchanted age can be put down to the fact that it speaks to something absolutely instinctive - as of course can the persistence of most forms of religious belief throughout the world.

The beautiful but childish idea behind ancestor worship is and has always been that when we think of the dead in a sense they live again.

In Vietnam, they arise from their slumbers in the rice fields and crowd round the family altar, eager to share in family festivity. And maybe, just maybe, in today's day and age, to metaphorically polish off the beer and Coke stacked up in front of their gently glowering images. . .

Friday, May 14, 2010

The Art of Living: Master K

Some snippets from Master Kung (Confucius) - as he appears in Karl Jaspers' beautiful, simple summation in *The Great Philosophers* (Trans. Ralph Manheim, 1962):

Without learning, all other virtues are obscured as though by a fog and degenerate: without learning, frankness becomes vulgarity; bravery, disobedience; firmness, eccentricity; humanity, stupidity; wisdom, flightiness; sincerity, a plague.

Manners and music are fundamental. The essential is to shape men's nature, not to quench it. The ethos is fashioned in men's association with each other and in government.

A nation can be guided only by custom, not by knowledge.

A man is awakened by the Odes, strengthened by the *li* [imperatives of conduct], perfected by music. - Mere form, like mere knowledge, has no value without the originality that fulfils it, without the humanity that is enacted in it.

Confucius advocates self-mastery, not asceticism. Nature requires to be shaped, but violence can only harm it. Even hatred and anger have their place. The good man can love and hate in the right way. For example - He hates those who themselves are base and slander those who are above them; he hates the bold who know no morality; he hates the reckless, bigoted fanatic.

**What makes a place beautiful is the humanity that dwells there. He who is able to choose and does not settle among humane people is not wise.

Towards friends - Take no friends who are not at least as good as yourself. Loyalty is the foundation. Friends should - loyally admonish one another and tactfully set one another right. Friends can be relied on - Even if the season be cold, we know that pines and cypresses are evergreen.

When an appeal is made to the laws, it means that something is not in order. - When it comes to hearing complaints, I am no better than anyone else, says Master K. What interests me is to see that no complaints arise.

Do nothing overhastily; that will not succeed. Do not consider the small advantage, for no great work can prosper in this way.

**The political conditions must be such as to make effective action possible. Where the prevailing state of mind leaves no room for effective action, the true statesman remains in hiding.

All goodness, truth, beauty are combined in the ideal of the superior man (gentleman, chün-tzu). Noble in birth and endowment, he has the manners of a gentleman and the wisdom of a sage.

The character, cast of thought, gestures of the superior man are described. He is contrasted with the inferior man. The superior man is concerned with justice, the inferior man with profit. The superior man is quiet and serene, the inferior man is always full of anxiety. The superior man is congenial though never stooping to vulgarity; the inferior man is vulgar without being congenial. The superior man is dignified without arrogance; the inferior man is arrogant without dignity. The superior man is steadfast in distress; the inferior man in distress loses all control of himself. The superior man goes searching in himself; the inferior man goes searching in others. The superior man strives upward; the inferior man strives downward. The superior man is independent. He can endure long misfortune as well as long prosperity, and he lives free from fear. He suffers from his own inability, not from others' failure to understand him. He avoids all competition, but if it must be, then only in archery. He is slow in words and quick in action. He is careful not to let his words outshine his deeds: first act, then speak accordingly.

Master K is conscious of facing a great alternative: to retire into solitude or to live in the world and try to shape it. His decision is unequivocal - A man cannot live with the birds and beasts. If I do not live with men, with whom shall I live? And - he who is concerned only with the purity of his own life ruins the great human relations.

In their private lives these two hermits found purity; in their retirement they found what the circumstances demanded. I am different. For me there is nothing that is possible or impossible under all circumstances.

The nature of man is called *jen*. *Jen* is humanity and morality in one. The ideogram means "man" and "two," that is to say: to be human means to be in communication.

**Jen* is the all-embracing source. It is through *jen* that the particular virtue becomes truth. And *jen* is the source of the absolute untainted with expedience - The ethical man puts the difficulty first and the reward last.

In youth when the vital forces are not yet developed, guard against sensuality; in manhood, when the vital forces have attained their full strength, against quarrelsomeness; in old age, when the forces are on the wane, against avarice.

Only the highest wise men and the lowest fools are unchangeable.

Truth and reality are one. The mere idea is as nothing. The root of human salvation lies in the "knowledge that influences reality", that is, in the truth of ideas that are translated into an inner, transforming action.

When he does not understand something, the superior man is reticent.

When Lao-tzu taught that one should repay hostility with good deeds, Master K answered - With what then shall we reward good deeds? No, reward hostility with justice, and good deeds with good deeds.

Those who are capable of self-mastery, who have learned to do what is good and to know what they are doing, will always be few. The people, on the other hand, can be led to follow something; they cannot be led to understand it.

When asked "What is the first thing to be done in order to promote a renewal in disastrous circumstances?" Master K gave a remarkable answer - Words must be set aright. What inheres in words should be brought out. The prince should be a prince, the father a father, the man a man.

Master K refrains from all direct statement on metaphysical questions. Though such an attitude may be put down as agnosticism, it does not signify indifference to the unknowable, but rather a reverence which is unwilling to transform intimation into pseudo-knowledge or lose it in words.

**3 Death offers no ground for emotion, it is not situated in any field of essential meaning. He can indeed lament premature death - That some things germinate but do not flower; that some things flower that do not mature - alas, that happens. But - To die at nightfall, that is not bad. Death has no terrors - When a bird is dying, his song is mournful; when a man is dying, his speech is good.

Master K could lament - The superior man suffers that he must leave the world and that his name is not mentioned. My way is not followed. Whereby shall I be known to posterity? Ah, no one knows me! - But he quickly consoles himself - I do not grumble against heaven, I am not angry with men. I have searched here below and I am in communication with heaven. Heaven knows me. - He contents himself with his lot - To learn and unceasingly practice, does that not give satisfaction? And if companions come to you from far away, is not that too a ground for rejoicing? And not to grow embittered if men do not know you, is not that noble too? - I will not grieve that men do not know me; I should grieve only if I did not know the others.

The one thing over which a man is master is his own heart. Good or ill fortune is no yardstick of a man's value.

Zilu said: 'If the Lord of Wei were waiting for you to run the government, what would you give priority to?' The Master said: 'What is necessary is to rectify names, is it not?' Zilu said: 'If this were to take place, it would surely be an aberration of yours. Why should they be rectified?' The Master said: 'How uncivilised you are. With regard to what he does not understand the gentleman is urely somewhat reluctant to offer an opinion. If names are not rectified, then words are not appropriate. If words are not appropriate, then deeds are not accomplished. If deeds are not accomplished, then the rites and music do not flourish. If the rites and music do not flourish, then punishments do not hit the mark. If punishments do not hit the mark, then the people have nowhere to put hand and foot. So when gentleman names something, the name can definitely be used in speech; and when he says something, it can definitely be put into practice. In his utterances the gentleman is definitely not casual about anything.'

Master K did not turn away from the world to concentrate on himself. He devised no economic institutions, no legislation, no special form of government; he was passionately concerned with something that cannot be directly willed but only fostered indirectly, something on which everything else depends: the spirit of the whole in the ethical-political state and the inner make-up of every individual man as a part of the whole. He had no fundamental religious experience, no revelation; he achieved no inner rebirth, he was not a mystic. But neither was he a rationalist; in his thinking, rather, he was guided by the idea of an encompassing community, through which man becomes man. His passion was for beauty, order, truthfulness, and happiness in the world. And all these are grounded in something that is not made meaningless by failure and death.

What did Master K do? Unlike Lao-Tzu, he entered into the business of the world, driven by the idea that he was called to improve human conditions. He founded a school for future statesmen. He edited the classics. But still more significant: In China, Master K was the first great flaring up of reason in all its breadth and potentiality - and this in a man of the people.

Thursday, May 13, 2010

Ancient Aphorisms (1998)

One or two of you seem to be finding my junior aphoristic scribblings a little bit entertaining (edifying?), so here are some of the earliest ones. The model back in the strange days of the mid- to late-90's was La Rochefoucauld - hence the antiquarian references to "virtue/s" (not sexual purity, but "excellence/s"), to measures of human greatness and to artists' "gifts". Hence too the slight overuse of the royally meditative, lyrico-didactic first person plural pronoun so characteristic of the bonzai philosophy I've criticised others for cultivating in their inner suburban gardens.

***

It is in bad taste nowadays to point out what is bad taste.

Unless given direction as well as impetus, unless they are as it were held out before their owners for them to fix their gaze on, talents are bound to bite their owners on the back at a later date. About half the talent in the world ceases to exist before it so much as comes to light.

If your only virtue is that you are impossible to dislike then all but run-of-the-mill human beings are going to find you a bore.

Even in great people, hypocrisy casts a pall over almost all things.

The all-time most venomous human beings are those who discover their talents much too late in life, when their lives are trickling away and what is left of their talents is even less than a trickle.

Once breaking taboos for its own sake ceases to be entertaining and fashionable (as it is now) it will become boring; and the end of it will be that human beings' lives will be more shapeless and miserable than ever before.

There is a certain sort of human being who sees in himself the aggregate of every possible weakness. None of this however prevents him from conceiving of himself heroically.

Even the meekest are capable of the most ingenious simulation and dissimulation when things go incontrovertibly against them.

Timid people are liable to go through life without ever understanding that the urge to humiliate people plays an important part in the emotional economy of others, most especially those others who are their arch-tormentors and rivals.

We use the word "boring" to denigrate those who are fighting the same fight as we, but whose characters counsel more reserve than we ourselves possess or whose tactics in the fight are more subtle. We use nastier epithets to distinguish those who attach less value to victory but are nevertheless fighting with the same vehemence as ourselves.

How many exceptional human beings have been stunned into stupor by the specious argument that by championing the exception they thereby wanted to denigrate the rule?

Style, simultaneously an expression of esprit and an outlet for one’s highest ideals, is also a matter of self-concealment.

The tragedy ends. After the tragedy, questions of personal agency become more urgent and obscure.

The History of Art is a process of revolutionising taste (for example, over the past two centuries this has quite understandably often involved scandalising the bourgeoisie), which is precisely why it must be suspected that the History of Art, if not Art itself, has come to an end, viz. because taste has become something increasingly less substantial, less embodied by actual forms of life, a cultural surface phenomenon, incorporated increasingly into a meta-taste, the taste for - revolutionising taste for its own sake, actually no taste at all. We have realised that the impulse to make it new has been completely subsumed by the society-wide push to fabricate new things to turf out, but making it old is unfortunately no refuge where the little bit of purism about us can still be given its due.

In addition to the small number of individuals rebelling against existent things must be taken into account the large number rebelling against what is palpably non-existent, against conditions, institutions, “certainties”, systems of “certainties” which had their day long ago, not to mention the even larger number perfectly content to remain perfectly obsolescent. The Twentieth Century, in which the speed of social and cultural transformation has increased, is unique among the centuries for having produced so many historical misfits, so many throwbacks to past decades and centuries. (Everyone indeed is a misfit in some not insignificant sense.) What we have here is a dynamic "spirit of the times" which everyone is behind, a spirit of the times with no one to represent it.

Too few people know how to read. Even the best of us carry on as readers like "idlers in the garden of knowledge". To read actively is to experience each sentence as an accusation or a challenge.

There are certain people who despise us because we see through them, whom we despise because they too see through us. While the fact of seeing-through and being-seen-through is something perfectly normal and desirable, it is nevertheless actively concealed by most. Under normal circumstances, this makes mutual recognitions of this sort doubly abnormal and repellent. On occasions they also lead to friendship; bursting through the social veil from opposite directions you come across another human being - which can be such a novelty and such a gigantic relief that the result is a lasting alliance.

The first effect of the death of outstanding individuals is to make the quotidian look like a monstrous bad joke.

Death, nevertheless, is something about which an incomparable number of disingenuous things have been said, - something around which a greater dustheap of ill-conceived anti-psychological prejudice could hardly have amassed. The fact that it is the occasion for so much cliché, false sentiment and superstition, not its chimeric imponderability, sets it apart as something remarkable.

It is not merely the presence of paradox which is the signpost to philosophical problems, but also the absence of these things, the garden-variety clichés and platitudes, with all their accompanying mental and psychological dross.

Poetry or Philosophy. Poetry, fairly and unfairly, has been viewed as mankind's crowning cultural achievement because poetry, when practiced by its various masters, seemed in comparison to philosophy to say things more richly and appositely. Das, was die Philosophie pedantisch vor uns stellt, raunt das Gedicht uns zu - what philosophy pedantically sets before us the poet whispers or shows us with a sign. The discoveries of the philosophers who were most like poets still seem to go about with leaden feet in comparison.

Spirit of reverence. Perhaps one of the highest talents anyone can cultivate in an age in which conviction curdles, belief rings untrue and the proclamation of mysteries is a sacrilege is the talent for undisillusioned appreciation. Such a person doesn't so much set him or herself against the world, re-situating all prime values somewhere else in history, as discover a fine reason for averting his or her gaze from present surroundings.

To look on - in sad fascination. To remain silent - even if it be forever. To carry oneself as if this life were a tragedy into which one is born to play the leading role. Such attitudes remain the worthiest things which a certain calibre of human being can aspire to, most especially in ages lacking in naive self-confidence.

There are educated people who are largely incapable of enjoying art or writing until it is explained, until the vagaries of art or writing get turned into a pseudo-conceptual critical game of some variety. No doubt they would come to a better understanding of the field if they could get their heads round the idea that artists and writers are more often than not worse-read, worse-educated, altogether less objective than they. Among educated people education is nothing less than a point of honour, among artists it is often regarded as not much more than a point of reference and a weapon with which to fight for certain ideas they have about themselves.

Nietzsche in conversation. Tell obtuse people who are puzzling earnestly over aesthetic questions that are too difficult for them that the writer or artist in question was a Nietzschean without knowing it.

Nothingness yawns twice as contentedly in Australia.

Sydney is full of people who dream of going to the gym in the morning. Melbourne is full of people whose profoundest instinct is to reach for the self-help shelves in the afternoon gloom.

Forbesian. Sydney-siders behave as if Sydney were the Venice of the South Pacific, the best place on earth to confuse "good" with "sexy". Melbournians behave as if they invented stylised gloom - as if making looking miserable look snappy but also a little edifying were a service to humanity. To the Sydney-sider of seasoned experience Melbourne is like some bad-taste Europe, Europe the Art-lined purgatory where you're constantly reminded how lucky you were to escape Melbourne's hell. Overburdened with imagination and conscience, Melbournians of course finds Sydney - heaven.

We listen to the advice of others as a matter of form, not as a matter of policy. To the advice of friends we generally give half a thought - then disregard it. To that of people who leave us indifferent - we give no thought at all. To the advice of people whose sphere of experience could not conceivably encompass the dilemma or sticky situation we find ourselves in - we also give no thought at all, though we do give more than a little thought to ways of revenging ourselves for their willingness to give advice.

The scourge of those who want to know things well and yet are sincerely sceptical: the self-regard of the sincerely ignorant.

Almost all intellectual errors, misinterpretations and the like are a result of mistaking the level at which something is said.

Upbraiding others when we recognise in them weaknesses similar to our own is more often than not as close as we get to upbraiding ourselves for our weaknesses.

Sincerity is not a mark of freedom and Democritus stood things very nearly on their heads in claiming that it is. Sincerity is commonly also a mark of solid self-satisfaction and only to be esteemed when combined with notions of level and depth. The sincerity of a human being who wades about in the shallows is a phenomenon that calls to be seen through. (More fairly:- it is only to be gauged accurately when listened to against the background noise of his or her whole way of life and the ways of life of his or her world.)

The only intelligent modern-day contributions to classical wisdom are ironic ones.

The only half-tolerable patriotism is the sort that loves its country and thinks that the best thing it can do for its country is send up its country.

It is the task of the philosopher to comment upon what we subtly allow ourselves to say and disallow ourselves from saying.

Aphorisms are an advantageous way of philosophising. They express, though not at the level of what is being said, the idea that no philosophical system can encompass the length and breadth of the world. A collection of aphorisms is a halfway house between a philosophy and a chaotic assortment of metaphor; the individual metaphors are the basic element, but each points equally in the direction of philosophy, which is the endeavour to speak the whole in the knowledge that it neither can nor necessarily should be spoken.
How to explain this? A proposition which stands in a relationship of logical contradiction to another proposition can equally stand in a relationship of metaphorical complementarity to the same proposition. Philosophically however the two simply stand side by side. Philosophy in this sense is perspectival - it privileges neither the standpoint of logic (where things stand opposite their contraries) nor that of metaphor (where things can leap over as far as their contraries). Objectivity pertains to it - precisely insofar as it gives individual propositions full subjective weight. 

If a vaguely rigorous "theory of value systems" could be extrapolated from Wittgenstein's many riffs on the theme of language-games then one would have a ready means with which to disassemble so many of the pseudo-problems of moral philosophy and aesthetics. The absence of the even vaguely rigorous is perhaps the distinguishing feature of what today goes under names like "Continental Philosophy" and "Theory". Whereas an abundance of rigour and a terror of any deep-seated theory of value systems is the distinguishing feature of all “Analytic Philosophy”. Its delicious air of mystagoguery is what makes the former so attractive, the whiff of fear and soldiery what makes the latter unfashionable.

An ability to discern what goes on in the heads of others is perfectly compatible with a perfect inability to discern what is going on inside your own head. (And vice versa.) The sphere of all your self-perception and the sphere of your perception of others are incommensurable.

Women in the age of plastic exaltation. The women who are lauded with attention in this age of better things for better living through technology - the stalkers on the cat-walks and the sugarloaves in the soapies (those monumental fantasy figures of bourgeois morality writ small) - are never beautiful, though many of them are attractive. In what does this attractiveness consist? Well, if La Rochefoucauld is right when he says that attractiveness, as distinct from beauty, is a mysterious harmony between a person's features and the person's general bearing - then today's plastic-women are attractive in the sense that their regular plastic features are in harmony with the vapidity of their general bearing.

An interesting coincidence: that at about the age strong-minded women start seeing ghosts (c.60) their weak-minded husbands start behaving like ghosts.

People with an abundance of very particular habits who aren't trying to keep their niggardliness in check or to themselves must be suspected of inventing these habits as a means of attracting attention to themselves.

Physique is less important than mystique - once inside the bedroom.

Poetry, whose basis is incantation, whose origins are ritualistic, depends for its effect on the mystique of saying something eloquent. It should come as no surprise to those who have taken pause to mark the demise of religious feeling in the West over the past 150 years that poetry is becoming increasingly impossible if not downright absurd.

The exceptional talents of a large number of men and women never get recognized, not even so much as by themselves, because they spend their whole lives in insipid or unexceptional company. These people are simply never presented with their own mirror image, the brilliant man or woman in whom talent has crystallized as a sense of purpose - the only thing that might ever have led them to think more highly of themselves. It seems amazing - no one with great gifts crosses their path in the whole of a lifetime.

Thursday, February 4, 2010

Poetry Translations 3: Heine

Heine - romantic, ironist, leftist, visionary - the bard of heaving breasts and bemused diagnosis - died in Paris in 1856, having spent the better part of the previous decade bed-ridden. The Nineteenth Century asssumed that syphillis was the cause of Heine's debilitating condition, as it was to do in the case of several of its other black sheep. Recent clinical tests seem to indicate that progressive lead poisoning was the cause of the agony which, at the time of the composition of today's poem, "Lord Have Mercy", still had several years to run.

The poem displays the typical symptoms of Heine's later attitude to Christianity: wisecracks at the expense of catholic dolts and Christian chokers by no means exclude a genuine religious sense of the poet's more-than-bodily wretchedness and need of more-than-worldly deliverance. Late Heine's cast of mind is basically deeply heterodox - a personal amalgam of Jewish, Christian and pantheist belief that would have been deeply unacceptable to the religious mainstream of Heine's day and to the orthodox Judaism and Christianity of our own day. His alleged last words were "God will forgive me. It's his job" - a line in which you might hear an undertone of anguish for sins committed or heresies proclaimed - a line in which for the rest of it what you hear is a man whose beliefs are something which, however deep, he always puts an ironist's inverted commas around.

In late Heine, the impulse to mock and kick at those whose religious belief takes on the form of doctrinal insistence is always a little stronger than his sense that the world has a stable religious meaning. In short, if the poet who "lay seven years on the floor of a garrett in Paris unable to die" can be called religious, then any belief you attribute to him has to be one that acknowledges the primacy of the anti-religious backhander. . . [CS] 

1. Lord Have Mercy

I do not envy Fortune’s sons
Their lives, instead I’m smarting
At the way they meet their deaths
Their quick and painless parting

In festive garb, heads wreathed in laurel,
Smiles upon their lips
At life’s banquet’s grand array
Death’s scythe down on them slips.

In golden cloaks, bedecked with roses
Their blossoms still to savour
They reach the realm of shadows, those
Whom fortune deigns to favour.

Untroubled by infirmity,
Their brows without a line,
They’re welcomed graciously to court
By Empress Proserpine.

Their fate fills me with envy for
It’s seven years I lie
Writhing sourly on this floor
Unable still to die.

O Lord God shorten this my torment
Bring me death’s recess
The gifts one needs for martyrdom
You know I don’t possess.

I’m gob-smacked by your contrary ways, Lord,
Please don’t get the irits
The cheeriest poet you ever created
- You rob of his high spirits.

Pain dulls live minds and adds to life
A melancholic salt
If this grim fun does not stop soon
I’ll end a catholic dolt.

Then I’ll howl your ears full Lord
Like other Christian chokers
O Lord have mercy, thus departs
The best of literary jokers.

2. Body and Soul

Said soul to body in soulful pain
I cannot leave you, I’ll remain
With you – in death’s night I’ll with you sink,
Of death’s dispersion with you drink.
You were my ever-faithful second,
Flung me round, or so I reckoned,
In a festive cloak of satin
Warmly lined, of flawless pattern.
Woe is me, now naked, wracked,
Bodiless and quite abstract
I’m to lounge in blissful blight
Above in realms of heavenly light
In heavenly halls ‘midst heavenly norms
Where Time’s great surge in silence forms
Itself into a Yawn – where saintly trogs
Clack round bored in leaden clogs.
This is one second-rate result
Dear body, stay, and I exult!

So body said to downcast soul:
Take comfort and show self-control
Bear in peace with patient frown
What fate for each of us set down.
Burn out I must as our lamp’s wick,
But you, the spirit ever-quick
Will in heaven no doubt go far,
Will twinkle like a little star
Of beamiest purity – me, I’m junk,
Lumpen matter, a dead tree’s trunk
Slumping to the ground I become
That which I was – an earthly crumb.
Now fare you well and end your sighs,
Think, maybe there are funnier guys
Than you now believe up there.
And if you pass by heaven’s great bear
(NOT MEYER-BEAR) Some place in heaven’s starry sea
Say ten-times hi to him from me.

Auf Deutsch

1. Miserere

Die Söhne des Glückes beneid ich nicht
Ob ihrem Leben, beneiden
Will ich sie nur ob ihrem Tod,
Dem scmerzlos raschen Verscheiden.