‘This child, this in-between to which the lovers are now related and which they hold in common, is representative of the world in that it also separates them; it is an indication that they will insert a new world into the existing world.’
-Hannah Arendt, The Human Condition
What can we know about Arendtian action? In The Human Condition, Arendt tells us, variously, that it belongs to the public sphere, “the space of appearance”, that it takes place between political equals, and that it is “ontologically rooted” in “the fact of natality”. “Natality”, here, is not the same as birth, though it relies on the fact of birth for its conceptual understanding. Natality is the distinctly human capacity to bring forth the new, the radical, the unprecedented: that which is unaccountable by any natural causality, but the fact that we must recourse to the patterns of the natural world in order to explain it is what interests me here.
When we try to fix a notion of Arendtian action, it becomes clear that speech has an important role to play, though the precise relationship between speech and action is a slippery one. Actions are defined in speech, becoming recognisable as actions only when they have been placed in narrative, that is: regarded with “the backward glance of the historian”. At the same time, most actions “are performed in the manner of speech”. Speech is rendered as the revelatory tool of action, but, further to this, both action and speech share a number of key characteristics so that it is impossible to fully disentangle the one from the other.
A moment of possible illumination arrives under the heading “Irreversibility and the Power to Forgive”. For Arendt, action has no end. It contains within it the potential to produce an endless chain of reactions that are both unforeseeable and irreversible. With such terrifying momentum attached to everything we do, forgiveness is our release from the consequences of what we have done, without which “our capacity to act would, as it were, be confined to a single deed from which we could never recover”. In this context, forgiveness is always radical. It is the beginning of the possibility of the new: “… the act of forgiving can never be predicted, it is the only reaction that acts in an unexpected way and thus retains, though being a reaction, something of the original character of action”.
What’s more, forgiveness is personal, though not necessarily individual or private. It is, traditionally, connected to love, which Arendt describes as unworldly, indeed: “the most powerful of all anti-political human forces”. In the image of the lovers’ child, the child is used to represent the possibility of forgiveness, that is made representative of the world in its ability to join and divide.
Ultimately, it is not love that Arendt places in relation to forgiveness, it is a distant respect that can only occur “without intimacy and without closeness; it is a regard for the person from the distance which the space of the world puts between us”. Yet, in this moment in the text, Arendt leans upon an image of the unworldly in order to pull from it the particular activities of the world. It is the ability of action to emerge -- unforeseeable, unprecedented -- that Arendt performs here in language. It is the movement of the imagery that alerts us to the essential quality of action to appear, unexpected, as well as to the fragility of the political realm and its complex array of differences from and interconnections with the private. One need only examine the syntax to understand the dynamic of action that Arendt illustrates here: where a semi-colon would usually indicate two halves of a balanced equation, Arendt uses it as a springboard from which to make a tiger’s leap into the new.
There are a number of things to be gained from a close reading of the linguistic representation of the movement of action, not least in light of the fact that, in writing this book, Arendt is expressing a deep-seated fear that the faculty for action is about to slip away from us entirely. While much ink has been spilled over whether or not the categories and oppositions that arise in The Human Condition can be fully understood in any concrete way, on whether or not they hold, it may be that the apparent slippages in the text are, in fact, our most fruitful way in to understanding the particular dynamics and character of Arendtian action; an understanding that may then be put to some homeopathic use in our own work.
“And wonder what you’ve missed”
- W. H. Auden, as quoted in Hannah Arendt’s The Life of the Mind
At the end of the second-to-last chapter of the Thinking section of The Life of the Mind , Hannah Arendt quotes two stanzas from W. H. Auden’s poem As I Walked Out One Evening, the first of which is the following:
O plunge your hands in water,
Plunge them in up to the wrist;
Stare, stare in the basin
And wonder what you've missed.
Arendt thus ends a chapter containing no prior reference to Auden with two significant quotes by him, offering no further comment of her own. This lies in stark contrast to her treatment of the quote from The Tempest, which directly precedes the Auden quote; she relates Shakespeare’s metaphors very clearly to the subject matter of the chapter. Why, then, do Auden and his quotes have free rein?
In her essay “Remembering Wystan H. Auden,” written shortly after Auden’s death, Arendt describes their relationship as “very good friends but not intimate friends.” The rest of her tribute reveals her profound respect for Auden not just as a friend, but also as a writer and thinker. This respect is further indicated by their letter exchanges and the vast collection of Auden’s books in Arendt’s personal library; and it is reciprocated by Auden, who in 1959 reviewed The Human Condition for the magazine Encounter, describing within it the “jealous possessiveness” he experienced due to the close connection he felt with the book. Years later, Arendt dedicated her lecture Thinking and Moral Considerations to Auden. Shakespeare’s presence is to be noted in both this lecture and Auden’s essay The Fallen City. Some Reflections on Shakespeare’s “Henry IV”, upon which Arendt voiced her opinions in a letter to Auden. Arendt’s placement of the Shakespeare and Auden quotes in close proximity to each other in The Life of the Mind creates an illumination of each text by the other, as we will see later.
In order to unfold the meaning of the quote from As I Walked Out One Evening, however, one should consider the poem in its entirety. As two stanzas excerpted from a 15-stanza whole and presented without context, their meaning appears at first glance to be rather abstract. The poem focuses on humankind’s fight against time, explored mostly through a song sung by “a lover,” which the speaker of the poem overhears. This bears strong relation to one of the main questions explored by Arendt in her chapter: that of the position of the thinking ego in time, and its constant battle against both the past and the future. However, while Arendt concentrates on temporal freedom within the present realm of thought, which exists in an area bound to but not trapped in the midst of this battle, Auden’s focus is on the inevitability of “Time”, which is capitalized as such and portrayed as an ever more malignant force of nature. The description of the “crowds upon the pavement” as “fields of harvest wheat” in the first stanza already hints at death, evoking the Grim Reaper and time as a sickle on its way to sever our lives. The first explicit reference to Time appears in the sixth stanza:
But all the clocks in the city
Began to whirr and chime:
‘O let not Time deceive you,
You cannot conquer Time.
This context sheds light on the two stanzas quoted by Arendt. Even the exclamation “O” increases in its significance; one hears in the background of one’s mind odes from literary practices of centuries past, and ruminates on the continuity of traditions, considering Time’s role in it as both a destructive and constructive force, especially in light of Arendt’s own ruminations regarding the discontinuity of “the Roman trinity that for thousands of years united religion, authority, and tradition.” Her related notion of a “fragmented past” resonates with the second of the two stanzas by Auden: “And the crack in the tea-cup opens/A lane to the land of the dead.”
The reiteration of the words “plunge” and “stare” in the first quoted stanza leads one to consider the significance of repetition, a technique that Auden employs throughout the poem, in the context of time. Repetition can be perceived as a loop of time, giving it a plurality (for example, describing the word as being used two times) while also somewhat of a stationary character, since physical time has elapsed but mental time has not, instead revolving around itself and meditating on the same idea in a suspended state. Auden’s poem thus offers us another way of approaching Arendt’s consideration of time as experienced by the thinking ego.
The physical imagery employed by Auden reveals water to be an especially powerful metaphor for time. The poem concludes with: “The clocks had ceased their chiming,/And the deep river ran on,” portraying the constancy of time, ever running, even when our own human efforts to measure or control time have stopped or failed. The eighth stanza also contains a subtle evocation of water: “In headaches and in worry/Vaguely life leaks away”; in this context, our personal lifetime is the water that we cannot imperviously contain. This aids our understanding of the image of water in the basin in the first quoted stanza. Containing water in the basin represents our attempts to control and preserve time in a human construct, but, despite all these efforts, we cannot grasp time in our hands, no matter how deeply we “plunge” our hands into the water. Instead we can only “stare, stare” at our reflection, and “wonder what you’ve missed”. These four words are possibly the key to unlocking the relationship between this poem and The Life of the Mind. The physical reflection of oneself in the basin’s water prompts a mental reflection on the passage of time; time is once again suspended as our thinking ego considers our past. But perhaps Time is even more malevolent, in that while we stare at our reflection (the verb “stare” itself having rather stern connotations, in contrast to words such as “look” or “gaze”), physical time is still passing, and we are consequently “miss[ing]” even more of or from our lives as we try to deduce what the past has already robbed from us.
In her interpretation of the Tempest quote preceding the Auden citation, Arendt presents a rather different view of the water-time metaphor. The sea here represents an infinite expanse of time containing “fragments from the past”, the “pearls” and “coral” that do not pass away but are modified by the time they spend in the sea. As two stanzas extracted from an entirety of fifteen, Arendt presents Auden’s words as “pearls” and invites us to play a part in the continuity of this poem and the thinking ego within it, saving it and treasuring its “sea-change” through the generations.