Hannah Arendt Center for Politics and Humanities
22Jul/132

Amor Mundi Newsletter 7/21/13

Arendtamormundi

Hannah Arendt considered calling her magnum opus Amor MundiLove of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

An Unwillingness to Produce the Body

lawIn the lead up to the scheduled execution-postponed yet again on Thursday-of Warren Lee Hill, Lincoln Caplan writes a short history of the role of habeas corpus in death penalty cases. Starting with Justice William Brennan Jr.'s 1963 affirmation of the importance of habeas corpus and walking through the history of the limitation and near evisceration of habeas as a super writ for the prevention of injustice, Caplan writes that "the habeas story is about capital punishment. More to the point, it is about the radical cutback in habeas law as a reliable means of challenging unconstitutional death sentences," and ties its decline to resurgent questions about American federalism. The Great Writ of justice, as habeas is known, has indeed been radically curtailed. But the real reasons go beyond its connection to the death penalty. The problem is that habeas corpus long represented a claim of justice beyond the letter of the law, an idea of justice at odds with the Court's recent focus on legalism and bright lines. For a full history of the straight-jacketing of the great writ of habeas corpus, take a look at "Error-centricy: Habeas Corpus and the Rule of Law as the Law of Rulings."

Into the Wine Dark

wineCaroline Alexander investigates what Homer might have meant when he called the sea "wine dark," stumbling across questions of translation and the sea's importance to Greece along the way: "It is alluring, stirring, and indistinctly evocative. It is also, strictly speaking, incomprehensible, and for all the time the phrase has been relished, readers and scholars have debated what the term actually means. In what way did the sea remind Homer of dark wine? And of the myriad ways to evoke the sea, why compare it to wine at all? A translator's task is to render into English both the plain meaning and the sensibility-the felt meaning-of a Homeric phrase or word, and so it is a duty, albeit a perilous one, to plunge deeper into this celebrated sea phrase, and grope for clarity. Impertinent questions must be floated: what does it mean-and is there possibly a better rendering?"

The Good Books

bookIranian scholar Ramin Jahanbegloo recently finished a memoir of his time spent in Teheran's Evin Prison. In Time Will Say Nothing he writes of the power of the written word for the incarcerated: "Books became my only companions. In the many desolate hours that I spent in my cell, most of my time was filled with reading Gandhi, Nehru, and Hegel; for long periods they all helped me to forget the grim present. Since childhood, I had always had an obsession and a fascination with books. For me, they had been more than an escape, as they are for many people. Jorge Luis Borges considered them an absolute necessity; they afforded him the highest pleasure. As he famously put it, he always imagined Paradise in the form of a library. This is because for good readers, under normal circumstances, books enrich life, injecting passion and enchantment into the mundane and the quotidian. Moreover, in a solitary jail cell, books simply help one to survive; one can never underestimate their power and importance in such a place."

The MOOC, Circa 1885

moocScott Newstock defends in-person learning against the rise of the MOOC. "To state the obvious: there's a living, human element to education...." Close learning, he rightly sees, "exposes the stark deficiencies of mass distance learning such as MOOCs." What is new in Newstock's argument is his backwards glance. To burst the MOOC bubble, he quotes one prominent expert who argues that the average distance learner "knows more of the subject, and knows it better, than the student who has covered the same ground in the classroom." Indeed, "the day is coming when the work done [via distance learning] will be greater in amount than that done in the class-rooms of our colleges." What you might not expect is that this prediction was made in 1885. "The commentator quoted above was Yale classicist (and future University of Chicago President) William Rainey Harper, evaluating correspondence courses." Thus Newstock offers a fair warning to those who prophecy that MOOCs will empty the schools.

Tintyping Afghanistan

tintypeWhen soldier and photographer Ed Drew was deployed in Afghanistan earlier this year, he began taking tintype photographers of his colleagues and surroundings. The tintype process, last used in a theatre of battle during the Civil War, is archaic and difficult to do exactly right, and the resulting photographs speak of the end of a modern era in the language of the distant past.

Featured Upcoming Events

challJuly 22-July 31, 2013

The Hannah Arendt Center 10 Day/100 Member Campaign

October 3-4, 2013

The sixth annual fall conference, "Failing Fast" The Educated Citizen in Crisis"

Olin Hall, Bard College

Learn more here.

From the Hannah Arendt Center Blog

This week on the blog, Jeffrey Champlin looks to Arendt's reading of Kant to mark Arendt's thinking as a kind of middle path between the objective and the subjective. You can also find recent coverage of the movie Hannah Arendt here. And check out our Fall Conference, "Failing Fast: The Crisis of the Educated Citizen." Finally, Roger Berkowitz delves into the controversy over the decision by Rolling Stone to put Dzhokhar Tsarnaev on the cover of the magazine.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.
10Dec/122

Arendt & Auden

“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.

Image by xetobyte

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.

-Frances Lee

 

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.