Friday, November 24, 2023
“Athens and Jerusalem” by Lev Shestov
Friday, November 17, 2023
“The Magic Mountain” by Thomas Mann (translated by John E. Woods)
This tome is considered by most to be Mann’s magnum opus. It would be fair to say it is a philosophical novel. It has little in the way of action, although it might be unfair to say it has absolutely no plot. There is intrigue, clandestine love affairs, and even a near death experience in a blizzard. But most of the story takes place inside a tuberculosis sanatorium up in the mountains. Mann introduces the novel’s protagonist with a philosophical flair, “A human being lives out not only his personal life as an individual, but also, consciously or subconsciously, the lives of his epoch and contemporaries…. For a person to be disposed to more significant deeds that go beyond what is simply required of him—even when his own times may provide no satisfactory answer to the question of why—he needs either a rare heroic personality that exists in a kind of moral isolation and immediacy, or one characterized by exceptionally robust vitality. Neither the former nor the latter was the case with Hans Castorp, and so he probably was mediocre after all, though in a very honorable sense of that word.”
Mann’s novel plays with the idea of the subjectivity of time. “Looking back, the time he had spent here thus far seemed unnaturally brief and at the same time unnaturally long. It seemed everything to him, in fact, except how it really was—always presuming, of course, that time is part of nature and that it is therefore permissible to see it in conjunction with reality.” Castorp originally had intended to merely visit his cousin Joachim, who was a patient at the sanatorium, for a three week vacation, but Castorp ends up staying for quite awhile longer, after being admitted as a patient himself. “We would like to suggest that Hans Castorp would not have stayed with the people up here even this long beyond his originally planned date of departure, if only some sort of satisfactory answer about the meaning and purpose of life had been supplied to his prosaic soul from out of the depths of time.”
While staying at the sanatorium, Castorp meets a fellow patient, an Italian humanist named Settembrini, who takes him under his wing and warns him of the dangers of staying too long up in the mountains. A bit of a pedagogue, he also tries to impart a bit of his enlightened rationality and humanist philosophy on his young pupil. Settembrini expresses, “A man of the West, despite all other propositions, has only one concern: reason, analysis, deeds, progress.” His sparring partner, a Jesuit named Naphta, attempts to sway Castorp in a different direction, “Allow me to remark, that every sort of torture, every bit of bloody justice, that does not arise from a belief in the next world is bestial nonsense. And as for the degradation of man, its history coincides exactly with the rise of the bourgeois spirit. The Renaissance, the Enlightenment, and the teachings of nineteenth-century science and economics have omitted nothing, absolutely nothing, that seemed even vaguely useful for furthering such degradation, beginning with modern astronomy—which turned the focal point of the universe, that sublime arena where God and Satan struggled to possess the creature whom they both ardently coveted, into an unimportant little planet.” Debate after debate between the two combatants ensues and, needless to say, things eventually become a little more heated. Herr Settembrini will have the last word, “The duel, my friend, is not just any ‘arrangement.’ It is the final arrangement, a return to the primal state of nature, only slightly moderated by certain chivalrous, but purely superficial rules. The essence of the situation remains what it has been since the beginning, a physical struggle, and it is each man’s duty, however far he may be from nature, to keep himself equal to the situation. Whoever is unable to stand up for an ideal with his person, his arm, his blood, is unworthy of that ideal, and no matter how intellectual one may become, what matters is that one remains a man.”
Friday, November 10, 2023
“The Hebrew Bible: Lamentations” (translated by Robert Alter)
Alter begins his introduction with some basic facts, “The only reasonably safe conclusion one can draw about the origins of the Book of Lamentations is the likelihood that it was composed in the immediate aftermath of the destruction of the kingdom of Judah in 586 B.C.E.” Next, he delves into its format, “Lamentations is unique among books of the Bible in that four of its five chapters are composed as alphabetic acrostics, with the third chapter being a triple acrostic…. It is unclear why the alphabetic acrostic form was felt appropriate for these laments. Could it be that the progress from aleph to taw was felt to imply a comprehensive listing of all the disasters that had befallen the people?” Finally, Alter delves into Lamentations’s modern liturgical usage, “One readily understands why it is that Jewish tradition fixed the recitation of these five laments as an annual ritual, not merely in commemoration of the destruction of the First Temple or the Second but also as a way of fathoming the ghastly recurrent violence that has darkened two millennia of history.”
In Lamentations 1:21, Alter details a poetic formula common in much biblical verse, “May they be like me. This line and the preceding one incorporate an implied causal sequence: first the enemies gloat over the destruction of Judah; then the speaker registers the fact that the catastrophe was God’s doing and the foe was only His instrument; finally, the speaker hopes that the same dire fate will overtake Zion’s conquerers. This is in fact a recurrent idea in Prophetic literature: that Judah’s enemies may be God’s “rod” of punishment but will in turn suffer for the terrible harm they have inflicted on Judah.”
Alter describes the clever use of metaphor in Lamentations 4:1, “How has gold turned dull. The first two verses of this lament are an interesting instance of literal statement that is then revealed to be a metaphor. Verse 1 appears to present a concrete image of precious materials debased—gold tarnished, gems spilled to the ground. Then, in verse 2, with the representation of Zion’s children “worth their weight in gold” (literally, “weighed in gold”), it becomes evident that they are the treasures now counted as worthless.”
Friday, November 3, 2023
“The Hebrew Bible: Ruth” (translated by Robert Alter)
The provenance of this short book of the Bible is somewhat disputed. Alter weighs in in his introduction, “Is Ruth in fact a Late Biblical book? Although this is the consensus of biblical scholars, there are some vocal dissenters. These tend to take at face value the assertion of the opening verse that we are reading a story that goes back to the period of the Judges…. But style is actually the clearest evidence of the lateness of Ruth. The writer took pains to create a narrative prose redolent of the early centuries of Israelite history, but it is very difficult to execute such a project of archaizing without occasional telltale slips…. There are at least a dozen terms that reflect distinctive Late Biblical usage…. The other strong sign of Ruth’s composition in the period after the return from Babylonian exile in the fifth century B.C.E. is its genre…. Harvesting and agriculture are a palpable presence in the story. Unlike the narratives from Genesis to Kings, where even pastoral settings are riven with tensions and often punctuated with violence, the world of Ruth is a placid bucolic world, where landowner and workers greet each other decorously with blessings in the name of the Lord.” Alter also throws in a bit of history, “Ruth’s Moabite origins have led many interpreters—convincingly, in my view—to see this story as a quiet polemic against the opposition of Ezra and Nehemiah to intermarriage with the surrounding peoples when the Judahites returned to their land in the fifth century B.C.E.”
In Ruth 1:1, Alter details the historic setting for the book and thus the dispute of its provenance, “when the judges ruled. The “judges” (shoftim) are tribal chieftains, as in the Book of Judges. This initial notice led the Septuagint and the Christian canon afterward, to place the Book of Ruth in the Former Prophets, after Judges.” In Ruth 1:17, Alter describes a common Biblical literary technique, “Wherever you die, I will die, and there will I be buried. Ruth’s moving speech, with its fine resonance of parallel clauses, appropriately ends on the note of death: she will always remain with Naomi in the trajectory of a whole life until death. The procedure of biblical narrative of defining character by his or her initial speech is vividly deployed here, showing Ruth as the perfect embodiment of loyalty for her mother-in-law.”
Alter details another striking literary detail in relating Ruth 2:11, “you left your mother and your father and the land of your birth. These words are the most significant literary allusion in the book. They explicitly echo God’s first words to Abraham in Genesis 12:1, “Go forth from your land and your birthplace and your father’s house.” Now it is a woman, and a Moabite, who reenacts Abraham’s long trek from the east to Canaan. She will become the founding mother of the nation as he was the founding father.” Finally in Ruth 4:18, Alter again reflects on Ruth’s future progeny, “And this is the lineage of Perez. In careful emulation of the Book of Genesis, the writer weaves together narration with genealogy to pointed thematic purpose. Here he aligns the son Ruth bears both back to Judah’s son, Perez, and forward to the founder of the divinely authorized dynasty, David.”