The darkness of this world (14) 5
Today we have posted essay number 14, Mystic Communism: Georg Lukács, in the series by Jillian Becker titled The Darkness of This World (Part 2). (Find it under Pages in our margin.)
Here is part of it. We hope you won't neglect the footnotes (not added here). They are laden with information.
Mystic Communism
Georg Lukács (1885-1971)
Georg Lukács was the quintessential revolutionary romantic of the twentieth century, longing to avenge his inner desolation on the civilization that nurtured him. And as an active participant in two revolutions and two despotic regimes, that is what he did.
With this essay we come to the nub of the whole series. Like all the other self-absorbed intellectuals we have talked about, fictitious and real, Georg Lukács advocated the doing of evil as the necessary means to a higher good. But unlike the others, he found himself actually in possession of the power to harm and destroy other lives, and he used it with passion and pride.
He was born in Budapest in 1885. The son of a banker ennobled by the Emperor of Austro-Hungary, he was nurtured in luxury. In his late teens he started writing professionally, reviewing plays for a small circulation periodical. He promoted the staging of avant-garde drama. He also tried to write plays, but without success. He realized and accepted that he "would never be a producer" and regretted that he "was no writer" – by which he probably meant a writer of plays, novels or poetry.
In fact he wrote prolifically. His first book, Soul and Form, appeared in 1910; a collection of essays mostly in literary criticism. Their dominant themes are art, Romanticism, longing, God, love, death, and bourgeois life. The volume was greeted with critical acclaim. No less a judge of literary merit than Thomas Mann – who was later to be the most insightful and devastating critic of Lukács's character – praised the work as "beautiful and profound".
One of the essays is about some German and Swiss writers who, Lukács allows, created admirable works despite being bourgeois. "The bourgeois way of life signifies only a denial of everything that is beautiful, everything the life-instinct longs for", he states with conviction.
This was not the disdain of the aristocrat for a class beneath him. (The von Lukács family, for all its wealth and title, would in any case have been classed as haut bourgeois rather than true nobility.) Nor was it (yet) a revolutionary's contempt for the established order. It was the romantic artist's repudiation of the average and ordinary. Lukács deemed himself an artist because, he wrote, "the essay is an art form", and essays such as his could be "intellectual poems".
He concedes that a degree of genius is to be found in the works of those ordinary bourgeois men who were nevertheless writers. "This bourgeois way of life," he wrote, "has no value whatsoever, in itself. For only the works which it brings forth confer value upon a life lived within such a framework and within such a form."
What makes a life bourgeois, Lukács explains, is "first and foremost by the exercise of a bourgeois profession". (One of the writers he examines earns his living as a judge, another as a clergyman, another as a government clerk. Lukács himself had no need to earn a living.) "A bourgeois profession," he goes on, "as a form of life signifies, in the first place, the primacy of ethics in life". These ethical men "do their duty". The characters in the stories of one of them are "incapable of evil"; there is "no real sin" in their world. But that, to Lukács, far from being a fine thing, is a fault. The artistic achievement of these merely ethical men is, he declares, "great after its own fashion". But he himself valued the aesthetic far above the ethical. The highest art could not be achieved by a person who binds himself to duty, but only by one who is capable of sin, intimate with beauty, and whose life-spirit longs for … the unreachable. For years his life-spirit burned with longing, seeking what it could not find; the search, and its frustration, being the tragic fate of such a soul as his.
"This longing is more than just something waiting for fulfillment, it is a fact of the soul with a value and existence of its own; an original and deep-rooted attitude towards the whole of life, a final, irreducible category of possibilities of experience," he wrote. Such a soul "will always long for something he can never reach".
In 1911, Lukács wrote a story titled On Poverty of Spirit. It is told in the form of a letter from a woman to the father of a young man who has killed himself. She recounts a conversation they had two days before his death, about the suicide of her sister, who had been the young man's lover. He talks at length about his ideas and feelings, for the most part philosophically, but he does state plainly that he is guilty of her death "in the eyes of God", in that he failed to "help" or "save" her. One can discern through the thicket of beautiful profundities, that he had refused to marry her because he wanted to dedicate himself wholly to his work as a writer. Furthermore, "she had to die so that my work could be completed – so that nothing remains in the world for me except my work." But after all the argument about it and about, Lukacs wants us to understand that the young man did the right thing when he shot himself, because of his guilt and for other sound, if rather obscure and certainly long-winded, philosophical reasons.
On Poverty of Spirit was written after – and about – the suicide of his own lover, Irma Seidler, whom he had not married, being dedicated to his work as a writer. She had married someone else, had not been happy, and had drowned herself. The story he wrote was a confession of his guilt. But he himself did not do the right thing. It was enough that his alter ego did it in the story: the brilliant young man tragically performing an extreme act of penance in fiction rendered it unnecessary for Lukács himself to perform it. Besides, what he, the author, did was something better, higher: he gave the episode a "form" as a work of art. When Lukács spoke of "form" he meant art – always expecting the word to resonate in the minds of his cultured readers with Plato's theory of "Forms" or "Ideals". To him, a work of art was a revelation, or representative, or reminder of the "noumenal" reality that – so Plato and Kant have convinced Middle European intellectuals – lies behind, beyond, above this "phenomenal" world in which we live.
When he wrote Soul and Form, Lukács believed that the two worlds were irreconcilable; that a soul belonged to one or the other. (He does not say, but almost certainly knew, that in the creeds of the old Gnostic cults, the souls of the "Perfects" or "Pneumatics" belonged to a transcendent world, while the souls of the common "Hylics" were bound to the earth). His own soul – he knew – belonged to the higher, better, mystical world, the world of "essences"; the unreachable world. Here in this world, "abandoned by God", he felt he was a stranger, an alien on earth; that humankind did not belong here; and that there was "an antagonism between the soul and the world". That is what he meant when he asked rhetorically- cried out, so to speak, in his writing – "How can one bring essence into life? How can life become essential?" For years he searched for an answer. Morbidly pre-occupied with death, tragedy, and the condition of the human soul – above all his own – he wrote: "Man is abandoned to immanent meaninglessness." He longed for "an extinction of selfhood" through "complete absorption of the ego into a higher being".
Often he conjectured that the only answer was in death, and he brooded on suicide. He declares in Soul and Form: "Life is without value, without significance, and we [presumably he and all those who suffer the same spiritual anguish] would be ready to consecrate it every moment to death."
His was an intensely religious temperament, but he was drawn neither emotionally nor intellectually to any organized religion; not to the Judaism of his ancestors, nor to Christianity – though his parents had him baptized in the Lutheran church in 1897 so that he could attend a good Lutheran school.
Karl Jaspers – later a famous philosopher – met Lukács in Heidelberg in 1913 and had no difficulty recognizing the nature of his contemporary's mystical beliefs. He records: "Many came to Heidelberg [University] who were men of letters and potential candidates for Habilitation. Among them was Georg von Lukács from Budapest and Ernst Bloch from Mannheim. … At that time, they were Gnostics who shared their theosophical fantasies in their social circles." It is probable that Lukács simply announced to Jaspers and all the company that he was a Gnostic. He was calling himself a "gnostic activist" in his writings years before he became in any way active in public life.
By "gnostic" he meant possessed of that intuitive knowledge which is a special gift to the specially gifted. What he intuitively knew which the ordinary (bourgeois) person could not know in the same way, was that there was a higher better world, the "intelligible" world: the "essential" world; the "noumenal" world. What he meant by "activist" is less clear. He seems to have meant that he not only thought philosophically that there is a higher better world, but that he also felt it. The activity was not muscular but emotional. It was not worked out by the intellect but immediately known by "intellectual intuition", through which one might become "good".
Become good? But had he not rejected ethical behavior? Certainly he had – and by "goodness" he did not mean anything so bourgeois as ethical behavior. He expounds his idea of what goodness is in Poverty of Spirit:
"Prince Myshkin [hero of Dostoyevsky's novel The Idiot] and Alyosha [hero of Dostoyevsky"s The Brothers Karamazov] are good; what does that mean? … [T]heir knowledge [gnosis] became realized in deed, their thinking left the purely conceptual realm of knowledge, their view of mankind became an intellectual intuition: they are Gnostics of the deed." … "Goodness is the miracle, the grace, and the salvation. The descent of the heavenly realm to the earth. … It is an abandonment of ethic. Goodness is not an ethical category; you'll find it in no consistent ethical system. And with good reason. Ethics is general, binding, and far removed from men; it is the first – the most primitive – exaltation of mankind over the chaos of everyday life; it is man's moving away from himself, and from his empirical condition. Goodness, however, is the return to real life, man's true discovery of his home." … "Goodness is madness, it is not mild, not refined, and not quietistic; it is wild, terrible, blind, and adventurous. The soul of the good one has become empty of all psychological content, of grounds and consequences; it has become a pure white slate upon which destiny inscribes its absurd command to be followed blindly, recklessly, cruelly to the end."
In the First World War, Lukács was conscripted into the Austro-Hungarian armed forces; but he dodged the draft with the help of a certificate from Karl Jaspers (who was a qualified doctor and psychiatrist), and through the use of his father's connections – the calling in of a favor owed to the banker by a personage close to the royal and imperial government. Duly declared unfit for active service, Lukács did his patriotic duty as a letter censor in Budapest for a few months in 1915.
It was after the war, when his country was in the abjection and disorder of defeat, that he found the answer to his spiritual search, a solution to his loneliness, despair and longing. He recognized that the "higher being" into which his "ego" might be "absorbed" was the International Communist movement. In December 1918 he joined the newly formed Hungarian Communist Party.
The commitment of his soul to the Party was no less religious for being political. He saw Communism as a cure not only for his own discontent – his despair, or loneliness, or Faust-like boredom with the contemplative life – but for everyone else's too. He assumed that everyone suffered from the same malaise as he did. As a general social phenomenon he called it "alienation", and declared it to be the result of capitalism and the bourgeois order. Communism, he believed, was the salvation of all mankind, provided only that each soul had faith enough and submitted utterly to its church. …
Jillian Becker July 19, 2015
Posted under Articles, Christianity, Collectivism, communism, Ethics, Gnosticism, History, Leftism, Marxism, Mysticism, Philosophy, Religion general, revolution, Russia, Socialism, Soviet Union by Jillian Becker on Sunday, July 19, 2015
Tagged with Ernst Bloch, Georg Lukacs, Hungary, Irma Seidler, Karl Jaspers, Mystic Communism, The Hungarian Soviet Republic
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The cultivation of evil, the sickness of Europe 12
Hannah Arendt (1906-1975) is widely known as the inventor of the phrase 'the banality of evil'. Apparently the idea was intended to be the main point of her book Eichmann in Jerusalem, as its subtitle is A Report on the Banality of Evil.
Adolf Eichmann was tried and sentenced to death in Jerusalem forty-eight years ago. He was the arch administrator during the Second World War of Hitler's 'final solution of the Jewish problem' by systematic murder. When Hitler's Reich was defeated in 1945, Eichmann sought refuge from justice under another name in South America. In 1948 part of Palestine became the Jewish state of Israel, and some twelve years later the Israeli secret service traced Eichmann, captured him, smuggled him out of Argentina, and delivered him to Israel. There he was humanely imprisoned, politely interrogated, brought before a legally constituted tribunal, judged, and condemned. The proceedings were conducted with scrupulous regard to law and all the safeguards it provides: due process, evidence, cross examination of witnesses, argument for the defense. He was found guilty of multiple crimes against the Jewish people and against humanity; of persecution, plunder, and war crimes (and was acquitted on certain parts of the indictment where proof was considered inadequate). He was sentenced to death, permitted to appeal, and had his sentence confirmed. The appeal judges declared: 'In deciding to confirm both the verdict and the sentence passed on Adolf Eichmann, we know only too well how utterly inadequate is the death sentence when we consider the millions of deaths for which he was responsible. Even as there is no word in human speech to describe his deeds, so there is no punishment in human law to match his guilt.' He was hanged on 31 May 1962.
Hannah Arendt considered the proceedings to be flawed. She questioned whether the Israeli court had jurisdiction to try the crimes of which Eichmann stood accused. She argued that the Nazi policy of discrimination against the Jews was a 'national issue', so persons accused of implementing it should be tried in a German court. Deportations, however, (she said) affect other countries, so those accused of organizing them should be brought before an international court; and so should those accused of genocide, because it is 'a crime against humanity'. The particular human genus marked down for extermination in this case was the Jewish people, but it was nevertheless, in her view, a crime against all humankind: therefore, she argued, the world, not the Jewish state, should call its perpetrators to account. The fact that the world had shown little interest in tracking down Nazi fugitives was no discouragement to her optimism that it would see justice done.
She was not alone in having doubts on the question of jurisdiction. Legal opinion had been divided over the legitimacy of the court which had tried Nazi leaders at Nuremberg. Argument over type of tribunal, applicable law, and definition of the crimes was necessary, and the Jerusalem court itself examined such questions and gave reasoned answers to them.
But Arendt's criticism was not limited to those debated issues. She also objected to the terms of the judgment. She accepted that the 'guilty' verdict was just, and even agreed that Eichmann deserved the death sentence (unlike some other liberal critics, such as the British publisher Victor Gollancz, who recommended that he be acquitted with the words, 'Go, and sin no more.' (1)) What she cavilled at was the judges' reasons for their verdict. They should, she thought, have 'dared to address their defendant' in these terms:
Let us assume, for the sake of argument, that it was nothing more than misfortune [Eichmann's defence being chiefly that he too was a victim of the Nazi regime, forced to obey immoral orders] that made you a willing instrument in the organization of mass murder; there still remains the fact that you have carried out, and therefore actively supported, a policy of mass murder. For politics is not like the nursery; in politics obedience and support are the same. And just as you supported and carried out a policy of not wanting to share the earth with the Jewish people and the people of a number of other nations – as though you and your superiors had any right to determine who should and who should not inhabit the world – we find that no one, that is, no member of the human race, can be expected to want to share the earth with you. This is the reason, and the only reason, you must hang.
In other words, what Arendt thought Eichmann most guilty of, what she identified as his chief and most appalling offense, what she thought his judges should be hardest on, what alone would justify his being put to death, was – hubris.
This peculiar, not to say eccentric view is, however, not the point to which she most urgently directs her readers' attention. Her most important conclusion she encapsulated in the famous generalization on the nature of evil. She leads up to it in the last two paragraphs (before the Epilogue and a Postscript), and to keep it in context I shall quote them almost in full:
Adolf Eichmann went to the gallows with great dignity. He had asked for a bottle of red wine and had drunk half of it. He refused the help of the Protestant minister — who offered to read the Bible with him — He walked the fifty yards from his cell to the execution chamber calm and erect, with his hands bound behind him. When the guards tied his ankles and knees, he asked them to loosen the bonds so that he could stand straight. "I don't need that," he said when the black hood was offered him. He was in complete command of himself, nay, he was more: he was completely himself. Nothing could have demonstrated this more convincingly than the grotesque silliness of his last words. He began by stating emphatically that he was a Gottgläubiger [believer in God], to express in common Nazi fashion that he was no Christian and did not believe in life after death. [Yet] he then proceeded: "After a short while, gentlemen, we shall all meet again. Such is the fate of all men. Long live Germany, long live Argentina, long live Austria. I shall not forget them." In the face of death, he had found the cliché used in funeral oratory. Under the gallows, his memory played him the last trick; he was "elated" and he forgot that this was his own funeral. It was as though in those last minutes he was summing up the lessons that this long course in human wickedness had taught us – the lesson of the fearsome, word-and-thought-defying banality of evil. [Her italics]
So in Arendt's opinion, the story required a fascinating demon, not a bespectacled clerk. Even when he stood under the noose, when history needed him to speak pathetic or terrifying words of pride or remorse, the best he could come out with were embarrassingly trivial 'funeral clichés'. He was simply not big enough for the evil he had committed. He was a dull man; not exactly stupid, she says, but thoughtless.
Having the mind of a philosopher, she did not leave it at that. She considered further the idea of thoughtlessness as a root of evil. It is close to a proposition by Socrates that men do evil out of ignorance of the good. She went on to write and deliver a series of lectures on how philosophers from ancient Greece to modern Germany have dealt with the subjects of thinking, willing, and the nature of evil. They were collected and published after her death in two volumes under the title The Life of the Mind. In an introduction, she refers to what she has said about Eichmann and his crimes, and makes it clear at last that the evil-doer was banal, not the evil he had done. 'I was struck by a manifest shallowness [in him] — The deeds were monstrous, but the doer — was quite ordinary, commonplace, and neither demonic nor monstrous.'
So it was the man, not his evil, which was banal, and when she had spoken of 'the banality of evil' she had not said quite what she had meant. She offers a kind of excuse: 'Behind that phrase ['the banality of evil'], I held no thesis or doctrine —- although I was dimly aware of the fact that it went counter to our tradition of thought – literary, theological, or philosophic – about the phenomenon of evil.'
'Dimly aware'? Was she being forgetful or disingenuous? Neither, I think – just using the wrong adverb. She was perfectly aware that 'it went counter to our tradition of thought'. German-born, of Jewish descent, she had studied philosophy at Marburg under Martin Heidegger – with whom she had a love-affair – and at Heidelberg under Karl Jaspers. In 1933, when Hitler came to power, she had left Germany for France, and in 1941 escaped to America. Living in New York, she had worked hard at learning English, and in 1944 started writing for The Partisan Review which was then a Trotskyite organ. In the following years she wrote a number of books, one on totalitarianism in which she equated Nazi Germany and Soviet Russia under Stalin – showing a readiness to allow facts to overrule ideology to a degree unusual in Marxists, even a critical Marxist, which she increasingly became.
That she knew well the European tradition of regarding evil as a sublime power, she goes on to show in her introduction to The Life of the Mind: 'Evil, we have learned, is something demonic; its incarnation is — the fallen angel —– that superbia of which only the best are capable.' And only in that context could her revelation that evil was 'banal' have any meaning. Yet that is as far as she went in dealing with the aggrandisement of evil in 'our tradition of thought'. She does not touch on it again in the chapters that follow, though some of the philosophers she writes about notably contributed to it, such as Hegel, Marx, Nietzsche, and Heidegger(2). Her turning away from the issue is to be regretted. She had come so close to a salutary diagnosis. Evil as an intoxicating passion; evil as a means of transcending the quotidian; evil as a high destiny; evil as power; evil as surpassing beauty; evil as a higher good – these notions have been corrupting the European mind for centuries, at least since the start of the Romantic Movement(3). Europe is sick with a dark passion, 'a passion for the night', as Karl Jaspers called it. It is a morbid sickness for which the shortest sufficient name is perhaps Richard Wagner's: 'Der Liebestod' ['the love-death'].
Richard Wagner, who so inspired Hitler, was one of the most infected, as Thomas Mann illustrates in a story called Tristan. Here is a slide of it: In a Swiss alpine clinic for the treatment of tuberculosis – which Thomas Mann often used as a symbol of the disease of the spirit – two patients, a pretty married woman and a young man of refined aesthetic sensibility, are singing together at the piano:
Their voices rose in mystic unison, rapt in the wordless hope of that death-in-love, of endless oneness in the wonder-kingdom of the night. Sweet night! Eternal night of love! An all-encompassing land of rapture! Once envisioned or divined, what eye could bear to open again on desolate dawn? Forfend such fears, most gentle death! Release these lovers quite from need of waking. Oh, tumultuous storm of rhythms! Oh, glad chromatic upward surge of metaphysical perception! How find, how bind this bliss so far remote from parting's torturing pangs? Ah, gentle glow of longing, soothing and kind, ah, yielding sweet- sublime, ah, raptured sinking into the twilight of eternity! Thou Isolde, Tristan I, yet no more Tristan, no more Isolde — (4)
Their duet is Der Liebestod. Thomas Mann's story is about sickness versus health, death versus life, healthy love versus sick love, healthy art versus sick art. These are constant themes of his. No other writer has diagnosed the European – in his view the particularly, if not peculiarly, German – sickness as surely, investigated it as thoroughly, or described it as exactly as he has done. He offers various terms and phrases for it, among them 'sympathy with death', 'the fascination of decay', the temptation of the abyss'. It inclines those infected with it to negate the value of life and whatever is life-sustaining; to turn away from light towards darkness. He shows us what results from that choice, to those who make it and through them to their world, their age, their nation, their civilization. In general, those who have the sickness revel in it, holding it to be a treasure of incomparable worth, a distinction, a glory. Not only would they not choose to be cured of it, they pity and despise the uninfected. It is understood to bring with it a superior capacity to feel and understand. It makes artists of them even if they make no art; martyrs even though they serve no cause but their own discontent. And in fact these associations are so widely accepted in Europe, so little questioned, so deeply revered, that to their own intense gratification some of the sickest – of whom I name a few in this essay – are adored by millions (if not necessarily the same millions), to whom they are heroes and saints: heroes of darkness, that is to say, or 'demonic saints'. Dead, they are revered as 'tragic' figures. There are many of them, but a few examples will do.
Martin Heidegger, Hannah Arendt's lover, is one . He declared emphatically that he was not concerned with ethics, and taught that 'sin is living inauthentically'. What he was greatly concerned with was the German nation, which must, he said, 'preserve at the deepest level those forces that are rooted in the earth and its own blood.' It was embodied in Adolf Hitler. 'The Führer himself and he alone is the German reality, present and future, and its law.' Hitler, he believed, would 'heal' the nation.(5) Only when, contrary to this prediction, the Führer led Germany to defeat and shame, Heidegger at last discerned in its ruins something he could bring himself to call an evil. He wrote, two years after the ending of the Second World War: 'Perhaps the distinguishing feature of the present age lies in the fact that wholeness as a dimension of experience is closed to us. Perhaps this is the only evil.' (6) His recondite and perverse teachings continue in the twenty-first century to direct European trends in philosophy, literary criticism, historical research and even legal theory.
Very much concerned with ethics was George Lukács. The notion that the evil-doer is himself the tragic victim of his own evil deed, since in choosing to commit it he makes the ultimate spiritual self-sacrifice 'of his purity, his morals, his very soul', excited Lukács to the point of rapture. He was a literary critic and aesthete who became Minister of Culture in the short-lived Communist government of Hungary after the 1919 revolutionary uprising. He considered himself, as Marxists generally do, a great humanitarian. And like many of his intellectual comrades – Lenin, Trotsky, for instance (7) – he could hardly conceive of a more elevated moral deed than an act of terrorism: 'Only he who acknowledges unflinchingly and without any reservations that murder is under no circumstances to be sanctioned can commit the murderous deed that is truly – and tragically – moral.' (8) Such a one is the terrorist. He is a heroic martyr because when he murders 'his brethren' he does so with awesome courage, knowing full well that he himself must thereby suffer intense agony. So the man who kills in the full knowledge that it is 'an absolute and unpardonable sin' is thus sacrificing himself. There is no greater love than to lay down the life of a fellow man.
The French writer Georges Bataille, also a Marxist revolutionary, wrote that he desired human beings, as a species, to move towards 'an ever more shameless awareness of the erotic bond that links them to death, to cadavers, and to horrible physical pain. — One of a man's attributes is the derivation of pleasure from the suffering of others, and that erotic pleasure is not only the negation of an agony that takes place at the same instant, but also a lubricious participation in that agony.' And: 'The movement,' he held, 'that pushes a man — to give himself (in other words, to destroy himself) — completely, so that a bloody death ensues, can only be compared, in its irresistible and hideous nature, to the blinding flashes of lightning that transform the most withering storm into transports of joy.' He looked forward to a 'post-revolutionary phase [of human history] when an antireligious and asocial organization [has] as its goal orgiastic participation in different forms of destruction'. He acknowledged that 'such an organization, can have no other conception of morality than the one scandalously affirmed for the first time by the Marquis de Sade'. (9) The Marquis de Sade (from whose name the word 'sadism' is derived) had notoriously defended and advocated the committing of incest, rape, pedophilia, torture, infanticide, necrophilia, and committed whichever of them he could whenever he could. He wrote of murder that it was 'often necessary and never criminal'. (10)
Michel Foucault, another comrade and 'tragic hero' of the European political left, vastly admired Bataille's vision and lauded his aims. He endorsed Bataille's 'erotic transgression', rhapsodised over 'the joy of torture', and longed to carry out, with his hero, a 'human sacrifice'; murder performed as a holy act, a spiritual thrill and a work of art. The two of them dreamt of establishing 'a theatre of cruelty'. But even that would not be enough. Foucault went much further. Cruelty should not be only an occasional act performed for the catharsis of one's own soul, but a constant part of everyday life; a custom for all to follow. 'We can and must,' he wrote, 'make of man a negative experience, lived in the form of hate and aggression.' (11) And he did his personal best to make life short and miserable. He contracted AIDS in the bathhouses of San Francisco, and when he knew he had it, returned to infect other men. Experiences of pain, madness, fatal illness were what he called 'edge situations', much to be desired because they redeemed existence from its unbearable banality. Evil, in other words, far from being banal itself, was to him a means of redemption from banality.
Jean-Paul Sartre, perhaps the most adulated of all the twentieth-century philosophers in the French pandemonium, followed Heidegger in the belief that the supreme and most necessary task for a human being was to 'live authentically'. He tells us what we should do to avoid 'the sin of living inauthentically': do what is forbidden because it is forbidden; transgress, for transgression is a way to 'transcendence'. In other words, do evil to achieve the higher good. All Sartre's heroes were on the side of the demonic. He proclaimed that the poet Charles Baudelaire's soul was 'an exquisite blossom' because he 'desired Evil for Evil's sake'; and because he 'saw in Satan the perfect type of suffering beauty. Satan, who was vanquished, fallen, guilty — crushed beneath the memory of an unforgivable sin, devoured by insatiable ambition, transfixed by the eye of God — nevertheless prevailed against God, his master and conqueror, by his suffering, by that flame of non-satisfaction which — shone like an unquenchable reproach.' (12)
One of Baudelaire's poems in Flowers of Evil lyrically celebrates the ravishment of a putrefying corpse. (An image highly suitable as a logo for the Europe of the 'love-death'.) Elsewhere he declared: 'In politics, the true saint is the man who uses his whip and kills the people for their own good.'
This rottenness was what Thomas Mann showed Europe in the mirrors he held up, among them the long novel The Magic Mountain, set like Tristan in a Swiss clinic for the treatment of tuberculosis. One of its chief characters, Naphta, a religious voluptuary with a passion for terrorism, is partly modelled on Georg Lukács. There is also his novel Dr Faustus in which the Faust figure is a spiritually corrupt genius, a composer who sells his soul to the devil in exchange for musical genius. In mundane terms he intentionally contracts syphilis – as did Baudelaire – and again the physical sickness symbolizes the spiritual one. (Incidentally, syphilis was the disease that killed Hannah Arendt's father.)
Is Europe redeemable? Goethe's Faust, who personifies European Romanticism with his longing 'to explore the heights and the depths', is redeemed; snatched back from the brink of eternal doom when he has a last minute change of heart and renounces evil (though this of course makes nonsense of the myth, as decisively as Oedipus would make nonsense of his if he failed to kill his father and marry his mother). But Europe – no: Auschwitz doomed Europe beyond any hope of recovery.
1. Victor Gollancz, the British publisher, in his own book on the trial.
2. For Hegel's' 'ethics of domination and submission', and what the Danish philosopher Søren Kierkegaard called his 'brilliant spirit of putridity' and 'infamous splendour of corruption' see Karl Popper The Open Society and its Enemies Volume 1 Hegel & Marx esp. pp 275, 276. For Marx on terrorism, see ref. in note 6 below, and for Marx's and Engels's view that certain nations – Poles, Czechs, Slavs – were fit only to be used as canon-fodder or enslaved, see Leopold Schwarzschild The Red Prussian, Pickwick Books, London 1986 p 81, and Nathaniel Weyl Karl Marx, Racist, Arlington House 1980. Nietzsche famously praised evil and the infliction of pain, and recommended the annihilation of millions of 'botched' human beings in order to expedite the spiritual strengthening of the emerging Superman. For Heidegger see later in the text and notes 4 & 5 below.
3. The inversion of moral values, orgiastic ritual sinning, and defiance of the law as means to a higher good, characterized Gnostic religious cults in the Roman Empire and throughout the Middle Ages.
4. Trans. H. T. Lowe-Porter
5. Hugo Ott Martin Heidegger: A Political Life trans. Allan Blunden, HarperCollins, 1993 p 167, quoting Heidegger's rectorial address at the University of Freiburg, May 27, 1933.
6. Letter on Humanism by Martin Heidegger, 1946.
7. For a succinct account of the views of Marx, Trotsky and Lenin on the virtue of terrorism, see Roberta Goren The Soviet Union and Terrorism, ed. Jillian Becker, George Allen & Unwin, London and Boston, 1984.
8. Georg Lukács Tactics and Ethics. He wrote this as an approving summary of an idea expressed by Boris V. Savinkov (who wrote under the name of Ropshin) in his novel The Pale Horse. Lukács admired this novelist for his 'new manifestation of an old conflict' between 'duties towards social structure' and 'imperatives of the soul' – the conflict with which Bataille, de Sade, Foucault, Heidegger, and Sartre were also centrally concerned.
9. Georges Bataille Visions of Excess: Selected Writing 1927-1934 ed. & trans. Allan Stoeckl, Manchester University Press, 1985 p 69
10. The Marquis de Sade Philosophy in the Boudoir.
11. James Miller The Passion of Michel Foucault, Simon & Schuster, New York, 1993 pp 204, 206.
12. Jean-Paul Sartre Baudelaire Trans. Martin Turnell
Posted under Articles, Commentary, communism, corruption, Ethics, Europe, nazism, Terrorism by Jillian Becker on Tuesday, July 20, 2010
Tagged with Adolf Eichmann, Adolf Hitler, Charles Baudelaire, Der Liebestod, Faust, George Lukacs, Georges Bataille, Goethe, Gyorgy Lukacs, Hannah Arendt, Hegel, Jean-Paul Sartre, Karl Jaspers, Marquis de Sade, Martin Heidegger, Marx, Michel Foucault, Nietzsche, Richard Wagner, The Magic Mountain, The Partisan Review, Thomas Mann, Tristan
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