Sunday, September 8, 2013

Shakespeare Sonnet Number 2



This post is part of my ongoing ruminations about particular Shakespeare Sonnets. Though I will likely not indefinitely continue to run through the poems in numerical order, I may continue to cover the early entries in sequence since they are so closely related.

Thus, after sharing some thoughts on Sonnet Number One here, I am proceeding on to Sonnet Number Two.


 When forty winters shall beseige thy brow,
And dig deep trenches in thy beauty's field,
Thy youth's proud livery, so gazed on now,
Will be a tatter'd weed, of small worth held:
Then being ask'd where all thy beauty lies,
Where all the treasure of thy lusty days,
To say, within thine own deep-sunken eyes,
Were an all-eating shame and thriftless praise.
How much more praise deserved thy beauty's use,
If thou couldst answer 'This fair child of mine
Shall sum my count and make my old excuse,'
Proving his beauty by succession thine! 

This were to be new made when thou art old,
And see thy blood warm when thou feel'st it cold.



Another early entry in the “Fair Youth” sequence, this one also falls into the “Procreation “ subgroup. In other words, the message here continues to be that the worthy object of the sonnet should have children.

The argument in the first sonnet was that the young man owed it to the world to reproduce. Shakespeare moves on to a more selfish reason here; that is, the young man’s desire to leave something for posterity. The sonnet contends that having progeny will be a replacement for the lost glory of youth. In this case, the now older person will be living vicariously through his child or children. Such pleasures will warm the blood.

Once again, I am a bit puzzled as to the possible ironic connotations here. It could be that Shakespeare is playing with what can be construed as a silly notion, that one’s lost youth can be compensated by the youth and beauty of one’s offspring. Any reading of Shakespeare’s plays makes it clear that The Bard was well aware of the fact that children do not always turn out as expected.

Or it could be that the sonnet should be taken at face value; that is, there are some individuals that are so beautiful that their offspring would be as well, and the beauty of their children will compensate for the ravages of time. One might dismiss the possibility of a Goneril and Regan as the products of less than virtuous parents.

Googling this sonnet indicates that there is a fair amount of opinion out there that does take the sonnet as is, and some folks even accuse Shakespeare of being a eugenicist!

Shakespeare had a knack for expressing the dark side of life. Here, he describes the “proud livery” of youth yielding to “tatter'd weed, of small worth” and being observed through “deep-sunken eyes”. These are despairing images indeed. (A forty year old is described here! I suppose that folks were a bit less healthy back in 1609).  If we are to take the advice of the sonnet seriously, we must conclude that here the poet is offering a solution to such despair.

Either way, Shakespeare has left us with some great poetry. He has also provided us with something to think about. The issues explored here endure, as does our appreciation of the sublime nature in which they are expressed.


Commentary on other Shakespeare Sonnets:





Wednesday, September 4, 2013

The Conspiracy Against the Human Race by Thomas Ligotti


Thomas Ligotti is best known as a horror writer. Though I have not read his fiction, a perusal of book descriptions and reviews make me suspect that his short stories and novels are both literary and offbeat. In The Conspiracy Against the Human Race: A Contrivance of Horror, Ligotti tries his hand at philosophy. I find his thinking and writing to be bold, at times brilliant, though also deeply flawed. The worldview advocated by Ligotti is simply the most pessimistic that I have ever encountered. The “Conspiracy” of the title refers to what the author contends to be a universal fiction, that “Being alive is all right.”  Ligotti believes that human consciousness is a terrible accident, a tragedy and the ultimate horror of horrors, and that life is MALIGNANTLY USELESS (Ligotti’s capitalization). He goes on for pages and pages explaining why he uses both of those words.

Though the book is not organized as such, Ligotti seems to focus upon three reasons for his conclusions. The first is that death, in a universe with no God or afterlife, is unendurable to the human psyche. 

Ligotti writes,

“Undeniably, one of the great disadvantages of consciousness— that is, consciousness considered as the parent of all horrors— is that it exacerbates necessary sufferings and creates unnecessary ones, such as the fear of death.“

Second, the considerable amount of suffering built into the lives of conscious beings can never be compensated by pleasure. He describes the pleasure that one experiences in life as, 

“a few crumbs left by chaos at feast”

Third, humans are not really independent selves, as we like to think. Instead, we are an amalgamation of chemical and physical processes; we are literally survival and reproduction puppets. Everything that we believe to be meaningful, such as love, loyalty, honor, patriotism, the wonder of nature, etc., are just the result of neurons firing in the brain and are ultimately vacuous.

Ligotti further contends that consciousness, which he labels an accident of evolution, should bring us face to face with the above horrors and we should thus all be insane. However, everyone who is supposedly sane is instead in a perpetual state of denial based upon illusions aided by certain mental repression mechanisms. He goes further and ascribes many types of mental illness to the failure of these safeguards. Thus, many neuroses and psychoses are simply the results of people perceiving the universe and themselves as they really are, without the normal set of protective delusions. 

He writes,

“Once the facts that repressional mechanisms hide are accessed, they must be excised from our memory— or new repressional mechanisms must replace the old— so that we may continue to be protected by our cocoon of lies. If this is not done, we will be whimpering misereres morning, noon, and night”

In order to end what he views as the abomination of consciousness, Ligotti advocates for the voluntary extinction of the human race through attrition. That is, by people deciding to stop having children. 

Finally, Ligotti conducts a literary and psychological analysis of supernatural and horror literature. He contends that much of it, particularly the works of Ann Radcliffe, Edgar Allen Poe and, most of all, H. P. Lovecraft are attempts to illustrate the underlying malevolence of existence.

Ligotti mines copious amounts of Western and Eastern culture while drawing his conclusions. He devotes numerous pages to ruminating about the writings of various authors and philosophers. He is particularly enamored with the viewpoints of Arthur Schopenhauer, Ernest Becker and Peter Zapffe. He makes references to both Western and Eastern religion and scripture, including Gnostic thought. The Gnostic idea that something is very wrong with the universe resounds throughout this work.  He delves into scientific discoveries and research, particularly in the area of human consciousness. At times, the book - really a series of connected essays - seems disorganized, repetitive and is peppered with unsupported contentions. At other times, the writing seems thoughtful, extremely insightful and goes to great lengths to support the author’s views.

For the most part, I reject Ligotti’s ultimate conclusions. Yet, his reasoning is of particular fascination for me. First, in regard to the bedrock understanding of the facts and construction of the universe, Ligotti’s beliefs are very much in line with mine. That is, we live in a universe without a creator or God, and that all that we experience and observe, including human consciousness, can be broken down into physical laws and explainable processes. Finally, at least to a degree, humans go through life with all kinds of illusions in their heads about themselves as well as about humankind in general. Thus, a thinker who shares such an underlying view of the facts of existence with myself is going to garner my attention.

The second reason that I am drawn to Ligotti’s reasoning is that I believe he expresses something that is an important piece to the puzzle of life. There is darkness inherent to existence. However, what I believe are vital pieces, Ligotti argues is the entire puzzle.

I have many arguments against Ligotti’s all encompassing final conclusions. Two in particular seem to me most important. First, I believe that there is a gaping hole in Ligotti’s logic. One of the author’s main points is that when everything that people value as the basis of human lives, such as love, family, honor, morals, etc., is deconstructed into physical processes, it becomes apparent that theses things are essentially neurons firing and chemical reactions that arise out of survival and reproduction strategies (he seems not to mention, and therefore disregards, the concept of Memes, or any idea of independent, self-perpetuating human ideas). I believe that there is some truth behind Ligotti’s contention (though I think that there is something independent going on relating to human culture and ideas). 

However, Ligotti goes much further. He argues that the nuts and bolts scientifically explainable origins of these values and concepts render these values and concepts utterly meaningless. Such meaninglessness renders life a horrible abomination. 


The problem here is that by this same logic, the concepts of meaninglessness, horror, undesirability of life, etc. are themselves the result of “neurons firing” and have no real meaning either. In a universe where these concepts are unreal, the horror that Ligotti obsesses over is also unreal. The dreadfulness that the author imagines is also an illusion.

Ligotti sees this differently and seems to give “horror” a special place.

“And one thing we know is real: horror. It is so real, in fact, that we cannot be sure it could not exist without us. Yes, it needs our imaginations and our consciousness, but it does not ask or require our consent to use them. Indeed, horror operates with complete autonomy. Generating ontological havoc, it is mephitic foam upon which our lives merely float. And, ultimately, we must face up to it: Horror is more real than we are.“  

The argument that “horror” occupies such a privileged position is, to me, unsupported and unconvincing. One could substitute many words for “horror” in the above passage and it would have the same meaning.

Another problem that I have with Ligotti’s views is that he equates deep understanding of the human mind and consciousness with the belief that human values and principles are meaningless. Once again, this nihilistic way of viewing things can be interesting and perhaps even at times useful in gaining understanding, but it is not the entire story. 

Perhaps all those Carl Sagan books have deluded me. I strongly believe that the incredibly complex mechanisms that go into the human mind, thought, consciousness and ultimately into human values, in no way diminish people or these value systems. In fact I would argue that the natural processes that gave rise to such wonders as life, the human mind, human principles, etc., enhance and give weight to humans and to these values. It is apparent that Ligotti has no sense of wonder or awe at the natural processes, human ideas and culture that that have arisen in our Cosmos.

In fact he writes,

“One cringes to hear scientists cooing over the universe or any part thereof like schoolgirls over-heated by their first crush. From the studies of Krafft-Ebbing onward, we know that it is possible to become excited about anything— from shins to shoehorns. But it would be nice if just one of these gushing eggheads would step back and, as a concession to objectivity, speak the truth: THERE IS NOTHING INNATELY IMPRESSIVE ABOUT THE UNIVERSE OR ANYTHING IN IT.”  (Ligotti’s Capitalization).

The above is very different from how I view the world. Though I am not a scientist, I am very much with the “Gushing Eggheads.” Scientists like Carl Sagan are expressing opinions when they ponder the wonder of the natural world, there is no requirement that everything that they write in this context be scientifically objective, just as there is no requirement that Ligotti be scientifically objective when expressing his opinions.

The above is also an example of Ligotti’s unfortunate tendency to name call and exhibit intolerance that borders on hysteria towards beliefs that he does not agree with.

I have many other qualms with Ligotti’s conclusions. Yet, I believe this to be a valuable work. At times, Ligotti’s reasoning is elegant, and he ties intriguing cultural, literary, philosophical and scientific threads together. Furthermore, I think that Ligotti is on to something. There are terribly dark, horrifying aspects to life and existence. Ligotti brilliantly zeros in upon and explores these aspects of reality. 

This darkness is all that Ligotti sees, however. For the most part, it is not in the facts that I disagree with in terms of his worldview. Thus, to some degree, it can be argued that this viewpoint is just one way of looking at life, no more or less valid than another viewpoint based upon the same facts (I understand that not everyone agrees that these are the facts and that there is plenty of room for honest disagreement on this).  I contend, however, that there are other equally important ways of looking at the Universe.

Those interested in modern, extremely pessimistic worldviews may also want to read Better Never to Have Been: The Harm of Coming into Existence by David Benatar. My commentary on that book is here. Ligotti makes several references to Benatar’s work in this book.

Saturday, August 31, 2013

RIP Event



Carl from Stainless Steel Droppings is hosting the eighth annual RIP or Readers Imbibing Peril read along event. This will be the first year that I am participating. 

One can join in on any one of several levels.This is a fall event that officially runs from September 1st through October 31st and readers can join in, read and comment upon literature or watch and comment upon films relating to:

Mystery

Suspense

Thriller
Dark Fantasy
Gothic Horror
Supernatural
Or anything sufficiently moody that shares a kinship with the above.
As I am not sure how many works that I will get to I do not want to commit to a level of participation. I will certainly read and comment upon at least one work. Hopefully I will have time for more.
This looks to be a very fun event. It seems that participants had a great time in previous years. I am not just looking forward to reading and posting myself, but I am also looking forward to reading commentary from the many other participants. I have a feeling that I may be discovering some great new blogs too.
Thanks to Carl for hosting this fascinating read along.
I recommend that anyone not familiar with Carl’s site go over and take a look. His blog also is a great place with an emphasis on science fiction and fantasy. As readers of this blog know, those genres are also very close to my heart.

Monday, August 19, 2013

Our Mutual Friend by Charles Dickens


Our Mutual Friend was Charles Dickens’s last novel. I found it to be an engaging, entertaining and fun. The story and characters can best be described as lively and full of philosophy and symbolism that reach into the heart of Western culture as well as the human psyche. The book is full of both tragedy and comedy. As is typical of Dickens, it is peopled by a host of larger then life characters, ranging from the virtuous to the villainous.

In some ways this novel is a series of case studies on what money does to people and how they react to it. Some behave horribly while it brings out the best in others. This is also an exploration of death, resurrection and rebirth, the power of books and learning, and a whole lot more. It is also a hilarious satire of upper class manners and lack of morality as well as a plea for social and economic justice.

 The plot is somewhat complex and includes lots of characters. When the old, rich and mean Mr. Harmon dies he leaves a last Will and Testament that sets things in motion. He bequeaths most of his fortune to his son, John Harmon who he all but abandoned in childhood. The inheritance is conditional on the eventuality that the younger Harmon marry the impoverished Bella Wilfer who he has never met. While traveling to meet his intended bride, Harmon is assaulted by thugs, knocked insensible and is mistaken for dead. Though he eventually regains his senses Harmon continues to uphold the fiction that he was killed and takes on fake identity. He decides to scope out Bella, from the point of view an uninterested stranger, to out to determine if she would make an honorable and virtuous wife. Meanwhile, the old miser’s servants, Mr. and Mrs. Boffin, inherit the fortune as per the Will, since the younger Harmon is presumable dead.

Lizzie Hexam, the daughter of the man who is falsely accused of killing Harmon, and Eugene Wrayburn, the attorney handling Harmon’s Will, are also key characters as Wrayburn becomes romantically interested in Lizzie. Bradley Headstone is a schoolmaster who is also a psychotic stalker obsessed with Lizzie. The are numerous other important characters and lots of plot twists.


 Some Thoughts on Bella


I like complex characters. At times I have trouble with Dickens as he often portrays people as extremes of either reprehensible monsters or unquestioned saints. Thankfully this is not true of all of his creations. Those who fall into the grey areas particularly intrigue me. I was initially impressed by portrayal of the character of Bella Wilfer for these reasons. Early in the novel Bella is intelligent, kind and empathetic if a bit coquettish. She is not perfect however. She is also unabashedly greedy. She is searching for a husband whose main attribute is wealth.


Talking to her father she remarks,


 “I have made up my mind that I must have money, Pa. I feel that I can't beg it, borrow it, or steal it; and so I have resolved that I must marry it.”

and later,

“I have money always in my thoughts and my desires; and the whole life I place before myself is money, money, money, and what money can make of life!' 

I love the unabashed, unashamed exuberance of the above!


Bella understands that to many this is a character flaw she later comments,


“When I was at home expecting to be rich, I thought vaguely of all the great things I would do. But when I had been disappointed of my splendid fortune, and came to see it from day to day in other hands, and to have before my eyes what it could really do, then I became the mercenary little wretch I am.”


At the same time that she exhibits such avarice, Bella shows displays positive traits. She shows great tenderness to a dying orphan. She also has a strong bond with her hapless father whom she is exceeding kind to. This relationship is a bit unusual. She is extremely close to “Pa”.  She confides her secrets to him. However, in some ways she treats him as a beloved child. She dotes upon him like a mother. At one point she bristles when his co – workers chide him. What a complex and in my opinion, realistic combination of traits that Dickens has endowed into Bella!

Another aspect that enhances Bella’s character is that, as expressed in the above passages, she is self – aware. She knows that she is greedy. She also knows that this is a character flaw. At least in this part of the narrative, she accepts this about herself.


But Bella is destined to disappoint me. Observing how mean and miserly Mr. Boffin has seemingly become as a result of his newfound wealth, and having fallen in love with the seemingly poor and disguised John Harmon, she decides to forgo riches in lieu of marital bliss. By the novel’s end she has transformed into a completely unselfish and self - sacrificing woman.


It may seem odd that I am complaining that a character, with lots of redeeming qualities, forgoes a terrible character weakness in favor of virtue. Of course if Bella was a real person, I would rejoice that she had put aside such rapacious tendencies. However, when it comes to literary characters, I like a little darkness even in the best of them. A mix of virtue and vice makes a delicious and interesting stew. When characters become too good they become less interesting. Bella seems too real of a character for such a simplistic epiphany. Had she been a pure villainess she would not have been as intriguing either, it was the amalgam of traits, much like real person, that was unfortunately lost here.

I am just being cranky on this point. This is a terrific and important work. Bella’s redemption is only a small part of the book. I must also admit that the transformation is appealing on some levels. A completely unimproved Bella might have been a disaster for the narrative. Perhaps however, in the end, a few materialistic tendencies in a partially changed Bella would have added some spice to the stew.