A general shift from having to appearing

From Guy Debord’s The Society of the Spectacle (section 17).  The translation is Ken Knabb’s.

The first stage of the economy’s domination of social life brought about an evident degradation of being into having – human fulfillment was no longed equated with what one was, but with what one possessed.  The present stage, in which social life has become completely dominated by the accumulated production of the economy, is bringing about a general shift from having to appearing – all ‘having’ must now derive its immediate prestige and its ultimate purpose from appearances.  At the same time all individual reality has become social, in the sense that it is shaped by social forces and is directly dependent on them.  Individual reality is allowed to appear only if it is not actually real.

La première phase de la domination de l’économie sur la vie sociale avait entraîné dans la définition de toute réalisation humaine une évidente dégradation de l’être en avoir. La phase présente de l’occupation totale de la vie sociale par les résultats accumulés de l’économie conduit à un glissement généralisé de l’avoir au paraître, dont tout « avoir » effectif doit tirer son prestige immédiat et sa fonction dernière. En même temps toute réalité individuelle est devenue sociale, directement dépendante de la puissance sociale, façonnée par elle. En ceci seulement qu’elle n’est pas, il lui est permis d’apparaître.

However much I’m inclined to think Debord often fails to recognize or simply suppresses the diachronic truth of his analysis – e.g. that even with our limited evidence of Roman culture no close reader of Juvenal can fail to recognize similarities with the framework Debord constructs – I cannot help admire how he consistently reads as a fifty year early analysis of the ills of Instagram.

It was the attachment to those objects

From part 1 of Within a Budding Grove

“The most I was capable of was astonishment, when my visit was at all prolonged, at the nullity of achievement, at the utter inconclusiveness of those hours spent in the enchanted dwelling. But my disappointment arose neither from the inadequacy of the works of art that were shown to me nor from the impossibility of fixing upon them my distracted gaze. For it was not the intrinsic beauty of the objects themselves that made it miraculous for me to be sitting in Swann’s library, it was the attachment to those objects—which might have been the ugliest in the world—of the particular feeling, melancholy and voluptuous, which I had for so many years located in that room and which still impregnated it”

Tout au plus m’étonnais-je quand la visite se prolongeait, à quel néant de réalisation, à quelle absence de conclusion heureuse, conduisaient ces heures vécues dans la demeure enchantée. Mais ma déception ne tenait ni à l’insuffisance des chefs-d’oeuvre montrés, ni à l’impossibilité d’arrêter sur eux un regard distrait. Car ce n’était pas la beauté intrinsèque des choses qui me rendait miraculeux d’être dans le cabinet de Swann, c’était l’adhérence à ces choses—qui eussent pu être les plus laides du monde—du sentiment particulier, triste et voluptueux que j’y localisais depuis tant d’années et qui l’imprégnait encore;

The bolded phrase is probably the closest Proust comes to summing up what I find to be the core uniting theme of the social/emotional psychology his novel posits.  Whether it be the sentimental and aesthetic value of the narrator’s memories, Swann’s (externally) inexplicable passion for Odette, the narrator’s fixation on Gilberte/the Swanns and later Albertine, the Verdurins’ cultivation of a salon, etc. etc. it all comes together in this idea that is – by independent evolution or direct inspiration? – so close to the opening of section 5 of Epictetus’ Enchiridion:

ταράσσει τοὺς ἀνθρώπους οὐ τὰ πράγματα, ἀλλὰ τὰ περὶ τῶν πραγμάτων δόγματα

What disturbs men are the things themselves, but their beliefs about those things

Which – for another hint at the many unappreciated links between Proust and Sterne – is also the epigraph to the first volume of Tristram Shandy

tristram

 

No, not a god. But I am a creature of legend

I just recently got a copy of M.L. West’s Teubner Odyssea and it put me in mind of finally looking up his obituary.  This one in The Guardian did the job nicely and confirmed the long held suspicion that his idiosyncratic writing style was only a watered down version of his speech.

Martin was a notoriously difficult conversationalist. Speaking only when he considered he had something worth saying, he often launched shafts of wit so perfectly formulated that it was hard to respond to them. To a colleague who had just returned from lecturing on a subject on which he was no expert: “Fallible, but not wholly fallacious. Unlike the Pope, who is the opposite.” To an awestruck young scholar at a conference who hailed him as a “god”: “No, not a god. But I am a creature of legend.”

 

my secretary Fremin the dimwit

Stanza 47 of Francois Villon’s Testament, in Galway Kinnell’s translation.  I simply like the idea of calling – if only in my head – anyone who works for me Fremin the dimwit.  That said, I do wonder if estourdys here is not in the sense of drunk rather than scatter-brained.

This lecture was given them by one
who in her time was beautiful and good
well-spoken or not, for what it’s worth
I’ve had her words taken down
By my secretary Fremin the dimwit
Who’s as bright as I’ll ever be
If he gets it all wrong I’ll curse him
The master’s known by the clerk

Ceste leçon icy leur baille
La belle et bonne de jadis;
Bien dit ou mal, vaille que vaille,
Enregistrer j’ay faict ces ditz
Par mon clerc Fremin l’estourdys,
Aussi rassis que je pense estre…
S’il me desment, je le mauldys:
Selon le clerc est deu le maistre.

How many times will you still sleep / with a jug of wine by your bed

By Kao Shih, from Red Pine’s translation of Poems of the [Thousand] Masters:

To Chang Hsu after Drinking

The world is full of fickle people
you old friend aren’t one
inspired you write like a god
drunk you’re crazier still
enjoying white hair and idle days
blue clouds now rise before you
how many times will you still sleep
with a jug of wine by your bed

And Red Pine’s endearingly unique commentary:

Chang Hsu (fl. 750) was one of China’s greatest calligraphers and was famous for his cursive script, which became more inspired as he drank.  When I was first living in Taiwan, whenever I had to go to Hong Kong to renew my visa I asked my calligraphy teacher (Chuang Yen, curator of the Palace Museum’s Calligraphy and Painting Collection) if I could bring him back brushes or ink, as people in Taiwan were still forbidden to travel to China. But all he ever asked for was Tachu White Lightning. He said he did his best work before dawn, after a cup or two. Chang also loved to drink and was ranked among the Eight Immortals of Wine. It’s said he kept a jug beside his bed so he could drink as soon as he woke up. Blue clouds represent high position and refer to his new post as court calligrapher, which required earlier hours than he was used to. Kao Shih 716-765 uses two of Chang’s nicknames here: ts’ao-sheng (god of shorthand) and tien (crazy).

Sometimes the exact opposite, like a garment that has been turned

From A l’ombre des jeune filles en fleurs, of the alteration in Cottard’s character between the days of Swann in Love and the opening of Within a Budding Grove.  So perfect an image of an alternate path of development but, with the loss of the practice referred to, I wonder whether it still resonates today:

we must bear in mind that the character which a man exhibits in the latter half of his life is not always, even if it is often his original character developed or withered, attenuated or enlarged; it is sometimes the exact opposite, like a garment that has been turned.

Remarquons que la nature que nous faisons paraître dans la seconde partie de notre vie, n’est pas toujours, si elle l’est souvent, notre nature première développée ou flétrie, grossie ou atténuée; elle est quelquefois une nature inverse, un véritable vêtement retourné.

Let others become buddha or immortals

From Red Pine’s translation of Stonehouse’s (Shiwu) Mountain Poems – poem 142.

Parched wheat and pine pollen make a fine meal
vine flowers and salted bamboo make a tasty dish
when I’m exhausted I think of nothing else
let others become buddha or immortals

I also very much enjoy Red Pine’s commentary and chose this poem out of a handful of similar ones mainly for his sideline contribution.  He is entirely non-traditional – at least for western philology – but utterly charming.

Pine pollen is collected in late spring or early summer.  “Vine flowers” refers to wisteria blossoms, which are removed individually from each raceme and stir-fried.  At the monastery in Taiwan where I lived for several years, we dined through the summer on stir-fried daylily blossoms, picked a day or two before they were due to open.  Among the mountain-dwelling Aini in Yunnan province, I also enjoyed stir-fried bauhinia flowers.

Come again, with a humble heart, to my place

Another of Giuseppe Belli’s sonnets, as translated by Miller Williams

The confessor

“Father …” “Say the confiteor.” “I did.”
“did you do the act of contrition?” “Father, or course.”
“Go on.” “I called my husband a shit-head.
Also I ripped off a lady’s purse.”

“What else?” “I said damn you to my cat.
It broke a bowl, but it’s a creature of God.”
“What else did you do?” “I met this young man
a little while ago, and we went to bed.”

“What did you do?” “A little out and in.”
“I hope he put it in the proper part.”
“The back way, too.” “But that’s an awful sin.

Because of this young man, at any rate,
I want you to come again, with a humble heart,
to my place, tomorrow, say about eight.”

Er confessore

«Padre…». «Dite il confiteor». «L’ho ddetto».
«L’atto di contrizione?» «Ggià l’ho ffatto».
«Avanti dunque». «Ho ddetto cazzo-matto
a mmi’ marito, e jj’ho arzato un grossetto».

«Poi?» «Pe una pila che mme róppe er gatto
je disse for de mé: “Ssi’ mmaledetto”;
e è ccratura de Ddio!». «C’è altro?» «Tratto
un giuvenotto e cce sò ita a lletto.

«E llí ccosa è ssucesso?» «Un po’ de tutto.
«Cioè? Sempre, m’immagino, pel dritto».
«Puro a rriverzo…». «Oh che peccato brutto!

Dunque, in causa di questo giovanotto,
tornate, figlia, cor cuore trafitto,
domani, a casa mia, verso le otto».

An exact and therefore lifeless copy of mere outward forms

From Du Côté de Chez Swann:

So on by degrees, until Françoise and my aunt, the quarry and the hunter, could never cease from trying to forestall each other’s devices. My mother was afraid lest Françoise should develop a genuine hatred of my aunt, who was doing everything in her power to annoy her. However that might be, Françoise had come, more and more, to pay an infinitely scrupulous attention to my aunt’s least word and gesture. When she had to ask her for anything she would hesitate, first, for a long time, making up her mind how best to begin. And when she had uttered her request, she would watch my aunt covertly, trying to guess from the expression on her face what she thought of it, and how she would reply. And in this way—whereas an artist who had been reading memoirs of the seventeenth century, and wished to bring himself nearer to the great Louis, would consider that he was making progress in that direction when he constructed a pedigree that traced his own descent from some historic family, or when he engaged in correspondence with one of the reigning Sovereigns of Europe, and so would shut his eyes to the mistake he was making in seeking to establish a similarity by an exact and therefore lifeless copy of mere outward forms—a middle-aged lady in a small country town, by doing no more than yield whole-hearted obedience to her own irresistible eccentricities, and to a spirit of mischief engendered by the utter idleness of her existence, could see, without ever having given a thought to Louis XIV, the most trivial occupations of her daily life, her morning toilet, her luncheon, her afternoon nap, assume, by virtue of their despotic singularity, something of the interest that was to be found in what Saint-Simon used to call the ‘machinery’ of life at Versailles; and was able, too, to persuade herself that her silence, a shade of good humour or of arrogance on her features, would provide Françoise with matter for a mental commentary as tense with passion and terror, as did the silence, the good humour or the arrogance of the King when a courtier, or even his greatest nobles, had presented a petition to him, at the turning of an avenue, at Versailles.

Peu à peu Françoise et ma tante, comme la bête et le chasseur, ne cessaient plus de tâcher de prévenir les ruses l’une de l’autre. Ma mère craignait qu’il ne se développât chez Françoise une véritable haine pour ma tante qui l’offensait le plus durement qu’elle le pouvait. En tous cas Françoise attachait de plus en plus aux moindres paroles, aux moindres gestes de ma tante une attention extraordinaire. Quand elle avait quelque chose à lui demander, elle hésitait longtemps sur la manière dont elle devait s’y prendre. Et quand elle avait proféré sa requête, elle observait ma tante à la dérobée, tâchant de deviner dans l’aspect de sa figure ce que celle-ci avait pensé et déciderait. Et ainsi—tandis que quelque artiste lisant les Mémoires du XVIIe siècle, et désirant de se rapprocher du grand Roi, croit marcher dans cette voie en se fabriquant une généalogie qui le fait descendre d’une famille historique ou en entretenant une correspondance avec un des souverains actuels de l’Europe, tourne précisément le dos à ce qu’il a le tort de chercher sous des formes identiques et par conséquent mortes,—une vieille dame de province qui ne faisait qu’obéir sincèrement à d’irrésistibles manies et à une méchanceté née de l’oisiveté, voyait sans avoir jamais pensé à Louis XIV les occupations les plus insignifiantes de sa journée, concernant son lever, son déjeuner, son repos, prendre par leur singularité despotique un peu de l’intérêt de ce que Saint-Simon appelait la «mécanique» de la vie à Versailles, et pouvait croire aussi que ses silences, une nuance de bonne humeur ou de hauteur dans sa physionomie, étaient de la part de Françoise l’objet d’un commentaire aussi passionné, aussi craintif que l’étaient le silence, la bonne humeur, la hauteur du Roi quand un courtisan, ou même les plus grands seigneurs, lui avaient remis une supplique, au détour d’une allée, à Versailles.